How to sing high notes for non classical and classical styles

Art of voice support by Franco Tenelli
10:08 comparing range of a microphone singer to a classical singer
13:10 jazz crooning sample-“sul fiato senza diafragma”
15:10 Ian Gillan Jesus Christ Super Star moments
18:45 Singing high C from Faust Aria
19:30 Singing High C from Manrico’s Cabaletta

41 thoughts on “How to sing high notes for non classical and classical styles”

  1. Wow! Incredible Maestro!!!!! You continue to surprise and amaze me with
    your ever searching deire to state it clearly and correctly. Most
    importantly, for me, is you can demonstrate live and do so in the original
    key composed. This definitely sets you apart as an outstanding teacher, as
    most can’t. And then you identify and explain those real differences
    between styles and NECESSARY adjustments. I greatly appreciate your
    dedication and efforts to share of your education, training ……cont

  2. …. and Most important is your experiences. I send all singers I meet to
    view your videos. I thoroughly enjoy your library of vocal traning and
    performances. I believe you are the most thorough of all training for vocal
    on Youtube. Simply stated……. You say it, Best!

  3. Mr. Tenelli, I seem to have a problem. My higher notes (C#4 to G4) sound
    rather hoarse but ONLY on the vowels “u” and “ee” and sometimes the italian
    “u”/”oo”, and for some reason not at all on “a”, “e” and and “o”.
    Personally I feel I’m supporting right through usage of the diaphragm. I
    don’t feel any tension in my face and nech muscles either. Might you have
    an idea what could be the issue? Thank you. :))

  4. difficult to say theoretically, my guess your placement is not stable on
    such vowels. Placement chnage is a consequence of incorrect support “A” is
    easy for relatively small projection(especially open, white “A”) so it all
    depend on so many things and their combination:)

  5. Thank you for the explanations, Mr. Tenelli. 🙂 I’ve also made a video
    response since my question was too difficult to write down within YouTube’s
    limits, but apparently I can’t do it, so here is the link: Keep it up!! 🙂

  6. if I understand you correctly, you’re saying here that if you sing with a
    thicker and bigger voice, you cannot sing with a wide range if you are not
    using appoggio(larynx moving, no diaphragmic support)? Or is that you can
    never sing with a big voice and a wide range no matter the technique?

  7. TenelliVoiceGuru

    depending on singers throat everybody can take a certain abuse, forse the
    voice. Forsed voice never sounds beautiful to our ears. The bigger the
    voice the more difficult to keep it in one register unless one learns
    appoggio(3 type). Well, some singers with big voices use registral change
    but their instruments never sound first class, they end up either loosing
    their voices or singing coprimario roles.

  8. Santasbestbuddy

    I think Mr T is definitely more comfortable singing classical/ opera. He
    gets a different look in his eye! Extraordinary notes at the end!

  9. You say that a pop singer doesn’t need to project there voice, but is it
    possible/normal? I’m not really much of a singer but I have been practicing
    for other reasons… When you provided the pop example you got quite quite
    at your higher notes, when I do that I have a tendency to stay loud…I
    don’t get squeaky either…nor do I shout… but I’m not quite sure if that
    is okay for my voice, because before I can sing loudly I would have to sing
    quietly and “adjust” myself to sound alright…

  10. TenelliVoiceGuru

    every vocal style requires a sort of projection:Breathy or supported(Bossa
    Nova or Pop). Even mikes like supported voices but it’s quite different
    with acoustic projection when a powerful voice is able to sing through
    acoustics of 7.000 seats, 100 people in choir and Symph orchestra playing
    loud without mike

  11. Mr. Tenelli, what would you recommend to a singer who would like to be able
    to sing different styles, in regards to their training. Is it more
    beneficial to train with different vocal teachers, who are masters in their
    style or would it be better to just have one teacher, who has mastered the
    fundamentals and the art of appoggio, such as yourself. From my personal
    experience as a student in the art of singing, it can get very confusing if
    you study with a rock, pop AND opera style teachers.

  12. TenelliVoiceGuru

    You answered yourself your question.I tell you more: It will be confusing
    not only to study with different style teachers, but to study classical
    vocals with 2 great Classical Maestros at the same time. I made it clear in
    my program.

  13. leonardo daniel

    dear maestro Tenelli ,would you like to give me some critic and suggestions
    about this : watch?v=cfo4i_nhQaU but at the first i note dont use my
    diaphragm support thank you maestro 😀

  14. I am a student of voice; mainly classical, but also jazz. Beware of false
    teachers on youtube! I promise you that Franco is as legit as they come.
    Everything he says is from experience & technically sound. Different style
    require different “approaches” but as he states, fundamental technique is
    the most important. Subscribe to his channel if you want to learn how to
    really sing in a healthy/liberated manner (appogio) His videos have helped
    me TREMENDOUSLY. He is sharing golden knowledge.

  15. it is good to project your voice in pop music but it not a requirement
    because of the microphone doing it for you. in opera you have no mic so you
    have to do it on your own.

  16. Man i love this Guy,I’m happy i stubbled across his video’s.I’m a
    processional Pop vocalist in the business for close to40years. I also
    studied with a great vocal teacher who i didn’t get the chance to continue
    with because he passed away basically of old age.But anyone that hears my
    technique is pretty amazed&never believe I’m a baritone because i can sing
    pretty much in any rang i want.But this Man is the 1st person I’m actually
    learning some new things from.I love hie percents & passion.

  17. Of the ‘THOUSANDS” of So Called vocal teachers in the world a & on youtube
    this is the ONLY one who knows his stuff. He can explain it crystal
    clearly. And his knowledge is scary. He has NO Ego just Passion & not only
    tells U he can actually it with his voice.. I’m a Disciple.. THANK YOU 4
    YOUR Video’s.

  18. i hear the eexpression “sing with a dummy face” —— employ the zygomatic
    muscles—sing with a smile raising the cheeks;
    Is this good technique –as you seem to vary from straight face to smile
    face ? 

  19. Guillermo Esqueda

    Maestro Franco, you just opened my eyes! finally I understood how it works,
    every word in this video worth gold, you have a greatful friend in me.

  20. Upon listening again this has broadened my understanding more —-such
    quality in the teaching. I have never found such comprehensive information
    like this anywhere and i have looked in many places– an absolute credit to
    you Maestro

  21. XneoclassicaloverX

    Great lesson Maestro Tenelli. I am taking classical singing classes, but Im
    also in a rock band as a singer. That this affect me in my classical
    technique? Thanks.

  22. Thank you for your videos. Could you tell me, please, wheter there is a
    possibility to maintain the bright tone on high notes (E,F,G) for baritone?
    Keeping larynx down (which is crucial for baritone on passagio and higher,
    if I uderstand you right) makes my timbre too dark

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