How To Sing | Jacobs Vocal Academy | Skillshare
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13 Lessons (1h 21m)
    • 1. Can Anyone Learn To Sing?

    • 2. Five Essential Rules of Voice Care

    • 3. How To Sing In Harmony With O&O

    • 4. How To Breathe When Singing - With The Vocal Lexicon


    • 6. Does Voice Classification Matter?

    • 7. Why Am I Experiencing Vocal Strain With Kimberley Smith

    • 8. 5 Tips for How to Sing High Notes With Chris Keller

    • 9. How To Do The Lip Roll

    • 10. How To Fix Vocal Damage

    • 11. Recommended Water Intake For Singing

    • 12. 5 Minute Vocal Warm Up

    • 13. Get 14 Days Of Vocal Coaching For FREE

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Hey im Jacob from Jacobs Vocal Academy. I have a ton of free vocal exercises on youtube, Spotify and Apple Music (like the video above). Check out my courses below and let me know what you think.

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1. Can Anyone Learn To Sing?: Hi, I'm Nick here for Jacob's vocal lessons. And today, of course, I want to talk about singing. Singing is one of the most fundamentally human activities I can imagine. It predates history. In some sense. I probably predates Formalized, speaking recently seen. We're happy when we're sad when we love when we lose and we sing just because the sun is shining way seeing impulsively and uncontrollably. Yet we asked ourselves, Can anyone learn to sing as if it's this ethereal, untouchable sort of thing? We've turned it into today. But when asked, Can anyone learn to sing? I have to answer Yes, absolutely there is. There is no doubt about it. If you can speak, if you have a voice, you're basically already a singer. You just have to learn how to use it. Now may be thinking that's that's impossible. I have friends who could speak until they're blue in the face but couldn't carry a tune in a bucket. Or you might be thinking, I'm that person. Don't worry. If you can speak, you can already see. So over the next few minutes I'm gonna give you three super simple tips to get you singing healthfully. and skillfully. The 1st 1 is to sing with your voice may sound pedantic, but we all have. These are all images of how we should could or even do sound. We spend our whole lives subjected to reported voices that have been processed by microphones and equalizers and compressors, and the list goes on. We love the sounds created by these technological marvels, and we want to emulate it. After all, the sound is being produced by a human voice at its court right. But many of the performers, although they may be really great singers, the final product where we're hearing is never an actual representation of the human voice . When you're seeing, you shouldn't attempt to match these impossible feats in their entirety, and I'll let you a little secret. A lot of these performers, the they don't sound like they do on the radio, either. Even the best performers can never sound like that electronically processed music instead of trying mass that you should really carve your own path to the same end result, seeing in a way that feels healthful and comfortable to you if something you try seems too difficult or just unreachable back up and try it another way. The chances are you weren't singing the passages helpfully, as you could. Call yourself more difficulty registration or donation. When you see helpfully, I can 100% promise that your audience will enjoy the sound produced, whether it's your favorite or not. Practice developing your own sound and using it to its fullest practice. Flexibility and agility daily practice. Some range extensions daily Basically seeing every day. That's the key to understanding your voice and developing it physically. Which brings me to my second point you're singing. System is much more than just your voice. All of it needs physical conditioning when we seeing, we're engaging a circuit of musculature and folds within our body. The diaphragmatic system activates because of the diaphragm, expanding downward the lungs to expand, creating a vacuum, taking an air and, in the end, at the same time lowering and stabilizing the lyrics in preparation for singing or speaking . Therefore, all of those muscles need to be trained in this process. The diaphragmatic system is possibly the easiest and most essential of the used to train. Consider your concern your ability to breathe, like your ability to put fuel in your car. Even the best car isn't going anywhere without fuel. And even the best voice can't really be at its best without proper breath support without proper fueling. Now, this isn't to say more air is the answer. That's not always the case. Breath support can be a major issue in many new singer that is often the first thing interested by addressed by voice coaches but Overblowing not enough air. It's all it's all subjective and will vary from case to case now. Daily strengthening and strengthening and conditioning of the breathing system will make a dramatic change in your singing. Just as with daily strengthening and conditioning of the voice itself, developing muscle memory and the voice will prove to be key in improving agility, flexibility, range and power. Over time, it's all a matter of practice of spending time, exploring your voice and learning what all it can do time. As with many skills, here is the key to learning to sing, which leads to my third point. There is no magic trick Ticks to singing like a pro in five days may not seem like a tip, and it may not be what you want to hear, but you've seen the videos seeing like a pro in six days. Three easy tricks to be a professional. Try this one. We're tip and you'll sing like Mariah Freakin Carrie. Well, you've probably watched a few of these and possibly even tried the tricks and tips there in . Unfortunately, if you did, you probably didn't get the awe inspiring, earth shattering results video promised you. In fact, it's much more likely that you saw very little real change had your hopes dashed and are now here watching this video, hoping I would tell you the actual magic trick. Well, I'm here to tell you it doesn't exist. However, don't dismay over this. Find solace because this really means that absolutely anyone can learn to sing. It just takes a bit of time and effort. No quick fix nonsense. That's the real magic trick done by professional singers. It's They don't arrive to the world gifted with a golden lyrics musical wisdom. They're people just like you. They've just spent a lot of time with their instrument every day for many, many days, many months and years, and then by the time we see them arrive on the main stage. They've already mastered their art. They master their own unique instruments. It's very rare that we hear the pre professional phase, but I can promise most of them used to sound just like you. So the once again answer the question. Can anyone learn to sing? I have to again say, absolutely unequivocally. Yes, Singing is not the untouchable, ethereal market in manufacturer thing we've turned it into. Today. It's intrinsically uniquely human, but it is not unique to just a few humans. We all have a voice, and each of us has a place where our unique voice is needed. Don't try to be the next Steven Tyler Sam Smith, Ariana Grande A whoever they're already fulfilling the world's need for their unique voices . Instead, be the best you you can be, bringing the voice that is yours and yours alone into the holes that only you can fill. Whether that's a slot in the church choir or the spotlight at the Metropolitan Opera. Whatever it is you do, just go saying we all can't wait to you while I've got your attention. If you can make a quick stop by patriot dot com slash Jacobs vocal lessons, all one word. No underscores or anything and help support this YouTube channel. You really be really helping us out, and I hope you hope you've enjoyed the video. Go saying. 