Transcripts
1. Introduction: Hello everyone. I'm
Danielle. You want each? And welcome to my online
extreme vocal cords. I am the vocalist
and bass player for the Hungarian deaf
core and metal core, but Nesta of plagues. I'm also the backing
vocalists and the bass player for the Hungarian thrash
metal band or Kayla, I was featured on several
different projects as a vocalist and
as a bass player. I'm a YouTuber and a YouTube,
amongst other things, I also do vocal covers for
different metal songs. But most importantly,
I'm a teacher and I teach extreme vocals
in-person and online. Two different students from different countries
all over the world. This course covers three months of my extreme vocal lessons, which is certainly
enough to get you to a level where you can
confidently seeing in a band. Or you could do your
own color as well. I'm going to cover everything
from the basics of breath techniques to doing a basic Fourth courts dreaming, to doing a basic fry screaming. And we're going to
cover different types of screenings as well. My goal with this is to get
you to a level where you could do cover and maybe share it with me or with
the rest of the world. You could also do this by
watching the entire vocal cords and try to write out the different practices at
the end of the vocal chords, I am going to talk about how you should
practice each day, but you can also do this as many times as you
want and just watch some of the parts and
then come back to it and watch the
other parts later. The important thing you
should also remember, this is not like a
basic singing course or like instrumental course. This is a very
personalized vocal course, meaning that some of the
techniques that I'm going to show early might
not work as well for you as I'm going
to show you later, but don't be discouraged. Some of the practices might work better for you and
that's perfectly normal. That is because we all
have different anatomy.
2. Part 1 How To Breathe Right: The most important part
and science behind the extreme vocals is
the breathing technique. I always say that 40 to 60% is the whole science and the 40% of it is the
breathing technique. And this 40 per cent worse that you can
only do it one way. Everyone can only do it one way. And that is by using the
diaphragmatic muscles. And the rest of the 60% is how you do the different
types of vocal techniques. But like I said before, that's a very
personalized thing and that's not an exact
science of it. So what I'm trying to get to is that if you get the
breathing technique right, you already have an advantage of not making the mistakes you might make when you are learning the different types
of vocal techniques. Like I said before, we are trying to use diaphragmatic muscles
when we are reading. And we, and we are trying
to seeing extreme locals. That is because our
lungs are not able to do physical job
or physical work. They can expand as much as
you would think they can. Because if you are trying
to take a breath in, your lungs are expanding
so much that your ribs, ribs, and the lungs itself
are going to push it and you cannot get too much
breath into your body. But if you use it like
if you are trying to breed downwards to your
diaphragmatic muscles. There is much more space there because the
organs are much more flexible and breadth can move, they're much more flexibly. People usually say like you have to read into your stomach. That is actually false. You are reading into
your lungs of course, but you are reading in fewer downward parts of your lungs, which is behind your last ribs. And the lungs there
can expand much more easily downwards behind
your diaphragmatic muscles. Diaphragm muscles,
you should imagine it's like boxing, belt. It's not just in France of your body, It's all around you. It can expand everywhere. And the other important thing
that why we are learning to use the diaphragm
muscles is because we can push out the air much more effectively
and much more powerfully with the
diaphragmatic muscles than we would normally push
it out from our lungs. So there are a few practices
you can already tried to do. One of them is a
very easy practice. I always say this is the
relaxed breathing practice. I usually imagine it is when you practice menu or
standing or sitting. Try to imagine that you
are trying to get really relaxed and you're
dropping your shoulders. If you're sitting, you're
putting it on knees and you are trying to breed in downwards without trying
to move your muscles. You don't have to forcefully
push down your shoulders. You just have to like
relaxing in a way that's not even
on your chest and non-union shoulder muscles
would move upwards? That is like the basic
reading technique. I know it sounds
like it's very easy, but it can actually get difficult because you
wouldn't think about how you are reading
in your normal life. And the other practice
that you could try to do is take a breath in. Do not worry about where
you take the breath. This time. When
you take a breath in trying to say the
words, the sounds. And every time you
say these sounds, your diaphragm, It's muscles
should flex a little bit. I'm trying to like
force on it and you can also try to force on
it if you feel it. This practice is good to find where exactly your
diaphragm muscles are and what are we going to
improve on the next topic.
3. Part 2 The Most Important Breathing Technique: So now I'm going to show you the most important breathing
technique that you can use. This is a breathing
technique that's so important that normally this is the practice that I use as a warm up when my
students come to my lessons. What you're going to
need is a metronome. You can, if you don't have a metronome on your
phone, that's okay. If you type in Google metronome, that is going to be a
metronome that you can adjust. All you'll have to do is
set the BPM to 60 BPM, which is basically saying that it counts the seconds for us. If you have a
metronome like mine, you should try to set
it to six by four beat. That is because we are going to use six bits to
count our practice. At the first four bits, we are going to pick up
that relaxed practice, that relaxed breathing
practice I talked about on the fifth
and the sixth bit, we are going to
take a breath in. Like we would take a
breath in through a straw. And it's going to
come inside our body, through our upper part of our mouth and in the upper
part of our tongue. Like a. That's important because you can more easily control the breath, how you, how it comes
into your body. And we are trying to always breeding to the
diaphragmatic muscles, like I mentioned before. And we are trying to
not move our shoulder. And after that, you are the first beat or
the seventh beef. You are going to push out
the breath with an S sound like as long as you. But it should always be consistent if it sounds
like at the end, like like that's not good because then it would
be a screaming to sunlight. This is because we are
using this technique, this power that we are
pushing out to breath. Now we would push
out a scream itself. And it's important to control the power of it all the time. And now I'm going
to demonstrate you the practice, Something like that. You can find it as well. Of course, I always say that if you can get it up
to 30 s and we will be able to get it up to 30 s.
