VOICE CONTROL: How to sing Masterclass

1. VOICE CONTROL: How to sing Masterclass: Hi, there. Are you interested in singing? Then? I have a perfect awful for you. This is Voice Control. If you're looking for great vocal cords, voice control may be the solution, whether you're a beginner, advanced or even a professional who's looking for some hints and tips and tricks to get even better. The great thing about this course is that we are dealing with all the stuff you need to know to become a better singer. No matter what genre you like to sing. We're covering topics like the diaphragm and support, breath support, talking about all the things going on in your neck and on your head like larynx, like soft palate, like your vocal mask, your embouchure. And of course we have lots of different styles. So as belting, Oprah, vocals, Guang, we're working on speech level, on falsetto. So everything you need for singing each genre from pop to rock to metal. Everything's covered in this course. The good thing is, it's like a toolbox so you can work through the whole course, through from a to Z. But it can also pick out the things that you're interested in the anti, find a big vocal workout to work on all the stuff that you're interested in. So really, really, really will get better. I can promise that bad news is it's a bit of work. So if you really want to give better, It's a good idea to work through the little details you find throughout all the course to get all the answers you need to know to work on your personal targets, maybe on your vocal habits that you've had to become a really, really great singer. My name is further than I am working as a professional voice teacher for almost 15 years now in Germany. And we packed all the questions, all the problems, all the things that I'm working on with my students within the last 15 years into this course. So it's pact of other things that I know and I've recognized while working with my students. So if you like to become better, that would be the great toolbox for you and your habits and your targets. And you can now come and John, the voice control community. So I would love to start working with you on your targets and your personal voice. So let's get into the course and see you in a minute. 2. Vocal Demo: Oh, Who's look in and see. The interface is filled with aqueous humor. So even though the magnitude so soon, they use the Charles law, this is the key. And for growth, It's huge. And it gets you some, you know, achieving some of the roles. So some of the back surface. This is a C minus. And when the host. Now, this is a good example along. That's what this says. Now. That is, that's what Java does. He choose? How? So Let's now get the after what she said. Next. Actually. Hi. A break for lunch. Once again. Hi. 3. Introduction and explanation Vocal Warm-Up: First and most important thing is a vocal warm up. Just in case you just got up, it's early in the morning or you're just not in the mood for singing. This is the thing you have to do. First thing before you go into your rehearsal or into every single part that we are dealing with. So we're going to warm up your vocal chords. We're going to warm up the whole body and everything that has to do with singing. So let's get started. 4. Vocal Warm-Up: So here we are and let's get started with your personal vocal warm up. This is the thing that you can do every day, even different times on everyday because it's a perfect thing to warm up your vocal chords and your whole body and to get in shape too few want to get one before singing. So even a thing you can do before recording or rehearsing, whatever you do. So we want to get started and get up your body. So please try to sit straight up, chest, a little bit in front and just breathe in through the nose and exhale through your mouth. Tried to to stay straight. Shoulders are straight back. Inhale and exhale. Inhale. Exhale. Try to feel that your chest is going to open a bit on your belly as well. Inhale. Exhale, inhale, exhale. And with each inhalation, you try to hold the breath for just a second. Inhale. Exhale. Just stay straight up. Inhale. And exhale. Nice. So just getting a bit more straight and open up your chest. We're going to stretch. Simple thing, just stretch out your arms just above your head. Tried to get bigger and bigger. Direction directly to the ceiling. With stretching a bit to the left. Stretching a bit to the right. And most important, Reach up with your answer to the left and the right and open your chest and everything that has to do with your lungs and your breath. For the next sections, open it up. Again, arms above and to the side. Grade 1. Now we're going to roll your shoulders from back to front. Just little movement, not too much. It's not about muscle strength, it's about getting into motion. And the other way around. Start. Just scrolling around a bit with your head to open your neck to get in contact with a neck muscles because we need them. The other way around again. You head to the left. To the right, not too much. There. Ride and another stretching in arms to the side. I hope you feel opened and you feel a little bit more energy in your body because of the breathing of the thing that's very important and a good way to get up if you're tired or if there's not enough oxygen in your whole body for the moment so you get more focused. The next thing is to get it to the muscle movement of things we need for a senior. So there's the jar, the tongue, everything in your mouth and in your face. So first thing we're gonna do is getting into the jar. So just dropped the jar just nicely and move it a bit to the left. Looks stupid, I know. And to the right. Just a little bit, not too much to the left. To the right. Now we're going to close your mouth and opening. Closing it. And open. Just like you're biting into an apple. Can you feel your muscles over here? Just imagine a nice red apple. You're biting into. Nice one. And now the tongue, very, very important thing. First thing you're gonna do is you're just taking two fingers on a one as you want to and put them under your jar over here and yeah. Like squeezing a bit into your tongue just like a massage. Left side and right side. Don't push too hard because it can hurt a bit. So really just like a nice massage for this part of the muscle is important for the movement of the tongue. Nice, nice one. That's fine. So to get the tongue and shape we start to seeing and that's very, very easy. We just take a different notes. Girls one octave above. Boys, one octave below. We see just little scale-like nana, nana. Okay, Can we do that together? And tongue in front of the teeth, and then then then then then then then then that again. None. Nice one. None, none, none. Tried to drop the jaw with each note that using none, none, none. Again, next one, NAM NAG. Nam. None, none, none. None. Last one. Perfect. To the beginning. Now with la, la, la, la, la, together, girls above, boys down here. Here we go. The Batman, batman. Short notes like stuck at o level than, than, than, than, than, than, than than. Men. No pressure, no effort. Nice and smooth. Perfect one. That's a thing to get your tongue in shape and to warm up the tongue a bit. Now we have to one of the voice you get up even more higher than we were in the last one. So we start a little wiping, a little whining like a little cat for instance. So you just close your mouth. You start like but it's not like in the Martha, it's more like NG like in the word sin. So you feel the tone just above the beginning of your head. It's a bit like headways. Just choose your very own note in your mid-range to begin. And it's running things. So you're, you're winding with a little note and just drop the node and be very, very, very short within nodes. So no pressure, no effort, just like a little, little tiny cat. Okay. Maybe begin in your head voice. And with a siren you tried to connect head voice and chest voice just in one little stretch but no pressure. So take your own node and just wind around with me. A little sad. No forget and brief. If there is any distortion in your sound, That's just because you another warm, so just lean into it. No pressure, no pushing on the vocal chords. Just make a little sound and tried to get warm and get rid of this distortion and rid of all this cradling around there. So bring the sound and to your nose if you can. Very nice there and as it feeds, very good, I think. Next one is to get connection with your jar, your tongue, and your vocal chords. A little JAR they like, you're very tired. Quite nice. This, this, this little exercise and very easy to do, suggest in your own sound with your mid-range tone that you choose. Just going to open your mouth and from your chest you start to John with your very personal tone. So nice one. Again, you can try to get a little more higher. Nice one. Hello. Again, connecting had a head voice and chest voice. And OpenID opening up all the resonance that you have in your little tiny spaces all around. He had great one. So let's start, do the next thing. And to get in this little resonance room in your nose, we choose the letter mean, not m, its mean. And if you do, you're on your own individual note, you can feel the resonance in your nose. Maybe just to give it a try. Maybe you can feel it with your fingers. Same thing here, starts somewhere around your chest boys or maybe even in your head voice and bring it to ring over there and your nose. Still be careful with with a vocal cords, no pressure, no pushing. Can either crackle in my voice. I'm not warm already. This is a nice and easy one. And now are we going to get it into a tonal way? So we're taking three notes. That's very important. Let's start a bit higher because it's a good idea to be more and more above there like that. So the guys here, the ladies one octave above. And we're singing on this. Bring everything into your nose, make it rattle as good as he can't. Concentrate on your nose? No pushing. That should be enough for the first warm-up. Think. Now your interior nose resonance room. And now we're going to concentrate a bit on the breath, breathiness of the tone with a little. Who? Can you do that? Same thing. Start with no pressure, no pushing, just give a little breath and then vocal cords are closing to this x2. Very nice. Yeah, We go to sing that just 2-nodes, a fifth of the chord. So the guys starting here, the ladies one octave above. Okay, Can we do that? Here we go. That the airflow. Another one. Now maybe switching into head voice. The last one. Very nice, very nice. And another one with more, more tones to sink, Starting around here again. But the whole scale is like just let the breath flow. Concentrate on your breathing and just start each row of tones with the WHO. Okay, Here we go. Ladies monarchical buffer. Nice one. Switching into head voice, maybe. Last one. Very eyes. Very nice. And to complete the vocal, warm up for you. We have two other exercises left. One thing is to get more mass into your vocal chords, to get more into real singing. But still be careful, we're just warming up. We sing beginning here, ladies, one octave above. We see like the first and the first with the yo. Yo. Two notes, ladies. Okay. Here we go. A little bit more vocal cords. What strikes, you know, 00 00 00 00 00 00 00 00, 00, 00, 00, 00, 00, 00, 00 00. In like a classical singer. Yo, yo last one. That's enough for warming up with a big massive sound and your voice. The first of all the things and the last exercise for this walk, vocal 10 is an octave. So starting over here like okay. And the sounds we're using our K named a bit. The idea of a direct onset like the k a's good for opening up the mouth, tongue, and jaw. And the a name, name, name the n is good for the resonance and you know, so everything combined together in this last exercise, ladies, one octave above. So here we go, like Kanye name a nice naming, naming a K, naming a K name name, the name name, name, name name name. King naming may not pushing the main, main main name, the name, name, name, name, and the last one. Great one at that was your vocal warm-up so far. 5. Who is this Marius?: Maybe you've noticed there are two instructors in this course and maybe you have to ask yourself, who is this Mario's. And I'm going to answer that question for you. But first of all, if you want to dive straight into the topic, feel free to just skip that lesson and just start learning. But for now, I am going to tell you some stuff about myself. My name is Mario's, and to cut it off to one sentence, My work is mostly everything you don't see. So a big part of my work is to meet the instructors. You will see 99 percent of the time in this course. So don't worry, this is the only video I'm in front of the camera. But so I meeting this instructors you will see in this course and we are filming the course you are going to see. And I'm checking the cameras, I'm checking the lighting and checking the audio so every microphone is working just fine. So that's a big part of my of my work. So I am kind of the technical guy. And the second part, which is a quite big part, at least a much bigger part as the first one is to cut all of those videos you are going to see. So maybe you have already recognized there is some, some text flying in at some point in this course or some zoom ins or to have a fluent transition between those videos. And that's my work. So big part of my work is to just sit on my laptop and cutting those videos. So that's basically it. That's my part of the job and that's why my name is in this course as an instructor. And for now, just have fun learning and have fun watching those videos and super happy you are in this course. 