BECOME A GREAT SINGER: Your Complete Vocal Training System

1. Robert Lunte & The Vocalist Studio: My name is Robert Lenti. I'm the founder of the Vocalist studio. I will be your teacher and coach during this course. I've been teaching and coaching singers and voice teachers for almost 20 years. I'm the author of a best selling book on vocal training techniques called The Four Pillars of Singing and the creator of the world's most comprehensive online training course for seniors. Both have sold in over 90 countries around the world. Techniques I teach have also been sought after by voice. Teachers around the world participated in the TVs Certified Instructor program offered by our company. I developed this course with the objective to offer singers the best home study program in the world, which means that everything a singer will want or need to train their voice has to be available. And it is. The course is designed to help any singer at any level of experience learn how to train to build strength and coordination for singing techniques and concepts. In this program are a compilation of the best practice best current ideas available for training singers in the world today, all inside of one comprehensive program. If you practice this course, will yield profoundly noticeable results in about 2 to 6 weeks of training for those students that train up to 90 days on really get after it potential for singing just about anything you desire with complete physical and creative freedom is extremely high. Some of the key techniques you will learn in this course is how to train with step by step work flows that makes training more efficient and relevant. Warm up your voice on a bridge, your vocal break bridge the registers chest voice, head voice work. How to build the strength of your singing musculature like belt musculature in your head voice so you can sing chest voice. Hi, How do you singing vows to maximize your residence and sound color and the fun stuff. Vocal effects. Four vocal distortion techniques, vibrato, sobbing and the yard. And of course, you're gonna drastically expand your vocal range, which is something that all singers are needing to do and we all want. Your voice will essentially grow stronger and more coordinated, just like any set of muscles. But you have to be patient. It takes time for the voice muscles to strengthen and build the coordination. You need great This is an athletic endeavor. That is why at TVs we like to say we trained local athletes. If you stick with it, you will begin to seeing better. In fact, most people that stick with it seeing a lot better. It's just a matter of application and committed. Now take a look at the course. Take a look at the description, feel free to reach out to me to have any questions. That being said, it started and looked for helping out. 2. Microphone Ergonomics and TVS Grips: from time to time. When you watch me seeing or trained on that video demonstration footage in your copy of the four pillars of singing, you might see me holding my microphone in kind of ah, unique way a bit like this. And let me let me talk about this. This is one of two special microphone grips that I use and teach to my students. These particular microphone grips are a benefit or advantageous to your singing because they stop any risk of having tension creep Now, tension creep is a word that we use in TVs talk track. That just means tension creeping up your arm into your shoulders into your neck and contributing to bigger problems like intrinsic constriction and things like this. So when you're singing the way you hold, the mike can really have a big influence on whether or not you're feeling stressed out or not. For starters, the first grip I want to show you is someone that we don't want. I'm gonna call it the Rotten Rotten will name it after Johnny Rotten, who was the lead singer of the Sex Pistols. Okay, it looks like that you hold the mic like that you're gonna grip on down and you're breaking your risk. And if you do all of this stuff, you're just going to create a lot of tension creep. And this is kind of what a lot of people will default to. They'll get into something like that, breaking the risk and even squeezing too hard on the mike. It's just chock full of problems, so we don't want to hold the mic. We want to support the mic or, in a more graceful way, support the weight of the microphone. Grip. Number one is the it's titled The Rack, or we call this the rack grip. This is the rack grip. Good. You'll see that my pinky is underneath. My thumb is leveraged against the rim on the mesh. Now most microphones have this. This this edge right here on the mesh, and what I want to do is take the inside edge of your thumb and just push in and leverage that a bit as much as you can. And generally speaking, kind of getting out to your to your fingertips. Now it needs to be. It needs to be comfortable. Don't put your microphone in any position that's just sound. Feels too weird or too uncomfortable. But generally speaking, it looks a bit like this. It's very elegant. The risk does not break that super pro, and it's called the rack. Excellent. The other grip that we want is called the cradle grip. The cradle grip is my preference. It looks kind of cool, but it feels great as well, which is most important to get into the creative grip. You're going to put your hand out flat like this. You have the hand that you're holding your microphone with. Put it out flat. Take the microphone onda and place it between your pinky and your ring finger just like this. Okay, then bring your top three fingers together. Wrap those fingers up to the mesh and that's right. Bring it up to the up to the screen up to the mesh and it's OK. Don't worry about feedback. It really won't Feedback. As long as you don't get over. The top is the things you don't bring your thumb over the top or you cover the top. You probably not going to get feedback again. Flat palm microphone between your pinky and your ring finger. Bring your three fingers together, flushed like this. Bring them up against the mesh, and then the final position with your thumb, you're gonna bring your thumb across the top. Okay, so you end up with this position, okay? With the thumb across the top. Now, if I take this cradle position and I just relax, my arm boom microphone just falls nice and flush right here. When I'm ready to sing, all I have to do is just comes straight up and and in the cradle position, the Michael just come perfectly right in front of your lips at a 45 degree angle with no risk breaking Andi in a very comfortable position. At first, the credo grip feels a bit like a golf grip. It's a little bit exotic, but really like within 10 minutes or so when, in about 10 or 15 minutes, you can begin to really feel the comfort and appreciate how the cradle grip really helps you sing. Better, reduce tension and just have the microphone more comfortable in your hand. One more thing, I want to point out. There are microphone manufacturers that are concerned about ergonomics or the way industrial design fits in the comfort of the human body. In other words, how this microphone feels in my hand is is called ergonomics. And obviously a microphone should have great economics lately. A lot of microphone manufacturers like TC Helicon who developed this. This this mike right here, which is the MP 75. Of course, I knew that the Helicon MP 75. It's an excellent microphone, by the way. I love it. It's big and booming. I highly recommend it, But one of the reasons why I like the MP 75 is it has this shapely hour glass designed. You'll see this on a lot of Mike's these days. And if you see a microphone with this shapely design on here, it's just perfect for the creator. Graham. Okay, it just feels so comfortable. So that's something you might wanna look for if you're shopping for microphones as well. But back to the point used the rack grip position here, or the creator grip position like this. Okay, when you're holding your microphone and you'll feel a lot more freedom, a lot more control over what you're doing 3. TVS Methodology: this video is here to help you, to understand what is the TVs methodology. I really in some sense, what is a vocal training methodology up training methodologies. We hear this a lot. It's kind of ah, popular buzzword in the industry. And one thing that happened with me and TVs is as I was working on the four pillars of singing this book in the techniques and things inside of it, I begin to not only understand better what the TVs methodology is, but what a what a methodology in itself is. And I think this is important information for you to understand as you proceed in your training with the four poster singing. And if you're a potential customer that's looking to do training with TVs. This is also valuable for you to, um, understand. So what is a training methodology in singing technique systems? When you have a product that's a book with a lot of good ideas in it? That's not a methodology. That's just a book with a lot of good ideas in it. And there are some products like that out on the market and their good books. I own some of them, but that doesn't make it a methodology. When does a book or folder full of ideas and good techniques transcend and evolved into a methodology? It does so when I believe two things happen. Number one. When the ideas and the techniques inside the training program are unique, when there's innovation inside the program that honestly have never really been tried before, that our original. That's one mark of a methodology. And I believe a methodology also has to have a process systems and a process for training the content or studying the content again. Not just a bunch of ideas dumped into a bucket, but ideas that are sorted out organized and then as a training singer, you're given instructions on how to train it. The four pillars of singing our training program is not the methodology that's a product in a training program, but the methodology can be found inside the pages of the program. But let's cut to the chase and talk about those innovative ideas that do make up TVs, methodology, bridging and connecting. Bridging and connecting is not necessarily a technique. It's really a term that refers to