VOWEL MODIFICATIONS - LIVE STREAM - Ken Tamplin Vocal Academy

[Music] you [Music] hey guys welcome back again to ken Tamplin vocal Academy where the proof is in the singing this is yet another session today it's going to be a really interesting one for you guys especially for you that are looking for more advanced singing information it's called vowel modifications and we're gonna go through this but before we get to that you know I just want to do a greet with everybody say hello and you know one of the were people coming from so if you guys want to hit me back here in a minute but I'm gonna give you a little heads up to where we're going with this okay this is a little more intense than the last now last session we had a really great turnout a lot of people seemed to really benefit from the open throat technique and and as we go through this I want you guys to know I'm giving you a bird's eye view of this stuff so it's there's no way I can take stuff thirty-five years of information and a one-hour webinar it's just not going to happen but what I can do is I can give you the basics so that you understand and grasp the concepts first and then you know like I said I have a singing course if you want to get it you know I go in very you know copious note in detail on you know these specific subjects that we're covering so the first thing is is we're going to talk about vowel modifications what are they and why do they need them okay that's a very important thing the second thing I want to talk about is you know I've seen a lot of other vocal coaches on the internet where they say things like you know you don't need to modify your vows yakety yakety yak and it's kind of funny because that would fly in the face of about 250 years of bel canto which fella by the way del canto means Belle is beautiful and canto means sing so beautiful singing so in the world of opera this has been going on for a very long time and so for some newbie to come along and say you don't need it it's silly to me at least but I can only give you my personal experience and so we're gonna discuss that in a minute but I want to get knock off so many questions we had from last week first because I promised you guys that I'd grab those questions and do this and then we'll dive right into going in fact I'm gonna I'm gonna Greek Greek can't over open throat technique first and then I'm gonna get into vowel modifications but a me so the question from the last broadcast Joe Jorah hi I take singing lessons from a teacher that explains that many people damage their voice from senior in chest and requires surgery and different from your teachings who is right well Joe good question I'm 54 and I've never sung better and like I said I love this saying because it just you know I think of myself as like a Jedi Master and grandpa great grandpa has been doing this a long time so you can ask your local coach to sing for you and you can ask your local coach to show other students that sing and see how they do and then you can look and see how I sing it's how my students sing and that's the bottom line the proof is in the singing so you have to decide if you want to go with someone who can't sing or doesn't sing well and can't display students that sing or someone that has been touring for 37 years 40 records out close to a thousand songs placed in film and TV and decide if my information because my information is good not all information is created equal and so it's very important to really understand that and just because someone says something that they don't understand doesn't mean it's correct and I'm demonstrating this over and over and over again so let's move on to the hope that helps you Joe next question here is oh by the way it's true if they don't sing correctly and they don't understand good open throat technique and belting in chest and stuff yeah of course yeah it was always lots of people do camellia what can I do my voice is getting tired really quick in my throat hurts well that's a two-fold question first of all there's no way to really determine that until we can hear how you sing so my recommendation was would be to go into my singing forums it's free and post something so we can hear is it a support issue are you using too much air are you pinching and squeezing in the throat there's lots of things that can lead up to that but I said to fold with sucks ever fold so we would just go in the forums post something camellia and we'll give you some good counsel and get you dialed in so Marco Caracas can say I'm angry sorry Marco if I mispronounce your name what kind of songs or bands do you recommend to cover for someone who's beginning who is beginning and wants to focus on soft rock much like air supply but I can't get to the higher notes yeah okay well that's a big question if you're looking to by the way I'm a singing course Marco and I cover that in my course R&B guys or guys that sing of a lighter timbre still need to have a bright sound and so you still need to work that bright off owl but you just do it with a lot less volume and you actually go into head place a lot earlier the bugger about that is over time like I said is the voice actor fees if you don't keep the chest voice strong you kind of lose a lot of your chest voice register and if you don't build that up so I have a singing chorus that covers this it can go into the singing forms we have all of this information in there that will help help you I want to do some shoutouts shoutouts my notification squad thank you guys so much for being here and bringing at bat and so we've got from stayin the land of the like an Akita from Armenia EDA is baby from Turkey is that right sorry this is gone by Mike's pretty booty fest Esther beat Jones from Eugene Oregon we've got Paul from Bonnie Scotland I wanted to go there actually Scotland's got some cool it's a lot like Norway and you know it's got a whole bunch of cool effect I saw a Facebook post on all the different nuances that Scotland has Luke from North Carolina whoo all the way from North Carolina Neal from your leads Jeff from Illinois near st. Louis and then so thanks you guys and I'm gonna I just watch you cover today I want to yeah just dive right on in so on topic we have something called vowel modifications and you know the first thing is what are they how do they work are they necessary and can I just sing like do I have to really go through all this stuff well I'm gonna break every one of these down but I really want to focus on the sequence of this now last week we did