Baritone Singing Lessons

Baritone Singing Lessons

Are you struggling against a low voice and looking to find Baritone Singing Lessons? I too struggled for a very long time learning how to sing, in part due to my naturally low baritone voice – and also due to the sheer lack of resources out there for those of us on the lower end of the vocal spectrum.

I discovered after many years of lessons, buying courses and books and tearing my hair out wondering whether I really had it in me to become a great singer. Along the way I found out what worked, and what definitely didn’t work for my baritone voice. Let me share with you the techniques and important concepts that are going to change your life as a baritone.

[one_half padding=”0 10px 0 0″][/one_half]As you can see, developing a great singing voice is a process of balance that takes time and patience – but with the streamlined approach I’m about to share with you, you really CAN learn how to sing better as a baritone.

Let me get you started with my top 5 favourite baritone singing techniques – these aren’t limited to Baritone singers either, so you Tenors and Sopranos pay attention too!

Top 5 Baritone Singing Techniques

#1 – Placement

Learning how to sing with vocal placement is the difference between rumbling low frequencies, and a powerful singer’s formant. While it’s not possible to physically ‘move’ or ‘place’ your voice, it IS possible to encourage resonance of a specific band of frequencies, in essence allowing your voice to resonate in the most efficient manner. My favourite way to teach my singing students how to sing with vocal placement is by using an “NG” or an “N” exercise, where the tip of your tongue sits behind your top teeth – the purpose of this exercise isn’t to build a useful singing tone, in fact, the intention behind this exercise is simply to MINIMISE any excess frequencies which may be occurring below your top teeth. That’s right, even with my naturally low baritone speaking voice, those frequencies are generally sitting ABOVE my teeth rather than in my chest or throat.

If you’ve taken singing lessons before or you’ve purchased a singing course, it’s important to understand that vocal placement, and the technique you likely know as “masque” are not the same. Singing in mask requires focussing and building up a band of frequencies high in the nasal cavity, where proper vocal placement requires you to REMOVE excess frequencies that are unnecessary for your natural resonance.

Vocal placement is the secret to learning how to sing higher as a baritone without your voice getting ‘stuck’ in your throat and tripping over your low frequencies. Vocal placement is the key to singing higher songs without necessarily sounding like a baritone, even if you have a deep and low voice like I do.

[one_third padding=”0 10px 0 0″][/one_third]

#2 – Register release

Register release is paramount to a healthy singing voice, and without release you will be STUCK in your chest voice and forced to push and strain every time you sing. Releasing your registers is as simple as practising a lip trill, or the same “N” exercise from above and practising a “see-saw” (teeter-totter for you Americans out there!) between your main registers, ensuring that are focusing on how to connect chest voice and head voice. The better your connection, the sooner you’ll be able to develop step #3 – mix voice singing.

#3 – Middle Voice aka “Mix”

Mix voice is the process of blending resonance between chest and head voice. By creating mixed resonance, you will learn to retain the rich tonal quality of your chest voice while enjoying the extensive range afforded by your head voice. Sounds pretty cool, right? You can get started with mixed resonance in this exclusive Mix voice singing lesson.

#4 – Support

Now, by support, I don’t necessarily mean you need to build MORE support – I simply mean you need to develop control over your support mechanism so you’re not forcibly lengthening your vocal chord coordination to the point of no return. Contrary to popular belief, breath support isn’t a ‘switch’ that you turn on, it’s a fluid and ever changing aspect of singing that is linked to your registers, vowel width, your onset and also your register release. In short, learning how to support your voice without pushing is paramount to the health and power of your singing voice.

Controlling your breath while singing starts with your posture, so make sure you’re setting up your posture correctly first:

  • Head up
  • Shoulders Back
  • Chin Level with the floor
  • Sternum up (ribs out)

Now, breath support, sometimes known as Appoggio singing technique, is dependent on this very last aspect of your posture. Starting with a wide rib position allows YOU to be in complete control of your breathing by extension of the diaphragm, rather than contraction of your ribs. When you learn how to breathe properly for singing by setting up a wide rib position in this manner, breath support becomes a secondary function and very easy to control.