an attitude or a belief system or a principle that TVs, students and teachers believe in bridging and connecting means the ability to phone eight and seeing train and sing a seamless faux nation. A seamless vocal tone from your chest voice or, more properly referred to its vibe. A Torrey Mechanism M one, which will learn about in the four pillars of singing through the vocal Break through the Passat Joe, where so many of us all the time are having problems with pushing and choking and ripping and things like that getting through that bridge or the pus ajo, which means passage in Italian smoothly, seamlessly without pushing, choking or quacking like a duck and then connecting on the other side. Inside vibrate Ori mechanism M two. Or inside a resonant space that has trained em one or chest voice belt, voice musculature trained and pulled up to higher frequencies. So again, let me try that again in a simpler way. Bridging and connecting simply means to be able to train and seeing smoothly from your chest voice through the vocal, break into your head voice without pushing choking yodeling instability issues and making the head, voice or the high notes sound strong, convincing and something that you're proud of and something that the audience is proud of. So bridging and connecting is not actually a technique in itself. But it's more about an attitude or a values statement that myself, the TVs, certified instructors and all of us all students hold to be important. Even if you're not aware of it. Everybody needs the bridge and connect. In fact, in my opinion, if you're training a program or working with somebody and in the first lesson or two, and in the training content that you're working with, if you're not reading or getting exposed to ideas that are oriented around bridging the registers and developing the head voice resident area. If that's not immediately obviously a big part of the mission and the purpose of your training and the reason you're spending money on vocal training, my advice to you would be to turn around, face the door and run like health because you're probably wasting your time. And I truly mean that bridging and connecting the registers is 80% of the sport of singing . That's the main thing. There are other issues that are important in singing technique as well, but if you can't bridge and connected. Expand your register and you're pushing, then you can't do anything. So this is important. And TVs, teachers and myself make a big deal out this. If you train with me, this is what we'll be working on now. Let's talk about specialized on sets, specialized on sets in regards to specialized on sets. This actually is a set of tangible techniques that are unique to the TVs methodology. Now I'm going to go into a lot more detail on these onsets because they are so important later on in the training program and in another video. So this is just a surface level explanation. But here's what it is. On set is a fancy voice lesson. Talk for basically the start the beginning. OK, if the onset is good, if the beginning of your training note or your singing note is good than what follows will be good. On the other hand, if your onset is bad, if the onset has technical components in it that are not balance tuned and calibrated that you're gonna learn about in the TV is training system issues such as the ambush sure vocal full compression. The ability to dampen your larynx, getting your eyes off your shoestrings, having good mental programming, learning to phone it through the proper singing vowels for mitt tuning and other issues. Those are important technical components that make up what we call in TVs and on set package. Now, package just means components inside in a bundle, so a TVs you train eight specialized on sets or eight special ways to begin a training note or a singing note. Now these eight specialized ways are designed to help build strength or isolate the musculature to build strength and coordination for your voice. So, um, if you're working to get better compression on your vocal folds, you might do what we call the quack and release on set. If you're working to get your larynx dampened, you might train the damping and release on set. If you're sounding to quack E or two to compressed on high notes. Oftentimes women have that problem. You might work on the wind and release on set. If you want to work on belting and getting a big belt e ah, chest voice sound on high frequencies on high notes. You would work on specialized attack and release on sets, which are referring to Lahtela tax. So the onset is kind of like a serve. If you're playing tennis, it's the way you begin the note now. In addition, toe isolating strength and coordination with the on sets. As a student and certainly as a TVs instructor, theon sets are used to troubleshoot problems. So through the knowledge and the understanding of how to use these eight specialized on sets, you can hasten your progress. You can make quicker progress in your training because you have these onsets to fix problems and get stronger, and they are a powerful piece of the TVs methodology. Very important, it's gonna help you get to where you need to go. Everything that you need to train to get strong and coordinated to sing the way you want to sing can be found principally in the onsets. Now let's talk about training, work, clothes, the TVs, methodology, offers, training, work flows. Now what's a workflow? It's pretty simple. Many of you have seen it before. A workflow is just simply step one step two step three step for its D sequential steps to any process. We all do this every day in our lives, and with TVs in the training system, I'm going to teach you how to do training. Work flows. A training workflow is the fast this path, the quickest path from start to finish to again. Get the results that you want in the fastest way. In fact, some of the previously mentioned on sets the way you learn them is through a training workflow. Initially, training work flows are found throughout the the system and throughout the methodology TVs , vocal training and the methodology, among other things, is a vocal mode. Pedagogy. Now what does that mean? Well, in the last 10 or 20 years, in the vocal training technique industry, there's been a massive amount of innovation and great ideas that have come out. One such idea is the idea of vocal modes. Now it depends on what school you're talking to and who you might be referring Teoh. But basically vocal mode Pedagogic ideas are based on categorizing certain elements of the voice now into into groups so that you can understand better what you're teaching, what you're learning. I'll clarify in TVs. We are a vocal mode methodology, and we have two kinds of vocal modes. Okay, Where the Onley training program that offers two kinds of vocal modes. The first group of Okamoto are what we call physical vocal modes. Physical vocal modes. The physical vocal modes are eight unique physical or physiological configurations that the lair inks and the muscles in and around the voice can configure into some of them exotic, some of them or intuitive to produce a particular sound color or an acoustic effect. For example, What I'm doing right now is a physical vocal mode. It's called speech mode. The way my larynx is configured okay for speech is unique, and that's different than the weight is configured for. Seen another example. Ha ha ha! Falsetto is also a vocal mode. The way my voice and my vocal folds are configured and characterized to make that sound has been classified as falsetto vocal mode. In TVs, we have eight vocal modes speech, sob, opera, falsetto, belting, twang, distortion and quack. Those are eight different ways that the physiology are set up to make different kinds of of sound colors and to troubleshoot problems similar to the onsets. Once you get to know those physical modes, you understand the way the voice works much better and what you can do with it now. The other group of vocal modes are in TVs. We call them Acoustic Modes, same idea groups and categorizing but acoustic modes are families or groups of vowels that share similar acoustic, resonant energy properties. That is to say, where the resident energy is vibrating in your vocal track in your body and because of that resident energy. Similar sound colors again acoustic modes. Groups of singing vowels not language vowels but singing vowels that share placement or resident energy, UH, characteristics as well as sound color characteristics. It is a brilliant way to understand vowels in singing, and some of you well know you've been reading forms and watching videos. You understand that vowels are super important, and indeed they are The entire process of singing great pretty much starts with the acoustics if you visualize the proper singing vowels. If you hear those vows in your auditory imagery first and then senior scale or senior song , the result is gonna be successful. Um, and that is what the acoustic mode to do for us as they help me, You, all of us to better understand and sort out the vowels. And they're different properties because not everything in Val is the same. In TVs, we have three singing vows or three vocal mode groups. Families. We have edging vowels, which are vows that tend to resonate mawr forward in the palate. They engage the twinning, the 20 more engaged vocal full compression a little bit more, and thus, because of that, they tend to create a sound color. There's little bit mawr metallic. Now I don't mean the genre heavy metal but a brighter, more metallic sound. Very important for singing rock and belting high notes, edging Vallas on the opposite end of the spectrum. We have a acoustic mode called Curbing Bowels. Curbing vowels are characterized by resonant energy that that tends to sit in a more covered position or back here low and behind the head. Now that's not just a new age. You know, a concept. It's not an esoteric thing. It's really true. When you get really good at curbing bowels, you do feel a little bit of pressure, a resonant energy low and in the back of the head there, also characterized by good lair inks dampening and the sound color that curbing vowels produce is warm, bluesy, soulful, sexy. You might use a curbing vow in a ballot