And you will be able to read this practice with
less than three months if you practice this every day. That that is good for us. Because after that
we can try to do the same practice
which streams as well. But if it's less than that, I always say do not
repeat yourself, do not trace with the time. Just be patient and practice this possibly every day
and you will get there. If I'm warmed up
effectively and, um, before a show even, I can do this for 1
min thirty-seconds. But that's definitely not an important result to reach thirty-seconds
is more than enough. And even if at the beginning
it's less than that, then don't worry about it. You will get there
in time. After that. When you get there
to the third second, you can try to do the
same technique with her with a consistent scream. And then we will see how
long you can screen. Basically, if you want to want
to upgrade this practice, you can also do one where you only take a breath
in the sixth beat. Something like that. I
didn't count this time, but do not worry about that. If you practice this
regularly as well, you will notice that
the two results, the one where you do it to the fifth and sixth beat
and the one that you do it, the 6-bit, will almost
be at the same time. That's because your
body is able to get enough oxygen into
your body itself, regardless of how much
time it has to do so. And that is good for us
because if we are learning a song where you are
screaming like a lot, you will notice and remember that you don't need
a lot of time to get in the breadth to
finish the line or fridge the first song or
the chorus or whatever, the part of the song you are
screaming at the moment.
4. Part 3A - Different Breath Tecniques For Different Situations: So now I'm going to show you different types of
breathing techniques, which are good for
different types of practices and situations. I already showed you
the most important one, the fifth and sixth one. And the one where you only take a breath
into the sixth one. Now you can also
do one where you change the time to six by eight. And then that will give
you a double time, which improves on the timing
of your timing because you will notice that it's
in this type of screaming. It is very important
to be on time because screaming
is half melodic, rhythmic instruments,
so to speak. So you do one value
where it's six by eight and something like that. The important thing to
remember about that, that you should focus
on being on time. You should be consistent
in your screen. But it doesn't have to be at the same strength as with
the other practices where you would really with one strength and you
breathe out with the same strength
like do not pose, just breathe out as
well as you can. Here. You can also breathing like with less force than you would normally
breathing like, I do not need you to
be long-winded or to have like a powerful out-breath. I just want you to be consistent with your
breath all the time. So the next one is
at the same time, like six by four on 60 BPM. All of these are in
60 BPM by the way. So we never change
that. This one. We are only taking a
breath into the sixth one, and we are only taking
a breath out on the first one for
several rounds. And usually when I'm
with the students, I'm mentioning to him or her to now read on every
one of those beats. If you're practicing this alone, you should do it
like you are doing four rounds of just
breathing out once. And after that, you should
breathe out on every beat. I'm going to show you to first just only
breathing out for once and waiting and then again. After that on every beat. Important not to
stop at the six bit, like and so on. This helps you improve on your diaphragmatic
muscles itself. It strengthens your muscles. Sometimes, which reflects
I try to breathe in through my nose with
when I do in this practice. Try to like if you notice that if we let your
body is trying to get him breath through your nose than just stopped
practice at that because you probably don't have enough breath left
and do it again. The next one is a lung
capacity extension practice. There are two of these basically where you don't
do this with screams. One is really easy. I call this square practice,
which actually, no, I call this like box practice, but that actually doesn't make sense because it's
more like a square. This time you are doing it
for a four-by-four bit. At first four bits
you are relaxing. The next four wreath, you
are taking a breath in. The next four beats
you are keeping the breath in and relaxing. The next four days you
are pushing it out. And then the next
four beats again, you are keeping it relaxed
and keeping it in. And then you are breathing
in for the next four bit and you are going square
bar square. I guess. The idea is that it should be same strength around
the same strength of how you breathe in
and how you breathe out. But you should try to find a balance of how many breaths
you live in your lung. Because the idea is when you are taking
another breath in, it kind of feels like
you are strengthening your diaphragm mic muscles
and you are trying to expand on your muscles
and on your lungs. And that's how you
should feel it. I'm going to show you
just one round of this. Okay. I did several here because my my lungs I think has expanded so much from these practices that I
had to do like a lot, but you'll probably be going to feel something at the
first two rounds. It's like you are trying
to take more breath in, but it's getting
harder to doing it consistently and that is good. You should still try to
do it, but of course, be careful you don't actually
have to fixate during it.
5. Part 3B - Different Breath Tecniques For Different Situations: So the next one is a similar lung capacity
expansion breakfast. The idea here is that there are no breaks and all you are doing for beads of breath intake and six breadth
of breath out big and so on. This is
much more like without breaks then you can
just keep on doing that and like before
it, your lungs like, be careful to always be on time. That's what I'm trying
to show you here. The next one is
something similar. It's a 4 s breath intake. 7 s of brace, 7 s of break, and then 8 s of breath out. I want to go into one of these is the
important part here is the 7 s you do between the breath intake
and the breadth outtake. That is because
you are trying to get The keeping your
breath and trying to get that relaxed
position up that I was talking about at the first
breath technique practice. And I'm going to show
you exactly why. The reason I'm showing you
this, because after this, we are going to do the same
technique with greens, but you don't have
to actually do it for seconds at first
because you might actually sound at first
more like breathy and all the breath is leaving
your body immediately. But this practice is really good to elongate those screams. I'm only going to
show you on this, but like I said, you don't have to do like and so on. You should try to focus
on grabbing at the end, not like I did here, but you don't have to do
it for 8 s. You can do it for warlike at first, but try to be consistent
with your scream and try to grab the end of that
screen to not sound like this time we
are not doing that. Yours might sound
like a lot breathy, like we're going to talk about that on the
next topic. Why is that?
6. Part 4A - 5 step practice to bring out your inner voice: I'm going to show you
the basic practice to get your inner voice out, your inner screaming
and growling voice out. This practice is
using five steps to create a basic stream out of a site a is going to turn
into or even like her. I'm going to show you that how through five different steps. This is the easiest of all. But you should still
practice this slowly and it doesn't work for you at the beginning,
don't be discouraged. This is a really good practice. You can always come back
to it every time you want. But basically, this is how I do a normal
force for streaming. We are talking about
foursquare screaming now. So the first step
is doing a side, remembering that when
you go home and you have a toddler and **** into the
middle of the apartment, and you are frustrated
about that. And nobody walked the dog. So the dog **** next to the toddlers sheets and others
to **** in the middle of your apartment and
you have to clean that up and you
get home from work and you're like frustrated side. And what you're hearing here now is basically
my force courts, but I'm not bringing
any voice into it. You might not be able to do
the side this way right now. That's perfectly normal. That is because you haven't
practiced enough yet, but do not worry about it. Just try to do a
normal side at first, like try to be really
frustrated about it. The second part is it's trying
to take a longer side out, like or like get this down its first. Several times even. You can do it like
if you want to practice only this because this is basically the
foundation of it. The third step is giving
your chest voice into it. Your chest voice is the worst
that you are speaking with? My chest voice is this voice that sound and your chest voice is the voice that you
are speaking with. So we are going to mix this, the sound with the, It's going to sound something like you can hear some
recipe distortion into it. That's kind of like
a little scream. Basically. The reason
why we are doing this from a psi is because
when you are signing, you are basically, are
talking quietly like this. Basically screaming
really quietly. In this technique, you are basically using your
false cords the same way, but like only just blocked much softer way or a
much less powerful way.
