HARDEST VOCAL LINES EXPLAINED

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This guy oozes knowledge. I don't like how a lot of vocal teachers I've seen use very unspecific and unscientific terms and advice. This guy shows a great intersection of anatomical and mechanical knowledge about what's going on when you sing.

👍︎︎ 2 👤︎︎ u/Hairy_S_TrueMan 📅︎︎ Jun 20 2019 🗫︎ replies
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hi my name is Sam Johnson and I'm a voice teacher today I'm going to be reacting to and analyzing Anthony Vincent of ten second songs performing top 10 hardest vocal lines to sing I asked you just a month ago to please provide me with some of the hardest vocal lines to sing to see how bad I suck or how good I am the whole trick to this is that I want to just attempt them almost on the spot I don't want to practice them too much and I really legitimately want to see if I can actually sing some of the hardest vocal lines or the hardest songs or vocal parts that you can come up with Alice in Chains man in the Box I'd always put man in the box on a real high pedestal the notes that are in the chorus were always the highest notes in my range back years ago and I'd always practice man in the box and I'd always butcher man in the box over and over again in fact here's a clip of me in 2009 singing it live [Music] [Applause] [Music] on that one when he starts going down to the lower note the b-flat actually worked pretty well but when you got to the a-flat it just stopped working that's right on a bridge it's a hard place to work through [Applause] oh boy I'm looking at this I'm like was it so hard to just go wait about 10 years later this is my Redemption now keep in mind this is a controlled environment whereas the park performance was not but still [Music] [Applause] [Music] is cry try [Applause] he's letting so much of that kind of nasty quacky sound come in at the lower part of his range and when he gets to the high part it's that kind of vowel shape with all of the distortion on top of it but good vowel shapes are good vowel shapes whether you're singing or screaming or anything like good vowels are good vowels dream on Aerosmith you know the part obviously this is the part of the song that everyone waits for if you ever see anybody try to sing this in karaoke everyone's like oh here comes the part let's see this person butcher this part but that's not gonna happen right now because I'm about to tell you the secret about sing in the song you gotta tap into the spirit [Music] [Applause] when he went up to the really high note it actually tuned the formant more like how a classical female would do it it sounded a little bit hoot ear and then he covered that up with the distortion sound then he opened everything up which made it sound more like the tone of everything leading up to it but there is just this one moment where he jumps up to that high thing note where it sounds like it thins out there's a different acoustic thing for a second which is interesting like just that kind of way to find how to start singing that that's a really high note that's an a-flat I can't sing that note reliably so I never sing that song good for you Anthony yeah Eminem rap God that one bit the thing about this the reason why it's so difficult I think if you're doing it at the original tempo you have to stay on tempo stay on the beat mmm does it in two different breaths on recording so it's staying on tempo the original tempo having the breath to do it and most importantly having the pronunciation [Music] [Music] [Music] so with that one your mouth is like this the entire way through which to me makes it harder for that song with really really fast rap if we're able to just minimize movement which well that being said you did minimize all your movement because it was really just your tongue kind of doing all of the work but I think that if you just relax everything then it would have less room to move between to get all of these different consonants and everything cuz that's a really hard song and you're right there are a few things that are hard about it like being understood when you're doing fast rap like that is essential because people still listen to words more than anything else for some reason no idea why but being understood is really important and having enough air to get through that is important so now I'm gonna try that similar Madame ulema you assuming I'm a human what I got to do to get it through to you I'm superhuman innovative and I'm made of rubber so that anything you say is ricocheting off of me and it'll glue to you I'm devastating more than ever demonstrating a perhaps means a feeling like it's levitating never fading no no no deaf haters are forever waiting for the day that they can say I fell off they'd be celebrating because I know the way to get them motivated I make elevating music you make elevator music so you can't get the whole thing with one breath so how do you do that how do you use that air and not run out one big thing is not hemorrhaging air every single time that you go to enact the next continent a lot of times people when they are trying to be understood they really hit all of them hard all of the consonants every time that you do that a little bit of extra air gets through it's impossible because then you're using all of this air that could be used to get a good vibration all that I'm thinking of is how do I keep an even airflow where it's not a variable amount of air every time that we get to a consonant and another thing is just keeping an even amount of cord closure and an even phonation all the way through so it's basically just [Laughter] and I could hold that out for a really long time similar madam Illuma you assuming I'm a human what I gotta do to get it through to you I'm superhuman and then all of this is staying the same so we're not going to run out of air what is changing is just consonant and vowel but that's not really feeding back and affecting what we're doing with the air and muscle so that you can actually get through the whole thing with one breath so first see if you can just do that if you can even just make sound all the way through the phrase and then after you're able to do that and you know that the breath isn't really an issue then start adding in the words and see if you can get as fast as he is able to do that you have to go so slow to start with that Summa LUMMA dooma LUMMA you assuming I'm a human what I gotta do to get it through to you I'm superhuman innovative and I'm made of rubber so even when it's slower you're able to get every part of that that's kind of the trick with really fast route take on me so many octaves it's one of those songs that just for some reason or another people look for that high note because it's the high note in the song so your mind is tricked to just think that the note is so high when it's not that high a lot of people talk about in a day or two being the big famous line and difficult thing I think what's more difficult is in a day at the end it's more of a mixed voice it's not just a [Music] that's a really good