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Any good exercises to raise your ability to sing in a higher key?

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Adonis
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This is just me but I dont really care if I can ever hit a G5,A5, etc.

What I would really want is to be able to sing BUT sing in a higher key consistently. Alot of people always comment and talk about expanding your range and it seems to me they are talking about hitting higher notes NOT SINGING IN A HIGHER KEY.

Thats what I want to master is to sing in a higher key. I would like to sing in the key of E4 or F4 eventually but I would like to know what are some exercises that are meant to make you sing in a higher key not to just give you random high notes.

What are some exercises for this purpose, if any?

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Well. In order to sing in higher keys, you need to hit higher notes.

I don't know if you have issues with breathing, belting, head voice, support, or something else.

Here are some videos on singing higher:

How to sing high notes

How to strengthen your chest & head voice

How to reach high notes with power!

How to sing in Head Voice & not sound Breathy & Thin

How to increase vocal range

How to Belt - Part 1

How to Belt - Part 2

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Well. In order to sing in higher keys, you need to hit higher notes.

I don't know if you have issues with breathing, belting, head voice, support, or something else.

Here are some videos on singing higher:

How to sing high notes

How to strengthen your chest & head voice

How to reach high notes with power!

How to sing in Head Voice & not sound Breathy & Thin

How to increase vocal range

How to Belt - Part 1

How to Belt - Part 2

LOL yup but seems to me most people if not all are getting higher notes but still cant often raise the key where they sing at.

Why is that?

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I'm not sure i completely understand your question. Singing in a higher key and singing high notes are the same thing really. Do you mean being able to consistently sing high notes through a song instead of just one or two?

Although singing in a higher key doesn't necessarily mean the notes are higher. You could have a song in the key of E and the notes could be anything, but lets say for example they were G#3 to E5. Then you could have a different song in the key of G (a higher key) but the notes in the melody could just be based around D4 to G4. So two different songs that are both in E could have a completely different range. Perhaps this isn't what you were trying to say. I dunno!

To sing consistent high notes as opposed to the odd few in a song you just need to practice the high notes correctly again and again in scales and they will become easier and therefore you will be able to sing them consistently through a whole song.

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This is just me but I dont really care if I can ever hit a G5,A5, etc.

What I would really want is to be able to sing BUT sing in a higher key consistently. Alot of people always comment and talk about expanding your range and it seems to me they are talking about hitting higher notes NOT SINGING IN A HIGHER KEY.

Thats what I want to master is to sing in a higher key. I would like to sing in the key of E4 or F4 eventually but I would like to know what are some exercises that are meant to make you sing in a higher key not to just give you random high notes.

What are some exercises for this purpose, if any?

Dude, you seem to be a little confused: E4 and F4 are NOT keys, they are individual notes, just like G5, A5,C3, F#2, Ab4 etc.

E major is a key, F major is a key, F#m is a key, Ab is a key etc.

If a song that you want to sing is written in a key that is too high for you, it's because the specific note or notes of the melody are too high for you.

Let's say G4 is the highest note you have to "hit" in a given song, while in another song that very same G4 may be a lower note. You still need to be able to sing that note regardless of if you're "hitting" it as a belt coming from under the note or if your singing if comfortably quiet as a low note.

Only by extending your range and working with mix/head voice will you be able to easily and safely sing songs that are written in what you consider to be "high keys". Good luck!

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Pre-Yawn during inhaling! Why didnt I think of that!

Thanks ChamCham!

You're welcome.

Be careful. Sometimes, it works too well :cool:

During one of my voice lessons, I pre-yawned on a note in the

middle of a song and it ended up turning into a real yawn!

It really offended my teacher.....lol.....

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You're welcome.

Be careful. Sometimes, it works too well :cool:

During one of my voice lessons, I pre-yawned on a note in the

middle of a song and it ended up turning into a real yawn!

It really offended my teacher.....lol.....

Ill keep that in mind :)

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owen is right. you probably want to sing songs with more demanding tessitura.

this refers to how much in a song a particular range is used. for example, songs that sit in the passaggio section of notes roughly e4 to b are some of the most demanding songs to sing because thay require strength and finesse to balance both head and chest voice musculatures.

if you want to be able to sing powerfully within those notes you need to do a lot of work to build that strength and coordination.

a song that sits high and stays high can be either easier than you think, (once you're up there, it's not hard to stay up there) or difficult, it all depends on the song and it's construction.

but the key is to strengthen your mix as well as be able to shift between head voice and chest voice musculature with little tonal disparity.

a good example of songs with demanding tessitura are "hotel california" and "sexual healing" because the predominate notes are right where the voice wants to break or needs to shift resonances.