7. Part 4B - 5 step practice to bring out your inner voice: So like I said, the first step is putting
your chest voice into the d psi and it's going to sound like something like this. And the fourth step is
doing an 0 vowel sound. That is because are basically doing an
oh, wow, your mouth. That is because many people
actually fails here at first because when you are putting
in the mouth into it, some people just forget all about that they learned so far. And that is basically just
to make this practice much more difficult to control
everything you do like. So it's going to
sound like an ow, sound like basically
something easy like this. And a fifth practice is putting the diaphragmatic
muscles into how you do it is
like you imagine that somebody wants
to come up to and punch you in the stomach? Likely really hard. Basically just flexing
your diaphragms and put that muscle into it and then
do the side with no sound. But so far we did. Which voice like that is basically like a normal force for streaming I would do. Yours might not sound the
first time like this. It might, it might be much more breathy like or
something like that. That is because you do not put
your diaphragmatic muscles into it yet or it's not
yet improved enough. So just keep on practicing this, like I said before, practice this and the
breathing techniques because all of these
are really good to come back to it anytime
of your practice. Because this practice is
going to keep on improving. As you improve
your voice itself, there is a chance that
this might not be so comfortable for your
voice or your throat. That is because you are not really a
force courts creamer. You are more like
a fry streamer. We are going to get into
it later on. Why is that? But you definitely have to improve on your
false cords either way. So there is a chance
that this might not work as well for you or this isn't so comfortable for you, but then try to practice
it like really slowly. All of these still practice
it, but really slowly. And if it feels like
your throat is soaring, then stop for a bit and come
back to this practice later. Even if it's just for like
5 min at the beginning, you're going to improve
trust me, on that.
8. Part 5 Differenc Between False Chord Screaming and Fry Screaming: When we are talking
about screaming, generally we are talking
about two main techniques. This is the fourth-quarter screaming and the
fries screaming. There are many other
techniques which are like the combination of the two or like outside of
these two or like, it's like coming from one of those into a different sound. But mainly at the beginner part, we are only going to focus on the fourth-quarter screaming
and the fry screaming. And I'm going to tell you
the difference about them. So on the fourth
floor screaming, like we mentioned before, you are using your four scores. These four scores are basically a evolutionary vocal cords. A lot of animals can only
communicate with it. These four scores,
if Popper wants to make a baby deer with mama deer, he saying like that is
basically how they communicate. They are also using
their false courts. And we also have
this because babies, when they are really small, they didn't have their, their true vocal
cords developed yet. They are very small and
they are very weak. So they are using their false
basically they are using their false vocal folds to make a crying sounded
screaming sound. I don't know if you ever
wonder like you are on the bus and one of the babies
like crying really loudly, really high and
you are thinking, My God, that's an awesome
black metal voice. That is because of that, because evolutionary, we can all use that false vocal cords. And we are extreme vocalist
do the same thing, but we are expanding on
the technique itself. So the false cords streaming, obviously by the name uses
the force courts mainly, but it also has the, your true vocal voice into it. It's false when they are saying that you do not use your true
voice in your screenings, you do have your
true voice into it. But what you need
to remember is that your true voice is somewhere
like here in your voice box. And the vocal folds are
somewhere around here. And they are like two muscles that push the breath
together or the yeah, the breath together
when you push it out and when you
push the sound out, It's going to make that
resonating distortion sound. So you are not making the distortion itself
with your walk through vocal vocal folds and reach
your true vocal cords. You are making it with
your false vocal cords. But the intonation, your voice, your chest voice is
already into it. So basically, if you
would normally do a distortion down in your true vocal folds it to sound
like a Mongolian. Mongolian singing like this is how you distort the worst
downwards, true vocal cords. But if you are doing a Foursquare
swimming, you are like, hey, you should feel the distortion
somewhere around here at the upper part
of your throat. Not just like a small screen. This is really loud and
resonance the entire room. And yeah, like I said, it also uses your
true voice itself. On the other hand, fry screaming is made out of the fry vocal sound that singers all around
the world already used. Using it when they
want to seem like really deep voices
and want to like start there singing
from a deep voice like or something like this. That sound, that
is the fry vocal. When your true vocal cords
are pushed together, they are making the
third crackling voice. The difference in
this, that this doesn't have your
true voice in it. It can be interrelated and
uses your true vocal cords, but it doesn't really
use chest voice the same way as it was
used as a force cord. Screaming would use generally
how it sounds like, yeah. This is all kind of
different for ice creams. These are already
concentrated sounds compressed into it, into one. It sounds like in your face, it only sounds like here. And if you notice it's not even louder than my talking voice. Like apart from you, like a Foursquare screaming, you're false cords are giving support to your vocal cords. So you do use your
false cords here, but the distortion and the sound is not
coming through there. Both of these
techniques required to master your false course
technique as well.