6. BREATH CONTROL: Let's talk about breath control. The basis of every thing you have to deal with while learning how to sing is your breath. And maybe you heard the word breath control many, many times. If you're looking on the Internet, you will find many, many explanations for specially this topic. So what is breath support? The most important thing in your whole body for breath, supporting a meaning. Holding your breath, controlling your breath. So you can see a nice and clean node along node. Singing with dynamic of sounds is your diaphragm. Your diaphragm is sitting in your belly like Yeah, over here, under your ribcage and it's like a balloon. And if you ever worked with balloon or played with a balloon, you know, if you're pushing your air into the balloon and blows up. And if you're letting the air out, you can do that in a fast way like or you can do it in a controlled way like you're holding the air. Like pushing it to balloon and letting it out controlled. And in a way that's all breath control means. So your diaphragm controls the amount of air you can push or pull. Even more like pulling air into your lungs. And that's the thing that diaphragm works on. So it's singing over here and every time you breathe in, it's like a little, little pushing, like a little control of letting air into your lungs. You can do that, the fast swelling. And we are going to work on that so you can be safe on breathing in, in a fast way like in-between two sentence in your song. Or breathing in control but not taking too long, too much time to be follow there and then holding that are controlled two, yeah, in a way, be steady on your vocal. Pillar in a way. So imagine like you have a pillar out of air, out of your breath controlling it and your tone that's built over here in your head. So above your chest is sitting on that pillar of air and is controlled by holding this breath and controlling this breath. So how do you do that? First thing is understanding the many things and the words we're, we're talking about, the things we're talking about. It's your diaphragm. Your diaphragm is over here. We said it's like a balloon. So if you're breathing in, you imagine a balloon that's blowing up and you're holding this balloon and control the amount of air that's going out. So you have a steady amount of air flowing over your vocal chords to make loud tone or an load node. No matter what you're doing, holding that air in just a second before you're out of air, there's another impulse that's pulling back into your lungs and blowing up your balloon again. So blowing up, controlling that. Then you have this impulse. And you full of arrogant. How can we try to rehearse that? How can we try to train that and get better on it? Of course, we have exercises. So let's go to the next lesson and learning how to breath support and how to control the air. 7. Exercise: Diaphragm Support: The first exercise is the diaphragm support. We talked about the diaphragm and the balloon. So the exercise is as simple as that. You blow up the balloon, breathing in and holding their breath. And to control yourself, you put two fingers like an L, left and right-hand in your side, just in near your kidney. So you maybe you can feel that, really feel that maybe you can have your, your thumbs in near to your kidneys, pushing in a bit. And with your inner muscles, with a torso muscles you try to push against it, like pushing in from the outside and pushing out from the inside. Can feel your muscles. Can feel it. Okay. So if you have your full breath, your fingers are before you breathing in, pushing into your sides against those muscles and why you're breathing in and you try to get as much space in your belly as possible to make the balloon as big as possible. You pushing out against your fingers. I will demonstrate that breathing in. I'm not doing that by pulling out my hands. It's just the muscle movement inside my body. So pushing in, breathing and can you feel where your body moves? Maybe it's more in front, maybe it's in the back. Let's give it another try. Push out the air. Putting in your fingers. And Britain. Nice one and then hold it. Hold it. Hold it like a pillar. And now the air is standing inside of you like a big pillar. And let it out. Push in your fingers. Breathe in. Hold it. Feel the pressure in your belly. Pushing against your fingers. And out. In a way we try to expire this balloon, this diaphragm balloon inside of your belly to get a bigger and bigger. And yet you to build more space for the air. And other one, push in your fingers and breathing. Hole it. Feel the pressure, old it and let it out. Maybe another one to get another impression of how the balloon or half our fastest balloon blows up. Just put your, put your hands in front of your belly. Let out the rest of the air you have inside. Hold it for three seconds and breathe in as fast as he can. Can you feel the balloon blows up in your front like you're really, really, really fat guy or fat girl. That are the air. All that for three seconds your hands again. And breathe in. For balloon, like directly blowing in the air into the balloon. Nice one. Let's go through the next exercise. 8. Exercise: Sssss): Second exercise on diaphragm, support of breath control is controlling the amount of air you let out. So we breathing in, we talked about that in the other lesson before, and we let out the sound on a controlled sites. So it's almost about time you're breathing in and you make a little, little, little tiny opening in your mouth. Teeth are closed. Tongue behind your teeth, in the back of your teeth. And you're just letting out a little amount of air, the last amount of air you can and try to hold it as long as possible. Feeling the pressure while you're breathing out, feeling like getting out of breath. And if you feel the pressure is, is on its, on its absolute optimum, you still try to get out a little bit more of this. Hold it, hold it, hold it. This will train your breath support and the most efficient way. So let's breathe in. For the first thing so far. Let out the rest of the year. The thing is you blow up the balloon and you try to stay that blown up. So it's not like breathing in. And first thing you do is you start to go back to the nut blown-up balloon. No, no, no. You tried to stay out there. You try to, in a way, imagine you have a big ring around your belly and you try to hold their ring and you try to keep the size it has. Okay. So breathing in holding that position so the diaphragm can stay in the position and you can control the amount of air that's going out. Let's try it again. Breathe in. It's it's nice one. Maybe he's getting out of breath and that's totally okay. We really have to get into that. But that's a very, very nice exercise to train this ring and this, this holding the pressure in your belly just to control the voice and really, really tried to get even, even, even, even less effort, less breath. Getting out of your body. Very important to control the breath and the amount of air you need for a good and healthy note. Please, please do that as often as you can to get better. Maybe you can take your time and try to hold it for like, I don't know, First of all, thirty-seconds, something around that. Give it a try. 9. Exercise: Ffffff: The next exercise is almost the same as the last lesson, was, we have controlling your breath. Last letter we chose was now it's getting a bit more complicated, a bit more hard to there to hold it. And we choosing the letter F. So we're not really close in front. We have like so no chance to close your teeth. No chance. So you're just building an F. And same thing, breathing in, hold the ring, hold the diaphragm out, hold it as long as you can, and let the air out on as controlled as you can. So here we go, breathing in. Understood. That's all of it. So try to stay out there, hope ring hordes or give you your chest as much, as much space as possible and let out the controls. Another one, breathe in. Breathe in again. Very nice. 10. Exercise: N N aha: Next exercise is a little bit more complicated. We're trying to get into the focus about the diaphragm. So the problem is why you're seeing you're not just holding one node like Ha, That's what we talked about in the last lessons. The thing is, you have a mixture of consonants and vowels, and that's a big problem because you have many impulses. Well, the diaphragm can go back into its starting position and that's the moment when you're out of breath. So we have to train it. And most of those impulses come from the same point where your diaphragm sits. So you have like or hey, hey, hey, hey, if you feel your stomach, maybe just a little under your rib cage where the diaphragm starting point is, you can feel this. Ha, ha, ha, ha. And the exact same thing is in the next exercise, we're going to sing our, HA, can you feel the little starting point of each node right there we're diaphragm sits. That's good things. So we start over here. Ladies, one octave above. Okay? Uh, ha, ha, ha, ha, ha, ha, ha, ha, ha, stack at all. I'm summing who had so far so good. 11. Pillar of Breath: Let's talk about the very important thing I call the pillar of breath. For singing proper nodes, good supportive notes. It's very important not just to, to rehearse like pushing pushing out your your belly, Holding a diaphragm, working on diaphragm support. It's a thing like, in a way a mindset. So you always have to remember if you are trying to sing along note, it's easy to imagine that you need very special amount of air to put that little note built in your vocal folds on that, that breath. So it's in a way, our first step into our toolkit, we're going to talk a lot about toolkit within this course was control one, because it's all that matters. You have little, little, little steps, little tools over here or 20 over there. And you're putting those together to get the perfect sound or even a perfect style or mode you want to sing. And so the basis of all of that, no matter what mode you choose in the end, no matter of what it was STI using, the base of everything is breath. So breathing in as a first thing before you seeing just one single note. And then the diaphragm support. Second thing and third thing, pillar of breath. So what is that? In case you, you fixed everything, you need, diaphragm support the ring we talked about, and you start to hold this breath. You have to imagine that there is like, like around thing around pillar builds like from the middle of your belly up to your vocal folds, vocal cords. So this is the pillar of breath. And on that pillow you put the sound you're producing. So without all of that, everything we do over here is worth nothing. That's very important. So just imagine this amount of air like one pillar, it's strong, it stays together, it's fluently so that it's not like it's breathing in, in one direction, one amount of air and letting it out controls like like a river. And not like a waterfall like okay, that's very, very important. And to, to get more into that and to, to exercise that. We're going to the next lesson. Are you having a great time with voice control? One, Perfect. Then let others know how much you like this course and leave as little rating and review. We would love that. 12. Demo: Voiced Wwww: The easiest way to get more into this pillar of breath is the letter. Not like doubling Hugh, who would ride like that. So imagine a lot of w's in a row and we have like, why is that important? You building this pillar of air or pillar of breath. And on the pillar you start to produce this little, little sound with your vocal cords. Just choose any, any node you like. And you can feel the air still passing the vocal cords. How do you feel that passing? Now, you're closing your lips and producing that in front of your mouth. So you have like can feel the vibration of the nodes of the sound in front of your mouth. And you can control the amount of air so it won't work. If you do like if you pushing too much, you have just like air on the sound. You can hear that but there will know, will be no sound, no tone. If you have too little air, It's like you have this fractal, a crackle sound you don't need. So it's about controlling the amount of air, how much is too much and how much is too less. So to, to control that you use the Just do with me. It's like imagine, for instance, a big ship that's going into the harbor and even tried to push on the year. You will see what happens. Too much, too little. But it's okay experimenting with it to get a feeling for what kind of amount of air do I need to get a proper sound, a proper note by singing in a way on that. Okay. To get a bit higher. Play around with her. Just to get a feeling for the amount of air. That's right. Okay. 13. Exercise: Voiced Wwww: The sound we talked about last lesson, we call that voiced voice note, voice tone. So we voicing, this sounds like without it was it's voiced. And to get more into that, we have a little exercise. So girls one octave above guys down here. On that. Here we go. Nice one. Control yourself. You will own. Nice. Don't forget to breathe. Ice. Not pushing on the vocal cords. Last one. Nice. 14. Exercise: Aspirate Foo: To get more into it and to make it a little bit more complicated, we choose f2 and f2 with an F in front just as an onset as the beginning of the sound. So for the breath, UX, for the control voicing or the sound, and we choose a scale as well. So here we go, ladies of a young boys down there. Here we go. With that, the airflow. And you alone. I write little notes and the less amount of air you need, food. Food. Maybe your voice wants to switch over into head voice. So maybe give it a Tries, which for the highest node into headways and back into chest voice again, if you can't do that. Nice. And accelerating your own head voice. For great one. 15. POSTURE: In this part, we're going to talk about a very important thing, and we need to talk about that. It's about posture. Posture means what is the right position? With all of my muscles in my upper body, maybe even in my lower body. Is it okay if I'm sitting while I sing, shall I stand when I sing? All of this things of course have to do with how do I feel? Can I, can I use the muscles I need to use? And do I have problems when I have the wrong posture in any position? So all those things are very important for the correct way to seeing or healthy way to sing. So let's have a quick look in a little demo of how to have the right posture while you sing. 16. Demo: Correct Posture: First, let's try that. There are many parts of your body that are important for the right posture while CAN, so we have to have a look for each one of them. So the first thing is your neck. Why talking about enact posture is very important. For instance, if you're holding your head with your neck like this, It's not good for your larynx. If you hold in your head down, it's not good for your larynx. If you pushing you had a bit forward. It's not that good for C and we will need the other way around pushing it back in a way. So neck is very important. That's one thing why it could be a good idea to get loose and get good, really easy and your neck, so rolling around your head for instance, in a way like Mobilization for the neck. So neck very important. Second thing we have to talk about are your shoulders. If there is any pressure on his shoulders, like holding down your shoulders too much, pushing down on your ribcage. Not a good idea. If you're trying to reach high notes, many singers are doing things like that. Not a good idea. There are muscles in your upper back that are, in a way dealing with muscles in front of your back. So ribcage again and neck and shoulders are combined. So not a good idea. Just try to stay in a nice and smooth way on your shoulders. No pressure, no, no power, no unnecessary energy in any way. To make that sure we have it in a warm up. Rolling your shoulders and mobilization and shoulders is very good in the beginning before you start to sing, just to stay focused and get rid of that pressure on your shoulders. Okay, Very important thing. Third part is not, not really on the neck. It's in a way your, your hack, we call it. So everything in front here. We talked about that, not a good idea. So just always try to keep that as as easy as possible. No pressure on the muscles in front of you. Okay. Very, very, very important. You can control that by rolling you had or maybe roll it like that as a warm up. Or if you feel any pressure while rehearsing or recording or while being in your vocal workout here. So just get rid of any pressure over here. Then