or on low notes or singing jazz, right? So we have edging valets for more aggressive sounds, curbing valves for warmer, more romantic sounds. And in the middle, the third TVs acoustic mode is neutral. Vowels Neutral Valls, as the name suggests, resonate in the center part of the palate. Not too much forward, not too far back in the middle. And the sound color tends to reflect that middle kind off. Ah, soft palate position. So that's what acoustic modes are. You have physical, Moz, the physiology configurations eight of them, and you have acoustic modes broken up into three families and eight principal eight primary training vowels that exists in three acoustic mode groups with TVs, sing informants or tuning your foreman in singing and vocal training is probably the most complicated in complex concept to understand when it comes to vocal training. And what I've tried to do with the four pillars of singing in the training system is too keep. It is simple as possible. Believe me, you can go deep and even I would be lost on some of the deep information regards to for mints and acoustics at that scientific level. I've got books on it, but that's not my job, is it? My job is to understand enough about it, to help you learn to train and become a better singer. But obviously it's important if we have acoustic modes and I'm making a big deal about vowels. Everybody who is a good voice coach is making a big deal about vowels. In my opinion, you can't have acoustic modes and discussions about vowels without understanding. Just a basic level of what for mint is now. For Mitt, that's a fancy voice. Awesome talk. What? What does it really mean? For mint in singing is not the not the physical dimension of your vocal track. When I say vocal track, I mean the residents space. Okay, where the sound waves air vibrating and resonating inside of So Forman is not the measurement of the physical tissue of the vocal track, but it's really mawr, the measurement of energy resonant energy in the vocal track in the residents space. A nice metaphor to help understand that better is if you take a bell and you gong a bell and it vibrates and you put your fingertips on a bell. It's going to vibrate and tickle the tips of your fingers. That energy you feel in the tips of your fingers is the resident energy. How much of that resident energy if it's strong or weak or what have you? Is the for mint right when we seeing in Retrain, we are producing for mint performance and resident energy in our vocal track. Now what happens is that resonant energy in side the vocal track needs to be stabilized. It has to be balanced and aligned and as we go higher in frequency or lower in frequency, in a sense, as we take our foe nation package and we move it through time and the change and shift of frequency the resident energy inside your resident space, the forming of your body tends to become unstable. That energy stops being synergistic and begins to be chaotic. When that resident energy becomes chaotic inside your vocal track, it feeds back to the physiology things like your vocal fold compression, your lair inks, positioning your amateur and other things, and it makes us grip and push. So one of the things I'm saying to you here is when you're singing or training and you're pushing and having a problem with it, all of us, we tend to blame it first on the physiology, but that's not always the case. Nine out of 10 times. It's not a problem with the physiology. That's not the source of the problem. That's on Lee the effect of the problem. That's a symptom of the problem, Really. The source of the problem is the for mint, the resident energy and therefore the vows. The singing valves are not tuned properly for that given frequency. Okay, so for Mint Resident, the measurement resident energy in the resin space of your voice to that resident energy needs to be balanced and synergistic. Three. As we move the voice either training or singing through the change of frequency that resonate energy wants the crap out, wants to bounce out and create problems. And what that does is it, then transcends to the physiology and makes you choke and push. So what do we do? How do you keep the foreman energy aligned and balance as your singing and training through different changes of frequency? You modify the vow back to the vow. The vowels, The singing vowels are kind of like a steering wheel that's guiding the resonant energy in your body to keep it aligned and balance. If the vowels, the singing vowels or the form it is tuned properly, you can bridge your Passat so you can bridging. Connect smoothly. You can seeing a super high C five and go on and on and beyond in your voice. If you're using the right vowels and you've balanced unaligned your former energy now it's not everything you need to worry about. But it's a big part of the story of good singing in TVs. In regards from methodology, we are certainly going to talk about Foreman tuning, balancing that energy from time to time in the context of the acoustic modes and the votes . Now let's talk about, um, training content. One thing that I'm particularly proud of about the vocalist studio and the work that we dio and the four pillars of singing is in some sense unlike any of the other vocal training programs, and some of them are great. I own them and I've been inspired by many of them. But There's one consistent thing that I've noticed in a lot of these other programs that are good in their own right is It's interesting to note that you get a great book, you get some good ideas and technique. Ideas were discussed. But there's no training content. There's no content for you, the student, the training, the person that wants to put a microphone in your hand and train for an hour every day and get stronger. It's and in some strange way it's something that other schools and programs and products have missed, not with TVs and the four players of singing. And because of that, I believe it's part of the methodology similar to bridging and connecting. It's not really not really a technique in itself, but it's an attitude. It's a principle. It's a values statement that says, Not only are we going to present to you techniques and ideas like specialized on sets and training, work, clothes and all that, but we're gonna provide for you content to train the four pillars of singing training program is like a P 90 x for singers. Now, those of you that know what P 90 X is then you get what I'm saying those of you that do not In North America, we have a product that sold on TV that's very popular, called p 90 x, and in 90 days you can work out and build a beautiful body, beautiful, strong body. And it's a lot about having a unique training program for working out. The four pillars of singing is the P 90 x for singers now, currently at the date of making this video, this book is almost 500 pages long. I'm looking at page 3 38 and almost 1/4 of the book is training routines. Now this This is the the methodology, the on sets, the explanation of all of that history, singing and science. And that's all in here. But 25% of this book over 100 pages is the training routines Here. Here are is an example of the specialized onsets broken down into the training were close, both elements of the TVs methodology that I referred to earlier, right here in the back of book, not just talking about it, but actually showing you how to do it. In regards to the ever important acoustics of singing on the acoustic modes that I referred to earlier specialized groups of vowels that share resonant energy and sound color characteristics. One thing that we've done in the training routine is we have assigned every one of the principal ki training vowels that we work with for your training in the dream retains a color, so the sound colors of seeing, which is could be kind of abstract to imagine. Sound colors kids can't see it have been assigned a color as a visual metaphor. Now, for the first time, students of training can better understand the vowels and vowel modification by looking at each of the training vowels assigned a specialized color. Here are a couple examples of how we put those vows together inside of vow modification formulas. Now to clarify when you training the four pillars of singing after you get, then training your specialized on sets and you begin to put the Phone Nation package or the onset package on the move, you then need to keep the format aligned and tuned, so you're gonna have to understand your singing vowels. This is how you do it. If I show you an X y intercept graph that has from red to Blue. You're gonna understand that that's gonna be a vowel modification formula or a movement of a tow ish nous in You're seeing Bowels. Frankly, that's a great idea. That's the best idea I personally have ever seen in terms of understanding bowels and singing and the whole concept of al modification and keeping your former tuned beyond that . In the back of the book, we have tabled every single vocal lease, which is a fancy voice lesson talk for focal workout that's in the program. The program has about 64 different workouts. Actually, it's 33 different workouts, but each workout comes in a different speed and different key, which is pretty cool. So if it's too fast for you, you can train initially on the slower version until you get better, and then you go to the faster version that's all laid out for you. Each one of those workouts have been summarize and tabled in the back of the book, so in these tables you will build your own training formula that consists off choosing your acoustic mode, choosing which on set you want to use and then putting those vows from the acoustic modes together into a training routine. This is concrete, tangible content that you can use to practice. So you will never have the frustration of saying I understand the techniques. I've read the book, but what do I do that I practice? How do I train with me? And TVs are defined structures and the TVs program methodology. And this product for pillows was singing. You never have that problem. Training is important. Always. We're all just talking about theory. You gotta actually get out there and it. So those are what I believe to be the most important elements or principal concepts that make the TVs methodology what it is. If you're a teacher and you're training with me, you're gonna become an expert in that and the ability to teach those concepts to your students. If you're a client in the student of training technique and you work with me or a TV a certified instructor, those things are going to be what you'll become an expert at. And believe me when I tell you the combination of the vocal modes, the on sets, the training work flows and the comprehensive routines in the back all funneled and channeled towards the primary objective, if you will, of learning to bridge the registers and connecting the head voice is exactly what you need now. So I don't want to make the sound too much like a marketing pitch. But it's all in here, and that's what the TVs methodology is about. And I look forward to helping you guys continue on with this. Let's move through to the program. 