9. Part 6 Practicing Mid False Scream With Ah ÁH Sounds: From now on, we are going to try to learn different types
of Foursquare screenings. But we are mainly going only going to start
with to meet screams. The reason is that when generally people scream
like you would hear normally like like anyone who just tries to sing
like worse or something, they normally only seeing
in their mid scream. And that is because they are not using different
throat stances. I'm going to talk
about it later. The important part is that for now we're only
going to focus on the mid screams and on that
the mid-40s Prim's itself. So the basic false cords that you can use
with the meat scream is that we are going to
learn different vowels and we are going
to distort them. First just slowly, and then we're going to
build up on that. The first wobbles that
you can start learning the sound and the sound. Basically, these are actually
wobbles in Hungarian, so yours might, in English, it might sound different or
you're in your language. So think about them
more like a sounds, like an app and an r sound. And even that, it's not
really an 0 and an art, it's more like and are like
an edge is added before that. But the age is giving
the momentum of it's like the bush with it. So it's not actually
sounding or it's not actually distorted is just
going to give you a push. So what you are doing is you are going to use
your chest voice in your basics speaking voice or your basic speaking
or screaming voice like, ah, first we are only going to do one and
just slowly build up on it. If you can. Try to build more
distortion into it, like tried to do two times back and
forth and go back to your original voice at
the end if you can. It's not that easy as it
looks, we believe me, but with patients you can
get this right Once they need to remember is that in
order to use less breadth, less and less breaths,
you are imagining. You are imagining that you are singing in front of
a pen or pencil. And you are trying
to get the voice upwards to the parent
cell and not downwards. Because if you go downwards it will be like more
breathy and upwards. You are focusing
your four scores. Boost together much more. And it's going to
give you a much, much more distorted sound in a way that it
uses less breaths. Like apart from this is not bad. This sounds sake. It's okay, but it's hard to do an entire show we did or even
an entire recording we did. Though there are some examples
like Kubla account or something like many
hardcore vocalists used that sounds so, yeah, try to push it upwards and ah, ah, so far, practice
only these two.
10. Part 7 Practicing Mid Low False Chords Screaming With OH UH, UH sounds: So now we're going to
check out lower sounds. Like I said before, all of
these are still meet screams. They are going to be like mid
low and mid high ice-creams first with tomatoes. So the low sounds or wireless, but I would much
prefer to say sounds because vowels is different
in different languages. So these sounds are 0, u, and there will be another
one on the next topic. But the 0 sound is
basically like the highest. The UX sounds, something
in the middle of the low sounds and sounds is like a toilet sound.
It's really good. The 0 is like the
same way you are. Practice the mid
screams before like or tried to do like either like the same amount of breath and forced into it. When I say force,
I'm going to say like momentum and
energy into it, not like power or strength. Because if that happens, that creates turmoil
in your body and you might learn the
whole technique wrong. So just be patient with it like so just be patient with it. The next one is the u sound. And the ear sound is like, if you make these three
sounds altogether, like in front of
each other, like, oh, all of these
after each other. All of these sound differently, like they should sound
like different characters. These are, like I
said, all mid low. It's important to remember. But what we are doing is we are creating wider space between the upper part of your mouth and the upper
part of your song, especially at the
zoo, the new sounds, those are pretty
different in a way that you bring your tongue
back at the 00 sound. When you put your tongue
behind your teeth, you are putting it there whilst creating a bowl
which your tongue. And when you push
the breadth and the, the worst through it, it creates like a toilet flush. Sound like I love it. It's one of my favorite songs.
11. Part 8 The Russian bL Sound: Now I'm going to show
you the deepest sound. This is actually a letter
from the Russian language. It sounds like you are
pushing a wardrobe out the window in the street
or something like that. So my Russian teacher mentioned,
mentioned it actually, but high would imagine
is like you're saying, a sound between a and
an E, but deeper. And you are actually trying to create that sound at
the back of your mouth, more like at the upper
part of your throat. It's like, it's like it's like really the
deeper than the EU. In the ear, the tongue
is like downwards at, it's more like backwards
and like holding back all the sounds to the
upper part of your throat. It might not be easy to get
a handle on how to say it, but here's an example for it. And you do the same
thing as with the rest. You practice it the same way. Just push little by little. And then like more like. So the idea with
this is it's much, it's a bit difficult, but it's still a
middle low scream because it doesn't change. It's the throat stance. But you are only changing the stands between
me in your mouth. But it's like at the upper
part of your throat, the wideness of
your whole mouth. So it's somewhere around the border of changing
your throat stands. So it's a really good practice and it can be pretty difficult. So just keep on practicing
it and be patient with it.
12. Part 9 Practicing Mid High Screams With EH ÉH AND IH Sounds: Now we're on to the
mid high ice-creams. We're doing characters that are creating a tighter and
tighter space in your mouth, between the upper part of your mouth and the upper
part of your tongue. These sounds are the a, e sounds as maybe you can even see it as
I'm saying this out, It's like creating a tighter
and tighter space between the upper part of my mouth and the upper
part of my tongue. And it's, I'm creating
like a small smile, like all the way. Like I'm creating a
bigger and bigger smile. And yeah, so basically this is how you make
a higher character. It's still not essentially
a higher scream. It's a high with
a higher scream, higher screaming
character actually. So the first one is like practicing in the same way as the other different sounds. The next one is the
third one is E. It's still like you hear it. It's the same sound, less like it's on the
same note as before. Like we're not changing notes right now and we are
not changing throw senses. We are only doing meet screens
with different characters. The, I showed you this the second time because
many people first get down the deeper sounds because
they usually think about growling when they are
thinking about extreme vocals. And usually the higher notes
are a bit more difficult, but that is totally
up to your anatomy. So just keep on watching
on that and keep on practicing slowly as
you can be patient.
13. Part 10 Why You Can't Scream: So far we only practice Foursquare screaming
and Foursquare vocals. Like I said before, if
these practices didn't work for you, don't
be discouraged. There is a chance you are
more likely for ice cream or you use for ice-creams
more generally. However, you should
still practice these. Like I said before, these are evolutionary
in our bodies, these false cords,
so we can use them. You can learn to use them. But like I said, all of us have different bodies and
different throat. So it might be working
differently for you, but be patient with it
and keep on practicing. If it hurts you immediately, like one of the
higher practices, then you should stop that, come back to it later. If you are like
coughing and it's like really source or something. But if you just I don't know if you've
been practicing for five, 10 min and your throat
starts to each or sore. That's perfectly fine. These are muscles and
it's like you are doing exercise with them
and they are getting tired. You stop. Later on, you can come back
to it and later on you can practice for hours even
at the beginning it, these are going to get
tired pretty easily. And the a, so if you are for
ice cream or keep watching this course because
we are going to get into the different types
of fries creams as well. The other part is more
like a mental state. I think 99% of
people are able to learn all kinds of
streams if they want to. But even the 1% can. But usually they have a mental state that makes
them discouraged about them. If that happens to you, that is perfectly common. I know someone, she is
a really good singer. She can even scream, but only if she drinks
a little bit and if we are drinking together a
little bit, if she's sober, she just simply doesn't want to like like scream or seeing, even though she has a great voice and grades,
fourth chord screams. So it's more like a mental states and discouragement that you
have to get through. But it will happen. Just keep on practicing and remember that the
more you practice, the better it will sound. If, even if you think
like the beginning, like this isn't really
the sound you want, you are going to get there, so don't be discouraged.
