High Tenor Singing Lesson

John Paul Miles teaching high tenor Matt Wilding
John Paul teaches in London and Berlin!

42 thoughts on “High Tenor Singing Lesson”

  1. Callas was a great technician. Corelli wasn’t. He often dodged the high
    notes and had to cut off many many measures of the music in his most florid
    roles in order to sing it.

  2. ok what’s happening, when I go for a long jog, I can hit high C without
    even thinking, full support, full head voice. conversely, I can warm up for
    an hour or two or three and …. nothing, not even a Bb?

  3. I suspect that your technique is not correct. When the voice is right then
    a top C is possible even with a hangover. Having said that I do recommend
    good diet and fitness and the top C will sound better when conditions are
    perfect. I don’t recommend warming up for more than about ten minutes. I am
    able to sing for about two hours now but I don’t do that often. My top C is
    usually at it’s best after only about five minutes singing.

  4. As to the clicking sensation I would have to see you in person to be sure.
    I work with an osteopath who manipulates my larynx and it clicks then but
    I’ve yet to experience it whilst singing. As regards the tonal change, at
    what note do you feel it change? There is usually a small change from B
    flat to B then a bigger change from C to C sharp. Yes, feel free to send a
    file. You can email me via my website at the address above.

  5. What in the hell are you talking about? His high register was one of the
    strongest in the business when he was in his prime! If you’re looking for
    someone to beat up over dodging high notes you might want to look at
    Domingo instead…

  6. Demetrios John Tsinopoulos

    Every time I watch this I am more intrigued. One thing I’m noticing is that
    my ability in falsetto has dissipated the past 2 years. That is not a good
    thing right? Is there anything I can and should do about that?

  7. No, it’s not a good thing. The more falsetto the healthier the voice. Yes,
    you should be exercising in falsetto daily. Start with a breathy ‘oo’ vowel
    and gradually cut back on the air until you can still sing a dark ‘oo’
    without the push of the breath then try to form the other vowels out of
    that ‘oo’ position. Eventually you will be amazed at how strong the
    falsetto becomes.

  8. You can also try ‘in breath’ falsetto ie. make a falsetto sound as you
    breath in. Start at about Tenor high C and establish those high notes then
    gradually work downwards. It is almost impossible to sing low when
    breathing in but it is possible to do vocal fry and this will be very
    powerful with the in breath. Only practice ‘in breath’ singing for short
    periods though as it is very tiring on the voice.

  9. Demetrios John Tsinopoulos

    Im getting on it immediately!!! Should the larynx stay down for the
    falsetto “oo” all the time? I tried the in breath falsetto very
    interesting, it was weakish around the High C got stronger around the A4
    area and got weaker under the lets say E. Lip formation on the “oo” or not?
    I read somwhere that Rosa Ponselle advocated using the “oo” with scales but
    with a slight smile so that the lips would not take part in order to get
    that deep “oo”.

  10. Thanks,i will definately check it out…i really need help with the Arias
    am learning,in Africa its unfortunate especially Kenya where i come from
    classical music isnt taught to greater levels,i really would need your help
    on these field.thanks.

  11. MaestroRigale

    My earliest experience with learning to keep a low laryngeal position
    involved using the tongue to force it down. This caused tongue tension
    problems for years, that I’m only just now conquering. This, however,
    leaves me in the uncomfortable position of only having a vague idea of how
    to lower my larynx properly and less idea of how to teach my students to do
    so. Thoughts?

  12. One should never try to lower the larynx or encourage one’s students to do
    this. If I have a student who raises his larynx when starting the tone I
    will place my thumb and index finger between their thyroid cartilage and
    hyoid bone. Eventually the swallowing muscles will give up the fight and
    allow the depressor muscles to take over. One needs to do this to eliminate
    the downward pressure (more common and persistent) too. The larynx will
    eventually remain in a floating position during singing.

  13. One begins training falsetto with breath pressure just to free everything
    up and then gradually one learns to create a ‘breathy’ falsetto timbre
    without breath pressure and gradually bring in the feeling of ‘in-breath’
    tension ie. one simulates the feeling of in-breath with the body as one
    sings which enables the tone to be created without any breath pressure.
    Once all this is in place then one can proceed to making a brighter
    falsetto tone.

