Struggling to hit high notes without strain? You’re not alone. In the past I struggled with high notes all the time.
Mastering high notes is one of the most sought-after singing techniques, and with the right approach it’s possible for beginners and advanced singers alike. This guide focuses specifically on how to sing high notes without strain — not on general singing basics. (If you’re just starting out and want the full step-by-step roadmap to learning, see my beginner’s guide on how to learn how to sing)
In this guide, I’ll show you the real reasons they’re so hard (hint: it’s not about vocal power), and share simple, proven techniques to help you sing high notes effortlessly and with confidence. Whether you’re looking to expand your vocal range or finally stop cracking on that chorus, this is your cheat sheet to success.
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Before jumping into these exercises, always start with vocal warmup exercises.
Tensing up is the problem when singing high notes
Tensing up is all too human: it also happens to tennis players who need to put a winning ball between the lines just one more time, when they have match point. It’s hard to not think too much, not to put in TOO much effort on those occasions.
I compare it to what tenor Gabi Sade once told to a class of singing students, about how we sing high notes.
‘We anticipate, we plan… every single fiber of our body is prepared… for the sound to NOT come out.’
Yes, all of us singers recognise this. The problem is that in the seconds or fractions of a second before the note, we clog up.
When we overthink, all our old habits come back. The new technique we had in mind is not going to surface.
When we overthink – we can’t help but activating the muscles. The thinking and overthinking is something we do with the muscles. The muscles around our trachea (air pipe) tense up. And also other muscles that are counterproductive.
Three tricks for better higher notes
Plan the support, not the sound
Ah, an anecdote pops in my head, one of me finally succeeding. I remember it vividly. It was when a teacher stuck her elbow under my shoulder blade – OUCH – which prevented me from lifting my shoulders. And that extreme state, which I couldn’t control, turned out to be good for my high notes! Interesting… this got me thinking.
In the years that followed, I ended up settling on a habit of not thinking right before singing the note, but only before I plan the support. With support here I mean air management.
In other words: think not about the note, but plan the way you will approach it.
When you inhale, think about a certain technical element you learned in a voice lesson. And, crucially, when it’s time to make the sound, you simply do it.
In the above video I show an exercise to demonstrate this piece of trickery.
Interesting side note: I’ve talked to people who train for sports and they have remarked that the solution is similar for them. Planning in advance – when hitting a ball, for example – is good. But when the ball is near your hand or racket, you just have to relax and let go.
Give more support to the high notes
Look in the mirror and make sure that your muscles are as relaxed as they can be. Your lungs are nicely expanded. All the stuff you need to have in place for every note: you do a little more of that. Understand that the high notes are not literally somewhere up there. You are still doing the same things, but make sure you do them extra thorough.
Make a tiny, squeeky noise
The mistake would be to make a very ‘large’ sound for high notes. In our mind, we are making a large sound. But that will make us use too much muscle tension. If on the other hand you think of something very small – like a puppy, a baby, or squeeky toy – it will make you make less effort. However – IMPORTANT – when you make that small sound you should maintain a big space in your instrument. Keep the lungs wide, keep the neck relaxed. The space for the air is wide, but the sound you should imagine small.
See below video, starting around the 2 minute mark for me explaining this in detail.
High notes cheat sheet
Thea above tricks already give you powerful ways to rethink how you approach high notes. But to truly build range and consistency - not just on one magical day, but every time - you need a framework you can return to again and again. That’s where my High Notes Cheat Sheet comes in. It distills the most essential principle behind all high note success into a simple checklist: what to do, when to do it, and how to scale it up when things get tough.
Singing high notes isn’t about forcing them out but about removing the obstacles that prevent them from coming out naturally. Your job as a singer isn’t to push for high notes, but to enable your instrument to do what it’s built to do. That means first freeing the airway, then gently closing the vocal folds, and finally supporting the sound with steady breath management.
High note approaching? Think downwards
For the high notes, the most common tendency is to activate the throat muscles, pick them up, pick the head up, shoulder, chest, everything is tensing up and jaw, of course, clenching. So to compensate for that, you want to think downwards.
Use this checklist each time you practice high notes. Stick to one technical cue at a time and check off each step as you go:
1. Foundation
- I freed my airway before starting.
