How to Find the Sound of Your Natural Voice

what's up guys this is matt ramsey with the octave higher east voice to do in austin texas and this is octave higher TV episode 14 and today we are talking about the curse of imitation part 2 so basically okay so I know I'm not supposed to imitate people when I sang but if I don't imitate what do I really sound like fantastic question let's get right into it stick around well guys this week's question um well it was really like a it's like you know I've created this two-part question the curse of imitation and the only reason why there's a second part is because I had this very very fantastic question from lani Vickery this week and it was actually in in my personal perception the deeper question that he's asking actually has exactly to do with what we were talking about last week so last week I was talking about my journey with my own voice teachers in trying to get away from that really kind of contrived sound and me imitating elliott smith and everything and trying to sound like a breathless little angel and so Lanny's question I'll read it to you in a second but Lanie's question really kind of prompted this part 2 which is if I'm not supposed to imitate people what am i actually supposed to be sounding like or what do I want you to be sounding like okay so Linda's question is when we work on songs it seems to me that you want me to forget any nuance or interpretation in the original version and saying everything and what sounds to me like a Broadway show voice if this is just the way we're training I guess that's okay but I don't want to sound like the guy we've all come across you can sing loudly on pitch but has no feel for the song is this part of the training progression or do you feel that singing in my own voice will eventually result in its own feel without my trying to put it there awesome question lady and what I love about landing and landing I hope you'll forgive me saying this but you're kind of a skeptic you know you're kind of like you you come in here and you're like okay show me prove it to me that what you're teaching works okay so in the vein of answering the skeptic I i I'd love to tackle this question okay so hmm so we know that you're not supposed to imitate other people right so what we do a whole lot of the time when we're working on exercises is we're getting to work with your voice without any of the garbage of imitation so instead of just mMmmm okay it sounds like you're a little nasal the pallets you know uh you know too low or something like that say give me a mom mom mom mom mom just talk it to me ok ma ma ma mama great now ma ma ma ma ma ma ma ma mom so a lot of the time we're applying the same feeling of kind of that spoken tone to the songs you know that's kind of the progression that we're making now in reference to Landy's question um a little bit of context is Lani one and two will ask me what we should work on as far as the song and one possible suggestion that came up was bridge over troubled water you heard a little bit little clip of it earlier absolutely phenomenal song beautiful beautiful song really excellent saying by Art Garfunkel it's a little bit light pretty much in the entire range sorry but what you find is that when yo we be feelin small he's got this ability that later um and frenches can't be found he's got this beautiful ability to kind of lean more into it when he wants to so in the intro we've got it really really soft when you're weary to a and feds just can be found okay big big dynamic change right so he's got a lot of kind of different voices going on but in general overall I'd say the song borders on a little bit of the light side and when he goes up to that kind of higher note that he wants to add some power to he may be straining just a little bit so when I'm working on this with Lani Lenny's got a little bit of a light chest voice which means that his vocal folds are a little bit thinner than we want and they're not closing quite as much as we want on the lower range of his voice he tends to kind of carry that up as he goes up so oh it's just a little bit light so what we do a whole lot of the time is like GUG GUG GUG GUG GUG GUG GUG GUG go go go go go go go go go go go go go go go go and all this stuff to expand that same power across his entire range which is why I totally hear what he's saying in that you want me to saying everything in what sounds to me like a Broadway show voice okay so yes and no ok so i guess more no than yes let me see how i'm going to talk myself out of this one what I mean to say is that when we're working with these exercises I am trying to go counter to that tendency that Lanny has of singing to light now this could be totally true for anybody that maybe sings too heavy or raises their links up when they're singing as well doesn't matter whatever your tendency is I'm trying to work in an opposite and equal direction so instead of 0 GUG GUG GUG makes sense so far ok so when we apply that to songs a lot of the time we're going to be trying to apply that same feeling to the song so instead of when will we go go go go go ok that does sound like a little bit more of a Broadway show voice you know like that guy who runs into the room I'm here to save the day that's not the end goal the end goal as Ingo tisa says and I love this quote I'm going to bring it up right now is your goal is to develop your voice so that you can introduce certain qualities where and when you want them ok let's think about that for a second so if you already have a tendency to sing a little bit light then why would I have you sing a super soft song in the same way so a lot of the time we're kind of going counterintuitive to the way that the song is actually written so instead of when you'll be that's how the song is when you're weary you okay I wanted to sing a little bit more like that so that he can train his voice to know what it's like to have a little bit more of a full quality of chest voice and to expand that across his entire range so that if he has that power he can use it let's look at that quote one more time your goal is to develop your voice so that you can introduce certain qualities when and where you want them certain qualities one certain quality maybe that change in dynamic so instead of when you're weary if you want to sing a little bit more like Art Garfunkel god forbid we're going completely off of the the curse of invitation last week but let's say that you really wanted to do it just like him but maybe in your own voice so instead of when you're weary about when you're weary okay so I am creating a quality or an effect on that voice but I've already done the hard work and I've already got this fantastic foundation of support on the bottom by building that chest toys first does that make sense now the reason why that's important to do first is because if we don't build that first then when you're weary is gonna stay your default and then it's like okay well what if you want to do like a really rocking you know rendition when you're weary you're gonna struggle because we don't have that foundation set in the first place just like Art Garfunkel later in the song and Fred's just kappa though he's struggling because he hasn't built that foundation and his boys and extended it across his entire range I'm really screwing up with this microphone sorry about that but any case I think that this tenants this whole idea of this Broadway show voice can be an important one at first but it's not the end goal to finish off Lanny's question is this part of the training progression or do you feel that singing in my own voice will eventually result in its own feel without my trying to put it there I want to answer this and say yes it's part of the progression and singing in your own voice will eventually result in its own feel without you having to try to put it there if that makes sense so to go back to the song and do keep in mind if you sing too heavy well you are worried that I'm gonna have you try to go the opposite okay great job give me that when you're weary okay so now that we have that you've learned what it's like to kind of balance things out so that hopefully when you go back to maybe that heavier version when you are weary okay let's go back when you're weary all right now do it the way that you originally did it when you're weary hopefully it finds a little bit more of a balance so what I did there too heavy substituted and went in the opposite direction by going to light hopefully it's going to balance out right in the middle okay so singing in your own voice is a part of the training progression and that will eventually result in its own feel so we're always working with your own voice here but however we want to be very careful that we're not necessarily choosing songs a repertoire that are going to go hand in hand with that bad progression that you have are not the bad progression but that bad tendency so if you're singing too light choosing to light of a song can actually you know hold you back a little bit more just like we were talking about with my voice last week you know working in all those Elliott Smith songs those aren't that isn't my voice it's not my voice at all and it just sounds totally different so it's really unnatural fit and I'm going to learn less from the song as a result of that alright guys let me know if you have more questions I covered a lot of stuff today but I absolutely absolutely absolutely love love love your questions your participation your challenges I think it's fantastic and it keeps me going so thank you guys so much and I hope you have a wonderful week by now

Channel: Ramsey Voice Studio

Views: 994

Rating: 5 out of 5

Keywords: Singing, Voice, Voice Lessons, Singing Lessons, Matt Ramsey, Austin, Texas, Octave Higher East

Id: 6tE9a48b8Do

Length: 11min 9sec (669 seconds)

Published: Fri Feb 19 2016