a webinar on open throat technique I don't know if anybody wants to raise their hand chime in and say hey I was there so I understand it but there's a sequence in the way that you build the voice let me say this again there's a sequence in the way that we build the voice okay and why this is important is because there's no five quick tips to to getting great at something you have to build the house first with a good foundation and then you've got it's the cornerstone and then you've got to build your walls and you know all your pillars and all that stuff and then you got to put on the roof and then we start building rooms which are different components of singing so so many people say no I just want the the distortion room or I just want the head voice room alright just want this one it's a no guys you don't understand you don't just can't just grab a room and then think you're gonna be able to just reside in that room and be good at it because there's no support there's nothing that sustains this so if we could please start there this is important now I'm gonna bore you for two seconds but hang in there with me I promise that the right will be worth it we started out discussing about diaphragmatic support if you don't know what that is go to my videos on diaphragmatic support get my course form on my free singing forms whatever my course is extremely extensive and unfortunately in the videos I can only cover very small portions of this and every broken up and sporadic because you can't you can only do so much in a 10 minute video and even in a net one-hour webinar so we start with support now let me remember hey okay hey hey this real strong support itself okay then we migrate on into a relaxation response gonna go I go hey you know down up intense we want to have a relaxation response so this is stomach or the abdomen or the diaphragmatic support mechanism is the engine that drives your car without it you're dead in the water you can't do anything so the guy the one girl here just recently said you know we get tired chances are it's a support issue okay and so chances are she's also not singing with a bright timbre until I hear it I won't know so it's like a doctor trying to prescribe something over the phone I got to get you in the office and listen to it so but anyway as we go back to this we start building the house with a good foundation which is support the second is a relaxation response the chest the neck and the throat the third is what we discussed last session was open throat technique the doctor wants to see your tonsil [Music] we discussed tongue placement we discussed the uvula we discussed the soft palate we discussed all of the key components that go into great open throat technique as we migrate on from that we're gonna go to the fowls and we're gonna go to six vowels and I'll discuss those here in a minute and I'm gonna open this up for questions because I know there's gonna be a lot of them now I'm gonna say this one more time this is an over simplification of what needs to happen okay no I'm not looking to scare anybody but I'm gonna go into you know it it's easy and not easy all at the same time and I'll I'll break all this down for so we can really understand how this works okay bowel modifications go hand in glove or fit hand in hand with open throat technique okay let's say it again bowel modifications first of all ten what is it fowl modification sorry I shouldn't explain that as we ascend a passage or a phrase or a song as we go up we can't maintain the size or the girth of the throat at the bottom as we go up we have to pare that sound down to make it smaller if we can't we can't sustain the weight or the size of the ballot as we go up okay so we have to understand how to care of that sound yeah now as we've discussed also I'm gonna do a video on vocal Fox it's coming out so hang in there with me guys enter we had a couple of people can you please explain my local thought which is my registration or what what range I sing hymn can i classify myself ins in one range or another baritone hi Barry tenor counter tenor you know soprano alto contralto and then there's all little break outs of LH speed tour this result you know like different voice types that go even within the range there's the they resonate differently but anyways so let's get back this sorry so da month you just go hand love with open throat technique and so we like I said we start with support we do have a relaxation response we go into open throat and then we focus on six vowels and let me explain what those vowels are there's aa remember you said all sound step from it Stella aah aah and once we master that all about what we learn is that all vowels shift just ever so slightly or subtly from that vowel ok well what we also know though too is there's our exceptions to the rule remember in English you know ie up weight goes oh I use obviously can't speak in English so I've been in Mexico too long by the way we've been here for brigade's gonna be coming up on three months so I'm losing my my my English swag anyway I still don't have Spanish swag either so don't yeah yeah ie I owe you and sometimes why remember that there's always an exception to that well that's also true in singing and in singing we have aa aa aa' is a little bit of an exception he is an extreme exception oh it was part of a family of elves and who's kind of a part of you off family values but we treat it differently now I've talked about the family of vowels I don't want to kind of go through this because this matters as we go through understanding vowel modifications if I discuss vocal tract shaping and we talked about this again last week we're gonna cover a little bit more of this today if you look at my throat let's pretend you have this giant camera looking at my throat ah is the largest vowel that we have Allah it's the lot I mean he's cool little bugs who didn't look that want to participate so they're gonna do the AA vowel in a minute anyway ah it's the largest all we have now ah is aa Forenza we spread never that fancy word for Angelis spread which just means a smile your you know kind of bringing some mask into the sound in there ah ah ah practice this stuff seriously ah ah right and go shift from vowel the vowel so AHS the big spell now what we do is we vertically close that vowel down and horizontally spread that vowel with a little smile it's the same feeling in the throat this is why I'm explaining this we don't want ah ah ah ah ah we don't have big shifts we want small subtle changes