2. Five Essential Rules of Voice Care: voice care may not be the sex system most appealing topic for singers to ponder. But when you consider that without a healthy working voice, a singer becomes a mere mime artist, voice care becomes all the more interesting. I've got five essential voice care rules that every singer needs to live by. Coming right up centric Good day, they doctor, down here from the Voice Essentials channel. Thank you to Jacob for inviting me to talk with you all today. I love serving singers from across the globe and right across YouTube, and one of my favorite topics is voice Kid. Now, before he click away screaming, Boring, just ask yourself, What would you do if you could no longer sing? I know that sounds radical on a little exaggerated, but you'll have to trust me when I say that the health of your voice rests on the attitude towards your instruments care. So today I'm going to give you five essential rules of voice. Skip five Rules that it followed diligently will serve you and your vocal health throughout your lifetime. Now, the first rule to live by is the discipline of vocal warm ups. Now we all know that we should be doing a vocal warmer. But how many of us actually dedicate the 15 to 20 minute period each and every time before we use our voice for singing? I think if we're honest with ourselves, very fuel, this are is disciplined with this rule is we probably need to bay the benefits of a like a warmup heard in our performance and felt in the repair and rest stage following vocal Lied . Secondly, get into the habit of drinking your 2 to 3 liters of water agent every day. And when I say drinking, I actually mean sipping sculling a bottle of water immediately before you step on. The stage will only serve to such a right your bladder, causing you to leave for a way little whiz halfway through the performance. And that's not so cool. Good hate to our Have it. Seek toe hydrate your entire instrument across the whole day so that your bloodstream can help to keep your vocal folds well lubricated. Our third important voice care rule is technique. I know blah, blah, blah, but seriously, if your voice is technically deficient than it is almost certainly working too hard think about your voice uses having a budget. Now every voice has so much to spend each and every day. Technique is one of the few things that will increase your vocal budget, giving you more revenue to spend. Sadly, ah, voice devoid of technique runs the genuine risk of living under the vocal poverty line. This, in turn, can cause the singer to use their vocal budget inefficiently, which is a bit like leaving on a credit card. Living on credit for too long can lead to bankruptcy. And let me assure you, we want to avoid vocal bankruptcy at all costs. And unfortunately, this channel, Jacobs vocal academy and short courses like My Free Seven Days to a Better Voice program will help you to start the lifelong journey of vocal development. Often, when we think of voice kit, we naturally think of voice use well. Our fourth essential voice care rule is actually about when not to sing. Vocal rest cannot be overestimated as a necessary tool of voice care. Many singers have a bad habit of singing 24 7 I sing non stop in the lead up to a gig, and they continue singing immediately following a gig. Remember, our vocal budget only has so many coins in the purse. We need to learn to spend them wisely. Learn toe, identify when your voice is spent. Now, the key indicators of voice fatigue might include a sense of muscular tightness in the throat. The fundamental frequency of the spoken voice might drop a few semi times, or the vocal range may contract are learning to give the voice much needed. Rest might well be the difference between me vocal fatigue developing into a vocal disorder . Now our fifth and final essential voice care rule accounts for the fact that we don't know what we don't know. In today's modern age, there seems to be a fascination with the self made man. Now, how many times have you heard someone proudly state that they have never had a singing lesson? Whenever I hear this admission, I can't help but think so. What could have you become vocally when we don't invite others into our vocal development journey? We rob ourselves and our audience of our full potential, but it's not only singing teachers who can assist us at times, other voice care professionals need to be invited into our world of singing, lowering geologists, beach pathologists, physiotherapists and others all have the expertise to offer and direct your learning. I encourage you to take a moment to stop. Take your developmental journey and assess which voice care professional might best assist your current chapter of Greiff. We've just discussed five essential voice care rules. Vocal warmups, hydration, technique, technique, vocal rest and the voice care team. That's five. What have I missed in today's video? Leave your comments below so that we can all learn from your experience and thanks again to Jacob for the invitation to present on the channel. If you've enjoyed today's video, then I invite you to subscribe the Jacobs Channel and my own over Dr Dan's Voice Essentials . Where will always you always hear me sign off by saying on Dr Dan Sing Well 3. How To Sing In Harmony With O&O: Hey, everyone, My name is a Ryan. My name is over diet. We are Owen O in Americana Pop duo based in London. We love singing in harmony and have been taking together for about four years. In this video, we're gonna talk about the most common vocal harmonies for male female duet. We're gonna give you some practical examples and get you to sing along with us. Let's get started. Strange, Please see. So that's so what is vocal harmony? Vocal harmonies? Two or more notes, some by two or more people that together create accord. The relationship between the notes and the chords are called intervals. The notes you choose to sing are going to change the sound of the harmony. Some notes will make it somewhere dissonant. Some notes will make it sound more pleasing to the ear. Ah, basic good rule of thumb is to choose to sing notes from the accompanying guitar or piano courts. For this video, we're only gonna focus on two part harmony if over dies singing the melody because my voice is higher. The most common interval for me to use is 1/3 above. Here's an example of that from the classic song I Got You, Babe by Sonny and Cher And this is how the malady goes I got you pay I got you pay now I'm going to find my starting note 1/3 above opened eyes Malady listens over dies First note I I I got you I You may listen to the two parts together I got you pay you pay Now it's your turn to sing along Listen once more to the harmony I got you Day I got you Now I'm going to drop out and you're going to try and sing along with over Dia You pay you pay Sounds great if a rightness singing the melody It's usually too high for me to sing 1/3 above her So it makes more sense for me to sing 1/3 below. For example Listen to Ryan sing the melody of need you now, my lady antebellum It's now listen, TOBA dies singing harmony. Now listen to the two parts together. You may have noticed a slight change in the harmony on the word need. This is because just for that note, the harmony changes to a perfect fourth interval to better mass the guitar chord. But don't worry too much about the theory for now, just saying, because it sounds right now listen one more time to the harmony line on its own. Good. Now try and sing the harmony along with my melody line. It's awesome! Hopefully you got it. But if not, don't worry, because it takes a lot of practice, so repeat this video as many times as you need. This style of vocal harmony is known as close harmony or parallel harmony, because the interval between the two voices is small and the horny line moves parallel to the melody. This is only one style, among many other creative ways, to arrange vocal harmonies to give you an example of a different style. Listen to the Beatles, please please me, do you, in this example, the higher voice days on one note while the lower voice the melody changes, the interval is constantly changing, and that's what makes it sound so interesting. Listen to my part, which is only one note way. My part. The melody changes note every word to the way. No way. Thank you so much for watching, and we hope you learned something. Don't forget to check out our three top tips and beginners introduction, singing in harmony videos on our chance on followers in the links booth. 