4. Training With Amplification: in regards to training with amplification or not, it is perfectly OK and legitimate to not train with amplification. Obviously, singers and students and teachers have been doing it for hundreds of years. That's perfectly fine, and sometimes it's. It's a good idea to hang the mic up, put it away and just listen and feel your voice in an organic way. But that option is always available to you. Let's talk about amplification. The reason it's a good idea to train most of the time with amplification or to have that option available to you is because amplification allows you to hear certain harmonics and vow Informant colors allows you to hear the singing vowels better in some ways, when you have amplification. Another reason that training with amplification is important is because that's what me, you and all of us are doing as contemporary seniors. When we go seeing when you go sing in front of an audience, you're singing with a microphone in your hand and with amplification, maybe you have a headset, but it's still amplified, so training with amplification gets you accustomed to using the tools of the trade, holding the mic, working with Mike proximity technique caught up. You know how far to pull the mike away from a scream. You know how to get it closed. What happens when you get a close when you're singing and intimate? You know, passage in a song. These are all elements that are unique to being amplified and holding microphones in your hand. And that's part of being an artist. Being a singer is understanding how that feels, how toe work, the tools of the trade. The most important reason for training with amplification, if you can, is simply this. It makes vocal training mawr fun. It makes it more fun. One of the fastest ways for student toe washout and not follow through and kind of give up on their training schedule is the lack of amplification. If your training scales, which sometimes were already boring and linear sometimes especially if you do them over and over again. If you train vocal workouts or vocal lease without amplification, it can be really boring. Hang on. Okay, it is an active day in Seattle today, for sure, we've got sirens all day long. Sorry for the interruption. Training without amplification is boring. It's no fun if you're in a room with that's carpeted and has no ambient ring in it. It's really hard to to get into it, Um, and so for me, all my life since I was 15 years old to today and for all my students, you know, 80% of the time being able to grab a mic with just a little bit of reverb is fantastic. It's fun, it's motivating, So that's really very important. That might seem trivial, but it's not. If it's directly impacting how you perceive your practice schedule on your commitment to practicing, then it's not trivial. It's very important. If you do train with amplification, it's okay to have a little bit of river by advice that you have a little bit of a just a little touch of reverb. Don't use the lay or doubling or any effects like that, because that will get in your way. But just a touch of reverb is helpful. Adds to the fun. Um, if you go ahead and read the lesson, it will explain things vocal gear, equipment that can help you to amplify your voice. There's different ways you can do this. Of course you can have a nice p a system that you have that opportunity. But if you can't afford a nice piece system, you might consider using a karaoke e system. Um, karaoke. A. Systems are really great for students of singing for practicing voice because you have to separate volumes. One for the voice, one for the bed track and in your training system, you have scales in bed tracks, so that's great. Most karaoke systems have a little bit of simple reverb settings in them and a little e que , which is also nice toe have. And of course, when you done training, you can sing songs with your karaoke a system and put on headphones as well, if you need to. So you're not bothering your family, your neighbors, if that's an issue. So karaoke E systems actually are really great for vocal training and vocal practicing. Another option is just an old used guitar amp with with the saturation or distortion turned off in a little bit of river. I have a small I've been is practice guitar amp that brand new. It costs me $99 and has a little bit of reverb on it, and it's great for a little small practice AMP for singing or doing a lesson that I take around with me in my Jeep sometimes, so getting amplification doesn't have to be inexpensive thing. For 99 bucks, you can get a brand new practice guitar amp with reverb on it, and oftentimes that works just fine or check out in some pawn shops. So anyways, I don't want I don't want this to turn into a vocal gear discussion. Um, we'll do that another time, but do train with amplification if you can. On the main reason for that is it keeps training fun and exciting. So if you want information on the vocal gear, check out the vocal gear store that I put together for you guys. 5. Belt Vocal Mode: as I felt on a higher note. For example, in F sharp in a C, belting casually means singing high in a sound with a sound that kind of sounds like the chest voice that's great more accurately, what it really means. And what you need to know is belting is singing higher notes in a physical, muscular musculature configuration that is similar to speech, not exactly the same that goes, be on into a frequency range that the body initially doesn't want to dio. It's gonna fight you, and therefore it takes great physical strength and training to build your belt musculature so that you can belt now before we get into those techniques. Uh, I want to point out for you those are they following the lesson that this belt musculature is fairly complex. There's many little Taney muscles that are involved, but some of those muscles that are involved mawr than the others that you probably should know our first and foremost that t eight muscle or the thyroid or the thyroid, airy tannoy and muscle. It's kind of hard to say, but that's why we say the ta the ta muscle is in fact, one of the adopter muscles that is involved in elongating the vocal folds as you go higher in frequency. So as I go higher frequency, if I have great ta strength, then I can maintain this whole or this chest pulling configuration on higher notes. So the team muscle is very important. The air it annoyed muscles are also very important, as are the vote callous muscles as well. So let's review thus far belting, singing high in your voice but it and making it sound like your chest just voice more or less better definition. Belting is singing high the hard notes while engaging or maintaining M one or motile voice musculature, namely the thyroid area. 10 oId muscle. The ta muscle of the A retinoids and vocalist muscles. Okay, pulling chest. Maintaining that musculature from acoustic perspective F one H two is amplified with amplified clusters to the right. Okay, now then, in regards to why you purchased this product or why you're interested in this video training belt, voice training Bell voice is super important. It is one of the most important things that you should do in your training routines and schedule, because one thing that's cool about belt voice is not only doesn't sound cool when you get good at it, knows it like it sounds great and it's what we all wanna do better. And we're all training to get to, but in the process of training belt voice, because you want a sound better and build to sing those high belt, he notes that whole experience also builds great vocal strength because its resistance training or requires resistance training built voice sounds great we all want. It also is great vocal health. It makes you strong. So in the four pillars of singing, we have several ways that you can train and get strong with your belt voice. Other than singing, there is a group of onsets in our eight specialized on sets. Four of them are resistance training on sets. Four of the eight are what I call coordination and tuning on sets. The coordination and tuning non sets are there for coordinating muscle movements for tuning the vowel tuning the pitch. They are precision work on sets. Very important group no mode is trained well with the resistance training on sets, a group of onsets that are primarily used to build muscular strength those on sets are the Dampen and Release on Set, the Attack and Release on Set, the Contract and Release on Set and in some regards, the quack and release onset as well, although a little bit less than the other three. The quack release on set is unique. It sits in both groups. It's both a coordination and tuning onset as well. It's a resistance training on set, so your most pure belt on sets to train would be dampened, release, attack and release and contract and release in particular, dampen release and attack and release. And if I were to be biased and prejudice about this, I'd say global attacks, attack and release on sets. No other onset will build your belt strength like good solid attack and release onsets. What's an attack and release on set? Well, there's a very detailed long demonstration of it in the attack and release on set. Ah, video lesson later on in the program. But just to show you a few times here, this would be an attack on release on set is that it is in a global attack, chaotic