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I get the difference he is saying. The difference is, one who can hit a couple high notes here and there, and one who can sing melodies that hover up high and stay there till eternity. High range vs. high tessitura.

High tessitura...I'm still not good at it yet myself, but my first instinct to get better, and what I do sometimes, is to start practicing songs with a high tessitura on a regular basis. If that's not working, drill the tough sections of those songs, if that's not working, go back to scales. Etc. But I've always had the most success practicing the closest thing to the real thing that I can already get through okay. If something's horrible, you gotta break it down and work you way up to it from something simpler, but if it just needs tweaking, repetition tends to do the trick.

I really think with high tessitura, it's mostly about getting used to being up there. It's like speaking low...we do it so much we don't feel anything...well if you sing high that much during your training, it's going to start feeling more and more like that ease of speech. You're going to ingrain that range into your comfort zone, if you just do it over and over again.

But this all comes AFTER you've developed pretty good technique in that area. You need to be able to sing the notes individually first.

Yup thats what I'm talking about. Guys always talk about range alot but in the context of hitting high notes for effect or a few high notes for the chorus but they almost never talk about it in the context of being able to stay in a high key consistently.

Bruno Mars is one mainstream artist that I know has that ability and some one Russian dude also(I know that seems pretty general but I dont know his name).

Like I said I can careless about hitting a G5, I rather sing consistently the "money notes".

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Well when you get good at highnotes you it Will get easyer to stay High aswell. I dunno how you come to the conclusion it's any diffrent, sounds are sounds...

singing like Bruno mars is no diffrent than mimicing gollum from lord of the rings. Very few consider this something special... When you put someone on à piedestal you just make it harder for yourself,

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Well when you get good at highnotes you it Will get easyer to stay High aswell. I dunno how you come to the conclusion it's any diffrent, sounds are sounds...

singing like Bruno mars is no diffrent than mimicing gollum from lord of the rings. Very few consider this something special... When you put someone on à piedestal you just make it harder for yourself,

Thing is Jens most if not all cant do it and as a matter of fact Dave Brooks(former Brett Manning colleague) says it cant be done.

Also in my other thread I ask if anybody can sing in a higher key such as Bruno Mars consistently yet not one was ever able to do it for a whole song or show that they can do it for a whole song if they claimed it.

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Im just here trying to help, who do you think you have the best chance learning from?

1.a Guy who expanded range and can sing in à higher key. That says hey i can help you with that

Or

2. Cant sing in à higher key, says it's impossible. Works with brett manning

there are guys here who can sing as High as bruno mars and even higher consistently for entire songs.

This is not me telling you that you are wrong, this is me telling you that YOU can do it if you spend the time.

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Adonis keep in mind a few things,

Most people here are students learning not fully trained professional singers.

Some few lucky people have great control of their voice naturally, but it's just that, control over the voice. Singing songs that sit high just requires you to have very good coordination so that you can do it without tiring. This takes massive amounts of focused practise.

There are tons of singers who sing in the same range as Bruno but even more powerfully (think power metal).

That teacher is wrong

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Well when you get good at highnotes you it Will get easyer to stay High aswell. I dunno how you come to the conclusion it's any diffrent, sounds are sounds...

singing like Bruno mars is no diffrent than mimicing gollum from lord of the rings. Very few consider this something special... When you put someone on à piedestal you just make it harder for yourself,

Are you saying that there is a muscular similarity or coordination similarity between the Gollum voice and singing high. Or are you saying once you learn a coordination whatever it is you get better at it over time?

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It's not the same coordination, what im saying is, a sound is a sound. We get into trouble when we start to "Rank" sounds wich sounds are harder/better more beautiful. If you want a certain sound train that coordination, strengthen those muscles.

It's possible, you can get what you want. Biggest myth there ever was about singing is that you got your OWN voice. we simply dont, we are a product of mimicry from birth, a product of trying to sound like the enviroment.

You can also say, that we only got our own voices, even if im trying to sound like anyone else im still me... But thats just how you want to angle it...

dialects personality, speech, all those things shapes our voice... our physical capabilities is only for very few a hindrance.

By knowing this you actualy can choose how you want to sound... sing dio for ten years do nothing else and i promise you will sound like dio...

When people dont get what they want right away often shy away from that and make up excuses "my voice is not like that" but very very few has actualy put in that time nessecary to be able to nail those songs/sounds they want...

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jens, seriously great post!!!

there is your mind and your will (the most important elements) which can make you or break you.

owen,

i sing "i want to know what love is" the way lou gramm sings it in the original key. to sing it the way he does, that more powerful way, trust me, it took me a while to get that to a level i was content with...i still would like it better in the smaller sections.

there are bottlenecks all through that song, and although it has gotten easier over time, it remains a demanding song nonetheless.

but when i go to sing it, i have to mentally divorce myself from the fear it brings me (admittedly) and focus a lot on just nailing the hell out of it.

that's the reason why we train and strengthen .....to be able to go after all these different sounds and textures with unbridled confidence.

