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Hi Luke! Thank you for the great question! I think it is a good idea to do falsetto exercises in the upper register, up to high C5 and beyond. This would help with your positioning, i.e. the elongation of the vocal cords. Eventually, you will need to do an approximated falsetto, or a mix, or what the Italians would say voce di lontano. There is a bit more arytenoid action when singing an approximated falsetto. After that, you can try to fully adduct the vocal cords. Sometimes the arytenoid muscles are not strong enough to withstand that much pressure and then they break apart resulting in a "crack", but eventually those muscles will get stronger and cracking will become less frequent.

@joshualindsayvoicestudio6022 ok, very cool! Thank you for taking time to write your helpful response! I think I can do the "approximated falsetto" pretty easily, and I can go way higher than High C with that. But I struggle to integrate chest at around A or Bb. I feel a strong vocal shift there. I will keep working at it! One more question for you if you don't mind. Do you believe in the concept of "covering" through the passaggio, as endorsed by Pavarotti? I've heard pro and con from people I consider very good singers. On the con side, the argument is that a "cover" on the inside introduces constriction to the throat and contradicts an open throat position. However, on the pro side, people claim that it is impossible to arrive in the upper register without it. I'm curious what your thoughts are. Thank you.

This technique can be used for both classical and contemporary singing. The difference would be the opening in the back of the throat.

@@joshualindsayvoicestudio6022 How does one do this with singing in the mask? Open throat and lowered larynx gives a "hootier" (classical) sound.

That is very observant! Yes the aperture of the vocal folds should remain closed when ascending into the upper register. The difficulty most young singers have is that their arytenoid muscles are not strong enough to maintain proper adduction and the vocal cords either break apart suddenly under pressure or the vocal cords gradually abduct and thus resulting in a loss of resonance and loss of core sound.

Great suggestion! Thanks for your input!

Absolutely! I'm glad you enjoyed it!

You're welcome 😊

Yes, the passaggio, or the break in the voice, is a very tricky thing to manage and can take years to master.

That’s a very good question! Vocal warm-ups tend to get the vocal cords moving and primed for singing. Vocal exercises, on the other hand, our designed for building vocal technique. It’s like going to the gym for your voice.

I’m so glad to hear that! I wish I knew then what I know now about singing high C.

Indeed! I am an opera singer. The principles apply to other styles of singing too.

I’m a master of saying OK! 😂

He has quite a unique voice. I would say very few baritones could do what he does.

This is not my terminology. This is Richard Miller‘s terminology, who is a renowned vocal pedagogue in classical singing. He calls it a coordinated or balanced onset.

@@joshualindsayvoicestudio6022 Thank you for answering. So maybe the video should be called onset exercises for classical singers.

Good suggestion! I'll keep that in mind! Keep on singing, @tomasskoglund401 !

Thanks for the encouragement! I’m glad you are finding them valuable!

Did you try it out? How did it work in your voice?

Thanks for watching! I hope these tips help!

Wow, that’s impressive that you can sing C5 as a baritone! Yes, that’s quite a major feat. A lot of professional baritones can only go up to A5, at most. I had a voice teacher once who was a baritone who could sing C5 better than I could as a tenor. I was always jealous! Ha!

That's great! The same principles for stretching the range apply to all voice types, including baritones! Keep up the good work!

Yes, I guess everything can be subjective. The onsets that I demonstrate are indeed from western classical singing.

@@joshualindsayvoicestudio6022 Every sound can be useful in various kinds of singing, but glottal and breathy onsets cause more vocal strain than a coordinated onset. I think they may be useful for emphasis, but should be used sparingly.

Very true. For teaching purposes, I sometimes have people do a glottal onset when they have a very breathy sound and vice versa: a breathy onset for those who have a really tight sound. These are just temporary corrective measures.

Yes, he has great high notes above high C, which is quite impressive. I have only heard one singer live perform a high F above high C and I was stunned how crazy high that was. I am a lower tenor and I have more of a dramatic quality to my voice, so the C sounds a bit different than Juan Diego Florez's.

It doesn’t come overnight. Keep on training it!

C5 is around the top of a typical tenor's range. Anything above this is usually in falsetto.

It doesn’t sound high because he is a trained singer. Trained singers have a lot of freedom in the higher range of the voice. Try singing the high C, but record yourself and then do a comparison.