crash of the vocal folds. And you might think that that is unhealthy. There's some voice teachers that will tell you that it is, but it's not. It's actually, if it's done right properly, it is a very healthy thing to do. This is a attacking this onset. Okay, five. All right. Some of you might think or conclude that that hurts me or it's unhealthy. Not at all. I really don't feel anything. It's quite benign, actually. Just feel a lot of air pressure and residence in my body. So that's just a quick demonstration of an attack and release onset bottle tax, which are really great for training the strength of belt voice. And there's more detail on that in another lesson. So belt voice. Very important, extremely important. We all want it. It sounds great, and it's really fantastic for getting strong and singing your songs. However, you have to be ready for it first before you can begin to belt. So that is your introduction to belting. I hope I've done a fair job of explaining what it is and not only explaining what it is with some interesting circle talk buzzwords, but really explaining what it is. The musculature, the acoustics and what defines it and characterizes a good belt and why it's great while we all of it and what the risks are now. All of this is explained in great detail in the four pillars of singing in this training system. Here, um, if you're just seeing this for the first time. The Red Pages on this book is training content that is all training routines that are coordinated and sync up with piano scales, demonstrations and workouts. It's about 150 pages of tables of onsets and training. So if you want to get serious, you want train and really learn how to do this. And if you want a belt, for sure, you have to go to work. This is a program that will show you how to do it. Those of you that are already on board, I give you a salute and let's carry on to the next lesson. 6. The Importance of Cry Mode: cry vocal mode is probably the most important thing for singing, to help you, to become a better singer, to fix a whole bunch of problems in your singing. It's so important. It's so critical that it's as important as Vallas and residents in singing. So it's like the number one or number two most important things. And I'll tell you this. Great singing Great singing is not much more than command and control of the cry reflex. Again, I repeat, great singing is command and control of the cry reflex. Now what I mean by that is, is when we cry. When we emotionally cry with tears, it puts the larynx into a unique physical vocal mode. Now, in the main course, go check out physical Foca, Moz. Physical vocal modes just means physical positions or configurations that the larynx can get itself into that produces different kinds of sound colors and different results. I'm using one of the six physical vocal Moz. Right now. It's called speech mode, the way the musculature and the ligaments and the tendons. The way the mechanism is positioned right now, um, is unique for speech. But this video isn't about speech mode. It's about crime mode, which is Mawr high performance. And it's what you need for singing. So when we cry all right, the larynx goes into a special position for crying when we cry, The larynx doesn't sit in the same position as it does when we're speaking, right? What happens is when we start crying and I'm going to simulate crime mode right now. Right now, I am speaking to you in regular speech mode without cry larynx. Right now, at this point, at this point I'm speaking to you and speaking to you in crime mode, you can hear how the quality of the sound color has changed the whole vibe, the whole feeling off the speech has changed. I would not walk down the street and speak to you guys like this. And if I did, I would look and sound like a fool. You would laugh at me. Okay, But if if I was really sad, emotionally sad and I had just finished crying or I'm about ready to cry, what would happen is my larynx would go into this position as if I'm about ready to cry when we cry. When we weep. When we are emotionally sad. We're about ready to cry. The larynx has to go into a unique position to facilitate crying. It's a way for the body to protect the voice. All right now, I'm not in crime voting more time, just in regular speech mode, so I don't sound sad. All right, so when we cry with tears, the larynx goes into a special position. Now this special position is called crime mode. Crime mode is great for two. Thanks, Number one. It's absolutely fantastic for crying. Yeah, and number two. It's absolutely fantastic for singing. In fact, singing great singing is not much more than command and control. A masterly command, control of crime mode, Right? So what I'm trying to say to you is, if you sing through a crying larynx like this, if you sing through the larynx like this and you learn how to hold this position in songs and you're singing so many different problems and challenges and you're singing immediately , go away. It did for me. It does for my students every day when I'm teaching. All right, I'll tell you why. Crime Mode does three primary things that speech mode does not. Which it helps you seeing better. One crime owed creates hyper reduction of the vocal folds. Now, in my demonstration, I'm gonna use this rubber band. This rubber band is a metaphor for my vocal folds. Okay, He's my vocal folds. My vocal folds are open and they're not hyper ducted or they're not closed. In this moment, when I go into crime mode, they they hyper duck because it thins out cry. Vocal mode will be long gait and thin out my vocal folds similar to what I'm doing with rubber Band. This is not perfect, but it gives you a good visual, good idea of what's going on. So when I go into crime boat right now in speaking in crime mode, what happens is that my my vocal folds have now a long gated and thinned out all right. And when you elongate and thin out what that does, is it just like on this rubber band? It increases the tension and increases the squeeze. The closure on the vocal folds so crime mode takes a week vocal full closure position and makes it more firm and saw. It makes it more solid. And when you get Mawr efficient vocal full closure. When you're singing, that's going to solve a whole bunch of problems. Believe me, right? The other thing that happens is just like this rubber band when we're in crime owed. The vocal folds thin out, elongate thin out. And what happens is that pressure. The pressure along along the vocal folds right here is evenly dispersed. It's not sort of mawr more pressure here, more pressure on the back or more thinned out pressure at the top or the bottom. It's an even pressure across all of the surface area of the vocal folds. Okay, so you've got a thinned out vocal folds, which increases compression that's good, and the energy, the surface air. The vocal folds are also evenly dispersed, so it increases your medial compression. They called medial compression improvement. That's also really great for singing. Three. When we go into a vocal crime out, it intends to remove for Renji ill constriction. Now that's just fancy. Voice us and talk for pushing and choking. So what I'm saying is going to cry mode to get better vocal full closure, you get more efficient, full closure, and when you're singing to your vocal break and in the head voice. Um, it tends to make all the pushing go away. I literally cannot find the words to describe to you how amazing it is when you start getting a feel for it after you practice training and singing through, Ah, crying larynx sort of aware of it. You practice it and this starts happening and feeling and experiencing, um, the improvements and you're singing immediate. It's just great, just great, so 7. Track & Track: All right, let's get after it. If you look at your foundation building routine workflow right at the top. The first thing that you'll see is, uh, on the section one, you'll see resonant tracking and you'll see that we're going to alternate between three nasal continents. Now, don't freak out. I'm not gonna teach at assing through your nose and you're not gonna sound nasal when you're singing and has nothing to do with the the sound color. When we finally get to singing this resident tracking workout, this buzzing work that we're about ready to do is really more about muscle contractions. You are working too. Build command and control of vocal fold compression. Okay, that is to say, the left local fault and the right vocal fold are coming together and compressing. Okay, The musculature that's required to bring them together is being worked. It's really resistance training, anything that you can do anything that you can do that can work and coordinate the musculature for vocal fold compression. Bringing the vocal folds together is great vocal health, okay. And, um will help you to sing absolutely amazing as well. So the best way to do that is we use nasal continents. Um uh uh, those continents are as follows em. Ah, en hon and N g huh Again, M um n and and G, huh? So the first thing I want to do is I want you to try this. You got to get a feel for this buzzing stuff. So what I need you to do is get yourself a queuing device. And when I mean by that is like a pocket tone or an app on your iPhone that will give you individual notes a, um, a pitch pipe, modern day pitch pipe or, of course, a keyboard. Now let's start with giving yourself a say in this low. A good note, to start on. We're gonna practice the buzzing M. No big deal. Nothing to write home to mom about yet, but just real quick. A real quick little get a feel for what we're doing here. Now put your lips together in a little bit of a smirky smirk. A little bit of a smile. Now we're not doing that so that you will look cute. We're doing this because it helps open the resonator is when we put a little smirk in it. So lips like this, and I want you to say Hum h um hum. Now, this could be a little bit confusing. We're not actually going to hum in the sense of the phone nation being something that's windy. It's not this. Mm hmm. And this is a really important point early on in this resident tracking. Do not hum. I want you to buzz. We don't want sounds that a windy and Wolfie that actually wears the voice out and