Be patient. You have to have to
practice vocal discipline. The vocal discipline
in this is that we are trying to create the best
sound with the little, little effort as
possibly we can. So best sound with
little effort, meaning that we are using less and less power and
more control into it. That's the other part
that I'm always saying. Control, control, control,
control, control. And yes, this is important. That's why I'm repeating it, because we are controlling
everything in our body, how these muscles make
different sounds. Many people also think about the end results
when they are practicing. So they are like, I want to scream like Alex
terrible like or something. But you might not be able even I can get that
deep voice down, but you might not
be able to get that down ever or just simply
at the beginning. So don't be discouraged
about that. You can still have a pretty
powerful deep voice. You have to not think
about the end results. You have to think about
the practice itself. First, you only are trying to make like a little distortion like and then keep on adding to it like
I mentioned before. And the most important
is the patient.
14. Part 11 Common mistakes people make when practicing: The first one is not forming up. So far in our practice, the warming up consists
of the fifth and six metronome breeding technique or other breeding
technique we wish to do. And the five-step
vocal technique when you are creating a
stream out of a side. The other one is
that people, again, forgetting the golden rule
is that you always have to do the best sounds with as little effort as
you possibly can. Again, you always have to do the best sound with as little
effort as possibly you can. You always have to be relaxed
when you are practicing. When you are
screaming in general, I mean screaming in
a musical sense. And, and doing the, you have to remember that
doing the practices forcefully or powerfully will create
terminal in your body. And your body will remember
the practice in our own way. And that's just makes mistakes that it is very hard
to re-calibrate. Remember to always try to
practice vocal discipline. You most probably will always have to hydrate
and that is a good thing. Actually. You do
have to hydrate. Water works perfectly. I guess you could try D, unlike some people say alcohol
and whiskey doesn't help. I tried it. And Coca-Cola, sometimes these sugar type
soda and zero in the soda. My I don't know, feel those vocal
cords better or bar, it might not actually
work better for everyone. So just stick to water that
is for sure it will work. Again, most important is to practice vocal discipline
and patients all the time.
15. Part 12 How to reach lower sounds: You are reaching lower sounds without changing the
throw stances so far is by practicing the different types of sounds with different
characteristics that I mentioned. And also we are talking about false cords
screenings so far. So again, these are all using your chest voice and your chest voice can
internet different sounds. So if you would do an 0 sound
like from a node like Oh, try to do it like
lower, like Oh. And there is a good
note banding technique that I like to use
with students. The idea is that
you are singing. It doesn't really matter which kind of interval
you are singing. It only matters
that you are seeing like going back to the same node and like
doing it at the same time, like these types of different node banded
practices can help you. And yes, these are
false core techniques. So you can use any kind of notes too distorted and
try to reach lower sounds.
16. Part 13 How to reach higher sounds: You reach higher sounds, the same way you are
reaching lower sounds, practicing different nodes, just higher notes with
your chest voice. And adding distortion
to your chest voice. Like if you would
normally think like an, a sound like try something like as far as VDI would, something like this. So just be consistent with it. Like be consistent with it
and return to the same voice, the same note as you did before. And also there is a note
bending practice here as well, like same way with lower sounds. Basically, keep practicing
vocal discipline and vocal patients and you will get there with the
higher sounds as well.
17. Part 14 How to do basic fry screams: Fries creams are made out of the fry vocal
singing technique, like I mentioned before, that singers use all around
the world basically. So first you need to
get down that, that, that fry vocal technique
down how you do it is like try to sing a note like and try to get down as low
as possibly you can. Bring out all the pitch from it. And when you reach
the lowest sound, it should start to sound like you bring out all the page behind it and it will sound like the
crackling voice. And after you got that, you should use your
diaphragmatic muscle has doubled as you use it for the
fourth quarter techniques. Fries trimmings usually require double as much control and diaphragmatic muscles and
tried to do minimal breath. Like the breadth should be much less when you use
Foursquare screaming, it should sound like
this is the amount of breadth you you do it at all. And when you get that
crackling voice down, bringing the little,
little breadth and the D punch in the stomach. Diaphragmatic muscle we
doubled force basically like I this is like a basic
fries screaming. It doesn't sound too much yet. All of these sound
very differently than you would use it
in a song, of course, but we are breaking
the practice down into their very basic
practices itself. So yeah, keep practicing
and the patient, these are interpretable so
you can make it sound like different nodes like
your higher or lower. But, but yeah, The own voice, the chest voice,
and your true voice should be almost none of it. In the free ice cream itself. It's all about that crackling
fry vocal technique that I'm I'm mentioning to you. So yeah, keep remembering
that strengthening practice.
18. Part 15 How to practice higher and lower fry screams: When you get it correctly, most don't use the correct language. Then without pushing
the support intuit, your diaphragm supports bring the nodes into a higher place. Like you would open
a door or something. Like I like you are doing a big smile and you
are opening a door and the door is crackling and the
sound of it gets higher, then push the support into it like this time I went back
to meet for ice-cream. Important thing to remember
is that that highest screams, especially high
for ice-creams can easily irritate your throat. So it might be really weird at first and it
might hurt at first, but try to do it really slowly. You definitely can and be
patient about it as always. So if you want to practice lower sounds with fries creams, all you have to do is
do the same technique. Just push it down like you like you would step on something and it's trying to
push the boys down. It's much more,
it's much more like a visualization than
an actual sound. But what I'm getting
to is like do the crackling voice, her, then go down like support, something like that. But yeah, it's really hard to be consistent
with the fries. Keep on practicing because these require double the
control actually. So yeah, local discipline
always remembered it.