sound [Music] that's only any eat [Music] [Music] [Laughter] yeah the first time you flipped he handled that first one in the same way that you handled the dream on where it was more of that like flip place for a second on the day or you started pulling up chest like I think that yes you were mixing it was so much heavier but if I'd be curious to see what would happen if we went from the place of flipped like yeah that's too different you have to do it just the bowel of two makes it way heavier it's kind of hard to start gradually adding that back in so maybe there was a little bit of extra poll but I mean you made it up to that II with that wider vowel that is going to encourage more chest voice or more mix because you're still letting it move around that's a hard song you're right the first one is not that hard because it's the getting it on that different vowel with the kind of tone that you want is going to be much harder he obviously added in a little bit of extra distortion just because that's his style I don't think that that was on the original recording so if we were trying to make it sound exactly like the original recording maybe the way that I was wanting to do it would work but at the same time like as soon as you start changing the vowel it feels so different like you need to have a little bit more of a hold on so play around with that how do those feel different just singing that same note on oh and on an a like see if you can even do it because it's really hard crimson and clover over and over that's the trick is to do it without the tremolo effect that's on the vocal because that's an effect but if you do it without it and you do it acapella it sounds like that's hard we're playing with on sets so there are a few different types of on sets there is an aspirant where we're letting the air move through first which sounds like this there is a glottal onset where the vocal cords start together with a ah ah there is a balanced one where the Aeron muscles start more together there is a vocal fry where we start with right ah when he was doing that it's kind of a lighter balanced one so it's closer to the aspirin because he's still keeping air moving between all of these but there is a little puff every single time because he's stopping the phonation quickly Kriya just for a second at Fonuts and then it stops again and then it's a little bit more and then it stops again it's interesting to try that using different on sets like if I was starting it with the glottal crimson and clover over and you won't run out of air as fast as if you're trying it through with that because every time that we start an on set with a little burst of air like that it makes the chords not stay together as much because we're just like adjusting the balance between Erin muscle it's making it a lot more Airy you're using more gas like you're gonna run out of the tank a little bit earlier so if you had to do like a really long line like that I would probably start by trying to train it with more of a glottal first and then add in the aspirin after without losing the amount of closure that you have like crimson clover or crimson crimson clover see it starts having a little bit more substance to it but that starts changing the style so we really just need to balance like if you're gonna be able to make it through the phrase without losing all of your air if you're not able to make it through the phrase start playing with how you're doing that on set and then bringing it back from a level of having some cord closure rather than just starting with here's all the air all of the air is getting through down with the sickness that goes to the exact opposite we're going from the cremes and to where it's got that glottal stop oh you can kind of get it like that and then you just need to add in the distortion oh if you start with the distortion like I used to do when I was first playing around with this song it seems like it makes people grab a little bit too much and then they're not able to get the agility of moving between the two but if you're able to just turn on and off that little muscle oh then you're going to be able to start adding in the distortion on top how about Vitas at 2:57 in Opera number two [Music] [Music] so you went into it in that very narrow space can you start opening dropping the job when you get to that top one more than it seems like as you started coming back down that's where you opened the space which worked on the way down and we're up in this area where every little change that you make with your mouth shape is gonna have a big difference because all of the frequencies are spread out further because it's higher like this a is a 440 when we got up here it's a 880 so that's a difference of 440 where if we go down here it's 220 which is a difference of 220 so it's just all of the notes are further apart and so every adjustment that we make with our mouth is to find something that's further apart and so the adjustments tend to be a lot more specific because we don't have as much a gray area with what's gonna work usually up at that super-high place up that to the c-sharp people need to start opening their mouths like go watch classical Sopranos while they're singing really really high parts it's wide it's big it's this huge sound and you had a very very small amount of space between your teeth when you were doing that so I just want to know what would happen if you started opening it up like that chorus from chandelier by SIA this is this is chandelier for metal vocalists power metal vocalist sings to a pop deep [Music] [Music] I'm Shannon [Music] one thing that I'm noticing he's showing so much teeth at the top of his range which one of my favorite teachers mark Reynolds who is done a few videos with me he is really passionate about showing the upper teeth especially when we get into that high tenor range and a lot of what he's doing right now is that like place right above high classical tenor there's not a lot of classical tenor music that goes up that high but it's very teeth II and it looks like his mouth is going to this place all the time which to me sounds like it's helping him find that kind of whiny sound which is everything in power metal it's such a good sound thank you for watching please like subscribe and comment below what you think the hardest songs to sing are go check out Anthony's channel there is a video around here that if you click on it takes you right there thank you
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Channel: Sam Johnson
Views: 2,201,344
Rating: 4.8183155 out of 5
Keywords: sam johnson, voice teacher reacts, vocal coach reacts, vocal technique, anthony vincent, ten second songs reaction, hardest songs to sing, rap god, eminem, take on me, a-ha, crimson and clover, dream on, aerosmith, vocal coach, vocal coach reaction, reaction vocal coach, voice teacher, high notes, vocal analysis, metal vocals
Id: or7m2JPKqTs
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Length: 16min 16sec (976 seconds)
Published: Sat May 25 2019
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