After many months of trial and error with RYV, I finally was able to hit a C5 with the transcending tone exercise and freaked myself out because E4 is what I normally sustain comfortably. Then, with much relaxation and higher falsetto exercises, the highest I got to was F5 (a definite first time in my life experience and I don't know if I can do that one again).

This is all great, but I was wondering about the practical application of all this. Now, I do have a more powerful voice for singing some rock tunes, so that is surely one good beneficial application. But, how can I make use of some of these new notes I am able to hit? The reason I ask this is, in the context of a song, I can't seem to sing those notes at all (or it becomes distorted and I revert back to my old straining habits).

In order to get those notes, I have to go through the entire process of relaxation, warm-up and falsetto exercises (not to mention be of good health that day). Obviously, there's no time for any of that while you are singing a song that call for high notes.

So, I was wondering, as I keep practicing, will I someday be able to really use those notes while singing a song?

Most rock tunes I know (Beatles, CCR) hits upto to A4. I have started to be able to sing the songs that hit G4 (I know this is not a big deal for many of you, but it is for me!).

In this subject of practical application, could anyone suggest a list of male songs to try (in order of difficulty) as I keep practicing RYV? IMO, this list is the only thing missing from the book.

Thanks for any feedback.

The practical application is that it strengthens the muscles involved and develops the co-ordination and technique.

It's like playing tennis. You need to learn how to swing first before you play. When you play actual tennis, your swing won't be as good as it was when you were focusing only on the swing, as there are other aspects to focus on, and you forget a little about getting the swing perfectly right.

I have a similar modal range limitation. G4 is the highest pitch I can belt in full "chest" voice (M1) and even though I've been stretching my falsetto (M2) range both higher and lower (currently G3-C6 on a really good day) I still can't belt or otherwise produce an A4 at higher than medium volume in "reinforced falsetto" mode. When I try to push the messa di voce/transcending tone louder on my A's and B's I invariably start cracking and yodeling. I'm hoping the muscles in my larynx will eventually strengthen enough to maintain consistency of tone at high volume throughout my passagio (1st break around F4, 2nd around B4). C5 up to G5 I can sustain at full volume without strain; higher notes I only hold in exercises until I feel the strain, which is almost instantaneous at B5/C6. Still, there is a sort of dead zone for me from G#4-B4 where I currently cannot sing forte.

As for practice songs, it can be easier sometimes to cover a female vocalist by singing down an octave. There are a few male artists who stay below G4, but the A4/B4 high notes are so common, and apparently from tenors singing those notes in M1 (chest). Try these as my own humble suggestions:

"Lost", "Stand My Ground" by Within Temptation (Sharon den Adel)
"I'm The Only One" by Melissa Etheridge
"Plush", "Trippin' On a Hole In a Paper Heart" by Stone Temple Pilots (Scott Weiland)
"Elderly Woman Behind The Counter In A Small Town", "Release" by Pearl Jam (Eddie Veder)
"While Your Lips" by Nightwish (Marco Hietala)
"Nemo" by Nightwish (Tarja Turunen)


Lots of melodic female metal singers from Europe to check out, if you like the symphonic power metal genre.