This is a complex task, which requires intelligent and sustained effort, so:

 

1. Find a teacher who can help you with this, so you can teach if effectively.

2. Richard Miller's books on singing are very useful, in my experience.  But reading can't fully substitute for the experience.

Hi Julie,

I have benefitted from the ideas put forth by Jane Ruby Heirich in her book: Voice and the Alexander Technique. Alexander technique study has made a big difference in my understanding of how to use the voice by cooperating with its original design and eliminating acquired tensions or whatever else might stand in the way of tension-free singing or speaking. There is a ton of material out there about Alexander technique, but the best way to tap into its benefits is to find an Alexander teacher and take lessons. That being said, Heirich's books uses imagery that you might find immediately useful. Best of luck! N. Rodemann

I use a good technique that has helped me extend my upper range.  For men if you have them sing in falsetto in their higher range it is very easy for them sing upper register notes and feel relaxed about it.  What I would suggest is have them do this, starting with the lowest note they have trouble singing in full voice, and then have them to try crossing over into full voice.  It may take a little practice, but i find this is a great way to figure out how to get rid of tension in my upper range.

 

As for women, I would think this would work also.  I am not entirely sure that the male falsetto and the female head voice works in the same way, but it is worth a shot.

 I'm no expert, but I'll add that the process of singing in falsetto is the same for both males and females, it's just usually easier to detect a difference between male registers. Starting in "head voice"  will lead the singers to the proper sensation of healthy singing that they can transfer to the upper part of their range.

 

It depends on the singer -  some will be able to produce a lighter timbre in full voice when asked, then transfer that feeling to louder, more demanding passages; whereas, others will need to access the falsetto, then transfer that feeling.

 

 

Basically, I second the suggestions above. Just remember that imagery alone won't always get the job done - all singers need to learn technique in order to improve.

 

Hope this helps.

don't use too much air!

Obviously, good singing needs us to inhale generously and use a bit more pressure for high notes. BUT if there is more air pressure than the larynx requires for a given note, the vocal folds tense up & resist it!

 

Without extended experience or detailed individual training, it is normal to think "if my throat feels tense, I'm not breathing enough." But once in a while, the opposite is true.

 

So in addition to active relaxation exercises (yawning, rolling head, many others as suggested), try inhaling a little less, and managing your air so that more is held back (stay "feeling full" as you sing). See if this helps.

 

 

 I insist that my choir approach all notes from the top, or in other words sing DOWN on them.   Whether it's a high note or low try to approach it from the top.   When an alto sings a certain note it may feel like they are reaching up for it, but a soprano might feel like its a low note.   If everyone approaches ALL notes from the top it really encourages a nice open feeling in the mouth and not only does everyone sing it in tune, but they all conceive the note in the same way and tend to be more relaxed about it.   I don't know how to make this make sense, but it works.   If you sing up to a note you will be flat.   If you sing down to that same note you will tend to be more in tune with everyone else, provided they are approaching it in the same way.   Try it, it works.   Throats will be less tight when singing high notes, and abdominal support will be better.  Keep insisting on it and things will improve quickly.  

 

Also, I keep asking my choir to "sip the sound" - as though they were taking the tone and air in as they sang rather than pushing it out.  This also promotes the right kind of support.   Keep chins from going up as the notes go up.   Comfortably down and open to the back.  Always open in the back of the mouth/throat, but not so wide with the lips and teeth.  I learned from a conductor who always wanted to see two fingers width between the teeth.   He was famous, but that's a deadly suggestion.   The antithesis of the famous "pear shaped tone."   

 

I agree with Joanna who cautioned against "too much air."   Nothing worse than "breathy" singing like too many High School choirs do.  

 

Ken Potter, Scarborough Presbyterian Church, Briarcliff Manor, NY