makes you tired. You may think that it's soft and benign, but it's not. It's taking your voice. So we're gonna bring the lips together, and I want you to buzz. When you do it properly, you'll feel your lips vibrate or tickle a little bit. I used my amplification on this, Um, uh, again, Uh, now you can hear that that has resonant energy. My lips are vibrating and tickling, and all of that means that inside my vocal track, I'm tilting my larynx into vocal training positions, which are great for singing. I'm compressing my vocal folds. I'm laying resonant track compression. I'm prepared to at least to lay resident track or compression through medical folds has all the indications of it being a healthy, strong phone nation. The 2nd 1 other than the M is the end. So I'm gonna ask you to phone eight. H u N hon Kate, to practice this, we'll use the same note on the piano. A I'm gonna drop my jaw, OK? And lift and bite. Now, this is your first introduction to the ambush. Sure. As you may know, May or may not know Ahm boo sure is fancy French for this. Okay, How you shape your jaw how you shape your bite, your lips and your teeth in your jawline when you're singing it is super important. And we're gonna talk about that more in detail in a second, but to our second nasal continent a big buzzy end and ask you to drop your jaw. OK, bite. Show me your canines. Show me your t Take the tip of your tongue, all right. And pushed the tip your tongue against the back of your bottom. A za back of your top teeth, Okay. And uh huh notice I keep my jaw down in my bite, huh? You have to do this. Maintain your, um boo sure you have to do this. I highly recommend that you practice these nasal continents. These onsets early on in front of a mirror. The 3rd 1 H u N g. We're going to, uh, moved the point of contact back here to the ferenc. So we've gone from the point of contact being the lips vibrating in the lips, too. Vibration felt in the tip of the tongue and moved the mouth. Come now, we're gonna move that contact point in that resonant energy back to the pharynx, and we're going to phone eight The sound n g as in Sing a song. Okay. Watch me, se Mama. Sure. Trump my job by and uh huh, right. All three of them together. Oh, and huh Okay, these are the three critical nasal constants that you're not on Lee going to use right here when you have quality time to train with your course work. But I want you to be buzzing thes nasal constants in this shower, in the car, on the bus toe Work at work. If you're not driving your colleagues crazy, any chance you can for the 1st 4 to 6 weeks? 1st 4 to 8 weeks. You are Mr and Mrs Buzz a lot. You're doing a lot of this buzzing now. This is gonna have great rehabilitation and vocal health benefits to your speaking voice. It's gonna bring your singing voice online ready to go and all the other benefits that I've already spoken about a couple times. Okay, one more time practicing the three nasal continents thing. You got a big buzzy end, I'm sure with teeth, huh? And then the last one hutong singing a song, huh? Now, um, now that we understand what those names of continents are now going to move forward and put those names of continents, we're gonna phone ate them on the move with vocal workout. So we'll go onto the first vocal workout, which is track and tracked. 8. Training - Track & Track -Guide: - way , way E o way , - way , way. 9. Training - Track & Track C: uh, - thing way, - Theo , I think. Theo, Theo, I think way, - way , thing thing. 10. Training - Track & Track - G: - way , - way , way, way, Theo thing thing way , - Theo . Way, way, way, - Theo . 11. Track & Release: This is a track and release. This is the second training routine in the first section of the foundation building routine that involves different variant variations of using the benefits of Simi uprooted faux nations or more commonly known as buzzing on nasal continents. Track and release is pretty simple. If we look at the first routine track and track as you notice the first scale, we track a the nasal continent. And then on the second scale we tracked the nasal continent, and maybe I'll just stop right here and just point something out to you. Tracking, buzzing, See me occluded faux nations resonant. Tracking these terms all mean the same thing needs a constant. So the second routine to this first section, this nasal continent work, is track and release. Now you know what tracking is. You just did that. It's the it's the all It's a nasal continents. But you might be asking right now is what is release. Well, when I say release, we're literally going to release the singing voice. We released the product that is to say, release your voice and hear all the benefits that we're getting from that raising resident tracking all right. This is also your introduction to our our track and release onset. Now, you already reviewed the track and release on set earlier in the training system. But here it is again. I'm gonna track a nasal continent and release into my proper training vow. A ma Ah, Alright. That was a track and release onset. Okay, Now, when you release were not Onley releasing our voice. But we're also releasing an on boo. Sure, and this is a good time to talk about the ambush. Sure. The ambush sure is fancy French for this. Basically Okay, The way your jaw, your teeth, your tongue, your lips are oriented to help shape the vowels. There's another video lesson in the training system that refers to the ambushers. I'll try to keep this very short, but I can't emphasize this enough. There is no other technical component in the phone ation package that wastes more time and frustrates voice teachers mawr early on in the training with their students than the um be sure not being properly formed now. Conceptually, you can understand that you need to drop your jaw lift and bite in shape. Ah, high performance ambush. Sure, for singing. I mean, conceptually, it's easy to understand that concept, but it's a very difficult thing to get to build muscle memory for, because the body just simply isn't used to make in this shape when we phone eight, so its foreign and you just basically forget to do it. What happens is you end up training and singing with really close meme a really closed on be sure positions And this is going Teoh really hamper your ability to progress. If you don't master a consistent on, be sure pretty much every time you release your voice. Hey, May, If you don't do this, may A. Every time your singing or training, then you're gonna have huge problems. All the other techniques will not work and respond properly if you're gonna be sure it's not set, right. So look at that training routine for, uh, track and release and noticed that there are components regarding the I'm sure you're gonna stand in front of the mirror. I want to make sure you drop your jaw, make sure you lift and bite and show the canines. Okay, Put your tongue forward. Don't swallow your tongue. Okay. Dip of the tongue gets back bomb teeth. It's in a position ready for anchoring. And even if you're not gonna push your tongue against the back your bomb teeth and use it for anchoring. Even if you don't do that, it's still forward and out of the way. Okay. And the other thing in regards to the, um, be sure is maintained the preferred training, Val. So we're going to release the singing voice, and the singing voice is comprised of and on. Be sure. Okay. Dropped jaw bite tongue forward. And if referred, training vowel. We've already talked a little bit about vowels earlier in the program. I will remind you that the first, most preferred training vow early on for beginners should be a e h a as an eggs. All right, um, so I will go ahead and, uh, demonstrate for you the track and release warm up 12. Training - Track & Release Guide: - way , way E o way , - way , way. 13. Training - Track & Release C: uh, - thing way, - Theo , I think. Theo, Theo, I think way, - way , thing thing. 14. Training - Track & Release G: - way , - way , way, way, Theo thing thing way , - Theo . Way, way, way, - Theo . 15. Release & Sustain: This is the third resident tracking nasal constant training routine in the first section of the foundation building routine course. Um, release and hold means I'm going to release immediately on the first scale. I notice no tracking, no nasal buzzing of significance anymore. Now there is a little bit of, ah, there is still a track and release onset at the front end just for half a 2nd May May that I want you to keep doing, but in regards to just mm continuing on with it, we will no longer do that in the third routine. So we're going to release May May. Maybe I should call us track and releasing hold. So may release saying the first scale way. Ah, and hold hold the top of the second scale. So may a you have two bars of vocal workout toe hold and sustain that note Now, while you're holding and sustaining that top note, what do you doing? Well, you're going to take advantage of that time too. Work the lair inks dampening. Make sure your vowels and a and not an ad that you're got the right vow tuned. Look in the mirror. Make sure that you're holding your on. Be sure correctly. Make sure you're not staring at your shoestrings. Make sure that your eyes are out the window and that you have have great vocal. Full compression. Okay, pitch respiration compression on the sure lowering stamp Earning the top six or seven technical constituents and components in your high performance, um, faux nation package those components you're looking to balance, check and tune as you hold that top note. All right, So watch me demonstrated. And, um Then give it a try. Me way. Sure. Me way be. Way, way, - way , way. 16. Training - Release & Sustain Guide: - way , way E o way , - way , way. 17. Training - Release & Sustain C: uh, - thing way, - Theo , I think. Theo, Theo, I think way, - way , thing thing. 18. Training - Release & Sustain G: - way , - way , way, way, Theo thing thing way , - Theo . Way, way, way, - Theo . 