4. How To Breathe When Singing - With The Vocal Lexicon: Hello. Now, I want you to do something with me. Stay with me. Stay with me. I want to take you somewhere, Okay? So breathe in and then outs now. Was that hard? No, that's how it is when you're seeing you breathe normally, you see breathing shouldn't be taught as some uphill or alarming thing to do when you sing . No, When singers are taught, that's singing. It's on. Special thing to do is it creates distraction and a lot off tension. You know, because you're being taught something already do. It's not different from how you breed when you talk and I'll explain that. Okay, So stay with me. So how do you breathe when you're seeing? It's exactly the same way you breathe when you talk, you know, And, um, the concept off seeing flame Daph Ram Singh for your that friend, it's not It's not really possible, you see, because it's exactly how your dad from functions when you're not doing anything because you breathe all the time, right. When you sing from your diaphragm where you breathe in your your your stomach, you know your or your abdomen, you know, expands and when you breathe out it contract. It's exactly the same way when you sing. So was the role of the diaphragm. When you sing, I'm not saying the data from doesn't play any role. Of course it does. And it's exactly the same role it plays when you talk or when you know doing anything. When you breathe normally, he has the concepts. This is how it works. When you breathe in your diaphragm contracts or tightens up and it lowers, it goes downwards, and this creates more space in your chest cavity, allowing your lungs to expand. You see that, and when you breathe out, the opposite happens. It relaxes. Your diaphragm relaxes, and this reduces the space in your chest. Cavity is exactly the same way it works, is singing. You know, I know that there's some singers who experience problems with breathing, but trust me, this is This has nothing entirely to do with, you know, Lenin how to breathe in a special way, you know, because some of these problems are caused by the single feel feeling anxious or no singing with the right technique. Let's take the 1st 1 the singer, the singer filling ashes or singing with anxiety. You know, most things passed through that stage. In the beginning, you've not. You've never stood in the crowd before to sing, but I am doing it, you know you're starting out, and that anxiety creates breathing problems. Where the solution to that is, do it often come out much more, seeing more and more in front of people. And you master that kind off scenario and you become more relaxed, waiting in front of people. That's the solution. So it's not learning a special way to breathe. Okay, it has nothing to do with that. And, secondly, poor technique. You know, um, if you're in the habit off singing with the wrong technique, you know you're going up your range and you're releasing too much air. In other was the anatomy of the vocal cords. It's not in the way it should be. When you sing, you release much more air, the air will run out and you're gasping for air, so the social to that is learn how to seeing with technique that's that simple. So when you ascend your range, you release less air because the vocal cords zip up as you go up, up, up up. That's how it should be. Some of us were born with the fort mood of singing with the wrong technique. So you gotta learn it. Because the voice was created was meant to function in his in a special way. Like you're meant to, you know, walk and not, um, crawl. You know, you're meant to walk as a human, as a man or a woman as a girl. Boy. Okay, so it's the same way you're meant to sing with technique, but, you know, some of us were not born with this, you know? So we have to learn it along the way. So you may have that problem if, you know, saying we technique. So I said the solution is single techniques so that you can sing and release air the right way and not learn a special way off breathing. It's exactly the same way. Okay, You breathe when you talk or not doing anything. That's how it works, where you sing. All right. So keep practicing and let nothing distract you 5. WHY DO I HATE MY VOICE: Hi. This is Nick, with Jacob's vocal academy back for another lesson. Today's topic is pretty interesting. You see a lot of people, and you may yourself be one of them that say things like, I don't like my voice. My voice sounds weird. I wish I sounded like blank. This is something that a lot of singers struggle with, especially newer singers. People that have not heard themselves may be recorded as often or who just haven't gotten used to their own instrument yet. So first off, I would like to look at this from a more technical standpoint. You, as a singer, have your unique lare inks your instrument, and it can be used in a multitude of ways that are still uniquely her own. In using your larynx one or many of these various ways you're gonna make your sound your sound as a vocalist. As an actor, as whatever it may be, your using your voice for you're gonna develop your sound through a particular use of your lyrics. So that being said the first place you might consider altering your voices in your larynx, let me advise that this is not the first place I would recommend to change one's voice and that if you're going to choose to change your voice, change the sound production from the lair inks itself. It should be done so with some amount of care in some amount of caution. So you, as a singer right now, might have a very open, free voice with all sorts of residents, sounds in it and all sorts of good stuff like that. But maybe maybe you don't like that so much. Maybe you have heard yourself in recordings, or even just the way you hear yourself straight out of your mouth might be dissatisfying to you even though you're singing in a very free, healthful way. There may be other singers listening that have a much more tight, pinched approach to the lair inks that creates a unique sound that some people have come to like but that they themselves may not be so fund of. Or maybe they just can't keep using their lyrics in this unhealthy way. Oh, you might be a single like Louis Armstrong making use of your second set of vocal votes. Bad impressions of Louis Armstrong aside, it can be noted here that all of these techniques of manipulating the lair inks of pinching and squeezing and poking and prodding and all sorts of different ways will in fact make different sounds. But I would advise that you go for the most relaxed, most natural sound you can and instead modify it in some of these other ways. To begin with, you might try an accent just a very thin accent and see what it does to your voice. See what it does to the overtones in your voice, especially if you're recording. It will change a lot of the sound you're making. You might find that you like them more or less. And then perhaps in lieu of an actual accent, you can try just placing the sounds deliberately into different parts of the mouth. For example, if you place them kind of in the back of the mouth and keep it nice and relaxed, your whole mouth wide open the whole time, you kind of take out a lot of the higher residence and then on the total opposite innovative, you send it towards the front of your mouth. There's nothing but high nasal Lee residents left, so just for a quick example, I'm gonna seeing the same note on the same vowel in a few different ways and show you how just the shape of my mouth and the general production of the Vow can really alter the sound dramatically. I could started out nice and dark and go Oh, that I could brighten it up a little bit with basically the same vow and go, Ah, I could bring it really far forward. Ah, all basically the same Larry Angel production. But the shape of my