we have hadn't cervical. That means head and your head is based on the cervicals and the back of your spine. So everything everything above here. Same thing. If you pushing forward with your head, not a good idea. In a way conflicting other muscles in your upper back or maybe on your hack. And if you're pulling back on the head, It's blocking those cervicals as well. So stay as mobile as possible in your head and neck. Very, very important. Same thing. Do you warm up and you will get lose in it. That's very, very, very important. Then we have your legs in a way. If you're standing, it's not that necessary that you're always standing, but many things as diaphragm support are more easy if you're not sitting as I do. But if you're a little more advanced, you can do all the same things while sitting, but they're important here as well. No pressure on your legs. Maybe if you're working on a very, very, very hard node, very high note and pushing node and the mode are belting. You can release pressure from your voice into your legs. That's totally okay because your legs can continue with it. But sometimes if you have unnecessary pressure because you're standing uncomfortably, that will, in a way pushback on your vocal cords and so you have pressure there as well. So if you are wondering why you have that much pressure on your vocal chords, always controlled your whole posture. Is there any pressure in my body that's not necessary. Of course. For your back, there's one rule. Try not to lean forward and make around back. Just always stay straight up. That's very important. Well, for your diaphragm support and for you breath support. Okay. Another thing that we have as the belly, we talked about that as we talked about diaphragm support. Belly should not be close, should not be hard. It should not be under pressure on the muscle pressure, that's very important. So try to be smooth with it. And 40, for example, if you're holding breath, not tried to push into your body because we need that easiness for the diaphragm to work like blowing up and getting Back again in its ground position, its starting position. So no pressure on the belly. And that's why you shouldn't sit like this or stand in a round back way because you're taking away space for the diaphragm. That's not a good idea. So always stay straight up, open up your chest, and open up your belly. So everything around here, lungs and diaphragm can work properly. And last thing, while talking about posture. So we now said no pressure on your legs sitting or standing up straight, opening up the chest. So push and pull it out in a way pushing back your shoulders but with no pressure, taking them back, not in front like this. Not a good idea. Holding them as relaxed and easy as you can. Not pushing forward. You had NADH back. Just relax. You had on the over cervical. And last thing we need because our vocal folds or vocal cords are sitting in it is the larynx. And the larynx is in a way I always say like an elevator. So we have different positions for the larynx. It is, sometimes it's in a relaxed way in the middle. Sometimes we're talking about the low larynx, sometimes we're talking about hi larynx and that's very important. So if there is any problem with jar with position of your head and position of his shoulders that always can, in a way conflict the position or the easiness your elevator is able to change positions. So larynx should always be in a way free, not relaxed because sometimes there is work for the larynx into there is pressure for the learns, but try to, to make sure that the rest of the body leaves enough space so the larynx can move in either direction, up or down. Very important. So keep that in mind. Had cervical, neck, hack in front, shoulders, belly, chest in a way, lags and all of that together should keep the most amount of freedom and open space for the larynx and the vocal folds to move. That's the most important thing about posture. Hi there. Are you enjoying this course and are you learning a lot? Great? Maybe you would love to take a little time and leave little rating and review. We would love that. Thank you. 17. VOCAL CHORD CLOSURE: Let's talk about vocal chord closure. So first thing we have to talk about or to, to explain what our vocal cords, vocal cords are like. I will show that with my two fingers, like two strings of the guitar, for instance, right in the middle of your larynx. Breath is coming from, from your lungs and streaming through those two vocal cords like those two strings. And wireless streaming over there. You can even make it higher or lower. Bye way, flexing those muscle in the way that strings. So you have like left string and the right string and you can flex it or relaxants so you have a higher or lower node and the breath is what makes it swinging away and this vibration goes up into your head and you had this, in a way, the resonance room for it. And in the end you have a node or a sound coming out of your mouth. You do that the whole day because why you speaking? It's the same the same way that seems system, breath, moving or streaming across your, your vocal folds or vocal cords. And you have a sound like, Hey, all you, it's the same, the same thing. Now, vocal chord closure means, how can I control that? Let's have a quick explanation. Controlling means not that the tone or the sound, but the closure. So you haven't away the possibility with two muscles, not really on the side, but it's easier to imagine to pull them out or to put them together in a way. So my fingers are quite close to what is happening in your larynx. So if you open the vocal cords, you don't have any sounds like breakfast is streaming through your through your throat and coming out of his mouth. No sound. If you're closing the vocals, you get in tonal things, you get into sound. So I look stupid. I know. The thing is, if you can hear it, I start closing it bit by bit and there is little, little part or little movement where they can hear when it closes and it's not really a sound, but it's, it's, it's changing in a way. So we have can you hear that? That's important. We're going to talk about that later. And there the closure, closing of those two vocal folds or chords begins. So there are many levels or many amounts, how much pressure you can put on there, and you can even put too much pressure on it. Then we're talking about the compressed sound or we talking about constriction when you're pushing on those vocal cords to make it even more close, you maybe you know that if you try to lift very, very heavyweight, you're pushing on the vocal folds in a way. So it's like. That can happen as well. So what do we deal with when we're talking about right or correct vocal chord closure. There are many ways you can do that, because we want to have different sounds so we can leave it a bit open, but that would not mean it's it's opened on its full length because you have two muscles in the back. So imagine my two fingers on the vocal cords. Those vocal cords are sitting in my larynx, not that way. It's more like Dad way. So as we mature fingers, they are in a way bombed together over here. And on the other side in the back of my, of my neck, there are two muscles or too little bones in a way that can open or closed those like like a V, like a flying v. Okay, so that's it. And if you close your vocal folds, there's many things we can do with it. It's deals with mass. So how much of the muscle do you bring in and how much closure do you need? So if you just close it a little bit, there will be a little space over here because those two bones are not closing 100%. Then we're talking about an aspirated sounds. So there's still air in your sound. It's like can either breathiness in the sound. It's almost like they're small. Then the UI. And the more I close it, the breath is going away. Those are two different sounds we were talking about the right closure or sound without breath. And with breath, some colored breathiness, whatever you want to, but it's not wrong. It's another sound and other style. If you take, for instance, George Michael, he has sung lots of notes in his songs with a lot of breathiness, a lot of air in a sound. So it's a good way to seeing. It's a nice way to sing if you want that special kind of sound. But if you want to talk to anybody, maybe you know, people who had heard like that. So hi, my name is Philip and I'm talking with a lot of breath in my sound because I think it's quite nice that in a way and little tiny person or I can a little shy. And if you're closing your vocal cords, you sound like a strong person. Years, you're sounding louder, you getting heard. So there are different styles by using air or not air on your vocal chord closure. So of course, we have exercises just to get more into it. Here we go. 18. Singing with and without breath: So singing and with or without breath would be like this. I will take just to demo it in a way. Take three nodes without breath. It would sound like this. Sorry, without branches. Who called closure? The less amount air I need for my voice to have it. Of course there is air because without air there would be no sound. But it's close as, as, as, as close as I can. Who take it higher? Who, who, who are maybe controlling it with him. He, he, he, the beginning is I know as an idea the, so letting out in a way, a little bit of a little bit of breath, but then you're closing it totally. So what would it sound like with air? Then it sounds like this. Who again, it's getting not that loud. It's getting more tiny and fine. Over here. Maybe even with more sound of air who do close, one, who hear the difference. So different styles, different sounds you can choose for your song or even for your song part. Why not? 19. Breath-In while singing (Inhalation): So what did we learn? Breath is a pillar. It's very important. Breath streams across your vocal cords and you can close them by using those two bones in the back of your neck. The most students I had in my teaching life had problems closing the vocal cords. So we really have to focus on that. Most people are really, really good at using little voice while singing, like a childish voice in a way. So using a lot of air as, as a signature sound, you want to work on that. You can do the exercise that follows by yourself just to be more into that. But there is another thing for those who have problems with taking back the air, so there's no breathiness and the sound. And there's a technique I call the brief in or inhalation technique to get rid of that too much air flowing across your vocal chords and giving it this breathiness, you don't want to. So as you do the breathing means, we talked about that, but inhalation and ways, the better way. So imagine you want to suck in like a drink. Okay? Like you take your thumb just in front of your lips and your second I'd like can you feel your larynx? Can you feel what happens with the allowance when you do that? A little bit closer? If you put it directly into your mouth and close it around that you really can feel like like sacking in like beans soaked in another one. So if you feel it in your, in your larynx and you know, and your larynx, there are your vocal cords. As you start seeing breath streams through the vocal, vocal folds up to your head and out of her mouth. So the vocal folds just showing you with those two fingers are streaming this direction breath is coming from the underside and going to the upper side, okay? So this direction, your vocal folds are moving or pushed by the air. Now if you want to close them properly to have the little amount, the less amount of air flowing across them and they have really tight and nice sound. It's in a way complicated because you want to close something that's pushed each side by the air coming from your, your, your lungs, from your inner pillar of breath. So the idea is before you start seeing or even while you're singing, you're in a way sucking in. And what happens is the muscles that are blown out are drawn in a, pulled in and closing like it's and that's the same phenomenon you felt while sucking on your thumb in a way. So it's like e, the idea is before you sing, you sagen your thumb, or later version of that exercise, you're inhaling or tried to hold your breath or tried to make the same sensation while sucking something in or inhaling air. Why you singing sounds totally confusing. I know because of course you're exhaling, you're singing. But it's a very big difference if you're concentrating on pushing the air out or imagine you are inhaling and it really, really works. So you're not seeing like you seem like, try that. If you start with an inhalation and then you sing the note, there's no chance to let air or too much air and cross your vocal folds. So there is perfect chord closure and you will get a very nice and clean sound. We have an exercise for that. 20. Exercise: ee, ay, ah, oh, oooo: The next exercise is not that complicated and it's not about getting as high as possible. It's totally about controlling the amount of air you use wild singing. So we started in over here. I give you a chord, but in a way you just see like five times the same nodes were like, Yeah, we were trying to use all the vocal, wow, vowels we have in our scene. Voice, no singing lyrics. And so it seemed like a, e, a, o. Not too much of the EU. We talk about that later. It's a thing about onset. O, e, a o. Before you see each of those five nodes and we're getting higher and higher, you try to get into that inhalations. So in a way, e a 00, you try to hold that innovation the whole length. Okay? Ladies of this is 2D for you. You get one octave above, okay? So here we go. A 00, 00, 00, 00, 00, 00, 00. Suddenly some, if anything, 0, 0 like holding your breath. E 00 00 00 00 00, 00, 00, 00, 00, 00. Nice one. No chance for hey, hey, hey, hey 0, 0, 1, 21. THE LIP-ROLL: The maybe most important exercise in vocal lessons all over the globe is the liberal. You will find it in every course and every lesson in every YouTube tutorial, they're talking about liberal, liberal, liberal. Why is it so important and how do we do that? We talked about breath and now we're going to, in a way get into more into the tool. And the tool kids were using step-by-step. And the liberal is another exercise you can find in warm ups and cool downs and even in your vocal workout because it brings together two parts of your voice. It's bringing in breath and breath support. We talked about that and I hope you did all the lessons before, so you're good at breath support and diaphragm support and good vocal chord closure. And in a way it's the same vocal chord closure with a liberal, but we're closing the lips when it seemed like e or a, we have a closed under. Sure. We're talking about that a bit later. Close lips, loose jar, and very, very, very loose cheese. And that's why it's so important. It's a combination of good support and breath, but no strength and no pressure, no pushing in the whole face. No pressure on the door. No pressure on the tongue. No pressure on the larynx. No pressure on the lips, no pressure on your cheeks. So the right way would be breathing in. Everything is