@@nicochisha7927 ???? That makes no sense

Wow

​@@nicochisha7927True

Mines is whitney houston

I love Whitney Houston! What a fantastic voice and artist!

Thank you so much for your question! I will make a video on how to maintain a lower laryngeal position. Do you have a link to your singing? That would be the best way for me to analyze your voice and give you feedback.

​@@joshualindsayvoicestudio6022 I can't post the link because CZcams keeps deleting my comment when I add the link for some reason, is there any way I can send it to you? Like your email address?

So true! A one-on-one lesson would be the most optimal teaching format. In this video, I demonstrate how I go about training my vocal cords through a series of vocal exercises. I also discuss the correct positioning of the vocal cords to sing high C5. In reality, to sing an operatic high C5, it can take years or even over a decade of training to master.

Then maybe you should not start out saying “I’m going to teach you how to sing a high C”! I understand it’s for the purposes of attracting viewers:)

Thanks for the suggestions, Linda! I'll keep that in mind.

​@@joshualindsayvoicestudio6022así es. Además de ello, no todos los tenores lo pueden lograr; ya que también hay diferentes tipos de tenores ( ligero, lírico, lírico ligero; dramático, spinto). Un cordial saludo desde Argentina.

@@lindaanderson8329what are u going on about?

You're welcome! Thanks for the encouragement!

Head voice, or approximated falsetto, is way easier to sing than a full-voiced, fully adducted high C5. Voice lessons with a professional would help get you there.

Yes, absolutely! I'l get on that for you! In the mean time, try doing a surprised inhalation. Feel your Adam's apple. Does it go down? Think to yourself "I just won a million dollars" and then breath in surprised. This should help lower the larynx. Yes, the higher you go in your register, the harder it is to keep your larynx down. It takes training and practice to maintain a lowered laryngeal position.

Thank you!

It is a matter of training and strengthening the arytenoid muscles to maintain glottal closure. This will help prevent your vocal cords from flipping into falsetto. Do a surprised inhalation and feel your Adam's apple. Does it go down. Maintain that relaxed lowered laryngeal position while you sing.

Merci beaucoup!

I believe Jay Black has had some classical training. When he sings this high C5 in Cara Mia, is in approximated falsetto, not full voice. That's a great song!

@joshualindsayvoicestudio6022 Thanks for the response. He was trained as a cantor, which is essentially the same as opera. That 4 octave voice with that classical appeal was truly special. It would be greatly appreciated if you could break the song down in a video. Hope all is well!

Thank you so much! I appreciate it!

I am actually a low tenor as well, so it is definitely possible to sing high C5! It just might take longer for you than higher tenors. You are probably stuck there because of the passaggio. Having the right vocal technique will help facilitate going through the passaggio and up to high C5. Finding a voice teacher can help you do this.

Thanks for the suggestion! I'll get on that!

Thank you! That is very kind!

Check out Dimash singing SOS on CZcams. He has 7 octaves. Not normal for mere humans.

@@xanadu1jw wtf is that💀💀💀💀 that shuts scary

@@ibrahimismail5625 I don’t understand your question.

I would have to see your recording to determine that. If you have proper vocal adduction, you can have similar resonance on all vowels in the singer's formant range (CA. 2700Hz-3200Hz).

@@joshualindsayvoicestudio6022 Thank you so much for the great answer. I am aiming to have F1 H2 on all of my notes, although I have read that for different vowels, there will be a slight difference shown in the spectogram.

Somewhere between F#4 and A4. Baritone is kind of a nebulous term that encapsulates everything between bass and tenor, so it definitely depends on your individual voice. Some of my friends who call themselves baritones can belt up to Bb4, and others have their highest at F#4. It depends.

Hi Alexander! Thanks for your question. It really depends on what type of baritone you are. (Bass-baritone, baritone, high baritone, baritenor, etc.) Bass-baritones can usually get up to F4 or F#4. Most professional baritones can sing G4. High baritones can sing Ab4 or A5. One of my voice teachers was a bass-baritone and he had a solid low F3 and he could sing high C5 better than any tenor. He was quite the anomaly, though.

Is opera different than rock? Cause in rock many baritones can hit C5 and higher.

@@mathieurivest2348 I think they’re talking about chest voice. If you are too, I’m confusd

Rock singers who are naturally baritones who sing high C typically sing it with reinforced falsetto or very strained adducted vocal cords.

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