mouth and where the sound is being sent and how it's being developed by the shape of my mouth changes it dramatically. Using these ideas start from the most relaxed, natural feeling place you can get your voice, and from there, if you're not satisfied with it, go ahead and try to apply some of those ideas. Apply some vowel manipulations, some some difference in and where you're sending the sound. Some difference in that sort of sound production before you worry to mount too much about changing the Lorenzo production, as that could become very quickly damaging, especially if you're not under regular professional guidance. So that's about as much as I want to say, as far as actually changing the voice as far as manipulating and developing the sound of your voice. I don't want to send anyone a stray and have you doing anything that you shouldn't be. And really, I think you are your own best guide post on that. If you do something and think, Oh, man, that hurt my throat. Don't do it again. Just don't ever do it again. It can't be healthy. And if you like the sound or not, you shouldn't be doing it if it isn't healthy. But if you do something and make this awesome crazy noise that George's head over heels about and your throat feels fine and you feel like you could do it 100 times, you may have found something. But now I want to touch on the more sensitive side of this whole thing about not liking one's voice and about wanting to manipulate one's voice. Our voices are organic, they are given to us genetically there, developed societally and eventually they become hours. Each one of us has the voice that we know that comes out of our own head the way it sounds in our own mouth behind our own ears, and it's very much a part of ourselves, and especially for singers and performers, we find our voice to be part of our identity, and that could make it really difficult. If you don't like the sound of your voice, that could mean for you that you don't like part of who you think you are as a person, whether or not it has anything to do with your character. If you place a value in the sound of your voice and aren't happy with it, you're not gonna be happy with part of yourself. And so before you go changing your voice or trying to find a new way to sound, I would encourage you to start off with just himself. Love. I think that's one of the key things for any singer, and really, any performer is just to love yourself. So I guess my other big piece of advice is just to love yourself. That can really be a big thing for a lot of singers and just a lot of performers in general . It's difficult to love yourself sometimes, but you'll find that if you do, they're several benefits that come with it. I think the first and foremost has to be just the sense of self worth and the sense of satisfaction. When you love yourself, you're you're free to sing as as yourself. You don't feel the pressure to manipulate the voice or to manipulate the performance in any way when you're when you love yourself. You know, right from the start that your performance is gonna be genuine, and it's gonna be honest. But self love also goes a long way in a lot of other performance areas. For example, if you're gonna be less nervous if you go in knowing that you're gonna kill the performance or the audition, you're gonna have a more natural flowing tone. You're going to give a performance that's much more honest not only to the performance itself, but who you are as a person and who you bring to the table. So before you go changing your voice, I think the first thing to do is to practice himself, love to sing more often, to sing more loudly and t just learn what your instrument is and learn to love it as part of you. And if you ever find yourself thinking Oh, I really love the way lank sounds. Or I really wish I sounded more like this or that person. I have two things to say about that one. If you're hearing them on a recording, particularly a studio recording that's been processed and mixed nit pick to death. What you're hearing isn't really what they sound like. Even fine singers, air manipulated very heavily through the use of studio technology. And also, why would you need to sound like them? We already have their voice in the world. Now we need yours. 6. Does Voice Classification Matter?: Hi, This is Nick with Jacob's vocal Academy back for another lesson. Today, we're gonna be talking about voice parts. More specifically, I want to talk about what our voice parts and how much do they really matter their roots, where they come from and why we've used them and why you may or may not need them now. So first off, what far the voice parts you've probably heard of them before. From highest to lowest, you've heard soprano, maybe mezzo soprano and altos and then for the men you've heard of tenors, baritones and bases. Generally, these different names suggest the thickness of the vocal folds, the thinnest, lightest folds being the Sopranos, the highest voices and the thickest heaviest being. The base is the lowest voices. This classifications system finds its roots in opera, where not only are the voice is divided into the more commonly known parts but are also divided more specifically into what are known as fox. So for a tenner, for example, you could be a lyric tenor or a dramatic tenor, or even something is drastically different as a countertenor, which is a sort of false set of strange sopranos, could be lyric or soup bread or the flashy, very quick and agile color. A Tora baritones can be dramatic or lyric as well. They could be a lower bass baritone or even go as low as the true base or bass boof. Oh, it's worth noting here, particularly for the young classical singers listening that you may not and likely won't know your father for quite some time. And even then you may not fit very specifically into one FAQ or another. I would recommend that you simply try to seeing in the most comfortable, healthful way possible. This voice classification system also serves a large purpose to the contemporary singer and that it can give a beginning singer a great starting point to begin understanding their instrument, their unique voice. For contemporary singers, that is about as far as the usefulness of the voice classifications system goes. Largely it's up to the contemporary singer to find his or her own unique voice in the most healthful way they can in the way that they believe they can sustain as indefinitely as possible while giving a great performance. There shouldn't be a manipulation of the tone or manipulation of the range and any unhelpful way. But instead, the singer should just allow their unique instrument to be presented in their performance. So if you are a contemporary singer trying to find your voice part trying to figure out where you fit in, it's worth stating the obvious and pointing out that the lowest of bass singers probably shouldn't be singing along to Rush and you, too, and that the highest, lightest Sopranos might not be the best suited to seeing share tunes. One's voice part should be an entryway into singing. It should be the best way to find a healthful place for your voice to resonate and for you to begin learning how to use your instrument. However, you shouldn't adhere so strictly to any particular voice part that you may or may not be, that it would be detrimental to the overall quality of your voice to the quality of your singing. Most contemporary singers, instead can just spend their time finding their unique sound, finding that sound that their particular instrument makes, that sets them out from the crowd that they can still make healthfully and continuously in order to take their instrument on the road and perform regularly in regards to the extensions of one's range, notched in terms of the actual note range. But in terms of sounds and textures produced by the voice, you should look to voice actors for examples. Seth Macfarlane, the creator of American Dad and Family Guy, has a breadth of voices well beyond his natural baritone speaking voice. Tom Kenny Starve SpongeBob Kevin Michael Richardson, Fantastic