easy, nice, smooth. And you can see it segues move while you close your lips and do like can you see the cheeks move? Can you feel it while you're doing that? Can you can you feel the little vibration in your face? Now? Try it a bit higher. I can still feel it in my larynx even higher. And as you go higher and higher, the pressure rises. So the problem is at a switching point in a way, there will be that much pressure on your lips that you start fixing that. And the normal way to fix that would be controlling the muscles by more pushing on it. And that would lead to a problem because then the liberals gone. If you start pushing, it will happen like this. You will lose the sound. So there's no way like stretching ellipse or pushing on them. There's no way of getting your in a way constriction in your job because nothing will work for that liberals. So it's a very controlled exercise to bring together breath and easiness in your face and tried to stay lose with all the muscles, even if you go up higher. So there's no way you train the role while getting into a belt or something like that. It's, it's easy, nice and smooth, and you're really trying to let loose on your vocal cords. But what can you do if you're not that good for the beginning? So if you tried to get into it as a beginner, there's a little trick you can use for the beginning, but please try to get rid of it as fast as possible and learn how to rehearse or, or exercise a proper liberal without district. The triggers you take, no matter if you take your left or your right hand, your index finger and your thumb, put it in the middle of your cheeks way can can touch you can feel your your teeth. Okay. Pushing them smoothly into there and then pushing them forward, like away from your head to your nose. So you take a bit of your skin. In France and that relaxes the muscles in your face. There are many, many muscles in your face. And that will make it easier for you to liberal. So if you're not that good either you beginner with the liberal tried like this. If you're getting higher, that will make it more easy for you to stay fluid, liberal all over your register. That's the way and of course we have exercise for that. 22. Exercise: Lip-Roll 1: First exercise with the Liberal and the classic one is a little scale that goes like this. I think you have that before. It's easiest way to get into that, that exercise and all with the liberal. So ladies over here, guys over there like one node, one breath. Try to stay easy. If you're a beginner, maybe you're choosing the trick that I've shown you in the last lesson. Here we go, ladies, one octave above. Okay? Your time. Nice one. Stay smooth. Getting into trouble with the larynx. Try to keep the larynx in the middle like like you yawning in the back of your throat like cheap the larynx low. Like an one more. Most important thing is your face over to the next one. 23. Exercise: Lip-Roll 2: A little more advanced at the second exercise, you can find all the places for the liberal. It's a scale that goes like this. So more nodes to sing that even five years with the liberals are breathing. Because he going over one octave, it will get higher and more pressure on a, on a much, much, much earlier place. So the lady or not the above. And here we go. Okay. Nice. Just stay as close as you can and as tiny as you can. It is a big jump in the end. Remember the R and the back of your throat? Nice. Two more. The last one. If you feel like you need to switch into head voice, no problem for the last two or three rounds. So maybe you go backwards and try and another mode. 24. VOCAL STRETCH: Vocals stretch. What do I mean by that? Voc? That stretch is bringing together in a way, registers, although we will talk about that a bit later. But it's also about getting flexible with your voice. So we talked about your vocal cords or vocal folds. And if you see them like a stream by guitar, if you ever have the chance to, to get your hands on a guitar, you have this mechanics of birth on the plates of a guitar where you can strengthen them or lose them. And that's a thing we do with our voice as well. So before we talking about vocal mass and different styles and modes, we're talking about stretching the voice and part of many, many, many exercises and warm-ups and cool downs is the vocals track as well. So on one hand we're talking about the stretching away from your deepest node to your highest note. It's a vertical stretch. And of course, within this vocal course was control, one. We tried to bring you in a way or give you more tools on the hand to get more deep nodes and more high notes in a way. So walkers stretch could mean that as well. And the more you get onto, the more you rehearse on getting high and getting lower and stretching your voice. It's like with other muscles in your body, you will get better and better and the vocal folds will get into being stretched and feeling comfortable as you do that. On the other hand, it's very important because we have different registers. Men, the same as women. So the problem is you have like a chest register, chest voice, you have like head voice or maybe falsetto. It is called oftentimes and in-between, there are different notes you can sing in either chest voice or a head voice or falsetto. So if we're talking about different styles, notes, you can sing some of those nodes in different styles, maybe in a way, all of them. So vocal stretch means stretching the vocal to work in different ways with vocal chords to get more sounds out of you. And last but not least, maybe you heard of register break or Pissarro. Those are two problems in a way. So if your vocal, if your voice cracks, why getting up to your higher notes? This is your Pissarro part or the register break. And we can fix many problems while getting through the register break, through the UI while we're working on the vocal stretch of the flexibility of your vocal chords, always think of them as a string. So that's enough said about vocal stretch. Let's get into it. 25. Exercise: Sirene on ng: First exercise for your vocal stretch is on the sound. It's not really a latter or vowel. It's on the sound NG, like sing, or bring. The great thing on that is, the resonance is all in your head, all in those little tiny places over here, like, like you're in those capacities. And we choose them as a resonance room to make the sound resonating. And as you are there, over there and your, and your nose, you're almost like singing had voice, although you can sing a low note as this head voices sound as well. It's like it doesn't sound like head voice resonances in your head. And it's a very, very, very tiny little note. So this little tiny note is perfect to get through the pasado and stretch your voice with a siren. We call that siren from low to high. So no matter if you start in the middle and go down low, or you go down high, or you start in your head voice in a falsetto and stretch it like you're going down or maybe you're going like from high above down to the lowest and up again in a way like an elevator. Okay, so I will demonstrate that for you and then we're going to do together. It's a siren on an Zhe. You chose the mid register note by yourself. Sing it on room. Okay, once more from the middle up to the top. Imagine that you have two rubber bands in your hands and you're stretching on. How do you do that? The more high you get, the more you start tilting your larynx. Okay. How do you do that? It's hard to explain because you don't know where the muscles are. But if you start whining like a little candle, like a little child like, you tilt the larynx in front. And by tilting it is stretching the vocal cords even more. So I'll demonstrate that for you mid-range. And here are my two, the measurement imaginable, rubber bands on my hands. And so as a little vibrator, sounds totally crazy. And that's the thing to get a proper high register. And it's quite easy. You can hear how while I start pulling those rubber bands in a way and working on a really stretching them. The sound is getting thicker or bigger. The other way around. It's the opposite. It's getting, it's getting more need and more, more narrow and a way of course getting more higher. But I'll take away the breathiness as well here, here again. Okay. I'm not pushing air and not even trying to push that whole amount of air because it should be very, very, very hard to see over there. It's not hard. You just need a little air and a little tiny notes. So that's why we stretching the vocal folds. So the other way around, be starting over there and releasing it down but holding the stretch, there's no crack. What's the crack would sound like that? The other like a yodel, we don't need that. It's connecting head voice and chest voice. Or the other way around. Thinking of that little cat or a little, little tiny girl or whatever you want to imagine. So beginning in the low register. Okay, I think that's it. So let's go to the next exercise. 26. Exercise: Sirene on si-ng: To get more into singing and, and in a way, bring in tonality in this siren even more. We choose a whole word with you and we're going to sing the word, sing. And the point is we do that with an octave. So we sing like stretch one octave above and let loose and go back to the beginning points. We have three nodes resonating on Angie, but the beginning is C. So C. Please do not sing. So please take the elevator, let the tones BB, row of tons, a stretch of tons, that it should be a siren. That's very important because otherwise, the exercises not that necessary, none that's that good. Ladies, for sure. One octave above, so here we go. Okay, So nice one and sit. Nice. Sound. Nice and smooth. C. C, not pushing on the vocal chords. C. C. Seeing, see, take the elevator. Same, same, same, same. The reason I say it's getting too high or just get out and get back into when we come down the scene. And down again, C. C, same, same, same, same, same, same same C. C. C. Very nice. 27. THE SINGING VOWELS: The maybe most important thing in singing is the vowels we use y, because if we're just seeing him with consonants, it would sound very crap. There is no space if you've seen it. It's more interesting for beat boxes or things like that. So the vowels are the most interesting thing and the thing we really should focus on, there are different scene vowels, meaning that part of all the verts and everything we, we sing, the lyrics that make it tonal, that make it sounding and understandable. And that's, on the other hand, are most difficult part because there are problems waiting for us. Because if we're getting higher or the singing low, it's a very big difference. So we cannot say there is an easy vowel or something like that. It's, it's depending on what you're seeing and in what range you are on what register. The singing vowels are. We hadn't before. The E, the a sound are o, like in US. So E like HE, a like an Hey, you are like an Alabama. The O like IOU, 20 bucks, and UX like a new, for instance. So those are the different vowels. Of course, there are several sounds and interesting in another language like in French or in Spanish, there are different sounds, but the principle is the same. We have to focus on each vowel by itself because there are some difficulties. We have as we go up higher to, to create space in the upper back of the throat. And that's very important. So we will fix that and have a look on that. And there's in a way, different posture for your phase. We call that vocal mask to create that sound, we're going to talk about that beginning with the first vowel, that would be the iso. Let's go over to the next lesson. 28. The ee-Vowel: Our first vowel, or let's say our basic vowel is the evil. Why is it so easy in a way, or why is basic? It brings with it the whole ground position for the other vowels. So in a way, the posture for the whole face, I said before, the mask or let's say Bush. Sure. I'm ashore means it's an old word out of the, yeah. The ancient ways of singing and tradition. It means in a way I call it sometimes apple bite. So by the E, your jaw dropped a bit, not too much. So your larynx is free as well. Your cheeks are loose and your tongue is building up in a way so like you're biting an apple and in a way you're laughing or smiling a lot, that's very important as well. So for the e, It's not like the, it's more like the D here. The difference by opening up, by smiling and opening the jaw and they're putting up your tongue a bit. The sound is getting more crisp and more clear, more transparent in the way. So just give it a listen again without any fixture E or even if I do it, if you can hear the difference by smiling the, another tongue and the DAR, the get more space E. So please take that ground position for the E and we go into the next exercise. Hi there, I don't want to disturb you. You can go on with the course just in a second, but please, if you take the little time, leave us a little reading and review, it would be so helpful. Thank you so much. 29. Exercise: ee-Vowel: Let's try and exercise on our first vocal vowel, e. So ground position is clear. E, like smiling, putting up a tongue. And we're making a big complicated with sin on one lies and lean. Note that losing the position ladies, one octave above. So here we go. And maybe you start feeling a little pressure and your throat. And that's the point where you have to concentrate on the palette. That's vowel modification, we calling that vowel modification. So if you're getting up higher, you need to modify, modify the vowel more into an E. The idea is simply putting up the soft palate so you get more space in the back of your throat. It's called open throat and away. So if you like it, Let's go back again. The next one is where I start to feel that sensation first. Feel like getting narrow. So I start pulling up on that little soft palate, Getting instead of e mourn. So like like putting an OH in a way because oh pulls up the soft palate. Putting an over the E can either go to create more space. The, and the higher we get it, we're not only be for the last note because the ideas, you want to keep that e sound as clean as possible, especially for a pop singers and the rock singers. But if it will lead to being too narrow or too to pushing on the vocal chords, you need to create more space for the notes. So you start like trick sing and away with a little trick. Putting an o sounds just to get rid of the soft palate and the throat over the E, but the ideas in your mass to create strlen E. So it's more like the, I will make it more clearly. You hear the for the third node. Naughty here, the old kicking it. Listen closely to the way down as the exactly same way. So it's E, U with a no. Do not try to keep that. Oh, by going daughters and there's no need for it. But if we going higher and higher, that will maybe get in the, the third node with an OH as well, just creating more space. So here we go. The reason Kennedy Leo III, now maybe there's need for another ONE. So there were two O's in there. And we usually still to the right. Three EEOC tried to do that as often as you can. It's very important on each valve because that's the absolute key to getting more range, more space in the back of your throat. Healthy, good sounding, high notes and high tone. And it's very important for register break conditions. So focus on that. 30. The ay-Vowel: Second vowel is the a vowel, like in, hey. Okay? The thing is you have the same ground position as an E, but the mask is changing. So the idea is we're still smiling. We still have a high tongue like an E. Now we're opening the soft palate a bit and we're closing down the, the mass of the lips and front here. A little bit more to around position like an OH, so it's E. Can see that e, a, e, a little, little, little, little difference, but it sounds different. The idea is as well, keeping the throat open with all of the vowels. So E, A, that's it. So here we go with your exercise. 