19. Part 16 Fry scream from head voice: Your head voice is a
higher note that it's sounding like it has much more breath into it
and it's much more thinner. The good way to try
to reach it is to try to sing like higher
and higher notes, like something like that. And when you reach a node where you can't reach it with
your normal chest, worse, you're going to
change, change to head voice or
something like that. Sun, exactly the same note. But the point I'm getting to is if you don't know how
to reach your head voice, then just try to sing
higher and higher notes. And if you got that breathy,
thinner voice down, then you can put it back to low, lower or Meat, Meat,
Meat voice leg. And when you got that are much
more like more like this. If you've got that, add the crackling voice into
it that you do with the vocal fry like false cord, screams are made out
of the chest voice, your own voice, almost in a sense of your own
speaking and singing voice. And the fries screaming is
made out of the head voice because it's much more
of a thinner sound is satisfied. Fry screaming. It's so you've got that. Yeah. You can try to go up and
down the same way you did with the fry vocal
technique itself.
20. Part 17 Fry Scream from ZA Sounds: If the techniques before then help you to create
your fries screen, this one should,
this one is called creating one out of a sound. Sound because you should
do a fry vocal as before. But you are going to make a z sound after the
crackling vocal sound. It's going to be a little
weird or a little difficult. It's going to be a
little difficult. But how you should
imagine is like doing the crackling voice and
then adding the z sound. And after that, you
should go up or down. Opening your mouth and
then go up or down. And why you do that? You should put in
your support as well. Like all the way
through like Oh, yeah, put the
pressure and support in after you got the sound down. Don't be discouraged
if for ice cream, it doesn't happen to you yet. It's a bit difficult, in my opinion, it's much more, much more like a modern
screaming technique. It's very popular now in the death called genre
like with Lauren ashore, Foursquare screaming is
much more popular and it was popular even back then with the older
stuff like that, slip dots or all
these bigger bands and do not be discouraged if it doesn't
happen to you yet. Be patient with it. Like I said, it's
much more difficult. So if it doesn't
happen to you yet, keep on practicing
and be patient with it and it will
happen to you. The fries screaming as well.
21. Part 18 Different Throat Stances With Practices: Now we are going to learn how to change the throat stances. Before we used to change the mouth stances with
different powers and B, two different sounds, like the higher and lower in
the mid, mid sounds. Now we're going to learn
how to change the stances in the throat and how to change the
standards at the larynx. All of these practices should be handled very carefully because it can be and can feel like a bit difficult
at the beginning. But I think in my opinion, it's pretty fun and you
will get to learn how to do the lower stances and
the higher stances as well. All of these techniques also sound very differently
here than it would sound like when you are hearing and it moves menu or
hearing it in music. So remember that this
is just practice. We are breaking down
the practice into its basics and its basic steps. And we are going to
practice it that way.
22. Part 19 The Higher Throat Stance: The higher throat stance, I think in my opinion, is easier to reach
because you are changing the stands at the
upper parts of your throat. You are basically
pushing your tongue into the back of your throat. It's tried to imagine it
like you would try to cough up slide or something like you would when you are
sick or somebody annular, you're actually trying to Buick and it doesn't
come out easily. The hires ROW stands,
in my opinion, it's easier to reach than
the lower throat stance. Basically, you are
pushing the back of your tongue to the upper
part of your throat. And you are creating
this very tight space. It's almost like close entirely. And you are trying to cough
the slime through that. Like it sounds
ridiculous right now. I know. But if you add in the
different higher characters, like the different
higher sounds like e, let's say that's the
highest than you do like a or with force code, it would sound like they
tried to practice it slowly. Like you would do a
just 11 out coughing and if you get that down, then tried to along that little screams. Yeah. This basically how the
high throw stance looks.
23. Part 20 The Lower Throat Stance: The lower throat
stances are easy to reach by two
different practices. The first one is, if you imagine that like
you would try to yawn, you are actually doing a deeper throat stance
like air is coming out of your mouth like
all through your throat. I would imagine that that
she would try to do hybrid, tried to redo that, re-imagined, that yawning is that you try to push your tongue all
the way to the back, like pyran pulling up back. This is going to sound
ridiculous, I know, but trust me on this bush, or rather pull your
tongue all the way back. We've talked like this. You would try to do
different, deeper characters. Like it sounds different
if you would do like if you imagine, if you are trying to create sound at the back
of your throat, it, there's a much
wider space there. There's a much wider space. And it's easier to
create a deeper sound like it can be really
uncomfortable at first, so be careful with it. But yeah, basically, it's, it's, one of those techniques is like the yarn technique
or how I call it. The other one is when
you are trying to drink down everyone to the table and you are drinking
the beer with one sip and you are opening your throat in a way that
it can flow through you. I, I don't know if you imagine, you can imagine that you have
you have ever done that. But basically when
you are pushing your tongue all the way to down at the back of your throat. Go create the tunnel. And that is actually
called tunnels rolling. And that is one way to make
that ridiculous sound. And then pushing the, pushing the different
sounds out like same way, like with the one
with the yawning. But this one can be pretty
difficult to get a hang of it. But yeah, slow and patients all the time and you
will get down these two.
24. Part 21 Rhythmical Practice and Screaming The ABCs: From now on all the
practices that we are going to learn is to help you learn basically a song or high will learn
lyrics itself. So one of the key things to remember that I
already mentioned before is that this is a
very rhythmical science, are very rhythmical technique, the whole screaming,
It's house melodic, but have written it as well, or sometimes a lot
more rhythmic. So you always have
to be on time. So it's really good to practice different types of rhythmic and even practiced Linux itself to a metronome or something
if you're into that. But the very easy way
to practice rhythmic, in my opinion, is to do short screams and
short breath out, either to a metronome
or just like do like like you would first
with just the breadth, with firstly just the air. Like I would push it out like one-by-one to a
metronome or just by itself in the same bit. And after that, tried
to do it with screams. Like after that, you can try a fun exercise
when you try to sing the whole ABC or rather
screamed the whole ABC. I'm not going to show you
this entirely right now, but imagine that lives
like a metronome. And you go through all the way. This is important
because you are actually learning how to
produce the sounds to a bead and how to
produce the sounds to a different rhythm than
you would normally do. Or first, just like
simple beats and then like do it on like eight
nodes like hey Barry, J, J or something like this. And the rest of the alphabet
is that I don't know. So that is a good practice
to start with as a beginner.