so remember all vowel sounds different it's la us keep that all about ah now we're gonna move on to a ah at a so we have oz the biggest vowel again we horizontally spread the bell and vertically close it down a little bit to have a is again vertically closed out a little bit more with a little more Ferengi Aspray II is the cloak this the most narrow vowel are most vertically closed down vowel that we have that and the the widest horizontal vowel that we have we spread the bell now let's stop there for a minute and let's go back to ah oh and who you set that on the table over here for a second ah because of all that we have oh it's like playing miniature golf with with ah we're just closed that you take the same shape of the bow and we close it down to oh ooh we take it oh and we close it down even more now this becomes important because if you've heard me and see all of our cells stem from it's the law ah you learned that within about there are two to extreme exceptions E and ooh and I always say except for E and nu all vowel sound several ah except you know well that's true for me it's not quite true for GU and let me explain who has a transitional vowel by the way if I'm losing you guys hanging there I promise I'm going to tie this all together just hang in there with me I know it sounds that maybe sound a little complicated it's really not that but but there's a lot to it okay so we have ah and that we have O is a transitional vowel in to let me give you a demonstration of what I mean did you hear that no that's the feeling of the stretch in the back of the throat ah is still I'm still singing ah I'm just closing the sound down smaller and smaller with the same shape of the bowel now this becomes really important as we're gonna go through a couple of little scales and exercises how we actually approach the mouth so again we have two exceptions II inner okay now this doesn't actually pertain to vowel modifications themselves this is actually just part of good open throat technique and again I cover all of this in my course extensively so and I will walk you through this stuff step by step so we're gonna go through vowels and I'm gonna sing just a couple of them okay and let me grab a compass little mark anyway the doctor wants to see your tonsils drop the tone to the base of the jaw right open the back of the throat and we're gonna drop the lyrics a little bit we had the whole session on laryngeal positions we don't want kind of a froggy sound you want a tropic we're gonna go to it's gonna be a real subtle change so what big changes tongue was dropped to the base of the jaw still opening good open throat technique like I said all this stuff is sequential and it builds on itself and that's why a lot of times I don't know if you ever done this before but you know you're kind of singing along today I just can't seem to save my life I can't get to that placement I can't get to that feeling in the throat well if you build this kind of muscle memory you will be consistent as the Sun comes up straight up so again let's do [Music] no that was I didn't go Aloha hey right because the more we have to shift a vowel in the throat or let's remember I talked about the agility ladder for sports of you guys where they put up that rope on the on the grass and they run through the agility ladder and say TV TV TV TV ticket you do and they take small fast steps back and forth they're not jumping outside a lot of them right they're going to get the balance ladder dooby dooby dooby doo doo doo we do the same thing with a balance so these are subtle small transitions between them there is small changes so really if that's where your brain okay if when in doubt go back to the auto it's a lot ah so again let's do it together [Music] notice my tongue didn't move that much I'm not gagging on the tongue it's not getting all big and thick right so now is we're gonna go at a II he the tongue is gonna receive back imma throw a little bit it's just the nature of the beast so we're gonna go but if you notice I'm and pinching and squeezing II is actually part of a okay now we're gonna get into some of this I don't have time to cover all this stuff cuz there is a lot to it but I wouldn't I want to encourage you guys with something look like and that's this um I started out guitar was my first instrument and I I became a very very accomplished guitar player when we learn how to control these vowels and these vowel mods and we shift from vowel to vowel and we get the feeling in the throat and we build good muscle memory for that it happens naturally your voice once we throughout wants to go there okay so it's not something like oh my gosh I'll never figure out stuff out and let me explain what I mean by that when I was growing up I learned I learned all the modes in guitar by the way you can chart players out they will identify with this I used to practice six seven eight hours a day and I did this for five six days a week and I did it from 27 years Craven's true story and you've learned Lydian scales either mixolydian skills either Dorian skills you look freaking skills harmonic minor melodic minor hey only a major minor pentatonic scales blue the scales this doesn't even include like you know the jazz a halftone stuff like Gil Pass or Joey Oreo would do and in passing tone scales but why do you say that is and there's a couple of exceptions because there's some other hard card Fomenko scales or middle-eastern scales that are different but but which I love by the way but the point though is is that once you learn the five five scales basically five of these major scales all you do is play them in different positions on the fret board let me say this again get your brain around this for a second because I'm gonna relate this to Valmont once you learn basically five scales that's all five scales there's exceptions like I said it's just a matter of where that same scale is played on the fret board over what key is being played in that makes it Phrygian Dorian mixolydian harmonic minor melodic minor you know Aeolian so forth so why that's important is the same is true for the voice once you get these vowel modifications open throat and Ahmad's it's just where it sits in a song and where you're singing in the song it's all the same so you don't have to really learn something over and over and over again now it's important to understand too though as we ascend a passage and descent a passage or a song or whatever how that feels in the throat to build enough muscle memory so we don't have to