voice actor, has a massive baritone bass voice and yet gives some of the highest lightest performances possible simply because he's learned his instrument and learned how to use it to the bullets of its capabilities. Another great example is Marc Hamel, a man capable of playing both Luke Skywalker and the Joker, all with the same lyrics. But whether you're a new singer, just beginning to find your voice or an old vet trying to learn your instrument a little better, finding one's voice part can be extremely helpful in learning your best range and the sort of area you should be singing. However, you shouldn't feel restricted to this range, and you should do whatever feels healthful and fun and good when you're singing, always take your own health into account. First, make sure you're drinking plenty of water, but feel free to explore. You might even surprise yourself 7. Why Am I Experiencing Vocal Strain With Kimberley Smith: hi Kim from inspired to sing dot com here and today I want to unravel some of the reasons why you might be feeling like you're straining your voice so that sort of throat tension that gripping that, pushing whatever it is at the throat level that is making you feel like you can't sing with a so you can project the sound easily. So the first thing that I wanted to touch on is that people generally start too strong or too high, too quickly. Learning to thing takes time. It takes time to train your body to do different things to learn the different techniques. And so you want to be doing that, upping at an incremental stages so gradually making it harder and harder for yourself. You don't want to start out with some crazy Whitney Houston pal. Balance. You want to start with things that are a little bit easier and challenge yourself in little steps so it will be. The first thing is really listen to your body. It will tell you it will strain a lot if this song is far too hard for you on toe. Let your voice do what it wants to do, and then you can start to tweet different things. So one of the things that I see in contemporary musical theater singers a lot is that they try to replicate what the recording artist has done, and often that is a lot more powerful than what their voice or where their voices at. So you're trying to aim for this massive belt note, but actually you would be able to sing it quite comfortably in a lighter mix or in your head voice. So we just we just start listening and comparing ourselves and trying to do whatever it takes to match that night. Wyndham Reality. We should take it easy, and we should listen to what our body wants to do and what it can do and then work from there. So that's my first tip is really listen to your body. The second thing is muscle tension, so tense muscles of no only absorb your sound but obviously make it a lot harder for you to get the sound out, and it just feels really uncomfortable. So let's talk about how to get rid of it. So there are three places that muscle tension is most common that then create that feeling of strain at the threat level. The 1st 1 is the tongue. So the tongue usually when when we think that it's too high or too hard and we kind of wanting to to push it out, the tongue gets involved. And what happens is that usually pulls back, pushes forward or hovers in mid air, all of which create tension, particularly at the root of the tongue, which is far further back than we actually realize. So in order to get rid of this tension, you're gonna do something a little bit crazy and put the tip of it behind your bottom front eighth. And then I want you to imagine that you've hit it with anesthetic so can't move. And you're gonna feel really stupid. You're gonna single line really dope early. So you can't even understand the words. All you're trying to focus on is to eliminate that tongue tension, almost having it dead and not able to move. Then, once you've done that for a few times, start to gently articulates it started to make a little bit more sense out of those words until you get to a point where you can actually understand what you're saying, but the tongue is staying relaxed. I know you're gonna feel crazy, but it's it's with it. I would never tell you to do something that made you embarrassed. That wasn't with it. The second thing is the jaw. So often the door tension travels down the neck. We can really feel it going through there, which obviously impacts on the throat. You want to make sure that the Joris nice and soft and people like Teoh either touch the jaw to realize what's going on or practice in front of a mirror. So they get a bit of an idea of when they're doing it, and they can have that visual or that feeling that reminds them to let it go. The 3rd 1 is at the abdominal muscles so often I find that when people are confused about how to support their voice, you know they've been taught to sing from the diaphragm, which is one of my pet peeve phrases in the industry. They tell the content to tighten their abdominal muscles. I suck them in, and if you do that for me now, if you suck in your abdominal muscles and then release them and then suck them in. So do that a few times. Pay attention to what you can feel at the base of the throat. Can you feel a tightening when you grip your abdominal muscles in? That's not great. So we don't want to kind of fake this idea of support by activating these muscles that actually don't give you any more volume or power or control when you're activating them like that anyway. So in order to do this, it's again about focus. You want to breathe, you want to sing and just keep almost your mind's eye on those abdominal muscles. Sometimes people again like to touch the abdominal muscles as a physical reminder to let them go and to keep them tension free on the last piece of the puzzle, which is closely related to this is actually proper breath support. So often when we're trying to go for big or high or what we deem is difficult notes, we tend to either push far more air at our vocal cords or not give them enough air. We really kind of pull back on. What they need is just the right amount of air pressure to be working correctly and working efficiently. And unfortunately, we often kind of have this this misguided idea of what that means. So I'm going to get you to sing a Norwich just any night. You don't have to do the one that I'm doing. Just something nice and easy on an R So breathing in Ah, beautiful. Now I want you to do sort of a small to medium hiss, and you're actually going to start that hiss. Get a sense of what that feels like in terms of your body because we're trying to build up a little bit of air pressure and then you're going to move on to the are trying to keep that air pressure completely the same. So always freezing everything here. So you do. Ah, how does that feel? Different. Can you get a sense that you're actually controlling the movement of the diaphragm? So you're resisting from that end and the vocal chords air resisting from this end, you're getting that buildup of air pressure Now, this isn't a huge amount of air pressure, I said, small to medium. You can increase that, the stronger that you want it. But again, going back to that first point. Please, please listen to your body and gradually get stronger when you know how to do that safely. So you want to start with that smaller hiss and get a sense of kind of coasting on top of that breath. So not pushing the air to create the sound but coasting on top of that air pressure, one of my students said, It's kind of like this is a balloon like you're on top of a balloon on. One of my other students said that it felt like they were standing on top of a Cecil or think it's like a Tito Tota in America. Getting that balance are really trying to, like, ride that breath. Will that balance? You should feel much more grounded, and it should feel like it's more controlled, but not from the throat level. So I hope that that was helpful. Please remember to listen to your body, really check in with what it feels like, and if you've got one of these habits, is gonna take all of your Farkas to sort of change that habit to build it into your muscle memory. So just be patient. Please. If you've got any questions or anything, back, please leave a comment below. Otherwise have a fantastic day. 8. 