31. Exercise: ay-Vowel: Same exercise here. Singing on the a vowel latest one octave above a, and we have them bow modification when it kicks in. So here we go together. And then two. Now we're going to deal with the soft palate again. A 0 tried to pull up the soft palate. Nice one. So now maybe two O's over the a. 12. Maybe three. Nice one. 32. The ah-Vowel: The vowel can be a little complicated and it's in my opinion the most complicated though of them all. The problem is we tend to push down the tongue together more. Can you see I have a flat tongue here, but that pushes down the larynx as well. So as you go up higher, there will be a conflict in a way that's a problem. So what do we do? The ground position here as well, even if it feels a bit strange, is the same. Again, it's not. It's like you still put up the tongue. So the difference as at the dentists, I feel like it's still like but can you hear how crisp and clear and brilliant the sound gets? Low larynx means low note or even more, less, less brilliancy. Okay? So like in E, like in a naive, still more around like with an E and a little more round in the mosque as in the a vowel. Okay, so let's go to the exercise. Here we go. 33. Exercise: ah-Vowel: So here we go with the exercise for the vowel. Okay? You know, the game Nate is one octave above. On. And as we go higher, we need some vowel modification. Let's have a look. So here we go. Ladies, and we dont try not to open the jaw too much. Now we start work on the soft palate. Pulling that little thing like like with a little with a little rope you have like pulling it back. Okay. My same place as before. We have to two O's O's hours, hours in here. Okay. Next one. Easy on the voice. Maybe even three oops, over the, a nice one. 34. The oh-Vowel: The O vowel, the ovalis. Bit complicated to explain because you don't see that much. I think you've understood how it works. We started with the e that's quite open. And now we closing more and more from E to a to R to 0. And as you can see, I'm more closed in the mass than before. So the idea is in the back, you still have a retraction. We talk about that later. I call it smiling to open the throat, you have your tongue high, like in the NIH. Close the front 20 e. Do you see that? E O? E, O. For most sane students, It's a bit complicated to keep the tongue high. Why? Walsingham? The 0? But give it a try and please, before we go to the next exercise, Pig, be sure to, to work on that. So E o out, That's good way to even like an hour to get more into it. And we see us in the next exercise. 35. Exercise: oh-Vowel: Let's go through the exercise with the 0. Remember ground position E, E, o, and the same as before. Interesting will be what do we do? Why we sing in 0? The idea is the same, keeping the soft palate out of the way. So remember the rope and you're pulling on the rope to get rid of it and create more space in the back of the throat. So ladies, one octave above. Here we go. Okay, 0, 0. Remember the top note? Or bring it up the soft palate. Nice 12 nodes with thin coating on the soft palate. So nice. Free notes. Perfect one. And the last bow is waiting for us. 36. The oooo-Vowel: So I guess the idea is clear. Last one is the oo vowel. Same procedure as the last four times. We have the E as the basis e du and close the mask even more. Try to stay open up the throat so soft palate and everything we talked about that. So that's directly in straight go to the exercise. 37. Exercise: oooo-Vowel: Last exercise for the e vowel at overall, sorry, remember E in the front, close in the mask. Throw this open soft palate with a little tiny rope, pulling back to create more space in the throat. And the same procedures the last time. Guys down here, ladies, over here. And here we go. So try to keep the tongue and the back of the teeth in front. The sound is already at the soft palate, but you try to get it away. The higher we get so close to two nodes, we will create that space. Maybe three notes. Nice Tang is still higher. And the last one, very, very, very nice. 38. Other Vowels and Sounds: Now that we've talked about the vowels in singing that make the tonality and the sound and everything you need for singing the lyrics. We have to talk, of course about other sounds. For instance, what about an I? Is this is like r is like e. And here you have a simple word like I. You have a combination of vowels, and of course you still have a combination with vowels, other vowels and consonants. So language or lyrics are more complicated than that. But the first thing you should concentrate on is those basic vowels. The idea is if you know what an E and a and r, oh, an Uber is. And what it means to create space by putting away the soft palate above your head. Always think of the tiny little thing and if you have a node that you can't reach on, I don't care what vowel you always should. First thing, tried to create more space in your upper throat and your back where your tongue and the soft palate is by using that trick like feeling like a little o or the NG trick. So this as a summary for what we learned already is, and please understand it like that. A little tool for seeing your, your lyrics as in a way necessary. Of course, you must sing them because it's, it's, it's the lyrics. You need them, but they are a problem. And we want with Voice Control 1 to solve those problems. So this is one of your first tools to work on problems while singing. So if you have a problem by reaching high notes, if you have a problem by being understood, Work on your vowels. First thing you go to while you're working on a new song is checking the vowels, checking the range, checking the, the point of that note in your register, where is the place this node sits? Is there a problem? And if there is a problem, work on your right posture, right bright ground or basis position, and then work on getting rid of that. Yeah, less space on the soft palate. So you have all the tools. And if there are two vowels mixed together, created like it is, an AI means you have an r in the beginning going over or morphing into an E, I, I. That's all we talk about. You can hear that in several languages like not in American English, but maybe in British English or in, in the, the English people in Scotland or an island talking. So always keep that in mind. All vowels are, in a way, combinations of those basic vowels, e, a, r, o, ooh, okay, That's very, very important. So please always come back to that part of our course and really make sure to, to, to, to work on that as, as good as possible because that's number one topic number one part of getting problems while singing or reaching high notes. And now we're going to the next part. 39. CONSONANTS: Let's talk about the other half of language. Consonants. Consonants are not really our friends why? There are two different consonants. Some of them have sound in it like or none. None. Others don't like. Or, or. The problem is, dose, not sounding nuts. Nuts, voiced consonants bring in some trouble why we're singing? Because a vowel is great, you can sync the law. But the moment you get consonants in between and the moment. Language is born in a way because law has no stories, just a vowel sound. But if you sing la, la, la, la, la, la, la, you're cutting into your vowels. So first thing you have to keep in mind is if there is a consonant cutting your vowel, you always have to keep the vowel in a way in the back of your voice so it's like they still can hear the sound. So for all voiced consonants, That's the first thing to get rid of the problem there isn't. So if la, la, la, la, la, la, la, la, la, la, la, la, la, la. Except you want to do that because it's, it's a matter of style or something like that. But if you see in a word, tried to keep the sound in the back, try to keep the vocal cords close so there's not that stress for the voice. You can keep the sound, you can keep the node, you can keep it clean, keep the breath. You can keep everything is just cutting some voiced consonants in between. What about non voiced consonants? That's a bit more complicated. For instance, we think pap, pap, pap, pap, pap, pap, pap. The closure of the and the pressure I need in front of my lips will cut off the vocal sound. So that's the thing we can't get rid of. You have to cut off the Saudi have to cut off the air in a way and you have to interrupt your, your singing voice. And that's stressful. The voice that's in a way the problem for your voice. So always keep that in mind. How can you still get better or how can you work on a problem in your lyrics if there is, for instance, a PR in between. Well, the idea is you, first of all try to get rid of the perm, of course, on stage or for your recording or while you're rehearsing with a band or something like that, you can't change the words, you can take off the consonants. But if you're working on a, on a new song, first on, you really have to cut away the consonants, all of them and start seeing without them. So if you sing in, I don't know where the streets have no name. Where the streets have known name, you take away all the consonants. That means you concentrate on the vowels in between. Hey, yay. You can switch the consonants to a, yea, yea, yea, yea, yea. Just to keep the jaw and the throat in a good position, concentrating on the vowels and find out if you need something to wear on, on the posture, if you need to work on style or the mode, if you are in need of anything out of the toolbox we are creating with this course, Voice Control 1. If you get on that, if there's no other problem, if you know where your vowels are sitting, where your larynx is sitting, where your tongue is sitting. Then you bring back the consonants, bring back the lyrics, and work on that. So very, very important rule. If there is a problematic part in your song or even the whole song, take away all the consonants, replace them with a ye year. Beginning. Sing out all the vowels. You have. Control where the problems could be in the range or in the position of the node in your registers in a range. Fix that with a toolboxes and then bring back the consonants to get a nice and clean way in a healthy way to sync that percentage of your song. That's so far the first thing and all you need to know about consonants, voiced ones, non voiced consonants. You can replace the non voiced or even all of them. Work on evolves for first and bring back the consonants to really be focused on what's necessary in seeing and to you to get rid of all the vocal problems. There could be. 40. THE VOLUME-KNOB: This part of the course is called volume knob and it's a bit confusing. You're all know volume control, volume knob on your I don't know, mp3 player on your iPad, iPhone, iPad on your computer everywhere. Volume controls. And what do I mean by volume knob? What do I mean by that? And as we get more into detail on the two kids, the tool box we are creating within Voice Control 1, you learn several techniques and each technique by itself is one part in seeing if you really start to sing. Or naturally if you are singing using different parts of the toolbox all mixed together. And now most of those tools and that just like if you're if you're in a car, turning on the car or turning off the car, you're not driving through the city by getting on, giving gas, getting off, take away the gas, your steady, pushing down your foot on the gas pedal. And that's the idea as well. So with the volume, volume not make clear, if you have a tool, you can use it a lot, can lose it a bit or you can lose it, like everything, giving everything you have. That's the idea of a volume knob. Imagine you have a turning wheel and honor, turning wheel, you have like no no energy or no effort on that tool. And you have like, I don't know, one to 12. So if you're working on something, always try to keep in mind. I do not need necessarily of the effort I have. So if you bring in a tool, always tried to for the first time I tried to make it with the less effort you need for the effect you want to create. Why? First of all, strength, muscle strength, and pressure. Of course, some, some parts of the tools we use are, in a way very, very hard to use. So if you use them all the time, all in with all the muscle strength you have, it's exhausting as hell. And in the anterior godlike like vocal exhaust. And that's a big problem and can cause a vocal problems or even injury in a way. So of course, if you are more into training, if you're more into rehearsing a lot and a lot, a lot, you get better. All the muscles are more into getting used a lot and you can use hi effort levels as, as much as you want to. But the other thing is, it's about style. If you hear some, if he listened to some singers that are more beginners or advancing, or sometimes you hear that they're getting too complicated part of the song. And then they're putting in technique, putting in something as some things, I don't know. For instance, they switch into belting voice and they are going over the edge. It's like smooth, smooth, smooth. And then the complicated part is coming and they're pushing an, all they have just to get through this part of the song. And then when it's going back to their more natural voice, It's cool again for you as a listener, it always sounds like kuh voice cool singing cowboys 0. What's that? Why is he using so much of that technique? Because it is too much effort level, too much of the volume now. So please think of all the following things in voice control. One as tools that can be put in, but like with a, with a, with a wheel with enough. So you can faded in a new way and faded out and you don't have to put in all of the things. So always control how much effort level is necessary to create the sound I want. It's sounding cool or is it sounding like constriction, like too heavy on what I want to. So even a good advice for you, record yourself, especially when you're working on new techniques or on complicated parts of the song and listen to her, be the listener, and control for yourself. Is it necessary or can I do less to get the same sound or the sound that I'm looking for with less ever level to sound more cool, more like It's easy if you, for instance, take Beyonce. No matter what she's singing, it sounds like there's, there's no strengthen and like there's our string was the wrong, wrong word. Of