25. Part 22 Enunciation Practices: One of the things that
can help you to learn a song or a lyric is that, or the lyrics of it is that try to get down how
the singer itself, I'd say it's the words
and the letters itself. This is important because
you can try to do like, try to be melodic with the enunciation and the
pronunciation itself. Remember random life, or do you know random life
from love of God? He seems perfectly and very rare and screams perfectly with
this melodic enunciation. And I think he's a very
good example of that. What you could try to do is
try to do different types of short words and word
beginnings to scream out. One of my favorites to do is the sound Yao, which consist, that's a word beginning
That's basically consists of the ya is a sound that
gives you the momentum. It's, it's consistent on are
or who you are basically are articulating all throughout
your richer mouth like Yeah. And I think that is a good
practice that you could try to do to start, beginning to end. I think that is a
good practice to start practicing the
Annunciation itself. And after that, you could
try to do a practice I like to call the
monkey noises, is basically sounds like whoo. Oh. First you should
try to do like boo, push the air out. Then try to talk through like you would
talk through it like, Oh, try to reach
it like Oh, wow. If you do it like one at a time, it's like it's something
that also can help you with enunciation itself and just singing
different types of words, like words like one of the, one of these, like when I
like to do is like Eleanor. Eleanor is like a
free syllable word that's consistent with a very deep sound at the end like or, or something like that. When I'd also like
to do is Mandarin, which is similar but with
a high notes at the lake. And are, there is
also a form on which is more like rhythmic,
like potato salad. I know these are ridiculous
words, but it's awesome. But JI JO saw large, something like you
would scream to the crowd if you're like on
a hardcore dining shoreline. Joe, so large. And yeah, all of
these are to help your enunciation
and pronounciation and how to learn the
lyrics of a song.
26. Part 23 Mimicing Different Extreme Vocalists: When we learn a song with my students on my
lessons, I first, I tell them to whisper
through the lyrics quietly, like CAF. So it's just because
this will help the students and it
will help you to learn how the singer
pronounce its, learn the excellent, the articulation and the
rhythm and lyrics itself. And when you get down that, when you have that, you can try to mimic the singer in a way
that is not a bad way. Like make, almost
making a parody of it, of how he seems like, where does he go up? How do the different types of emotions and infections that
he does throughout the song, you have to get that
anger out and you have to like learn how these
extreme vocalist singing with that pure
energy and with the pure angers many times and try to mimic that and see where does the singer
go up with their workers? Where does he go down? Or where does he or she
grew up and when he or she goes down and yeah. And after you got that
down with just a whisper, try to put more energy
into it like I did my dad. And I want just to
cause, let's start. So vibe rods and so on, and learn the entire
song this way, slowly.
27. Part 24 Raspy Scream Singing Vocals: This is my favorite
type of screaming, and this is my favorite
type of extreme vocals. I like to call this drive screaming or rather
a recipe singing. One of my biggest
inspiration in the hall, singing science or the
whole extreme vocals was really freeing
for machine head. And he does a lot of like this. The trick is to, you tried to seeing different nodes with
disk drive voice. That's like like, like same resignation
and same distortion, like you would do a
fourth chord screaming. But you are trying
to put less and less drive into it and more
your own voice into it. So it's something like if
you would sing melodically but still has that powerful
recipe, distortion. And another great example
would be holy sites from Rumi, the horizon like Kenya. Or he does this even with
much less Dr than me or yeah. Can you tell from the
look in your rise? And the trick is to practice with basically like how you would
practice singing. Tried to, I like to do on my lessons is
get down different, write down different
singing parts, even from popular songs like
Red Hot Chili Peppers or something and try
to scream it out. We denote there. There's a good example. It's good. Extra metal like bleed from
Gilead, like dragging us. And of course machine
had like down there calm the storm of low cost. If you could hear it as like a little bit of a
melody into it. And the trick is,
like I said before, is to put less and
less distortion into, and I think it sounds great in enlivened
in studio as well.
28. Part 25 Harsh Breath Hardcore Vocals: There are two main
types of genre that uses this type of vocals. The one is like a really, really powerful hardcore
metal sound like Kubla Khan. That, that is one I really like. And the other is
brutal death mask, of course, like cannibal course. So there are two types of genres that uses this kind of vocals, these two and easiest to practice this is with defies the practice that we
did at the beginning. The one where you are making
a scream out of a sigh. But, but try to not push the air and the
scream out of that imagined pencil in
its upper parts tried to do it like downwards
and with more breadth. So don't judge. It sounds much more scary and sometimes
much more angrier. But it can it requires extreme stemming and extreme control
of your voice and breath.
29. Part 26 Practice With Major Scale: This is a simple
practice that I like to do with every
type of screaming, but the easiest to do
with this dry screaming. I mentioned earlier these
recipes singing, How do it is? Basically just have a piano
ready or like We're show piano on your mobile and we are only going to
do one major scale, the C major scale, if you don't know by any
chance how to play the piano, is that you before the
two black piano keys. The first one is the C.
And if you are pressing all the white keys,
that's a C major. Basically, what we
are doing is we are going to first sing out the, the notes itself and
add distortion into it like just really slowly and then build
up to it like this. This one is actually
sounding like I'm, I'm adding an octave to it. That is because because when you scream like this
false cord screaming, it actually adds more
frequency into it. But the important
part is to just skip on the different nodes with different types of screens like and so on. You don't even have to
do the whole scale. On my lessons, we are doing like one or four nodes at the
beginning and then we are, we are doing even more slowly, the distortion and
the drive into it. And when you feel comfortable
with it, add more to it.