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Agree in part with postings that singing consistently in a higher pitch CAN be same a few notes in a higher pitch. But these can also be different.

One of several ways to attain higher notes is to force-strain the vocal cords, upper vocal tract muscles, and placing sounds through the upper roof of the mouth (bony). The difficulty here is the continuous strain, but one can get terrific screaming types of sounds, for such desired effects. Sharp highs too, as the bony roof of upper mouth doesn't dampen sounds. E.g. screaming for help gets terrific highs.

It is also possible to create a lesser strained, more melodic high, using resonance to replicate some of same sharpness, if so desired. This involves in part by keeping the larynx low and placing some sounds through the back of the throat to the nasal-pharynx cavity, so head resonance occurs more easily. Because the vocal cords and throat are also more relaxed in this technique, the cords-throat can also sing higher pitch. Because this uses more resonance, cords and upper vocal tract muscles don't have to work as hard for volume.

The SongBirdTree Youtube videos above are the Best I've seen. Her swallowing tip temporarily forces the larynx to drop, and this opens up the back of the throat more, which in great part, enables the highs to be transmitted more out the mouth AND the nasal-pharynx. Yet, I think there are better methods still. Alan Greene's book describes exercises to keep the larynx low. My personal opinion is that posture changes will facilitate keeping the larynx low, and facilitate for the soft pallet to drop, such that the high sounds are additionally transmitted through the back of mouth, up through the nasal pharynx, for greater resonance.

Lastly, I'm uncertain of the initial question, as it relates to tone style. It may be necessary change the mix. For example, "The Lion Sleeps at Night", it is possible to sing this using a full voice with on-pitch highs, but somehow, the bass just doesn't sound right. What one wants to do is to use resonance on highs, reduce lows, and use mic appropriately.

In short, singing highs consistently is sometimes same as reaching for highs, and change mix to create desired tone effects as well.

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lou's not pulling up, he's built a really strong mix and musculature strong enough to sit on top of the note and tune it in from above. always regard the notes as various levels of horizontal, not vertical. like jens said, perceive notes as just notes...

higher doesn't always equal harder, it depends on so many variables..but one example of where higher is harder is when you need to make fast interval jumps. speaking of lou, "hot blooded" would be a good example, where you jump from the f4 to the high c and back again. it's so easy to push too much when you have to go up high and strong and nail that high c dead on and not break apart.

the only way i found to stay thick and strong during that interval is to grab a quick breath between the change and drop down onto the high c from above.

the songs intense nature alone, and the excitement when you're on stage and all come in and can make things blow apart. a lot of control is needed.

i've seen so many guys, even good singers, mess that song up. it's a challenge for me from beginning to end.

the thicker, fuller, rich sound needs balance, support, and you have to be developed to the point where you can keeps things connected.

very often you do thin up top, but that's not lightening.

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I think people's milage will vary on something like a Foreigner song. Bob doesn't talk about it much but I have heard his singing and I think, in my uneducated opinion, that he is a natural tenor. So, his approach is going to be closer to Lou's, just from the start. As opposed to baritones, who are going to bridge early and perhaps a different approach and likely a different tonality to the same note.

Even though we sing differently than how we speak, even listening to Bob speak, his voice as a ping or ring that is centered higher than maybe just a soft volume conversation. At least that is what I have heard over the phone in our phone calls and over the mic with the skype conference call (the only one that managed to be recorded and posted in the forum.)

Which is not to say that he is the only one who can sing like Lou. And no one is right or wrong. Just different.

I like singing along with Foreigner songs. I don't sound like Lou. I don't sound like Bob. I probably sound more like Anne Wilson. :lol:

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Owen I can do all those... It's more à question of what type of sounds these guys are aiming for.

Bob sing in a similar style like Lou gram

Rob like Geoff tate

Rowns style is more towards à the darkness having a baby with acdc

Atleast thats what i think, i cant speak for them lol :)

This is more about coordination and preferences. Now im not saying i can nail these guys individual style as they do. But i can find all those coordinations in my voice

Owen à question, how do you want to sound? If you could choose freely exactly how you wanted to?

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owen,

just wait till a few more years go by if you stick to it and challenge yourself......you'll be doing things with your voice you could not have "pre-thought" or "pre-planned or pre-assumed."

you will also find you will develop residual skills, or adjunct aptitude you certainly weren't even thinking about.

i am telling you this from my own experience, but i'm pretty certain you can count on it.

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