- I ensured gentle vocal fold closure.
- I engaged breath support.
2. Technique Consistency
- I chose ONE technical cue to focus on (e.g. hand drop, rib expansion).
- I applied this cue consistently from my comfort zone into higher notes.
- I increased the scale of the movement (bigger/lower/wider).
- I started the movement quicker to override old habits.
3. Self-Check
- After each difficult note, I asked: “Did I repeat the same action?”
- If not, I paused and went back a step to reapply it correctly.
- I stopped if it felt bad in the throat.
4. Vocal Bridges
- I continued gently through “bridge” areas even if the sound disappeared.
- I trusted the voice to return once tension released.
5. Practice Routine
- I practiced this cue for at least 4 sessions before moving to advanced range work.
How to do whistle tones
This is the stratospheric bonus of this article. I interviewed the great singer and vocal coach Justin Stoney. He demystifies vocal registration by mapping five functional vocal modes (M0–M4), emphasizing that while whistle tones (M4) are learnable and exciting, singers should start with mastering the foundational registers (M1 and M2) for true vocal freedom and control.
His vision of whistle tones fits into a broader framework of scientific vocal modes that bring order to the chaos of vocal registration. Here's how he explains it and how it fits into the whole map of the voice. He calls M1 chest voice, M2 head voice, M3 flageolet of flute voice and M4 true whistle tone.
What distinguishes these modes is an ever thinner closure of the vocal cords (or folds).
Where whistle tone (M4) fits in
- M4 is above M3: After accessing flageolet (M3), some singers can "crack" into an even higher, more elusive register—this is M4, or true whistle voice. It’s not just a tone quality, but a distinct vocal fold behavior.
- Highly specialized coordination: Whistle tones involve the tips of the vocal folds vibrating under high tension. It requires extreme precision and minimal muscle interference.
- Not necessary for most singers: Justin makes it clear: you can be a world-class singer without ever accessing M4. It’s not a practical focus unless you have a specific stylistic or professional need.
- Party trick vs. Core skill: He calls it fun, expressive, and even career-defining for some—but not fruitful compared to building strength and control in M1 (chest) and M2 (head/falsetto).
The demonstration of whistle tones starts around the 26 minute mark of the below video.
Key takeaways from Justin’s philosophy
- Prioritize foundational coordination: M1 and M2 are the essential terrain. Most singing happens here. Develop strength, flexibility, and mix coordination first.
- Avoid overfixating on terminology: Whether you call it “chest,” “head,” or “mix,” the vocal fold function is what matters. Teachers should be multilingual in vocal language.
- Science is catching up to teachers: Justin emphasizes that much of what works in singing is discovered through experience, not theory. Teachers often lead innovation, and science follows.
Should you learn whistle voice?
According to Justin:
“Everyone can learn whistle. Whether they should is another matter.”
He encourages curiosity, not obsession. Whistle tones are not dangerous if done properly, but focusing on them too early can be a distraction from the vocal work that actually builds healthy, expressive singing.
What's next?
If you want to keep building your high notes, don’t just focus on the sound — focus on the body behind it. Posture, breath support, and overall alignment are the foundation that makes high notes possible. To dive deeper, check out my Breath & Body for Singing guide, where I show you how yoga, Alexander Technique, and targeted breath exercises can free your voice and give you the support you need to soar on higher pitches.
Frequently Asked Questions
Why do I strain when I try to sing high notes?
Strain happens when the vocal folds and surrounding muscles are too tense, or when you push too much air. High notes require coordination and freedom, not force. Good breath support and relaxed posture allow the cords to stretch without pressure.
Can anyone learn to sing high notes?
Most singers can improve their high range with the right technique. While every voice has natural limits, nearly everyone can expand their usable range by developing breath support, resonance, and control. It’s not about being “born with it” — it’s about training.
Should I try to correct my pitch while singing high notes?
No: actively “fixing” your pitch in real time usually creates more tension. Moving your head, tongue, or throat muscles to chase a note only makes it harder to sing freely. Instead, focus on building good vocal technique and pitch awareness outside of performance. That way, your body learns to hit the right note naturally without forcing it.