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Matthew Maness | Opera Singer | Vocal Teacher

@mattmanesstenor

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I help singers improve their technique and mindset so that they can confidently perform, and land auditions. Click here to learn how ⬇️

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This is more of an example for the extreme top. Here we are developing the middle ground between falsetto and a reinforced falsetto. Or in Italian otherwise known as voce finta…Studying this sound can be a very powerful and healthy thing to do. Like a mixed belt for a female belter.. this sound when sung with the appoggio (support) can be very powerful. It can be utilized in almost every style… think 80’s hair metal bands and extreme pop songs, Michael Jackson to I Purintani in Opera. This sound takes balance.. notice when we do the breath stop we are isolating the closure, all while maintaining a relaxed throat position. Do this sound under the supervision of a teacher you trust. Light and squeaky is the way here.. the projection comes from the coordination and lean with the breath against the air. Hope this helps! Take care and happy singing! #singing #vocalcoach #technique #sing #vocals by @mattmanesstenor

Finding a supported mixed voice for belting is one of the most difficult things to develop as a singer. I find that working from head voice helps the brain understand the light timbre needed to sing in the top in a healthy way. The light still has edge… it will seem fake in the beginning, but with some practice you can support this sound. It’s much healthier than trying to carry chest voice all the way up! Hope this helps! If you want to learn to mixed belt type “Belt” and I will contact you to get you started on your journey today. #singing #voice #technique #sing #vocalcoach by @mattmanesstenor

Constructing High notes takes the combination of effects. If you don’t approximate a lighter timbre with a thinner cord closure as you get into the top, it will be much harder. When I was younger I would open the throat and try to keep the timbre the same from top to bottom..this is not a bad thing to want, except it is the after effect of switching into a lighter mechanism. Knowing the timbre or the sound behind the sound is crucial. I should have said above that as you are getting into this lighter approximation you also have to tilt the layrnx. So the Formula is : Think Lighter (almost falsetto) as you get into the top, Tilt the larynx, then project this switched timbre while maintaining the open throat. Hope this helps! All the best! #singing #voice #sing #vocals #vocalcoach by @mattmanesstenor

This was a fun post inspired by my previous reel about suspending the breath and finding a lighter mechanism as we journey into the upper register.

I believe that, as a teacher, my words are only as valuable as my students’ ability to grow and prosper from the ideas I share with them.

Carlos, 18, has been studying with me for about two years, and getting to this point has certainly been a journey!

An exciting journey of balance, understanding, and learning how to isolate and then combine different elements of vocal coordination to create a tone that is balanced, equalized, and sustainable.

Of course, the measure of great singing is not solely determined by your high notes, but rather by the balance and coordination of tone, timbre, breath, and the physical mechanisms involved in producing the voice.

High notes are simply one expression of that coordination!

For fun, try singing along with Carlos and see how you do!

If you’d like to learn how to sustain high notes with greater ease, freedom, and consistency, comment “HIGH NOTE” below, and I’ll personally send you a message to help you get started on your vocal journey today! #singing #voice #vocalcoach #technique #sing by @mattmanesstenor

Technically, we don’t want to hold anything rigidly when we sing. I like to think of suspension rather than pushing in or out with the abdominal area.

Now, I’m not saying those approaches can’t work for some people. In the end, whatever works for you, by all means, do it!

When we suspend the breath, provided we’ve taken a sufficient inhalation, we create a sense of expansion and suspension throughout the rib cage, 360 degrees around the body.

By imagining a constant “suck back” of air, we can also help the throat maintain its open quality without unnecessary squeezing or tension. This allows us to focus more specifically on the vocal fold closure itself.

As you experiment with this, I want you to pay attention to the vocal fold closure. Listen for the beam of the sound, making sure you’re singing with a lighter timbre while maintaining clarity and focus in the tone.

Remember, the goal isn’t rigidity or force. It’s finding a balance between breath suspension, freedom in the throat, and efficient vocal fold closure.

Try this out and see how it feels!

Hope this helps. Love and light to you all! #singing #voice #technique #vocalcoach #vocals by @mattmanesstenor

This idea of a timbre shift changed my life as a tenor.
From the outside, the listener hears a more robust quality and an increase in volume as we journey into the top of the voice. Internally, however, we as singers experience almost the opposite. The middle and upper-middle registers feel more robust, full, and, dare I say, heroic, while the top shifts toward something resembling a baby’s cry—a thinner, smaller place.
Of course, every singer experiences these sensations differently, but this approach has helped so many of my tenors find freedom in their upper register.
Even with this mental understanding, learning to coordinate these adjustments takes years of study, practice, and balance.
Try this out, tenors! If you’re constantly trying to make everything “sound the same” to your own ears, you might want to shift your paradigm. Allow yourself to experience a change in timbre internally so that, outwardly, the listener hears greater ease, squillo, and spontaneity in the sound.
Sometimes, what feels smaller to the singer actually sounds bigger to the listener.
That’s one of the many paradoxes of singing… #singing #voice #vocalcoach #technique #sing The Total Singer Academy Vocal Course. by @mattmanesstenor