19. Training - The Track & Release Onset: All right, This is the track and release training routine. Make sure you've watched the lecture video and read the information in regards to this on set. And I'm just simply going to stand by the piano and just do the track and release on Set on a chromatic scale, working my way up and working my way back down One note at a time. Easy and cool and calculated. And work on getting a nice cool compression buzzing through those nasal continents. Releasing into a good ambush. Sure. And releasing into a good, healthy eight bow. This onset is probably the first onset that everybody learns. So it's your meat and potatoes on set, all right? It exists in training and in singing as well. So, um, here we go. And just go ahead and train, ride along with me or use a keyboard. Two que Yourself. Okay. One note at a time. May a big make a Yeah. May Ah, notice that I'm gonna come in with a little bit of an h on the front of it. Come, hon. Hung. Coming in with a slight windy onset. Come up miniature wind and release on. Set into the nasal continent helps to get a nice clean entry. So I recommend that you do it this way. Make a make a each onset. It's a beautiful little jewell who make a May A You can think in terms of training, work flows, placement buzz on. Be sure tuned to the make a a a train in front of a mirror train in front of a mirror. So you get the, um be sure so you don't collapse for sure. Made a make a ah Okay. Hum. May a EMS and ends are really good for this. Uh, a a uh uh huh. Uh hey. Huh? How Oh! Oh, there, Work your way back down. Hey, uh, I Hey, uh, hey, I get my Ohio solve my learning still more. Uh, a A 2nd 1 was a little nicer, because I but my larynx kind of sit down a little bit more, huh? May a Hey, huh? May all day in the shower, in the car. You are Mr and Mrs Buzz a lot Bay May Day, huh? May a make a make a a Okay. A male heir. Um, okay. 20. Training: Onset Workout: - Uh ah Ah! Uh ah . - Uh huh. Uh ah ah ah ah Uh uh ah! 21. Training - The Quack & Release Onset: All right, This is the quack and release training routine. Quack and release on set is unique because it is the only onset that sits in both groups of on sets. It is a coordination and tuning on set. Okay, which is what we're gonna demonstrate right now. But it is also, in some sense, a resistance training on set because it does such a great job of building strength and coordination for the vocal Full compression for making your vocal cords come together. Now the quick release on set is one of the first onsets who begin Teoh work with a swell Know that the quack and release onset also has a training work float to it. You can really quick me it like that. That would be a quack and release on set. Or you can do it very you know, one step by step in the workflow, and I'll do both of them for you today. And quick release on set is just fantastic for tuning calibrating getting your larynx down And of course, more than anything. Building good compression on your vocal folds. So here we go. We'll start from the bottom and work my way up. When then work my way back down. Feel free to go along with me or watch it and then do it by yourself. E a. Don't be in a hurry. Ride through when you do the wacky Mimi than the That's the most important part. Make sure you're doing that really thin e a yea e a shower in the car The ah meme e a Listen to that one again Noticed the workflow placement compression on brochure and then all dampen my legs a little bit to warm up the sound Watch workflow Step one Step two step three step for Hey e o Yea yeah ah, yea maybe the a a. Now get close to your vocal break to the Passat Joe The quack release on set for a lot of people at least in the beginning, will begin to constrict. You might you might be a little bit of construction if that happens. Just remember, don't fight it. Don't Don't push back on it. Lean back. Let the mass lower. Let let the mask it a little bit lower, real thin, real thin. Okay, you see, that's going right into a nice little mixed position. But I had to lower the mask to dio voice Way a Now the last two that you just heard where a bit belt was pulling my ta muscle pulling chest voice in a healthy way. This time on the f sharp. I'm gonna come in nice and clean, pure head voice, and then build an anchor that must get the church after I get my nice placement and compression. - Yeah , a four right around a four. It helps to put put a little bit of a a little bit of at ish nous into the foreman sound color shading, huh? Yeah, the stem. I'll just do a little bit quicker. Still a quack release onset without a real clear workflow. And I'm not suggesting that you train it this way in the beginning. Work the workflow, so you build the isolated movements. But if we speed up, it would sound something like this. I worked my way back down doing it a little bit faster. Just have the the benefit of kind of some getting some energy, kinetic energy behind it. Sometimes that could help bring everything together. - Theo . Yea, make a Yea Hey, wait a hey notice Very consistent looking on the sure Always fighting always got a nice on the sure practice in front of a mirror until your own be sure is consistent and true every time. Yea, yeah, yeah way, Theo A a way a wait a e a me a the a. That's a quick release on set. I know may seem a little bit tedious, but get your on sets mastered. Get good at all of these and understand what they do for you and understand, uh, how to do them well when to use them. And then you'll really build a great foundation. It's going to the next. 22. Training: Onset Workout: - Uh ah Ah! Uh ah . - Uh huh. Uh ah ah ah ah Uh uh ah! 23. Training - The Wind & Release Onset: right. This is the wind and release training routine. Just simple on sets, when in release, give you a chance to get a feel for the winning release on set. And well, of course, when release on set is a onset that is also a part of the coordination and tuning on set group. It's a lighter mass on set, great for coordination. But obviously it's number one purpose is respiration to really get the with wind going to to get good sub Bloedel respiration pressure here and get good for newly physics between your vocal folds that is a a vacuum vacuum vocal full closure through the vocal folds from good, powerful respiration. The winner release onset is also key when you're a beginner, because it is the first onset to go to to release constriction. So if you're for example, if you're doing quack and release on sets when you get up close to your Passat Joe, if it's if it's constricting and creating problems for you, then it's perfectly OK to transition to wind and release. As soon as he transitioned Wyndham release, a lot of that constriction will go away. So when you release onset great for respiration. Great. Great for burn. Newly vocal, full closure and excellent for releasing constriction. Here we go. Always stage the NBA. Sure with the when release. That means Set it up first, then go right. Don't try to shape the, um be sure when you're in the middle of the onset. Have it have it set up or staged first. Hey, hey, hey, hey, hey, Hey. Like all the other on sets when you're noon, you're just getting a feel for this. Move the resident energy forward to the hard palate. That's one reason why we like this about a early on in our training. Get it to the hard palate. Hey, hey! In held deep and low in hell Deep in low stage Hey, onset in hell Deep in low stage Hey, onset. Hey, hey! Ah, hey. Okay. Hey, you know my head voice. So when I go into the onset, I'm going to begin to engage Just a little bit of musculature to stabilize. Gonna add a little more compression and compare larynx. Get some stability into the head voice so it doesn't grab crap out. Okay. Oh, inhale stage. I'm sure No wind and release in 1/10 of a second. The vocal cords or the Gladys are open right beginning. But as soon as you it's no longer an on set. As soon as you get through that first brief moment and you get into the vow, you you don't want it to continue to be Windies. Want to make that clear? You work on bringing the vocal fold together. It's just that 1st 10th of a second, that's windy. Back down. Way, - way . Hey, way, way, Hay way, Women. You don't have to follow down this low if you can't follow along. This is for guys. Hey, hey, hey, CEO. 24. Training: Onset Workout: - Uh ah Ah! Uh ah . - Uh huh. Uh ah ah ah ah Uh uh ah! 25. Training - Melodic 5th Sirens Guide: - way . Wait a wait a Theo way , way, - way , way, Theo Way, Theo. Theo. Way, way, - way , Theo. - Theo Way Theo. Oh, - way , way, way, way, way, way, way, way, way, way, - way , way, - way , way, way. Theo, Theo. Wait. A Theo, Theo. Theo. Theo. - Way , Theo. Way, - Theo . - Way , way, - way . Yeah, Theo. Way. Theo. Way, Theo. 26. Training - Onsets & Melodic 5th Sirens C: - Yeah . Uh huh. Ah! Uh huh. Yeah. Uh uh Uh uh uh uh uh, Yeah. Um no. You know, - Uh huh. Uh, uh uh uh uh uh uh uh uh uh uh uh uh The o e. Uh huh. Ah! Uh, Teoh Ah e the O way . Uh uh uh uh way, way, be way. Hey, e o way right. You Yeah. Uh uh Here, Uh And, uh, yeah, - in it. Oh, and okay. Ah, yeah. 27. Training - Onsets & Melodic 5th Sirens G: Ah! Uh Mm. Yeah. Right. Yeah. Uh huh. Uh, uh huh. Uh uh uh uh . Uh huh. Uh huh. Okay. Ah. Uh, e we owe, uh way. Yeah. Uh huh. Uh huh. Way. Uh, uh huh. - Uh , way, way, way. Uh uh . E o. Okay. All right. Yeah. Yeah. - Uh uh. You really, uh I, - uh uh ah. 28. Training - Onsets & Octave Sirens Guide: way, way, - way through thing way, Theo way, Theo way, Theo Way, - Theo E Way, way, way, way, - way . We owe way, way, way, - way , - way , way. Theo E Theo. Way, way, Theo. Way, way, - way . 29. Training - Onsets & Octave Sirens C: uh, - and yeah. Uh, - um uh uh uh, - Yeah . Uh uh Uh, Yeah, yeah. - Oh , - uh , yeah. Uh uh uh uh. - Uh huh. No. Uh huh. 30. Training - Onsets & Octave Sirens G: All right. Uh uh uh, Yeah. - Uh , yeah. Yeah. - Uh , yeah. - Other . Uh Mm . Yeah, yeah, yeah, yeah. - Uh , no, - Uh 31. Bridging & Connecting #1: - Ah , just a simple 135 Be a cost for that way, Theo. Way, way. 32. Training - Bridging & Connecting 1 Guide: - way , way, way, way, Theo. 33. Training - Bridging & Connecting 1 C: and way thing . Way, way, way, way, Theo. Way, way, Theo. Way way. Uh! 34. Training - Bridging & Connecting 1 G: - Way , way, way, - way , way, Theo. Way, way, Theo. Way, way. - Oh ! 