#5 – Coordinated onsets

Now, learning to sing with a balanced onset is extremely important for ANY voice type, but especially baritones who have a deeper range and thicker chord coordination. The reason I left this one ’til last is because a coordinated onset is actually dependent on the four previous points, breath support, middle voice, register release and placement – without these four techniques working in tandem in a controlled way, your onset will suffer. Learning how to sing onsets properly is more a game of finesse and approach than anything that needs to be built physically – a coordinated onset is simply a perfect balance between release of air pressure, and closure of your vocal chords.

A great way to train your onsets is to split your onsets up into three types, breathy, glottal and balanced. If you practice each of these onsets before leading into a scale on the balanced onset, you’ll soon understand the mechanism behind your onset – and after some time practising, you can aim for THREE balanced onsets each time your practice the scale, in essence training muscle memory and familiarity with the coordinated onset.

When you learn how to control your onsets properly, this is a great sign that you are also nailing the other important aspects of a baritone voice – you can then work on vowel tuning and further your register control so you can learn how to sing higher than ever before, and start tackling tricky songs that you never knew were possible with a baritone voice range by developing proper singing techniques like:

  • Middle Voice “Mix”
  • Vowel Tuning and Vowel Modification
  • Advanced register control and belting
  • Singing ANY song
  • The key to consonants
  • Building resonance
  • SO much more!

Singing itself is a very easy process, but unfortunately learning HOW to do it when you are a baritone voice type is often overly complicated and confusing due to all the conflicting information out there that really isn’t designed for our low and rich voices. The best place to start is our Foundation 101 singing course which will show you how to connect chest and head voice, sing with mixed resonance, develop a balanced onset, building power and confidence and SO much more. With over 60 minutes of video tutorials and interactive warmups – great singing really does start with a strong foundation!

If you have any questions about learning how to sing as a baritone, feel free to leave some feedback or any questions below!


  1. I am a female tenor I believe… I took a test on someone’s website who is a vocal couach and came out as a light chest- no chest type and a baritone with tenor notes… I really am not sure since I am a beginner singer. I have a deep speaking voice for a female so I definately know I have a lower range. Right now I cannot sing high. I would just like to be able to sing in my range at least and have a bit of a grit sound like Scott Weiland. I find it very comfortable to sing Amy Ray’s Touch me Fall beginning verses with no problem in full chest voice because her voice is so deep. When she goes higher near the middle to end of the song however I cannot do it without going into head voice and when I try to go higher it doesnt sound professional, of course , as I dont have a trained voice but I would like to change that. I do have natural or learned from singing along with records throughout my childhood and teens and 20s with my favourite artists and I do notice a slight vibrato that I either naturally had or I learned from singing alot with records. I def. am a lower register female singer. I have tried to sing scales for females and it is too high. When I sing scales for males I have no problem.

    • Hey Danny, a Tenor is actually a Male classification, so, if your voice crosses over into the ‘Tenor range’ then you’re likely a Contralto. The reason behind this post was to show you that your vocal Fach classification is irrelevant, and anyone (such as myself being a bass) can learn how to sing in a healthy way and open up their range – you too as a Contralto! If you learn how to breathe properly and learn to modify vowels while placing your voice correctly, that high range will open up like nobody’s business 🙂 You’re welcome to shoot me an email or book a session if you want to start working on your voice!


  2. I meant to say that I have a natural or learned perfect pitch. Pitch is no problem for me. I can sing up and down scales in my range with no problem.

    • Thanks Danny – pitch comes from bright frequencies, which are fairly natural in a female range, so yeah, pitch isn’t a learned thing (actually, it’s never a learned thing – scales don’t help anyone sing correctly, the opposite in fact). Learning how to modify those vowels and enunce your words and consonants without closing your vocal tract is how you’ll be able to sing ‘songs’ rather than just singing ‘scales’.


    • Baritone is really a Tonal quality thing from E2-D4, but if your E2 is full, consistent and resonant – then it’s likely. That’s a hell of a range you’ve got there if it’s all connected, consistent and in full voice.

Leave a Reply

Your email address will not be published. Required fields are marked *