5 Tips for How to Sing High Notes With Chris Keller: Hey, Singers Christopher Douglas Color here from Chris Keller, Vieques Studios. Recently, my friend Jacob from Jacob's vocal academy asked me to do a video for his YouTube channel, and I thought, I'm very honored. Of course, I'd love to do a video for your YouTube channel, and I asked Jacob, I said, What would you like me to do? What? What topic? What particular part of the voice would you like me to a video for? And he said, How about high notes? Mm hm. How to sing high notes. Truth is, there's no way any vocal coach can put in one video how to seeing high notes. There's no shortcuts. It takes a lot of practice and dedication. However, it did get me thinking. I always get requested to teach people how to sing high notes. Chris, can you teach me how to sing high notes. You two messages. Facebook messages, messages on instagram. So I present to you five easy steps to singing high notes. Step number one. Relax. No, really, it's a simple is that Relax that literally is the first step. But Chris, how do I make sure I'm relaxed when I'm trying to sing I'm going to give you an exercise for that. In fact, I'm going to give you an exercise for each one of these five steps. What's a good exercise for relaxing? Well, I guarantee every single one of you watching this video right now is doing it, and that exercise is breathing. Breathe in, breathe out, Inhale Exhale that does so much, not only for you physically, but also mentally. When you take a big, healthy breath in and you let it out, you feel relaxed. It's the same thing at the end of the day when you go, Ah, it's been a long day now. There are many ways you can breathe, and that's one of the problems was singing is there's all these different things out there , all these different coaches in all these different techniques. Truth is, don't worry about it. As long as you're breathing in and exhaling, that's what's important. You can focus on the diet frame. You can focus on all these other things, but tell you what. If you're inhaling and exhaling, that's all that matters. I will suggest one thing I know a lot of vocal coaches like to breathe in through the nose . I prefer to breathe in through the mouth, especially for commercial music in traditional music, breathing in through the nose. You have time to do that. However, when seeing commercial music, you don't have time to go. Oh, in between phrases. So practice. Taking a big, deep breath, letting it all out and maintaining that easy feeling you have Whenever you feel that you're struggling to hit a high note, take a big, deep breath, relax and then start trying to hit that I know. Step Number two experiment. I don't see enough students experimenting. What do you mean by experimenting? Chris? Think logically. Think like a scientist. Whenever you have trouble hitting a note, step back and say, Why did I have trouble hitting the note? Is it because I haven't been doing my exercises? Is it because I just don't know how to do it? It could be multiple things, However. One of the biggest things I find when someone struggling to hit a high note is they haven't tried multiple ways to hit it. They do it one way and say, I can't do it. Try to do it other ways. There's other routes. Everybody's voice is different. Sometimes you might make some crazy, weird sound, and all of a sudden you realize you're hitting some crazy high note and think, Wow, how am I hitting that note right now? Step back, use the scientific method and say, What did I do? What's going on in my throat? What's going on with my tongue? What was I doing with my air? What was I doing with my chin? There's so many things that go in tow what you're doing. Don't be afraid to try new things. It's actually one of the best, easiest fun ways to learn your voice. And you are learning your voice, doing your own thing. And to me, that's one of the coolest things in the world. And you're not repeating what a vocal coach is telling you. You're not just repeating what a CD is telling you. You're figuring out your voice a great exercise to start working on. Experimentation is taking one of the simplest, easiest scales you can possibly think of that you've heard on any program you worked with any vocal coach, and it's a five note simple scale. Mama, Mama, Mama, Mama, Mom. Simple. Is that I can take any sound. Oui, Oui, oui, oui, oui, oui, oui, oui, oui. I could say wow. Why? While while while while while while Wow And here's where the experimentation comes in As you do each one of them on whatever step you go up to However high you go however low you go try it different ways Take one Sound like the word we like I just did And try it several ways We we we really we we we we let me try differently We, we, we, we we we we we we that didn't feel good. What did I do differently, But it sounded kind of low, but it also sounded kind of. It was tough to hit that top note. What did I do differently or Oui, oui, oui, oui, oui, oui, oui, oui, Oui. What happened there? I think I got in my nose. Well, what if I plug my nose up way? That was kind of cool. We we we we we we we we we I felt like I really opened up my voice a little bit more. What did I do? Experiment. It sounds extremely simple, but go ahead and do it. You'll be surprised at what you can learn about your voice. Step number three. Be attentive. What does that mean? Pay attention. Listen and not just listen to what your vocal coaches telling you were not. Just listen to ah YouTube video. Not just listen to what you heard on a CD program. Listen to yourself. It's so easy to get caught up listening to everything else except yourself. Listen to yourself. When is the best time to listen to yourself? Well, truly, all the time. But there's a special place we usually forget to listen, and that's in the middle of phrases. I see this with so many of my students. They don't listen to what their voices doing between A and B. Why do we sometimes take that high note and make it so difficult? We're not listening. How we're going up to the high note. We might look at the beginning note we might look at the end note. We might even look at the high note itself. But somewhere along the way between this note in this note, all in here you're not really paying attention. My favorite exercises to do to be attentive goes like this way. We simple is that Why is that exercise so important when it comes to being attentive? Well, here's the fun part. Start in a light, Easy head voice, big breath. Relax way No. As you descend, you're going from the active to the fifth way. What did your voice I want to do in the middle? It wants to go We and flip you need to make that flip is easy and light and flowing as possible way we, we, we we You can do it on multiple syllables. Some will make the flip stand out even more. Whoa! Wow. While while while wow just like that that's good. I'm not worried about smoothing out through there right now. I'm not performing right now. I'm doing an exercise and I'm learning to be attentive to my voice. You'll be very surprised when you first start doing this. If you've never done it before way, we those middle notes kind of disappear your not actually hitting them We change the way we say the sound If the sound is we we go way. We're we're well instead of we be attentive. Listen, pay attention if you're changing this sound from we Wow way Nay gu Go, Mum, Whatever you're doing, all these manipulations and when you're making manipulations, you're making it difficult to seeing. You're making it difficult for your voice to go through registers. And anyone who knows about trying to say high notes You know, ah, lot of times it's about going up into a different register. Once we start working on bridging the gap between each register, I promise you your high notes will get easier and easier. But this particular exercise, as many of my students