think about it okay so in my course I cover all of this where we would go through run through all of these drills and all these different things that embed this in the throat where you just are as consistent as like I said the Sun coming out so as you move on we're gonna go and we're gonna shift for ballad about know what I want to do is I want to take that same scale and I want to discuss the very first Balam on okay now it's a la ah as we ascend a little bit and by the way I deliberately ladies I deliberately doing this in a keyword you you berries and low tenors can sing what I'm singing and ladies you can take this up the octave and the exact same thing applies to you okay so now again a small exception to that would be high tenors and Altos because Altos actually are go about three notes lower than a lower soprano or a regular so panel so I can't service everybody's vocal but I can get a mean average to give you guys the flavor of this okay so we're gonna go let's go up the scale and let me show you where first don't know it's gonna happen for you guys out there any and ladies now guys you're gonna start to feel the pull in the throat here in a minute where the vowel is so big you can't sustain it okay now why this again is important is we're gonna tear down this sound time lah ah ah ah we're gonna put a little bit of op in that song ladies we're gonna do the same thing and I'm not gonna resync the octave up so I don't have to be duplicate this so just follow me up the octave here we go [Music] [Music] so it's too big okay and we're gonna get caught now I will say this maintain the integrity of the vowel as long as you can until you have to ship into a Valmont and I'm gonna explain this well fact I'll just explain it now have you guys ever seen a TV show called Who Wants to Be a Millionaire or even Slumdog Millionaire or whatever that movie was called because it was a play off that TV show there it was a TV show with had this pyramid and you were trained that like they would ask these questions and you'd get you know all these advantages until you got to the million dollars and and the advantages were they would give you like phone-a-friend they'd give you ask the audience you know that they'd give you fifty fifty where you've got a you know 50-50 chance and you use these chips as you go up and you try not to use them as long as you can until you get to the top of the pyramid going for the million dollars well the same thing is true for vowel modifications you don't want to use a valid application too early because you want to maintain the integrity of the vowel as long as you can until you need to make a vowel shift okay now this becomes even more extreme depending on the style of music that you're singing at or let me give you an example of this if I was singing opera and I always default back to that because it's the greatest mechanism that's ever been created to understand how that all the stuff works so if I start way back where we just were anyway and it was really closed and dark in the sound well I'm gonna have to shift earlier than the guy that opens up his throat that does this let me give you an example of this we ended up here oh do you hear me almost go to oh they're already LA I had to shift into a bomb on because I dark and colored the sounds so much that I can't open up to the sound and keep that sound as open as long as I can until I need to make a valve a modification well this is important because if you want to build range we really need to open up the valves and this is what differentiates or separates what I teach and all of the stuff that I've developed over the last 35 years of teaching and doing this to know that if we keep the vowel open the longer we keep it open the later we can shift into a vowel mod the greater our range will be fitting and it's more of a clear tone to and we're not gonna sing pop songs just gonna do that we might go we might open up the sound and come up with a more sexy R&B pop kind of thing as we go up so anyway let's continue so we're gonna do the AH Bell and we're gonna shoot them ah ah ah ah [Music] the ship don't forget the diaphragm does the workforce don't get caught in the throat that's another thing don't blame the throat going into early da mod if it's in fact your diaphragm you didn't have strength to get to the note okay so you have to constantly play a game playing Simon Says with yourself okay and that means that Simon first set which is mean you do nothing without taking the breath without it you're dead so no matter what happens after that make absolutely certain that you use good diaphragmatic support or you're out of the game okay and you're gonna have to start over so again diaphragmatic support here we go be good at all did you hear that little shift ladies you la la la okay now there are several vowel mods that go but I'm not going to be able to cover all of them I'm just gonna get this one Belmont again ah goes too far off goes up and that goes to who as we you know from up from the lower position in the scale all the way to the top position and back down again they happen at the same spots depending on your vocal fog or vocal type they happened at the same places in the spectrum or the scale of your of your vocal folds okay so like Barry's you're gonna laugh usually is around an e an e for and then you're gonna feel that shift towards like hook around a GG for and then you're gonna feel it want to go a little more around an A for I mean it really we appear to almost entirely at a see a c5 now here's something a little crazy gonna get cray-cray on your feminine for those that want a lot of range those vowels actually kind of start over again if you're going into the female and soprano registers so if you cross chest voice going through mixed voice and you enter the soprano right for me like this [Music] right if I go up that high I get to start my vowel mods over as though I was doing them in the female soprano range or the alto range it's for this reason in my singing course when I give you all of these exercises I'd give you both the male and the female versions and there's a reason for that for those of you didn't want to take your studies really far you can start to transition from it's fun to transgender students you can transition from your male Barry or tenor range go in through the passaggio through Nick's voice and start your vowel mods again in the soprano range you can go over to the soprano workouts in the how where did she cross at where did can't have her cross at and