There is a time and place for the right kind of movement when we sing…
It’s fascinating how the body and mind work together. In my teaching, I often find that a singer’s physical gestures are an indication of what they are thinking about subconsciously while singing.
Certain movements can be incredibly beneficial, especially when it comes to releasing tension. However, I also find that developing a sense of stillness can help the mind maintain consistent breath pressure and resonance.
As we ascend, we are making subtle, micro adjustments to the throat and timbre, all while trying to maintain an equilibrium of resonance and projection.
Think of your high notes as a continuation of the phrase rather than something that requires a sudden thrust of air.
When you thrust with your breath or exaggerate physical gestures, you may inadvertently send a message to the brain that the high note is something separate from the rest of the phrase.
Instead, explore the idea of maintaining a sense of stillness and continuity, allowing the voice to make the necessary adjustments without unnecessary physical effort.
I hope this helps! Give it a try. It takes some getting used to, but it’s a wonderful concept to explore and experiment with during your practice.
Sending you all love and light! #singing #voice #vocalcoach #technique #sing The Total Singer Academy Vocal Course. by @mattmanesstenor

Luciano Pavarotti (1935–2007) was one of the greatest tenors the world has ever known. From Puccini to bel canto to Verdi, he captured the hearts of millions around the world.

His voice seemed to possess the perfect chiaroscuro—a balance of light and dark—never too dark or too bright, always focused and resonant, with a quintessential Italianate sound. I especially love listening to his Neapolitan songs!

Through his Pavarotti & Friends concerts, he brought opera to new audiences, performing alongside artists such as Whitney Houston, Michael Bolton, Sting, Bono, and many others.

This is perhaps his best-known aria, “Nessun dorma,” in which his triumphant “Vincerò!” (“I will win!”) reminds us of the power of believing that you will succeed.

I hope his voice moves you as deeply as it has moved me. #singing #voice #vocalcoach #sing #vocals by @mattmanesstenor

Many times, singers come to me saying things like, “I want to find my top,” “I want to find my true voice,” or “I want to find vibrato.”

These are valid goals. But I often find that solving these vocal riddles means addressing the conditions that facilitate the desired outcome, rather than going directly after “the thing” itself.

With vibrato, for example, I often guide a singer toward a relaxed throat, balanced vocal fold closure, and a “straighter” beam of sound, while imagining releasing less air. After some trial and error, the vibrato often begins to emerge.

Instead of asking, “How do I make vibrato happen?” we can ask, “What conditions allow vibrato to thrive?”

Like a tiger thriving in the jungle, vibrato thrives when its environment supports it: a relaxed throat, balanced vocal fold closure, and an appropriate registration and timbre.

Sometimes, the way forward is to create the conditions that allow the voice to respond naturally.

Hope this helps! Take care. Love and light to you all. #singing #voice #vocalcoach #technique #sing by @mattmanesstenor

Today I turn 40. So many chapters, so much music, and so many people who have made this life meaningful.

Thank you. Thank you. Thank you. Grateful for my family and their constant belief in me with this artistic journey. To the students that I have worked with from every age and artistic ability, to my mentors and colleagues along the way. You inspire me every day!

Grateful for what has been, for what is, and for all that’s still to come.

Love and light to you all. #birthday #singer #vocals #grateful #vocalcoach by @mattmanesstenor

As singers, we need enough technical knowledge in our tool belts to translate what a director or conductor is asking for. It isn’t necessarily their job to get the sound out of us. Their job is to describe the sound quality they’re looking for; our challenge is to find a way to create it within reason.

Rather than feeling offended by a request, we can approach it as a playful search for the right color. Of course, it can be difficult when a conductor keeps asking for something but can’t quite put it into words. In that case, do your best and don’t worry about the rest.

When working with sound, I often find that thinking “up” or “down” isn’t enough to make the sound move in that direction. We also need to understand the mechanics behind the sound quality we want: throat position, vocal cord closure, timbre, vowels, breath, and more.

Hope this helps! Love and light to you all. #singing #voice #vocalcoach #technique #sing by @mattmanesstenor

Your physical and mental energy are extremely important. “The energy isn’t everything, but it’s a lot” is so true.

We can have the best physical energy and mindset in the world, but if we don’t understand mechanically what needs to happen when we sing, things still won’t work effectively. They work together in a circular, yin-yang pattern, so to speak—each one supporting the other.

Your physical energy—posture, alignment, presence, and positive intention—serves the mechanical understanding of throat position, cord closure, timbre, and resonance. At the same time, having a solid understanding of those mechanics allows your physical energy to become more natural and expressive.

Watch yourself in the mirror and observe your physical energy. Better yet, record yourself and then watch the video on mute. What kind of energy are you giving off? What does your body communicate before anyone even hears your voice?

Great singing isn’t only about what we hear—it’s also about the energy behind the sound.

Hope this helps! Love and light to you all. #singing #voice #technique #vocalcoach #sing by @mattmanesstenor