course, she has a very powerful voice, but there's no effort. There's, it's like the easiest thing on, on planet Earth, but that's same with Michael Jackson. That's hard work, really, really, really hard work to get the sounds you like with the less effort level needed, That's good, good thing to work on and to think of as we're going on with voice control wants. So keep that in mind. 41. OPEN-THROAT/RETRACTION: So Beauvoir, good idea that went on. For 40. It's a good example or a thought. So let's get more deep into our toolkit. And the first tool, the first little tiny 2 we really need and we already talked about it is retraction or let's call it open throat technique. We talked a lot about open fraud. We talked about the soft palate. All these tiny things are tools as well, but retractions, the first thing we really need in almost every part of singing. And it's the first thing that you can find on your handout as well. So what is retraction and what is OpenFlow technique? If you're singing? We talked about breath a lot. And we talked about moving or letting the airflow streaming through your vocal folds, the vocal cords, we talked about a good core closure and what happens above here. So if you take your vocal cords sitting in your larynx and there's not the end. It's not like, there's, for instance, like a trumpet that at the end of the Volcker courts there is something like the trumpet going up to your soft palate ought to your head and out of your mouth. So what happens above the vocal cords? There is some, some part of your body in the way we call it the false vocal folds. It's like a little bit of, let's call it skin in the way and it's not like a muscle, but it's with muscles. And above the mass, there is skin. And the skin is not really in a good condition for singing. It's like there are crackles and it's all in the way. So if you think of the air like a pillar, the pillar stance just to the court and the closure. And if it's streams through the cords above that, there is a lot of things in the way and this leads to distortion. So if you have a problem with either a breathy sound or you have a problem with not being allowed enough, not being clear enough, not being crisp enough of that comes from the false vocal folds sitting in the way for the air. And all of that gets into the sound and leads to distorting the floating of the air. And that brings new overtones to your sound and sounds. Now, the way we want it to sound, we, maybe we'll talk about that later or there's a whole lesson about that in voice control too. So you can learn how to use it as an additional sounds to work with the false vocal folds. But in all the stars are senior, we want to get those false vocal folds out of the way. So how did we do that? To open the throw, to get away of this crinkly crackly skin that blocks the air, you just have to smile. The thing is, if you, if you smile, there are some muscles in your, in your neck and in your hack that take away those things that are in the way. Okay, yeah, understand. So by smiling you get the retraction. We call it retraction because we would get the tracked out of the way. We we we get a clean and smooth way so the breath, the air can, can pass and get to the soft palate and can create a sound by resonating in your head and in your, in your, in your mouth. Okay. So retraction means this. I show sometimes with my thumbs that you have to retract and then I am doing this to show you get rid of those false vocal folds. Of course, you cannot smile throughout every song. Imagine you're seeing a Ballard, you singing a sad song. And would be really crazy if you, if you would look like and should all equation turns the Forgot and days of all Lang Syne. It would, it would look crazy. Just imagine Singers out of the classic style or from musicals. You should learn to cover. That sounds. So with a mass, we talked about that already. You create the vowels, you create the look you want to have, but inside or behind that mask, you are retracting a lot. So let's talk about that. How to do that? Let's have a demo to listen to it. So let's go to the next lesson. 42. Demo: Open-Throat: So how does retraction affect your sound? Let's have a quick demo. I switch over to the piano. Just choosing any NANOG like arithmetic. This. The thing you have to have a mind is the normal way would be with a false Walker for Sam to sing. And when you remember, I said, if you sing in E, you always have to think of smiling in a way you have the high tongue and you have this e, So you're already retracting. Now here's the demo on the e vowel. Without retraction. It sounds dark. It sounds not that, that crisp sounds and add that clear and it even sounds not that loud. And maybe you can hear a bit of breath already because it's getting in the way or the other for the vocal folds are getting in the way. Now with retraction, easy way, get into a proper e. E, e. But it's not just what happens in front of three leg if you're laughing. So maybe for the start of the tone, for the beginning of the tone, you, you prepare like you would like to start laughing. He, then you begin seeing, Let's take another node, let's take it and begin to laugh without it. And it really can affect your voice as well. So really be prepared for them. So that was a demo and of course we have a little exercise for that. 43. Exercise: Open-Throat: So here's your exercise for getting more into retraction. Boys start here. Ladies. And we sing a proper II. And before you start to sing this little scale, you really tried to get into the feeling of a good laugh like, ha ha, ha ha ha. Okay, here we go. So prepare and we're going to start and prepare. Don't forget to set up that left before you alone. Grade one. Nice. While you're breathing and you're set up for laugh. Hai tang. Don't forget your vowel modification over there. That's a bit tricky because the bound modification can lean, lead to forget into retract. Don't do that. Keep your attraction and moderate the vowels on the government. Okay. So far so good because it gets more complicated over there. Just go back and do it several times to get more into this idea of retracting while you're singing. 44. YOUR TOUNGE IS A BITCH: Let's talk about another tool box part. Let's talk about another part of your singing instruments, your tongue, or as I said in this lesson, your tongue is a bit. That's a little sentence. One of my coaches once said to me, because oftentimes if you have trouble while singing, especially if you're reaching high notes, your tongue is in the way, but tongue is not, is not simply your tongue means the part of your tongue that you're seeing when you're looking in the mirror is just the beginning part, the upper part of the tongue. Your tongue is like my arm. This is in your mouth. Here are your front teeth. And then your tongue falls down just to the beginning of the larynx and there are put together. So that means everything your tongue does affects the movement or the freedom your larynx has. And that means if we're talking about larynx and position of larynx, it's in a way combination or a correlation to the tongue. That's why we have several paths we have to talk about. If I'm talking about the tongue, I mean, the party can see in the mirror or the part that's in your mouth. The lower part of the tongue is coffee hyoid. The hyoid is directly on the top of the larynx. And if you pull up the tongue, you in a way pull up the larynx and the other way around. So if we're talking about high larynx, that logically means you should have a high tongue or other way around. The high tongue can help to put up the larynx to reach higher notes. Same thing with getting several sounds like a more narrow sound. We need a high tongue. If you want to more trebled sound, the more crisp sound, we need a high tone. That's like in an orchestra. If you have like an oboe, you, for example, you have a little, little, little tiny mouthpiece, and that's why the sound is so narrow and so crisp. Same thing here. If this is your, your, your palate, the soft palate at the back. So the upper part of your mouth, front teeth here. And this is your tongue. If you're bringing the tongue up, the little tiny pile in the back of your throat is getting narrow, so you have a more clear or crisp sound. We talk about that later. So for now you have to keep in mind your tongue has three positions. Neutral, low tongue. So the larynx is pushed down, or high tongue, as we talked about by when we, when we were seeing in with the evil, for instance, this armature, we're talking about that later. So high tone, neutral tongue, and low tongue. You will find the tongue as a simple part of the toolbox on the handout as well. Hi there. It's me again and sorry for asking again, but maybe you could leave a little rating or a little review for this course. If you're enjoying it, it would be very helpful for us. Thank you so much. 45. Apple Bite (Embouchure): Talking more deeply into the tongue means that we have to talk about the starting position or the armature. The armature is an old word from different styles, music, classical styles and music and means. That's why I called it an apple bite, that you have a high Tang. Hai tang means if these are your teeth and front, your tongue is at the back of the under oh, VTS. And you bring it up so it's more round. It's not lying neutral in your mouth. It's, it's pulled up. That's the ground position for most singing. You have not really neutral, but for high sounds, for belting, for opera, for some parts of twang sounds, you need this high walls. It looks like this. Not that complicated, I think. So in a way, you push the tongue a little bit, not with pressure against your front teeth. Bring it up. And that's very helpful for bringing up the larynx, for instance. And it's very helpful if you have pressure or stress with really, really tough notes and high notes. So there's an easy way to get rid of this extra pressure just by putting the upper part of the tongue against the back teeth like, like this. Can you see that? That's an easy way to make it more narrow and to bring out more sound and more clear voice to get rid of this. Yeah, sound and pressure and stress you could have while C. And so just to, to rehearse it a bit, start with a neutral position. Push your tongue against the teeth and bring it up against the back teeth. Just like you had to have a big red apple in your hand. And you want to have a big bias like that's the starting position, that's your ambush. Sure. Great one. Let's go to the next lesson. 46. Exercise: Apple bite on ee: We have a little exercise just to make clear that you have something to work on your Amber sure, on your Apple bytes. So grand position is clear. Think of the red apple in your hand like beginning point. Want to bite into it. And then we have a little scale, you know, ladies, one octave above. We start with the E because it's a perfect valve for this. I'm sure for this apple bite. Here we go and stay. With. The higher you get, the more narrow you can make it. So push your tongue against the upper back teeth and maybe start to bring up the layerings a bit. In the day. Don't forget the vowel modification over here. And the rate is a great one. Let's go to the next lesson. 47. YOUR LARYNX: The next part for your toolbox is your larynx. As with the tongue, the larynx is put together with the tongue, so it's correlates in a way. But let's just talk about the larynx. In your larynx, there is your vocal sitting, there are your vocal chords and we have a lot of muscles around it. So if my fist is your larynx, for instance, we have some muscles under it that are able to pull it down. We have some muscles above it that are able to pull it up. And we have some muscles around it that can, in a way make it more narrow. That can be a sound. And your larynx four itself is put together out of two parts. So we have an upper part, this fist and a lower part is dismissed. And we will see later for one mode that we need those, those two parts within your larynx for different, different sounds. And what you can do with it is there are muscles that can tilt each of those parts. So you can tilt the upper part that will put away the other part down here, but it will affect your voice because the voice is sitting within this part. The other thing you can tell this well to the front. And this will affect the the position of the larynx or the strength of the larynx. So this is very important for big sounding massive sounds. The other thing is for, for a different reason, we will talk about that later. So this is what the larynx in itself can do. Now, most important for the larynx is the position. Easy. In a way easy said. The higher you get, the higher you raise the larynx. So you're working with those muscles. We're pulling it up, pulling up the larynx in a higher position. If you're speaking like me right now, it's normally in the mid position or we can say in neutral position. That's good for the mode called speech level. And you can lower the larynx by pulling it down. So even more down in your, in your hack, in your throat. And that brings all the low sounds or the low sounding frequencies out of your tone. That's, for instance, important for the modes sob or the most classical opera. So three different positions Neutral for speech level, like I'm talking or if you're singing speech level, you can bring it up for more important parts. That can be, for instance, if you're singing in belting and you can bring it down if you see, for instance, sob or Oprah. And we will talk about that for each mode or when we're, when we're getting to the point. But you can find all the positions of the larynx within your handout. 