how did they work and then all of a sudden you get double the range okay it's crazy but it does work I'm living proof of it okay let's move on so shifting from Val devel so what I want to do is I want to talk about how we just did you know and now we go from vowel to vowel okay that's really important because that's how we're gonna sing songs we're not going to just sing one vowel we're gonna need to transition from ballads about so I have several exercises that are awesome for this but before I get to that transitional vowel thing I want you guys to understand how to get into the pockets of those vowels so there's something called stretching exercises open throat the all modifications stretching exercises okay now I'm eliminating one and you're gonna want to do a lot of these in different configurations because you're not gonna just sing one scale the same every time every song is different it's different in different ranges and again I cover all of this in my singing course but I walk you through all these different exercises and drills that you run in order to be able to get this muscle memory to embed this in the throat but I'm going to give you one right now because this is really good effect I'll try the ugly two because it'll help so we're gonna go I'll start out slow [Music] now for those of you out there that didn't do my glottal compression session that we did you might not even make it to the end of that because you might not have enough breath if that's the case you can just do one now here's what's important about the scale I'll just start there for those who didn't may not have the breath to do what the first one that I did if we go you're stretching like a yawning sensation you're stretching to get to that vowel this becomes increasingly important the higher up we go because you're gonna need to then get quickly into that Valmont without having to think about okay let's do the next scale so I just keep it simple next one ladies you're up the octave [Music] that stretching sensation right so we're stretching the bow that's what we talked about last week about that soft palate start in your eyes that you EULA start in your eyes some guy on the East Coast was making fun of that one of his recent videos on open throat technique and I'm telling you if you don't do that good luck with that let's do the next one here we go that's for you guys that wanted to have the one with the breath so you can try it both right I'll do the simple one out here again feel that stretch you can feel it going to the AH vowel right let's do the next one feel that stretch okay now this is important because as we go through this as we speed this up when we do this with speed you know break all of a sudden we build this muscle memory goes into the pocket out of the pocket into the pocket out of the pocket and we don't really have to think about it okay now I promised you that we'd go I do another scale so the same thing applies so I said you can do another faster version all right so you go and you can actually go oh look and get that stretching thing to happen faster okay now again these drills are and really important because when you go from vowel to vowel and you need to find that pocket for that gamma modification you have to know how to get to that and that feeling in the throat so you actually need to work up all the vowels in order to be able to do that okay now I won't get time to go through all the vowels I'm just gonna go through a at and a today because that's all I have time for before I open this up for questions but so here's what's interesting about this remember I said all bowel sounds said from that's a lot ah you don't really have to change the position that much for app let me do it for you let's go back down here ladies up the octave how close it is to up [Music] so it converges at the top we're at is really aa with a smile and say the game app is just a feeling off with a smile we're not making big transitions the reason I want to add a into the mix is because it's a little bit of an exceptional vowel and I'll get to that in a minute but come with me again let's do now let's do the fast version that was the fast version sorry it was to this or you remembered your diaphragmatic support so you're not getting caught in the throat and starting to feel fatigued in the throat because the abdomen does all the work for us right let's do the fast version now [Music] can we do that little bit of shift to the off here to go into that stretching space again why is this important it's important because we have to close down the bowels in order to be able to maintain we're not carrying out so much weight up top and so much girth in this zone don't able to turn you down that sound okay now here's white again it's so important when we sing a song I want you guys to practice your songs using no consonants I don't care what the song is and try to use contiguous phrase singing that we discussed in last week last session where you're connecting the vowels back to back now here's how we can start to build muscle memory to build these vowels in two directions ooh Oh a and then AE Oh and hoo now why is that important it's important because we have something called the path of least resistance within vocal tract shading so here we have lah ah ah eh that's the way it looks in the throat right so when we go from one value to another we want to try to get to the closest related vowel that's what I mean by the family vowels so ah is the most closely related to ah yeah I know this sounds complicated and the room you guys like I said I cover all this stuff in my course I'm just giving you the bird's eye view of this but it works big time so AHS the biggest family hug at is the most closely related to our a is the most closely related to ah e is the most closely related to a let's go back to again and I say the exceptional levels ah oh oh and who oh it's the most closely related to aw and who is the most closely related to oh Ken I'm confused I should write this stuff down I know like I said I have the whole chart of this I have a booklet finding my course map stuffed out for you guys so in other words ah-oh is more closely related uh Lulu is more closely related to uh as we close the battle there so what does that mean it means that when we practice we want to practice a sequence that gets us to the path of least resistance to the most closely related vowel from one vowel to another now let me give you an example of this I'm gonna go I'm gonna do ooh oh ah E and I'm starting on