35. Articulation #1: This is the vocal workout articulation Number one. We are going to apply words or a text to the same accompaniment that we have in bridging and connecting number one. So articulation One is kind of referring to the fact that we're going to articulate usar articulate er's tongue lips teeth to articulate some words. The text that I'm going to sing is merrily we roll along with a song in our heart. Okay, Um, now one thing that's nice about this is that it teaches the student, too, to modify vows a little bit. It's the first time that you begin to get a feel for modifying vowels in particular that e the clothes vowed e modifies to E. H a e with an e dip long so e h two and e defunct. So you'll notice that I'm modify the e on this. So instead of merrily we I'm going to modify to Merrill a way roll along with a song in our hearts. So here we go roly along with song hurt. That modification that I just mentioned will happen as I get a little bit higher. Need for Val modification increases as you go higher frequency just watch for way with, you know, way along with way with way with way you notice as I came back down and active the need to bottom. Why that eat a changed. I didn't need to modify as much. Only a higher. So that's a articulation number one. 36. Training - Articulation 1 Guide: - way , way, way, way, way, way, way, way, way, way, way, Theo way , way, - way . 37. Training - Articulation 1 C: and way thing . Way, way, way, way, Theo. Way, way, Theo. Way way. Uh! 38. Training - Articulation 1 G: - Way , way, way, - way , way, Theo. Way, way, Theo. Way, way. - Oh ! 39. Bridging & Connecting #2A: This is a very important Siris of vocal workouts. The bridging in connecting number two A, B and C. I will demonstrate all three of them for you. Um, bridging connecting number two A is kind of the traditional maestro David Kyle way of doing the workout. Simply gonna fall The panel up followed panel down, okay. And what some things you may want to pay attention to is notice how I modify my valve from a two through the vocal break as I go higher in frequency. And, as always, with all of these workouts noticed how I will strategically choose different kinds of onsets. Now you'll see a certain pattern. You'll notice that a lot of the on sets on the bottom like the bottom up beginning the bottom onsets are track and release. Maize and muz dampen Release onsets, bays and buzz on at the top, the top onsets untended to be maize and buzz bays and buzz and Hayes. And huh's So what I'm saying to you is the core most maybe the on sets that give us the most foundation building our track and released, dampen release and winded release when I'm going to use them. I really don't know for sure. It just kind of a gut feeling. And I encourage you to experiment with all of these specialized on sets. Okay, here we go. Bridging and connecting. Number two A A A a A Hey, I a Make a way, a way, way. 40. Training - Bridging & Connecting 2A Guide: - way , way, - way , - way way , - , way, way, - way , - way , - way . 41. Training - Bridging & Connecting 2A C: way, way, - way , way, way, - way oh, way, way, way, way. - Oh , - uh 42. Training - Bridging & Connecting 2A G: way, way, - way , way, way, way, Theo way , - way , way. 43. TVS Solfege: every great voice studio has sole fish where you work out called Soul Fish. So fish, was that his fancy voice studio talk for door Amy. Really mean now a couple things I want to point out here on the door. Amy, we're not going to do this. Like like they taught you in school. We're not gonna go door Amy fossil a lot. He does okay, the f consummate of fall and that the implosive t on T actually breaks the airflow, does it not? Does it not mean pause? Whole lot kind of breaks here for a little bit. So in the interest of staying more fluid, less constricted, optimizing our technique, we're gonna modify those continents to Joe Rabea. Fall the upper teeth, sit inside the inside fleshy part of the lips here. Not here but here, which will enable you to keep their foot blowing. And then instead of a t, we're gonna modify Teoh, see to keep the wind flowing. Here we go. This is TVs, selfish way. No way, - Way , The o Way, way, way, way, way, - way , way, way, way 44. Training - TVS Solfege Guide: way, way, way, - way , - way , way, way, way, way, - way , way Theo, - Theo . Way through way through way. I think way , way, way, way, way, - way , - way , way. 45. Training - TVS Solfege C: - way . Uh, - okay . - Way Yeah . - . Um, - way we owe, uh, - way . Okay, way. - Way . Uh 46. Training - TVS Solfege G: - oh , way, Way, uh, - way , way we owe way . Oh, e yeah. Uh 47. Training - Grooves Improvisation #1: This is a fun workout. It's called group Improvisation Number one and truly improv. I encourage you to jump around and tryto work on riff Strike on Try Try to work on scatting kind of riffing inside this 12 bar blues groove. Having said that, let me give you a tip. And in fact, this is what I'll demonstrate. You'll notice. The first thing I'm going to do is I'm going to scale in side of the workouts. I'm actually gonna find the G s a g minor pentatonic scale work on the G minor scale inside , linear straight up, then straight down a few times. And I'm gonna do that to kind of find the notes that air in the scale to kind of look at all of my options for melody, not just 135 not just the notes that are more intuitive, more resolute, so to speak. But the two before the sixth of seven some of the other notes that are less common, that when you use them in your melody, it makes your melodies more cool more interesting. Then I will transition Teoh triplets. I'm gonna do a triplet embellishment inside to build dexterity and outside of that I might just kind of cut loose and have some fun with this thing. Here we go Way, way, way, way, way, way, way, way, way. Just playing around, scaling about inside the doing, essentially exactly what a good chorus would do once they found the scale of guitars, Skill, singer's way, way, way, way. 48. Training - Groove Improvisation 1 in G: - way , - way , - way - way , . 49. Training - Grooves Improvisation #2: This is groove improvisation. Number two. The rules apply to this vocal workout. In fact, let's just say there aren't any rules. I shouldn't actually say that, but let's just say that the game is the same for this particular workout. Aziz. We did in group improvisation. Number one. You'll notice that what I'm going to do first off is I'm going to scale in a linear fashion straight up, no rifts, no embellishments, just straight up inside the bed track inside the groove and straight back down. Now the purpose for this is to kind of trained my ear to to teach myself where all the notes are. All the possible melodic options are for me, where I to eventually bust out, begin to embellish a riff or sing a song or what have you. So this is a really cool technique notice. I'm gonna go straight up and straight down, and as I do that, I'm really tuning my ear to the scale. Inside the workout, much like a guitarist or a jazz, guitarists would play a certain scale in certain intervals. Inside music. We're going to do the same thing as a singer, and here we go you just let one cycle go through, get a feel for it. Way, way, way, way, way, way. Well, after all, if you aren't bobbing, it's gonna jamming. You gotta take a break a little bit. - Way , - way , way. 50. Training - Groove Improvisation 2 in G: 51. Pentatonic Swinger: this vocal workout is called The Swinger. It's one of six pentatonic minor vocal workouts. It's great, I got tell yet probably one. The top five most powerful and potent workouts for students of four pillars of singing. When you train this workout, you'll get results. This workout pushes students forward to their new level. Just don't know exactly why. All the reasons is just that good. I think it has something to do with the onsets I'm gonna perform for you and notice that I'm going to use, dampen and release Onsets Basin buzz to get my legs down and two to the first form in second harmonic F one h two. As I go higher in frequency to reduce fatigue onto try to not sound too much like a duck. I'll probably relax my glasses fit and interchange and play with Japanese. Release on sets with occasional wind and release onsets. Here we go. This is the swinger and I want you to practice it. Theo way, Theo. Way, way, way through way. Theo, Theo. Way, way, Theo way 52. Training - Pentatonic The Swinger G: way, - way , thing, - way , way. 53. Wrapping It All Up: do a quick wrap up here. Remember what I told you some of those things in that quick start video. If your voice ever sort of feels like it's getting away from you or becoming weak, just go back to the warmups Phase two in the My Train page and go back to watching the videos and the coursework again to reinforce your understanding and knowledge of the training and the methodology. Can't emphasize this enough, so emphasize it again. Great singing is an athletic endeavor. Truly, That's not just a sort of acute metaphor. It's truly is. It's kind of like gymnastics, Um, or ice skating. I like to say in a sense, that it's great physical motor skills and strength required with elements of aesthetic beauty. Singing is an athletic endeavor that kind of sits in that crowd with ice skating and gymnastics or dancing right, great coordination strength with visual or auditory beauty. So think of it that way, and because it is an athletic endeavor, that means that you have to train, you have to practice. I've been doing this for 33 years, and I still practice and I still train and great singers do And if too much time goes by where I'm not practicing and I'm not training, I feel it. I don't have the quite don't have the same movements. The coordination goes away a little bit. Their strength seems to be a little weaker. All right, he training. Keep working on your on your scales, but also keep singing songs as well all the time. Even if you're not singing for an audience, seeing songs live singing songs is like singing scales. It's reinforces that strength. All right, Andi. So you have everything you need. The four pillars of singing is a program that took me seven years to develop blood, sweat and tears. And I did it for you. Yes, every single thing you need could want or desire in a training program. At this point, it's up to you, right? So stick with it. Don't give up