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email: urlostridente@hotmail.com
En subtitles:
Among the most frequent questions I am asked there's always how to have a wider range and how to menage all the problems related to the higher notes or notes right above the passaggio.
The most efficient way I know to handle this is avoiding all tensions, most of all in the higher abdomen which happens when abdominal muscles work towards the inside. Controlling the work of our larynx and be able to use the right mass and pressure under the vocal folds are other important aspects too.
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First point
It is crucial to be able to tilt the thyroid cartilage, so that false vocal folds are not activated and true vocal folds are thinner in order so sing with more agility. This position is very similar to a little cry, a little lament, a laughter or it can be activated with a vibrato.

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Second Point
The mass has to be lightened. The research of our higher notes has to be detached the most we can from the "scream" and the primal instincts of screaming. So we need to take control of the volume of our voice being able to balance it without using too much volume.
The idea is to reduce the loudness of the higher notes, making them sound thinner but without straining our voice. To make it happen we need to change the format in order to have these notes go through a thinner position of the glottis because the vocal position is totally different than the lower range.

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Third Point
Let's face the larynx matter.
I don't believe Michael Jackson or Stevie Wonder ever sang with a low larynx, especially in the songs where control of the range and agility would be too difficult.
The larynx, to face the problem of the limited range, needs to be in a mid position in the more comfortable parts and we will have to let it freely and naturally raise in the higher notes without blocking it in a position that would suit better lower notes than what we need to sing.
As Alessandro Del Vecchio suggests, the larynx naturally raises in the higher register though creating a very common problem which is the straining of the sound and the voice itself. Straining the notes will take harmonics out of your voice and it will be very uncomfortable and too risky to manage.
To avoid that we need to raise the larynx but without raising it too much in a constricted position. To make it happen we need to compensate the so called "mid-high" position with more harmonics coming from the lower resonators.
The idea is to avoid the lower positions of the larynx but learning how to manage a mid-high position without sounding too thin or too heady and gaining the bottom end of your tone through a wider depth in your pharynx and larynx.
Vowel modification really helps putting it all together. Modifying your vowels in the high register will naturally make you raise your larynx, but not excessively, and gain a deeper formant in your tone in the higher parts of your register.

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It's vital to learn how to balance all these important mechanisms of your larynx in the higher register.
The higher you sing, the deeper and wider your vocal tract must be.
An advice I'd give you is to breathe the amount of air that's really necessary, without taking too much air in. I would suggest you to take very fast and deep breaths and to relax your higher abdominal muscles.
You'll gain agility and health in your voice.