you because it's the most closed about now on the bottom of the scale we're gonna start with Ock is it's the LA ah we have to set up the throat for up oh we're gonna get stuck and won't build that muscle memory so I'm gonna do ooh Oh again remember who's the most closed in our family it's the most closed so ooh we're gonna open up a little bit oh oh ah and then a or a and then II see how the chain goes were during the most closely related and then we're gonna work this thing backwards and we like I said have all these drills that you do in order to be able to accommodate this but I'm just giving you one right now so we're gonna go starting on the all good support relaxation response did you know how closely those are related let me do it again listen really closely I'm not gonna oh oh ah hey he right there really subtly they're really close ladies up the octave did you notice I'm not shifting my jaw everything is happening in the back of the throat it's to the next one now for you tenors out there this becomes increasingly important and the vowels have to be even smaller the higher up we go so if I'm Way up here I'm not gonna make the vowels that be I'm gonna carry them down [Music] just small it was I don't know I mean small because the higher up we go the more we want to pair those sounds down and the more closely related they become to each other okay now we're gonna do the reverse direction we're gonna go lay a e io and whoo now you think we'll wait a minute Ken why aren't we starting on e if a B a you're really trying to look for path at least at least resistance glad you asked because the eval is a little too tough and you get caught on the view it's a really hard vowel the sing so we want to start with an open more of an open vowel first lay now you'd think wait a minute can you just said that the e is the farthest away from the about that's right I did so what we're really singing is aim with E in it okay this is a vowel mod so if we go if I were to go [Music] yeah you're a big debt transition is a lot of people yodel when they do that just like when they sing ng huh good go yeah and now yodel they'll have that that break that happens in the throat so we're really gonna sing like the number eight we're not gonna sing carry you we're gonna go next one see how closely related see how that works now again the more we practice this and the more of these drills that we do these are just the basics guys this is just really one of one basic stuff but it helps setup you to understand how these mods work now as we use these bowel modifications and a has its own set of bowel mods he has its own set of Almonte who has its own set of elements once you memorize the scales like I told you about in betar by the way those scales really helped me because it helped me a lot with pitch and helped me to really understand intonation to get in and out all these modes but once you learn how to do this and it's gonna take about a year I mean there's no short cut out of this stuff right I want you to do this though all I'd said you just become unconscious confident never we talked about unconscious incompetent and in a previous session then we talked about conscious incompetence of unconscious competent is you know I don't know what I'm doing and I don't know how to get there conscious incompetence I know what I want to do but I still don't know how to get there conscious competent is I know what I want to do and with some elbow grease and some sweat equity and some you know some Drive and some effort I know what I want and you know how to get there but it's still I have to think about it um his confident is I don't have to think about it anymore because I've built up so much muscle memory it just happens naturally and I can turn my brain off and focus on other things this is the stage I'm trying to get you guys to is we run these drills and do these things so anyway guys I want to open this up because we're actually already like 45 minutes in and I want to make sure to get some questions on cuz I'm sure there's a lot so let's let's open the forum up to some questions and let's hit it here so room opera singer and teacher Michael T said in Bel Canto airflow and support automatically lifts the South Kelly and actually that's not true I don't know but Michael T is and I don't really care we have to work at it and we actually literally have to work at that and and it's not that if you forcefully or intentionally lift your sock call it that you need to change vowels it's that when you understand how to keep the throat open understand a little bit of a lower material position first and as you ascend and descend scales you can actually train the soft palate to do that without forcing it and the greater the space in the back of the throat the greater your ability to maintain a nice big round sound without choking or pinching and squeezing off as you ascend or descend a passage by the way another important thing as we go up and we use this vowel mod or two or three I actually reopened that sound on the way back down because we never want to cover or color or darken and descending passage you have to reopen the sound so we set ourselves up again for the next passage we want to sing otherwise it's like when I show you when I sing it dark oh when I'm already covered in the sound I can't reopen the sound it's very difficult to reopen a sound to get up in your upper register here Bennett I've been doing the course for three weeks I don't quite understand what's going on with the battle mods but pitch and tones sound sound like you and when I look in a mirror everything seems to be doing correctly I just didn't quite understand the technique well Pierre Bennett you're only into it for three weeks so if all you get is support and the about it's a lot you're doing great so start there ask these questions in the forums because we've got some killer qualified moderators in there that can help facilitate giving you answers you're welcome to record yourself post it in the forums so that you can get a good feedback on that but just stay don't even worry about the Belmonts right this second it's a bit premature you've only been doing it three weeks that's like say I went to the gym and I noticed a little stronger but I don't have muscles of you like what's going on do the gym for a while and then we'll see how your muscles work out off-topic questions and I'll do this I don't want to get too off-topic though so inking on reviews people say the KGB program will only work for people who have a