48. Demo: larynx positions: So let's have a quick look on how the position of the larynx affects your sound. If you take a simple node and let's say I have three positions to affect just with changing the position of the larynx, that single note. So now I'm seeing it in neutral position. They'd be, you can see that I put my finger on my throat and my larynx so you can see the position. It's right in the middle. I said Well, let's say, to make it more clear, now, I bring down the larynx, starting a neutral position and pulling it down to change the celled. Listen closely. You can hear that. You try to sound like an opera singer. That's the easiest way to get that sound. And really put your finger on the larynx to feel what you're doing. You're just in a way for me, it feels like I'm I'm dropping it, a letter dropped on. And you really can hear how the sound darkens. Now the other way around, getting more crispiness and the sound means raising the larynx so neutral position. The, can you see how much I moved it? It's more narrow and more crisp, but it's, it's lighter in a way so you have a light sound, normal sound and a dark side of them together. Neutral, deep, neutral hide. The, that's a thing you can use if you want to change something smoothly, just remember the volume knob so you don't always have to use it in your, in your song. Like in and out. You can raise your larynx a bit if you want to have it more, more high, or you can lower your larynx a bit if you want to have a more low. And so you can switch in between different sounds. You can make it sound the way you want. And of course, this can help you to reach more high notes because he can sing high notes if you raise the larynx, for instance, with much less effort than needed when he would try to hold the larynx download. Okay, Very important then of course we have an exercise for that. 49. Exercise: High Larynx: In this exercise we're talking about the high larynx. So very important because this is good for reaching high notes. And in a way it's good for you register break or combining registers as well. We have little different scale right now we're singing. Okay, going up to the octave three times. And the fourth is bringing it down low again. Ladies, one octave above. And we make it in a way a little faster. And important is you're not trying to push with a lot of mass to sing as novel as you can, but we're seeing it. But let's start a bit higher. To get faster to the detailed party. If you try to raise the larynx for the higher node and release it again. Okay, here we go. The relax me, bring it up like an elevator. Be don't push on the vocal folds. A nice We don't push it. It's not meant to sound great. It's just an exercise. Can you can hear how I'm still trying to push and each node C, Maybe that's too far for some of you because we get into register break, but that's a very, very, very important exercise for learning how to raise the larynx. 50. VOCAL MASS: The next part for your toolboxes, your vocal mass. What does that mean? We talked about the vocal cords and vocal chord closure and we talked about the fact that the vocal cords are in a way a muscle with, let's say skin around it. So you can bring this skin into the game in several ways. You can make it really loose. You can make it thin and away. You can make it fine, or you can make it thick. What does the amino, why is it so, so the more skinny bring in, the more mass is resonating as the air flows and your stretching your vocal chords to the right pitch. You can still choose whether mass you would like to, to use for the sound you have and you can switch in between them. So maybe you sing a part of your, your song and lower tones, then you sing higher nodes. Maybe you want to sing it louder. Maybe you want to bring it more down. And all this dynamics, or lots of them can come or can be made by changing the vocal mass use. So we're, we're seeing thin mass, we're seeing fine mass and we're seeing thickness. Those are the three choices you can make. What does that mean? Well, the vocal cord closure has to do something with it. So it means if you close the vocals and you bring in over mass, we're talking about fullness. That would be if you tried to talk really loud, you tried to reach someone, you're getting louder and louder. So you put more of the vocal folds together. That's fullness. If you're talking like I'm talking rather than right now or even, even a bit lower, then you don't have a full mouse, you just are working in thin mass or let's say speech level normal mouse, but I prefer the idea of thin mass, so the vocal folds are not that strongly put together or pushed together. And you're not using that much of the skin around the muscle. Fine mass would more be if you really target in very, very, very low. Or if he talking with a lot of air. And here's the idea that the vocal folds are not really close. There is a little tiny space in the back where the air can, can, can move or can, can, can go through the vocal folds, although they are not closed at that part. And that's one way for breathiness or for very, very smooth voice. We call that fine. How we can reach all of them and how we can, can find them. We will see that within the next lesson. So let's go on to the next one. 51. 1. Mode: Thin Vocal Mass: So let's start with the most common one because you all use it while you're speaking the speech level or as we call it, thin vocal mass. For that, you don't need a lot to do. Most importantly is you don't put altogether. So let's say hide. Nice one. Let's say hello. Nice one. Let's intonate atone. Let's sing. For the ladies. Let's sing. All of that is thin vocal mass, and of course we have an exercise for that. So let's skip the next one and go to the exercise. Hi there. And sorry for interrupting on that point. I want just to ask you for a little favorite. Could you please leave a rating and a little review? It would help us so much. Thank you. 52. Exercise: Thin Vocal Mass ee: Exercise for finding or training with thin mass, you know, to scale. Ladies over here, guys over here, we're seeing it on the evil, but please do not push, it's not. So try to get the same level as while you're speaking. Okay? Here we go. Nice. The higher you get, the less you need to push. Try to keep it simple. Be around the place where I start to recognize that I'm starting to stretch it a bit and maybe I should switch or concentrate on that. But to get into thin mass, that's a perfect one. We take another vowel just to be sure that you guys would see in a smooth, slowly. Okay? So smooth one lakh you speak up. But not pushing that vector. 53. 2. Mode: Full Vocal Mass: Now let's talk about full vocal mass. What does that mean? As demos in another lesson before full vocal mass means that you're tried to reach out to someone so you're putting more of the skin around your, your vocal muscles together so to bring in more weight. And maybe you should imagine like a bass guitar. If you, if you wanted to see guitar with thin strings and you hold the base against that, you can see that it has much more material on the strings, much thicker strings, and that means it's deeper, okay? But you can play the same note on a bass guitar string as on the lowest string, often electric guitar for instance. But the sound is different. Why is that? You have, on the electric guitar, you have less materials swinging, and that's the same with your vocal folds. So if you put more material in it, more mass, you get more sound of it. Attention. More sound can mean more pressure. And more sound can mean within this more pressure that you push more air that you start in general, pushing against your closed vocal folds and that can lead to vocal injury. So really be careful. It always should feel comfortable in a way and you start getting better and better and get higher and higher while you're doing the exercises. So let's go to it. 54. Exercise: Full Vocal Mass ee: As we said in the last lesson, just to get into the shape for this normal singing sound is thin mouse, thin vocal mouse. And you just prepare by saying on-target, I'm say, hi, hi, hi, this is my thin mass. Now as I'm talking to you, I sometimes get louder. Saw the best preparation for your exercise right now. To get into full vocal masses to say, Hey, Hi, How are you? And you can feel your throat, how thick your voice is in-between a say, hi, feel, feel in your throat. How does it feel? Hi. Hi, and I'll say Hi, how are you? Grade one. And that's the condition we need to be in to get it to full vocal now, so let's start, ladies, one octave above that. The gas, full mass. Okay, here we go. And we now switch to eat too to make sure that we don't have a voice. Not more. No more. He notes. He E. Okay. Nice one. You tried to reach out a girl. For the first part. That's enough. Let's do the same thing with a. We start with hey again and then we switched to a. Okay. Have you want to get heard? And now switch to a. Don't forget your armature. Full mass. A perfect. That's your full vocal mass. 55. 3. Mode: Fine Vocal Mass: Now the last condition your Wagner mass can be in is a bit complicated because it's the fine mass. How do we find that? Normally, we don't speak like that. Or maybe when you when you start who whisper when you're not really whispering because they didn't use any price. But if you're a bit more than a whispering, any working with lots of air or a good ideas. If you singing a lullaby in that singing like, ha, so you have air, you have an age to get into the sound. And what are you doing with your vocal chords? Now we talked about that a lot. Let's turn us around like it is in my throat, in my, in my larynx. You have those bones and the end of each side of the vocal chords. And they can open or close it on the other side. So in the front part of your larynx, the upper face, we talked about the larynx already. You have both of them like nodded or bond together and that part can be tilted. So what does that bring to your voice? If you're stretching your voice, your normally bringing in more mass, that's this moment. So you're getting started in, let's say, starting thin mouse and you get higher and higher and higher, you bring in more mass, mass, mass. And that's why so many people can't reach higher nodes because they're getting more mass, more mass, more mass. And then you get into the register, break your voice cracks or you don't reach it, as simple as that. But if you choose another idea of stretching your voice, you can use this tilting. And that has the effect that while your tilting the vocal, the larynx, you stretch the voices well. And we can use a little tiny amount of this muscle and the skin, but still have a high note, but very, very fine. That's what happens when you sing with breath. And you start like he putting in a little vibrato or putting in a little yawning or little mix, mixture of yawning and windings like e. E. Another idea would be you try to blow air over an open bottle. Like who, Who. Then the vocal folds are not really close and you have really fine mass. We call that something's year, the, the idea of calling it stiff mass. Okay, That's the easiest way. So let's do this. Let's do speech level together. Thin mass, it's high. Nice one. Another one that's hello. Great. And now switch to distill that version. It's like high rate. Hello. Maybe find your own node, your own tone where it works best. Hi. Grade. Hello. Yeah, lot of breathiness in the sound. And maybe, you know, some, some, some figures out of the MUPUD or Sesame Street mapper choices misread way you can hear that sound of them. Had goofy was one of them. Hey blue, oh, hey plural. You hear that stiffness in the sound that helps to find this special sound we need in C and we love to see like that. And even if you want to get into falsetto, we'll talk about that later. So let's get into an exercise to find your euro fine mass. You're stiff mouse and away. 56. Exercise: Fine Vocal Mass ee: Exercise for seeing in thin vocal mass, same procedure as last time, latest one octave above. And we start with an breathiness and the sound and really tried to keep it like very, very, very fine, very thin. Here we go. Tilting your, your larynx, okay? Tilting. Of course we will switch earlier into headwaters. Don't forget the retraction. As you can see, it's much more easy to get up higher to get into your head voice while using fine vocal mass. Now we have some more exercises on switching in-between the Massey use. So let's go to that. 57. Exercise: switching modes full-thin-full: Now we have an exercise to switch between those modes, to switch between those masses. And we start with full. So as you try to reach out to thin normal speech, voice, speech level, and back to full again. So we have four mass, like bringing in everything you have like, hey, going back to hay and then going back to, hey, maybe we try that. First of all, without a cell is like a, a, a, okay, Can we do that together? And j a, j, k, like pushing on it. And here we go. Same thing as we had. Ladies one octave above. We're like getting into the cell more deeply. So we were starting over here. But there's an a on that, on that sound. Okay, so just full thin foil. Here we go. Bring it in like an a full thin foil. Get up high it okay. Not pushing the breath really hard between them. Bring in the muscle again. Nice one. Be careful with invoice. Good. Nice one. Tried to feel like you're shouting at someone, talking to someone shouting back again. Switching between them. Nice one. And the last one. Great. Over to the next. 58. Exercise: switching modes thin-fine-thin: Within the next exercise, we try another transition from thin, so speech level to fine or stiff and back again. Same exercises before taking one note, ladies, one octave above satellite speech level. And that's really complicated because you need to tilt this, this larynx a bit to get into this breathy sound. So really easy, really concentrated acid. Maybe you fall, you will find the transition from fine, too thin again, it's eat more easy. Okay. So I tried to get into like yawning. Okay. Another, another sound. If it helps, you can try it with the vibratos and not just children but tilting it and started get it loose and contract and loosen, constricted. Okay. Nice. Like a decrescendo. Yawning. And one. Nice. Great. You can even hear the switching of the sound with my voice. Grade that says, and keep that in mind, you really, really have to to rehearse that it's very, very, very important. And you can switch in between styles and in-between sounds to get those special effects sounds and please put that into your toolbox. It's very important while working on songs. And of course, you can find those different masses on your handout as well. 59. ONSETS: Now what does onset mean when you're talking about vocalization or singing? The answer is the beginning of a note, beginning of a tone, and you have different options on that. You can choose for the beginning of a vow, for instance. So there are hard beginnings like you cut it off like a app. You can do the Britney Spears way like E, I, O, U, that beginning of the note. And that can be very, very interesting. On one hand, depending on sound. That's why I made the example with Britney Spears. Because she is, she's used a lot in her songs and other singers as well, of course. So it's the thing about making a sound before the sound's getting into the node. And it's not just about sounds, it's just about reaching notes or sounds more easy and, and keeping your voice in a good condition because sometimes the hard sound is, of course, more exhausting for your vocal folds. Then if you tried to, to fade into the sound that do it either way. So you have a good cell, but still a good support for your vocal forced to be, be very careful while singing. So let's have a quick look on the possibilities. We have. 60. 