  14. If a student is really forcing the breath then I sometimes use literal
    ‘in-breath falsetto ie. breath in and create a high falsetto tone literally
    on the air going into the lungs. It’s amazing what a powerful tone one can
    create like this. One can sing from high falsetto straight to vocal fry
    like this but it is impossible to sing anything in between. I don’t
    recommend doing this for long periods but it does help to give an idea of
    how the voice can be created without breath pressure.

  15. Should the hyoid bone and thyroid cartilage be separated when
    producing/exercising falsetto? Is a lack of space between them when
    producing falsetto an indicator of incorrect falsetto production? Thanks in

  16. Ideally there should be a little space between them but it is unusual for
    that to be the case since there is usually movement upwards (swallowing
    action) or downwards (depressed tongue). One can inhibit the tongue
    depression to some extent by keeping the tongue against the teeth (or in
    extreme cases by sticking the tongue out) but it is difficult to inhibit
    the swallowing action. I recommend holding the thyroid cartilage down with
    the fingers until those (elevator) muscles give up.

  17. Hi there.Thanks for the video.Very informative indeed.I was looking
    information about tenor voice.I would appreciate if you can watch my video
    here to describe or comment my voice..wether im a tenor or something
    else.Thank you so much . .youtube.com/watch?v=ApcO-2HYJn0

  18. Ok, seen your videos now. Yes, I think you are a tenor but you need to work
    on your chest voice in order to balance your voice. It is a little bit
    falsetto dominant at the moment but that’s not a bad thing. Once you bring
    a bit more chest resonance into the mix then your voice should sound good.

  19. can you please tell me what range i have?? I was looking information about
    tenor voice.I would appreciate if you can watch my video here to describe
    or comment my voice..wether im a tenor or something else.Thank you so much
    . youtube.com/watch?v=QDd3VPEnaA0

  20. VISITORS TO THIS VIDEO, TAKE NOTE: What the teacher is doing may seem
    foreign to you, but this is *the* way—quite nearly the ONLY way—to achieve
    a superior classical singing tone, especially on middle-upper notes. This
    is simply put a very old Italian method for addressing registration
    balance. It works for all voices types, male and female. You can find
    versions of it in countless bel canto singing manuals 19th century and

  21. Thanks for your comment! It is great to get positive feedback on what is
    essentially my life’s work. It is has taken me about 25 years of research
    and work on my own voice to finally re-discover the ‘old way’ (I won’t say
    Bel Canto as that term is used by many teachers with absolutely no clue of
    the old school teaching methods) and though I’ve met some good teachers,
    none of them were fully aware of this method. It stands to reason – where
    are the great singers these days? There are none!

  22. Shella Manalastas

    hi im a baritone my range is c3 to c5, and i am a member of a choir group
    can i be a tenor 1 by this voice lesson,, please teach mo how to became
    tenor 1, this is the only video wich is better than any other videos posted
    in youtube

  23. I’ve been singing for a few years now. Gone through a few teachers, but
    nothing has really felt like it was helping. I got my hands on a book on
    vocal mechanism that mentioned the separation between the hyoid bone and
    thyroid cartilage. Ever since reading that I have noticed that nothing i’m
    being taught has made any improvement on the collapse (if anything teachers
    have made it worse). Do you have any advice on how I could start working on
    this myself?

  24. Hi. This is really good. I am 21 and struggling to learn how to sing. I
    never know if i sound good or not. I dont even know my voice type.
    Sometimes sing high sometimea too low…please help.

    And if u are in London,i would like to join your classes..

  25. Oneill Tomlinson

    My teacher said I was a high tenor is that leggiero or lyric? I’m confused,
    my voice is light I can go to E2 (G2 most controlled) and G4 sustained (I’m
    new with singing but I have hit Bb4) when I sing above Bb4 it mixes
    automaticly I can mix to G#5 sustained and falsetto to C#6. When my friend
    joined choir the teacher said she was a soprano and I thought I was one too
    but I didn’t knew. I also thought I was a countertenor because I have
    similar voice to Mitch Grassi and Adam Lambert but countertenor is a
    classical voice. Also I know high tenor and he has a darker voice. So I’m
    confused about what my voice type is.

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