high range is that true it's not only is it not true not sure what reviews you send us where do you see those reviews because we'd like to see that if you wouldn't mind King send it to Katy da help which is ken Tamplin vocal Academy locate Evo at gmail.com if I'm a if I'm a baritone listen listen to my speaking oh listen now lo my ranges oh great if I'm a baritone how is it possible this kid only be true for people with a high range it's exactly the opposite I help people with a lower register gain range not just take people with a high range and take credit for it okay ah right what I do like three and a half octaves or something you just now so you notice there was no break register rate that's all usable range so that should tell you that those reviews are not correct and hopefully I'm the proof is in the singing bitter bear when I sing with my band my voice always gets forced towards the end we usually use this by playing songs twisted shout but I'm worried this is hurting my voice are my fingers found it absolutely bitter bear you shouldn't be doing that there can be lots of factors and one factor could be support another factor are you using too much air another factor you're over-singing because the band is too loud on and on and on and on so other factor like I said using too much air you don't know how to compress that air and see what the bright Tambor to help me through this so again because there's so many factors in there yes you could damage your voice but we have to be to the bottom of why it is that you're going hoarse and what's actually causing it Danny white yes Pete hello can I use that difficulty with the with the notes built-in because it seems I do not even understand open throat how can I know how to do it right well Danny like I said I have a singing course that I walk you through all this stuff so I go back to again understanding good support if you can't afford the course no big deal go on YouTube at least look at my short tutorial on diaphragmatic support do that for Wow do the scales with it and then move on to the bright timbre of it's the Lata and then this will start to get you on the fast track of helping you not hurt yourself as you're going through a singing belting inking has another question liking exercises now up to an eighth for in full voice still can't sing above an f-sharp 4 in songs info voice again so let's talk about that just because we do scales doesn't mean it is an immediate practical application to singing ok so you do a scale and you're able to get up to a certain note value but you can't actually integrate that into singing that's because the throat closes down remember last week when we talked about glottal stops and we talked about when the throat closes down when you have to reset up y'all well because every time you close to throw in a word phrase all of a sudden you haven't built up enough muscle memory to know how to keep your throat open what I recommend like I just said a minute ago is sing songs with contiguous free singing try to connect the vowels themselves and try not to stop so you know let's let's I did your knees lights last year when the lights go down in the city and the Sun shines ready I'm gonna keep my throat open ever know so I'm keeping my throat open and I'm not closing down to all the consonants so I can start to get build muscle memory to keep that open so I only add enough consonant sound as I needed to be able to hear the lyrics okay Tony and live what is the best way to shed the wave in your voice make it thinner keep dinner don't use the word thinner say compressing or when I think the word thin erratically that's thin if I think of compressing or maybe this sounds like it's huge no I'm closing it down to like move out so this is what exactly we're talking about Tony is utilizing these bowel mods so that we can compress the sound as we go up in order to be able to sustain not seeing too much weight as we go up Lou I've watched your other videos but I don't quite fully understand how to link the passaggio for the lower voice types like a bear Chun what vocal warm-ups which would be good to train the passaggio well there's quite a few um it's not one thing because you can't only do one thing but let's do this there's something called sliders and they help a lot the reason they help is because if you're going through a slider as we see a scale and you want to sing scales because that's what you're gonna be singing they're not going to be singing the slider but you're asking the question I'm going to give you one answer again I cover all this in my singing course where there's multiple exercises that really need to be done in order to accommodate and acquire this but if you give a slider a slider is something like this we go remember we only sing as loud as we can connect without carrying the brake so let's go a lot higher now let's go do you hear me go from chest to head and back right we've got the scale you want to go up and down that passaggio to where you don't hear the brake again with the brake tone that we've discussed is if you don't have that right tone remember we talked about a head voice where you had to work head voice to a nice bright tone to match the sound of your chest voice well we have to do that first and then we do these exercises [Music] Salman still apply you should be going through the passaggio with arguing to break on into head voice and back down now if I go right we actually want them to get to where we could start to do scales in the sound because that's how we're gonna be singing we're not gonna just sing them look very legato portamento note that just is a big long stretching exercise for the throat but we can start there but again remember only sing as loud as you can connect before you hear the register break so you have to do it really quiet and then as you can build up strength in the sound right and then we start to build build build that strength and then we move on his scales Pamela I really enjoy listening to Steve Perry's usage of vocal modifications and sexy thought modifications and usage but he can take one vowel and change it into a word that's right he does it all the time and he's a good example of that he didn't use full command of all the vowels though he went like oh whoa whoa whoa sound clock which leads me to another point guys we had a lot of requests for even you teach me twinning okay and I don't want to go into all of twinning I'm just going to go into one part of Twain training is predominantly though there's other things