We're diving into the realm of high notes today. Our first instincts when going for those higher peaks aren't always the best. More often than not, we tend to push more air or aim for fuller vocal folds in our quest for power. But let's flip those instincts and focus on a more effective approach.

What exactly are high notes? They're about high frequencies - more sound waves per second, the higher the pitch we hear. It's like a tricky math equation of variables working together. Take note: your pitch equals the length of the vocal tract multiplied by its mass and the tension in your vocal folds. And this whole equation is powered by airflow.

Here is what most people overlook - high notes use less air compared to low ones. We tend to pump more air for high notes; however, we don't need to. High notes also require thinner vocal folds. Think of it this way - you can snugly fit more thin folds into a limited time frame, making them better suited for high notes.

Another key ingredient is the size of your vocal tract. To be precise, the higher the note, the smaller the vocal tract. Last week, we examined how crucial the size of your vocal tract is to the pitch we perceive. Just like smaller saxophones are capable of higher pitches, we need a smaller, shorter instrument within our vocal tract to hit those high notes.

High notes might give the impression of falsetto, even when belted out powerfully. That's why understanding airflow reduction and using your 'vocal cats' is crucial. It'll help you avoid unnecessary strain or losing power by pushing thick folds or adding more air.

The techniques that actually make a difference focus on the length, width, and height of the vocal tract; controlling tension and thickness at the vocal folds; and superintending our air pressure. If you master these, you'll break through the ceiling that's keeping you from hitting those high notes.

Let's explore different ways to harness thin folds for accessing high notes. For instance, try reducing the thickness of your vocal folds step by step with a hold-your-breath countdown. Another method is to leverage balloon phonation, which is excellent for transitioning to thin folds from a breathy sound. Whimpering or crying stretches vocal folds thin and prepares them for high notes.

Excessive tension in the vocal folds saps your power. If your voice is constantly on the edge of collapse, you might have overly thick vocal folds, or too much tension. And when you feel your throat locking up while singing, it's a sign of tension. To avoid this, we can employ tricks like relaxing the internal voice while maintaining flexing around, or using overtones for balancing fold flexibility and airflow.

Last but not least, let's tackle airflow control. The instinct to pump more air is often misplaced, turning your high notes breathy rather than powering them. Several techniques can help manage this, like not taking deep breaths before a line; maintaining resting expiratory level; aiming for falsetto and reducing input air; and using tools like balloon phonation.

Now, the adventure is yours. Take a phrase with high notes, apply the strategies we discussed, see what works for your unique voice. Master these skills, and next time, we will delve into a new approach to hitting high notes. That's your homework, give them all a try, mix them up. Only then you'll discover the perfect formula for you.