Singing acute is in my experience as a vocal coach and singer the art of knowing how to simplify life as vocalists.
If before you sing a sharp note you become predisposed and begin to think about all that story of: ‘Let me check my breathing, my support, my diaphragm, my belly …’ I assure you that you will die in the attempt.
In Zen philosophy is the art of not thinking.
And it is not that the Zen archers live in the land of fantasy, only that the trust placed in the training is such that surrender to it.
As a singer, your fundamental pillar must invariably be your vocalization.
What happens when singing high notes is that we find a coordination that is not to which we are accustomed and as a consequence one of these two things happens:
Your vocal cords surrender and open up into falset
Squeeze your larynx with all your strength trying to climb with the chest resonators.
In either case the first of the two situations is more desirable.
The second is a problem because it compromises the health of your vocal instrument.
You can lose your voice and over time if you continue to abuse this way of singing incorrect you can develop nodules and lesions in your vocal cords themselves that have to be treated in the worst case with surgery.
How horrible! but hey, you’re lucky because you’ve come to the place where we are NOT going to teach you to end your voice.
If you want to know the science behind all this, then give the voice to simplify then …
… if you sing high notes, you are assisted by your ingestion muscles in the neck, as you say in English: ‘you are in trouble!’ …
… fortunately there are solutions and they are much simpler and more effective than what all that ‘support and tight diaphragm’ story offers.
In vocal coaching are called conditioning exercises that educate the vocal cords to do exactly what they have to do so that we do not have to use musculature other than singing.
The consonants offer the secure closure of the vocal cords allowing us to pass through our passages without breaking in falsetto and without singing shouting of the mouth with the resonator of the chest.
Previously we studied the ‘nei’, and this time we will see ‘mam’, which combined with the depressed larynx as explained in this exercise allow us to sing high notes with complete ease.
The issue with singing tall notes incorrectly is that the larynx is elevated by the action of the digastric muscles connected to the hyoid bone …
… these muscles are wonderful since they assist us in eating …
… but friend and vocalist friend, if you use them to sing high notes …, you’re going to have a very bad time.
When you vocalize with mam, you will condition all your phonation mechanism so that your vocal cords do all the work of abduction and adduction alone, so that there is naturally no temptation to go up and hang the larynx.
It is as if you were weak and when walking you had to hold yourself from someone to your side and you hang like a monkey from the neck to not fall …
… well, when you are strong you do not have to do that because there is no danger of falling to the ground.
The same happens with your voice, if your vocal cords are trained and strong, there is no danger that the tone will fall and you do not have to hang or assist you with other musculature other than the same larynx.
This is how vocalization works, and the human body does not need much to train and acquire muscle memory.
Once muscle memory begins to function, your voice begins to function as an automatic thing.
It does not take much, just do your exercises or vocalizations of singing with constancy but above all GOOD MADE.
Well, and that said we made it clear.
To conquer your high notes you must vocalize and make good use of these exercises with constancy.
Comment here too and tell us how you do with your high notes?