you know these other exercises that are done it's the EH sound like lid and the reason this is done is because you can get a nice piercing tone in your head voice especially and you can develop a nice bright sound off of this one vowel well that becomes problematic because remember all vowel sounds stem from hits the Lata and it's very difficult that if you've invented only one vocal tone in the throat to transition from back up back from it it's very hard to get to that about and so what people do is they sentence themselves to one vowel tone because they can get somewhere quickly and maybe get a lot of power and a lot of shrill and a lot of range you know a lot of resonance out of a sound but I'm telling you guys straight up you have to go through all of the bells now it is true when you're working a head voice you want to start with smaller vowels I recommend the eval to start with and then use and work those vowels first then check on the correct sound and go through all of the bells it's hard to do up top because you have to actually kind of start on a vowel mod we're not going right because if L was so big where as E and who are more forgiving because they're smaller sounds and you don't have so much girth in the throat Laura I know Tom padding is not the greatest vocal English but it should be great to hear a shout out to the legend Tom I loved his songwriting I love to stage presence I loved what he did for the industry a legend indeed I agree miss em within what is the proper definition of vocal residents in contemporary music is that ring only for opera absolutely not and by the way resonance we've discussed this too because when we talked about vibrato I went into this and I cover all this third line in my singing course big time this is a huge component of my course his icy ping is king okay I coined some phrases it's the law op and his game you know etc when we have that nice bright ping and let me give you an example of what you're talking about for opera remember I said you could darken and cover a sound when you're singing oh right well we open up that sound bring a little mask into that sound we can get the same ping with it up with a more bright resonant sound using a little mask to bring the sound farther forward and contemporize the sound the ping is the same it's just we get more range as I said earlier on today's session we get more range if we open up that sound Chris Carolyn from Ireland kind of off topic but can I grow low bass notes as well as oh absolutely sure that's what I talked about again in the open throat a session last week last session go check it out I show not just a lowered visit laryngeal position but a drop the laryngeal position about you can really get into like you know barbershop quartet notes that are down really low now a caveat to that if you're working your upper chest voice and we have what's called little boy voice that I've another phrase that I've coined like like Michael Jackson where your voice is set nice and high you either have to let the place it's set to draw first the lyrics to draw a tenor to a relaxed state in order to be able to go down and get those notes or start the stretching exercises right away when you first get up in the morning when your voice is already really set low and you can stretch that voice way down into low baritone tones Omar can student of yours here in a song stone on led by journey at 1:29 I'm having trouble in this section of the song mostly with never fade okay Oh mark could you please post that in the forums and Bob my assistant who's listening if you can't answer the question can you forward me the question so that I can help Omar recuerdo how much do steroids effective ways and are there any that you'd recommend absolutely not I'd recommend no drugs whatsoever the only thing I would recommend for the voice two things I'd recommend for the voice is taking collagen because your vocal folds are made of collagen types two and three by the way you can get one two and three because one is also four joints and skin and skin but you could just take collagen on an empty stomach be careful cuz your hair your nails are gonna grow really fast but that helps especially retain that moisture in the cords I'm also glutathione you could take glutathione capsules there's different types in fact I have a video on this you can see it I forget what it was baby Bob can put it in the notes where you can if you've damaged your voice or if you feel like you may be smoked a lot in your life or drink too much alcohol or things like that this will help you with that as well last question here we go Leonidas during these exercises I had no troubles to sit in the scale but no but even though I felt I had plenty of air when I go down to the scale my was cracks and goes away well that actually sounds to me again like a support issue or you're maybe trying to sink to put too much birth in the sound or you're using too much air but cracks usually come from people not sustaining enough strength in the serum so my guess is that you're not using enough diaphragmatic support so again please post my singing forms it's free get free advice urk anyway god bless you guys good shout outs remaining locations guys that have tuned in Ramon from Oregon Leon from Singapore nice Rick Barnes from Florida a shaman Marie from San Francisco Bay Area we've got Qi joanna from Singh Senate recent nice I love Greece I'm gonna go back again someday Daniel from Miami and quite a few others Shep chummy from Bangladesh steve-o from Germany Asher from South Africa awesome let me get so many people from all over the world wanting to learn about the boys ths would you buy from Sweden and from Russia god bless you guys and I will not be here this Wednesday I've got a I'm taking the week off and I will see you guys again next Saturday same bat-time same bat-channel peace [Music]

Channel: Ken Tamplin Vocal Academy

Views: 41,988

Rating: 4.9435105 out of 5

Keywords: how to sing, singing tutorial, singing lessons, kentamplin, ken tamplin, vocal lessons, ken tamplin vocal academy, vowel modification, vowel modification exercises, singing vowels, vowel modification singing, vowels, vowel modification high notes, vowel modifications, live stream, livestream, vocal, lessons, vocal coach, coach, live, stream, discussion, beato, live q and a, analysis, vocalist, rick beato, your voice, live q&a, favorite, singing method, learn how to, singer, q&a, singers

Id: orRSjushjmI

Length: 60min 38sec (3638 seconds)

Published: Sat Sep 01 2018