know, takes a lot of practice. And guess what? That's okay, Step number four, and this is one of my favorite ones. Be confident. What do you mean, Chris? By being confident, should I confidently hit a note even though I struggled to hit it? Yes, yes, you should. Because if you put the time and practice into your exercises, I promise you, if you have that confidence, all that time in practice you've done in those exercises will slowly start fading into your performances. I promise you now a good exercise to work on confidence, and this one is kind of fun because it's a little different and it's not something that many people work on with their vocal coaches or in a program. This exercise literally involves speaking, speaking, you say Yes speaking. Take the lyrics to any one of your songs, especially one of the songs. You feel like you struggle with a bit. Not necessarily one of the hardest songs out there, but something that's just challenging enough where you know there's a couple notes that are a little difficult to hit. What I'm going to do is start with the chorus to one of my Douglas Warren songs called Stars. Take a Deep breath, Look up into the night sky, steering to the past I'm holding on real tight distance Don't matter, hold you in my arms. Tonight I see the stars through your eyes. Now that is the course to my song stars. Yes, there are some higher notes in the song if you want to check it out online. But how do I exercise? Being confident with the chorus and speaking the words simple is this. Take a deep breath. Look up into the night sky, stare into the past. I'm holding on real tight distance. Don't matter. I'll hold you in my arms tonight I literally spoke through the words notice. Though I did my best to enunciate every single continent, every single dip thong. I did what I call chewing my words a little bit. Now, chewing your words doesn't mean to be punchy. You don't want to be bursting with your words. You want to take the time with him, Chew them slowly. Say them slowly. What happens is your voice. All this muscle memory will start clicking in, and as soon as you go to sing it back in the song. After speaking it repeatedly over and over again, you'll notice a lot of the words. Start lining up very well. And then what? You can do it. Start taking those words and putting them on one pitch. Take a deep breath, look up into the night sky, stare into the past. I'm holding on real tight distance. Don't matter. I'll hold you in my arms. Tonight I see the stars through your eyes, and as you do it, you want to make it feel like you're just speaking confidently. Not loudly, not shouting, not demanding, but confidently. Take a deep breath. Look up into the night sky stare into the past I'm holding on real tight distance Don't matter I'll hold you in my arms Tonight I see the stars through your eyes and it really feels like it's just a step above my normal, everyday indoor speaking voice. And as you work on that, you can continue step by step Take a deep breath look up into the night sky, stare into the past I'm holding on riel tied distance Don't matter I'll hold you in my arms Tonight I see the stars through your eyes Take a deep breath, look up into the night sky, stare into the past I'm holding on real type distance Don't matter. I hold you in my arms Tonight I see the stars through your eyes So get to work, learn your lyrics and be confident. Last but not least, step five. Now I believe this is one of the most important steps to getting better at singing. High notes. What is so important? Patients. I don't see enough singers being patient with their voice. We've all heard the phrase Rome wasn't built in a day. Guess what? Neither were high notes getting better. Ah, high notes takes a lot of time, practice and effort into doing it. So be patient. Take the time. Don't expect it to happen overnight. Don't expect it to happen in one voice lesson. In fact, don't expect it to happen in 10 voice lessons. Sometimes it just takes time. It could take six months. It could take two months. If you're lucky, it could take years. And truthfully, almost every single good singer I know it takes years to be where they are at most importantly, when practicing patients with your voice, remember, it's not about muscle and power. Ah, lot of it comes from finesse and coordination, and that takes patients in order to achieve that. Don't fall for some silly marketing that says you can learn how to seeing all these notes instantly because the truth is no, you can't. Now this last exercise is going to test your patients. Nay, nay, nay, Nay A. That's it. Name a main AA trenaunay for note. How about a wow Wow! Wow! Ah ah! About a we way Now the secret to doing this exercise properly and doing it efficiently and actually getting something out of it is yes, patients, but also applying everything else. We talked about relaxing, experimenting, being attentive, being confident. All of that applies to this exercise. It's not the easiest exercise in the world, and it's not supposed to be. That's why it takes some patients in order to finally get it where you want to get it. I've been working on this exercise for a while now, and some days it's just easier to do than other days. Be aware it's meant to be difficult. Why? Because you're a sending right through that first bridge or maybe later your second bridge . And guess what? That's difficult to do. You already knew that. And that's why this exercise takes some time and involves patient as you go through your first bridge. What you don't want to do. Nay, they named. It has changed the way you're saying the word. You want to keep open. You want to stay relaxed. You want to be attentive into what's happening through there. You want to be confident and go for that top note. You want to try it multiple ways. Try with different syllables. Try with different sounds. Once you start getting more comfortable with it, start moving up with it Nay, Nay, nay, nay a nay, Nay, nay, nay a nee nee nee nee a maintaining a one more. Nay, Nay, Nay, Nay. Hey, and I probably have a few more in there, but that's because I've spent a lot of time doing this exercise. I spent a lot of time doing a lot of exercises. Over the years, I've sung a lot of songs. I do gigs for four hours straight, including songs like from bands like Zeppelin Journey, ZZ Top and in order to finally get to be able to do that four hours straight with a big, loud band behind me. It took me a lot of time. I had to be patient. I had to experiment. When I get on stage, I have to try sometimes something new, because maybe the last song I didn't hit the note as easily as I wanted to. I got to make a change. What am I going to do? That all depends on what I did the last time. So there you have it. Five easy steps to singing high notes. But let's be real. Singing high notes isn't that easy. But follow these five steps and I promise it will get easier. In fact, every single thing you learn in any vocal lesson or in any program will get easier if you follow these five easy steps. So good luck singers go out there and seeing Don't get frustrated, work hard all day and when you go perform, pretend you never took a voice lesson. Sing because you enjoy singing. Sing from the heart. Don't sing because someone told you to sing because you 12 it's a Z Z is that thank you, Jacob from Jacob's vocal Academy. It has truly been an honor to do a video for your page. And, yes, I am available for vocal lessons. Get me on my website. Chris Keller, Vieques studios dot com Look forward to working with you. Thank you. No way I see it. 9. How To Do The Lip Roll: singing Tip number three. How to Do the Lip Row The Pro is a vocal exercise that has become very popular because of the many benefits it has because of the liberals. Many benefits. It kind of does the same as many other vocal exercises combined. So instead of doing a ton of different vocal exercises, you can just do this one. The liberal has a couple of main things that it does. One of them is that it takes the pressure off your vocal cords and puts it onto the lips. This is important because then you can do your vocal warm ups without straining your voice at all. The other thing that it does is that it helps your voice to get a good compression to a voice doesn't crack or break. In other words, it helps getting vocal closure, which is something that people often have trouble with. So with the lip row, you can easily smoothing out those cracks throughout your vocal range while keeping detention off your vocal cords. So now I want to show how to do it. The liberal can be really hard to do if you just do them normally, it becomes so much easier if you use your hands to help. So what you want to do is you want to push your cheeks in with your fingers like this. This removes the vibrations in your cheeks and makes it so much easier to do the lip row. So that's how you do the lip pro. Thank you for watching. 