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High note success

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So I just fixed my highest range (C#5) and higher. Although I was dampening my larynx, I wasn't dampening it at a high enough place in my throat. After moving my dampening up higher, i was able to move my full sound up into my highest notes.

This adjustment also improved the rest of my range also.


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Nice! When you say "dampened higher", do you mean moved the larynx up? Or dampened it further down?

I let the larynx rise slightly in a sense, while still lowering it the exact same force. Originally in larynx training, I lowered it as much as I could comfortably go, but was having trouble bridging all of it into the upper ranges. After I had good compression through everything at the lower/natural position, I just let the voice rise a little bit while still maintaing the same dampening, and it brings the fullness up into you're high range.

Bzean123: When dampening your larynx it's a feeling type of thing. the muscles parallel to your thyroarytenoid bump (adams apple), will contract and the adams apple will tend to stay in place, at least up to a certain pitch. Without dampening, the muscles on the sides do not contract at all and your adams apple will rise freely.

As far as I can tell, there's a 'natural dampening level', which is what you originally train with, and then there's a 'hightened dampening level', which uses the same force but at a higher/smaller area so you can bridge into your high notes. Also I think both of these levels are put into use while singing profesionally.

I think there's a 'classical' level of dampening that goes even lower than the natural level, and that's probably the only time the thyroarytenoid bump will look lower than normal, however it isn't much use for pop singing due to the complete lack of upper power.

anatomically speaking the actual larynx is above the cricothyroid area and below the thyroartytenoid area, but it's hard to explain accurately unless you are Mr. Lunte. It's just a feeling thing that I learned from the lessons; I can't explain how the Over 30+ muscles work in the voice especially when moving around and contracting.

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The position of the larynx is used for darkening (low) or lightening (high) the tone. And yes, classical singing does go for a darker, richer tone and promotes a lower larynx. However, when going high, at some point the larynx can start to rise. Like when going into head (some call it mix) where the CT muscle starts taking a dominant role and stretches the folds, the larynx can come up. That's not a bad thing. I personally let the larynx go where it wants to go for whatever tone I'm going for.

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Thanks for the informative explanation Chumels!

As we are discussing the larynx, a few more beginner questions: Is it fair to say that the sound of classical singing is in all cases the sound of a lowered larynx? Is it also fair to say that the 'so-called' mix voice (yes Robert, I just watched your mixed voice is dead YT video last night) or covered sound is dependent on a lowered larynx?

Both styles use and benefit from a lowered larynx. Though like I said classical (operatic) sorta over-lowers the larynx, while pop is more neutral or a bit higher than neutral.

Since pop depends on the larynx being lowered, the term 'mix' is not an approach, but rather the natural change in tone/musculature that happens around the 2nd octave area (assuming a guy with a average range). It's important to realize that the lowest range, mid range, and high range, all can utilize the laryngeal dampening. (the lower range isn't exactly overly dampened, but rather the resonances from the process improve the lower range)

Why the classical style lowers the larynx more than natural, it because it causes much more tension in the diaphragm, which can be then used to sustain vibrato in very high notes.

In regards to classical style without laryngeal dampening, It can be possible to hit high notes in a fullish manner, however this method usually has drawbacks especially in term of how loud or projective you can sound. This is usually seen in beginners, including myself when I had no larynx training, and the poor technique becomes impossible to go back to after the proper technique is learned.

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No matter what style I am singing, I try to let the larynx make it's own adjustments. If I find I am trying to do anything with the larynx, there will be a good chance that I will bring interference muscles into play that could affect my tone.

I find with classical singing, my larynx lowers to my shirt collar quite naturally, but with pop/rock singing, it is still lower than my speaking voice, but is higher than with classical singing. This actually happens quite naturally in my voice.

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Larynx position is relative. It must go up to reach the high notes, and vice versa, but it can be more or less lowered on any pitch.

Classical singing is characterized by a relatively lower larynx position than most pop, rock etc.

But there are a number of other factors which contribute to the characteristic dark sound color in classical music.

Notably the raised palate and the compressed tongue.

CVT explains projection as a combination of twang and a relatively low larynx. This is part of the classical sound ideal.


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i believe the larynx can be controlled.

you can let it go wherever it wants to, but i have found when it's on the lower side, not buried but on the lower side you achieve a richer tone and it's easier to shift resonance...at least that's been my experience.

you can experiment and develop a lot of interesting colors if you have your support down.

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