30. Part 27 Easy Warm Up Practice: Each day when you
are sitting down and trying to do a
longer practice, start with a warm-up, or this warm up is good
for even if you are singing on a reverser
or streaming on a rehearsal or
practicing at home, practicing on lessons are practicing in the studio
or trying to record something in the studio
or screams something up. This is a basic warmup
that I like to do. There are two types of
hormones that I like to do. The one, this is
important because it will help you get the
sound down easy. And it, first of all, the most important part is that it won't hurt your throat. It would be much less likely to hurt your throat if you
are practicing new stuff. The other one is that it
warms up your breath and even warms up the intonation
a little bit and the scream and the
vocal cords itself. There are two types of warm there are two types of
warranties by like to do. One of them is more like
a breath technique, focus one and the other
one is Indonesian focused one on
this vocal chords. I'm only going to focus on
the breath technique one, because I think on this work of course is a big winner that
is much more useful for you. So it's an easy breath, warm up. Basically, it consists of four different breath technique. One is the fifth and
fifth and sixth one that I usually start
my lessons with. The, if you don't know these, then go back to your
previous part where I mentioned all of these
different breath techniques. The second one is
when you are doing a breath intake and
breath outtake. You're doing a breath
intake on the sixth one and doing a breadth outtake
on the first one, and doing it as long as
you can on the 60 BPM. And the third one is like when
you do it on double time, the six by eight bits. And 41 is when you are
doing the one on the 60 BPM and you are taking a breath on the sixth one and breeding
only on the first one out, and then breathing
on every beat. That's four of the
breadth techniques that should be on your warm-up. And I think that's
more than enough. If you do all of these, it should take around
five to 10 min. After that, what I
usually like to do is to try to sing without any music. Try to scream. One of my songs, one of the nest of
plague songs, or, or just any type of songs but might as well be one
of your own Zan Yeah. If I do my own, it would sound like I paid
up pitcher or to sell leg. As I say, for beggar, they told me I'd die. Shows this side. We'd every block arrive at the satisfied that this euphoria should address the I won't give out my anger. Reason I'm showing you
all of these parts is because it consists a lot of different types of screaming, a lot of different types
of characteristics. But I'm not doing it with
full power of four control. I'm just like standing
and screaming it through because that's
how I usually warm up. So you might as well
find some kind of song. You yourself, if you don't know. If you don't have any
of your own songs yet, then just find something, one of the sleepless
songs or any kind of songs that's easy to scream
through at the beginning. Or if you don't,
if you can scream. Yet enough dangerous whispers with quietly like I
mentioned before.
31. Part 28 How To Improve Stamina: I like to improve seminar, especially if I'm doing a show next or the next day or even, even just before I show. What I usually do is like two types of different
things that I like to do. One is pretty funny, is like I like to go on, on a jog or start running. And why Iran? I like to sing the same
way one of our songs. And trust me, nobody notices. And if you do that, you feel that it's
actually extremely tiring. And it's it's you're trying to run out of
breath all the time. And you are helping your
body to improve on that, how to regain that
breadth and that oxygen. Right before the show, what
I like to do is do a plank and starts screaming one of our songs at the same
way I showed you before. Both of these are
actually very tiring. So if you yourself
want to try these out, watch out because it is actually extremely tiring
it the first time, but it can help you a
lot with your stamina.
32. Part 29 How To Elongate Screams: The breadth techniques
are the main practices for you to make a longer scream. I already mentioned
several days before. The first, you should try to do breadth techniques that help you improve on your capacity. The one with the four by
44444 breath technique, the square on the one where you take a breath in
for 4 s and breathe out for 6 s. But the
important part is to do all of these with
screens, especially. So I showed you this before, but this is a recap
for you to know that if you are trying to
alone, you're screams. First To do the one
where you are taking four breaths in and then
doing 7 s of break. And then try to scream out
for just 4 s at first. And gradually improve on
that like 5 s like her. And so on like 6 s, 7 s, 8 s. If you get to 8 s, you should try to,
from, from that on, you should try to practice
long screams with T. With the most important
breast practice, the 5.8 metronome beat breast
practice, which screams.
33. Part 30 Recording A Vocal Cover (Lamb Of God Walk With Me In Hell) : Now I'm going to show
you how I record a vocal cover using the
techniques I taught you today. Now I'm going to do a cover
from labs got Walk with me in how I like to give this to my
students as a homework. Because it has a lot of
those techniques that I talked to you about in
this work, of course. First I'm going to sing this
in Fry screaming technique. Now I'm going to demonstrate the same part you
with false cord Walker streaming
technique. Let's go. Let's lie no law at all. Why?
34. Part 31 Closing Words, Practice Patience: In this chapter first, I'm going to tell you the
golden rules that you should remember that you have learned all throughout
this vocal cords. And after that, I am
going to tell you how you should practice
your extreme vocals every day and how to
improve on then how, how should your
practice look like? So how should your
practice look like? The golden rules are less
effort with more sound. So always do less effort
and the best sound. The other one is the control, control, control,
control, control. This is really important to do everything which
control and always control how you do
your breaths and how you do your vocals, your sounds, how you control the
air and how you control all the techniques, the vocal discipline and
the like I said before, the patients on the vocal
discipline practice. Before practice. Always warm-up, always, never miss that. It doesn't matter
if you warm up for 5 min or 10 min or 2030, 40 s to warm up
every time enough to do the breath
techniques and some of the basic screaming techniques. And at the beginning
you're probably only will be able to
practice like ten, 20 min at first. If you get tired than
just go back to it later that day or
just sleep on it and then come back to it another, another day and it
will improve on time. Like I said before, this is a very physical and tiring
workout for your vocal cords. So don't give up. And if you get tired,
it's not a problem. Just come back to the
practices later and be patient always and don't be discouraged if it doesn't work immediately. You're supposed to practice this every day for
a lot of times. Like I said, this
whole vocal cords consists of like three
months of my lessons. So the students themselves that come back to the sense of mine, they are getting through this
lever around three months. Yeah, you should be patient
and practice regularly. Thank you very much for
getting my vocal course. I hope I could give
you the wisdom and the information
that you needed in order to become a great
extreme vocalist. And I hope I could help
you on that journey.
Daniel Ivanics, Extreme Vocalist and Teacher