10. How To Fix Vocal Damage: Hey there, songbirds. I'm Grace, and this is your singing tip of the week. Ah, lot of my songbirds have complained about having some sort of damage to their voice, and they say that they have lost their ability to sing well. As a result, if this is something that you can relate to thin, here are a few steps I'd like you to take. Number one. See an anti doctor who specializes in the vocal chords. They will stick a camera up your nose. I know to see what the cords look like and rule out any polyps, assists or abnormal rhythms in the courts. And even if they find something, don't panic. These are things that can be remedied with your doctor or with the help of a professional voice coach like myself. Number two. Once you've ruled out anything that may need medical attention, chances are you just need to reconnect with records and have them start cooperating with each other again. Here's a tip. Start working your cords from the very smallest vibration and build them up slowly. I do not have Hello by Adele Beer daily. Warm up An estimation of your boys at the moment you'll get there. Just be patient and kind to your cords. Here's a warmup example. Vocal fry up and down your range just to connect the cords and close them in the nicest, slowest way possible. Add some value to your vocal fry like this. Go nice and easy. Use a low lair, inks exercise like a moment and incorporate the vocal fry like this. Do these three routines every morning for about two weeks and try to speak and sing in a moderate volume throughout the day. Louder is never better. Remember to keep sending me your questions and join me on Facebook, YouTube and Twitter for more just videos. See you next Friday. Rock on songbirds. 11. Recommended Water Intake For Singing: singing Tip number one. Drink lots of water. A really important thing as a singer is staying hydrated. This is a crucial thing to gain flexibility in your vocal cords and sing with ease. It will not only benefit your singing, but also the health of your body. You will not be able to perform and your best if you're no hydrated. The adequate water intake for men is roughly three liters a day and 2.2 litres for women. If you have a hard time drinking that much water, you could try eating foods that contain water. In this way, you get extra water intake without having to actually drink water. An example of this could be cucumber Mylan Ports of March. Do not wait until you are onstage to hydrate yourself. It takes time for your body to consume the water so it's won't get rid of the dryness if you do it just before or while singing. Instead, you should make sure to stay hydrated throughout the day by spanning your intake over a full day. So remember, if you want to sing clear, you need to be hydrated. Thank you for watching 12. 5 Minute Vocal Warm Up: We are starting with the hum now, Mom Now lip role arpeggio now arpeggio on GOOG. 13. Get 14 Days Of Vocal Coaching For FREE: what's going on, guys? So today I want to show you guys what's inside the course that we just launched. So basically the other day, we launched a full course that's gonna teach you guys how to sing, and we re launched it with a 14 day free trial. So basically, right now, you can join for free and try it out for 14 days without paying. You are only going to get charged if you stay for more than 14 days so you can check it out , see if it's something for you. And, yeah, so I leave a link in the in the scripts box and let's get to what's inside the course. So, as you can see, we have a short introduction where I get you guys inside our student group, our Facebook group, where you guys can talk to each other, help each other out. You can contact me if you want, need help, and you can talk to head A if you need to help from her. And, yeah, we may be live streaming in there at some point as well, but we're not there yet, so and we have the believe in yourself section which is basically gonna hopefully go get you guys to believe in yourself. I believe that you can learn to sing. Uh, I believe that you can learn to sing well, even though you don't, you know you're not there yet, so yeah, it's just a serious of videos off other people talking about their local journey and, uh, what they like, what they're doing now and how long they have been singing for. And, uh, I also sort of stuff like that. And then we have the gift status section, which is basically, uh, it's a section that's gonna teach you guys to be part off a band. So if you end up singing well, which I hope you do, then you are probably gonna want to sing in a musical context. So you don't wanna sing alone. But in the musical context, where you have to listen to all the other instruments. And if you can't do that, you're not really a complete singer. So this is what this section is gonna teach you about. And then we have the posture section, which it's very important, very important to have a good posture when you sing. So you get eso, you reach your full potential in terms self airflow and stuff like that. Then we have the breathing section, which is probably one of the most important sections in the whole course. Together with support, these two modules are pretty much the foundation off a good voice. So you don't have thes down. Then you will get problems later on with other techniques and stuff like that, and you won't be able to sing health healthily. That's hot work anyway. And support. I just explained that in tune a lot of you guys have problems with singing in tune something. You guys think that you are tone deaf and I promise you that is something you can be taught . It's not something that you're just born with and can't do anything about. You can learn how to sing into Okay, so that's basically what we cover in here. So if you don't know how to sing in tune if you think you're tone deaf, this is for you, Okay? And then we have the rhythm section, which is gonna teach about rhythm, different counting systems and stuff like that to make sure you're not all over the place. when you play in a band and stuff like that. And, uh, relaxation section is all about getting you guys to relax on, get rid off the tension in your body so you can sing with freedom. Um, yeah, that's basically and the last section is songs for rehearsal. And in here we have a ton of content. We have around 16 to 19 videos per song. And in those videos, we are gonna go through all the different techniques that we teach you early on in the course and pretty much guide you through what you are supposed to do with those techniques in that specific song. So pretty much get to apply the techniques that you learn in the course in specific song. So you guys know how to use it in a real sword? So, yeah, that's basically what's inside the course. For now, we are gonna keep creating content for the course and ask stuff like riffs on drums and brought oh, stuff and Maura band stuff. Right now we are teaching all the way from scratch. So even though you don't have an experience at all, then you can still join and learn how to sing. I'll put the link for it down in this. In the description, you could try it out for free, and I hope to see you guys at the course and in the student group and I'll see you in the next year.