1. Onset: Vocal Fry: Vocal fries, the first of those onset sounds, and it's not quite useful, but as I mentioned before or demo before, Britney Spears for instance, used it a lot. It's this cracked sound before you get into, you know, the neck can be very interesting if you're seeing a son with much emotions, you singing a ballad for instance, and you want to bring in more emotion, more deep feeling, or you want to get hurt, You want to, to make it special. But on the other hand, you can use this sound as well for warming up your voice because it's very healthy in a way. And the simple thing is it's just leave away the retraction. So no Had we need the false vocal folds in a way. So there's a little distortion and then you don't bring in the vocal folds close. So they're like not, not even this, not even stiff or thin or fine. They're just lose, lose laying around. Imagining guitar where the string is not even strong, not even a thing. And then use, you, use stroke the string, play the guitar string, and then you start tearing it. And within just a little movement, it stretches itself and it becomes a node. That's the idea of vocal fry. So it's like with eats more hard. E, e, e. Can you try that? Just choose your own note. Year. Nice one. Ie. Your turn. Yeah, perfect. Well, let's try with an a turn. It's easier with a low note, so focused on there. I can stretch this vocal fries long as you want. Your turn. Nice. So maybe a new sound for your toolbox. And let's have a quick look for the next onset. 61. 2. Onset: Aspirate Onset (hee): The next onset as the aspirin on certain acids, sad in the word aspirin, it has to deal with lots of air. So the beginning of all desperate sung nodes, aspirin sang vowels is an age but you don't hear it. It's not like, Hey, it's more like who, who, who. So it's all about the air. Easy to seeing are words that begin with an age, logic of thing, but you can use it as well for other words. So maybe you heal lots of That sounds in for instance, soul music or blues music or imbalance. So every time you want to bring in more air and the sound, you can start it with an ASP, pronounce it. Think of an age, and now we're going to try to sing. Your turn. Nice, one, little higher. Nice. E. Great. Do you hear the, the breathiness and the sound? And that's leading. And two, in a way, falsetto, so we will talk about that later. But you can keep in mind, aspirin onset is perfect for getting into falsetto sounds. And we of course, have an exercise for getting into aspirin onsets. So here we go. 62. Exercise: Aspirate Onset (hee): So let's get into aspirin onset and we choose he too to get more into the scalars. Ladies, one octave above. So smooth, nice and easy. At the airflow. And we work with had voice with falsetto. The thin find vulgar mass, fine wall. Another thing, you can hear the breath in my voice. So the beginning is with the breath aspirin onset to get into the node. So first as and then the vocal closest. Great job. Let's go to the next one. 63. 3. Onset: Glottal Onset (ee): The second onset is the glottal onset. And glottal means we're talking about the glottis in your throat, in your larynx, and that means the closure of your vocal chords and all the time if you're, when you're opening that in a hard way so that we have a very kind of sound. We talking about the glottal sounds. How do you produce that? You hold together your vocal folds and have, in a way some pressure because the air you took in while you were breathing, you hold the air underneath those close calls. Now if you open those courts directly, not like with vocal fry or more like a release on the aspirin onset. Now you have a little tension. And he used this tension to get this, this popping sound like. So it's in a way the idea of holding the air in and then open it directly. Staccato are a, E or E, 0, 0. If you do that, another round and round and round and you can feel your vocal folds in your throat. Can feel a e. A e. Sounds like a duck in a way. That's the glottal sound. Can you tried a great one? It nice and big shots or close the vocal cords again, it's like opening and closing it. But of course you cannot just seeing like the idea is, if you have an exercise like that, you start with a glottal sound. So in other words, all direct coming vowels are sung with colossal Ansel's. That's very, very important. And now we go to the exercise. 64. Exercise: Glottal Onset (ee): Here's the exercise for working on your gelato onset. We started with the girls one octave above. We start with a glottal onset and sing the e through the e, e, but then you're not going in a staccato and the anions to harm the beginning. We sing in. Okay, here we go. And just to make it clear, you sing in one line, a, nice E. Okay. Do you recognize how you're getting more into two full Volcker mouse? Like holding your breath and beginning. Nice job. Let's go to the next one. Are you learning a lot so far? Maybe you could take a little time and leave us your rating and review. We would appreciate that. Thank you. 65. 4. Onset: Smooth Onset (yee): A very nice onset is the smooth onset, but it's a bit complicated to work it in, in your sounds. So it's not that progressive or it's not that recognizable because to be careful with your voice or to get smoothly in a sound. For instance, if you want to have a crescendo into an, a vowel, into a note. We use the year, like in you. But sometimes if it's not the words you, you don't want to have that your dad big in front of the vowel because it's the wrong letter. Hello, Stan. That's the good thing about it and the problem. Same time. So we have the year as an idea to get into. So maybe you can work with the idea of staring in your glass or cup. And on that way or like a DJ on his, on his, on his DJ desk. You're bringing in the node with a fade in with a crescendo. So that's like the, and from that you points. So very, very, very little mass. It's like those strings are rubbing against each other. From that point, you can get into each of those masses. Let's say thin mass and full mass without problems like e, e, No problem. Okay? And that's a good way to get to very, very high notes. And when you want to be careful and you don't want to get in with the glottal answer. That's the time you should choose a smooth onset while belting or sing in an opera. So hard vocal modes because that can really, really, really save your vocal folds. On the other hand, you can use it if you want to have smooth getting ins into different sounds, different vowels, different nodes. So very nice to work on that and let's have a try. So we do like the year. We make it a bit more clear. But try not to sink the siren and supersonic like kinda try that. Nice. Ie, your turn. Great job. Good job. That's the way. And of course, we have an exercise for that. 66. Exercise: Smooth Onset (yee): And our last exercise for our Laos onset, the smooth onset is the yeast. So we have, you know that already we start at a higher again. Ladies, one octave above it, getting smoother than through it, but with more full almost full Bogle mass. Okay, so the grades, nice. Yeah. Hey, don't forget about the vowel modification. Getting smooth into mouse. Hears the very, very, very good job, and that's all about you have to know the onsets and please put them altogether, all four of them within your tool box. And of course you can fight the four of them on your handout as well. 67. VIBRATO: One very important tool that won't be missing in the toolbox is vibrate or many, many, many students that are coming to me and taking lessons with me are asking on how to work out their vibrator because there are many, many ways to get to it. And the problem is we have two directions of vibrated to ideas of vibratos. So you can work out different ways for all of you who do not really know what I'm talking about, vibrator is in a way, the style thing like your own vocal fingerprint in your sound, your style. Many of the big singers have their own signature vibratos on. So you can really, and say this is this one and this is that one. And you can really be sure that it's your own signature, so on. So it's really, really necessary to work on that. What is vibrator? There are two types. And vibrator in itself is the idea of giving the Chong, especially if you're seeing longer nodes, not or not. But the idea of the longest nodes you can but longer notes in your phrase, in your sentence. Give it a little movement. And movement means it's getting a little swing. So it, it sounds like the tone is moving forward or backward, or there is air moving on the note, you see it's moving up and down, something like that. And that gives your song or your style more feelings, more humanity in a way. So let's have an example. If I sing in grace, has we the sound, okay, to be in that range? There was totally without vibrator. Once more. Let's start over here. A z in Grey's has we need the sounds, are not using any technique on that is my modest range. It's not retractions that high tongue, Nothing of that. But you would prefer the second version, I guess, and I would sing like that. And the gray hat, as we can see that whimpering that little that's vibrator on that what made, That's what makes it sound. So is human and so unique. And how we can do that, how the technique functions to get your own vibrator. We have two different ways and let's have a quick look on that. 68. Demo: Vibrato via Pitch Bend: I could have planned for Vibrio part of it. As Lydia, thank me. It's Vida ie. The first way to get vibrator is the classic version. And in the classic version, they do not hold on to the note they're seeing. So for instance, if the singing, you have this, and now the idea is to sing. So you're moving in-between almost a half note and I've Sania have not, but it can be little r. So to, to get to it, it would be just get this movement, I get the feeling for it. And getting faster and faster. And that would be very classic vibrator. In my opinion, it sounds a bit like a goat malware. And I'm not really preferring the sample. It can be very nice and many, many singers have that kind of vibrator and sounds amazing. So maybe you will have a quick look at the next exercise. 69. Exercise: Pitch Bend Vibrato: So a quick exercise to getting into classic vibrator would be this one. We sing like switching between those half-steps different way. And the same thing, ladies, one octave above. So we go like that. I think the key bits in one row, Okay? Hey, okay. Now, let's look at the triangle to stay smooth. A little tiny nodes. First part of that, and we're going back again to work a little more. And as I won't play with because I think it gets too much, the impression of you just go. Okay. So yellow, the e, e, e e, e e e e e e e e e, e be the a, the a, that's a, a, a. 70. Demo: Vibrato via Vocal Stretch: Another possibility for vibrator, and in my opinion, the best way and my preferred vibrator is vibrator via vocal stretch. We talked about that already. Vocal stretch wealth was if you have the vocal cords like yeah, like imagining rubber bands and your hand and you're pulling on them. And then we talked about the larynx. And the upper part of the larynx can be tilted. So you can tilt this part of the larynx in front, just to the front. Okay. And why you're doing that? The stretch begins so you're holding your node like E and you get into the tilt E and automatically a vibratos is kicking and can hear the. So how do you do that? It's not that easy. The physics behind that is quite easy. You're tilting the larynx and the rubber bands are trying to hold that new pressure that's getting into them or kicking in. And so it's like your rubber band is a good idea like and in a way it's like pushing forward and back and forward and back and forward and back. And that's what happens. So would it, in a way it's the same sound effect like singing II, but a totally different way to get to that. So we have like it. The other way would be B, that's what it would sound. And a classical way, it'll be switching between one and the other node and a fast, most, most, the fastest way you can. But if you're working on that rubber band and you're going into the tilt. It's more like the iPhone, my opinion, find it more controllable. So it's more easy to use and it sounds more poppy, more like a famous and pop music and rock music and everything. So how do you do that? You're getting into, I'm whining you getting into like feeling if you're a little care friends, like are you getting? So the good thing is that works on all the nodes in your register and with everything like thin mass and fine mass. On a full mouse, we don't have a vibrator. And if there is a vibrated small larynx vibrator, that's another thing we will talk about that when we are dealing with belting. But first of all, the idea is to sing a note in fine mass. Let's start our third mass and then kick. And thus that, that, that, that yawning, that being said. Okay, so here we go. Just finding it. Sing. And maybe your sad face can help you by finding that sounds. So we together the nice we're going higher grade for the ladies. Now. The one yeah, it's not just my stupid face, it's getting into this. And now for the next exercise, the idea is to kick that in switching to get to vibratos. So let's go over to there. 71. Exercise: activating Vibrato Stretch: So here's a little exercise to get more into that. We're starting over here. We're singing on IE. It's late, is one octave above. Okay, here we go. Regrade. Nice one, very, very nice and smooth. Same thing here. You can fast-forward to get more into it and to do it as often as we like to get into your own vibrator. 72. Exercise: Sirene with Vibrato Stretch: Another exercise for getting into vibrator is combining it vibrated with a siren, kicking in, kick in in the vibrator and getting back. So I will demonstrate that for you. We start on the low note with the IV. So smooth onset. The, okay, getting from the low node with the sirens smoothly up to the octave. Kicking in a little bit of vibrato by tilting your, your larynx and back again, okay, once more. That's Oliver, ladies. One octave. Here we go. Okay, so nice. And you don't push on everything. And here, E, one more nice one. Are you enjoying voice control so far? Well, maybe you can leave a little rating and review. Thanks a lot. 73. NASAL RESONANCE: Another great tool for different reasons is your nasal capacity. Neither capacity or nasal resonance. What does it mean by nasal capacity? I mean, the little spaces he have behind your face or around your eyes and nose. All little rooms that can resonate. And this resonance is, on one hand, an idea to make things louder or to give it another sounds, to cover the sound with a little more smoothness or, or different frequencies. On the other hand, those capacities in this nasal resonance is a good idea to, to change the placement of a sound. So each time a vocal, vocal coach or a singer says, place that note higher in your head, bring it up into your head. It's meant that you tried to sing with these capacities. So not just on to the soft palate, but even higher. So every time we tried to bring up the soft palate and the back of your throat. We tried to bring this sound into our nasal capacities to make it resonate. And we can blend that in or even mix it with a sound directly out of your mouth. And that's little, little complicated, but we can fix it. So how do we find that? When you try to sip orderings, so you're, you're sucking in the soft palate is meant to to get up. So there's a muscle that pulls it up and closes the little way of a little candle you have between your throat. And Young knows, maybe sometimes when you drink too fast and you get something of a drink in your nose, you know what I'm talking about? And this soft palate muscle is the thing we have to address to work on it so we can decide to when we sing, even close your nose and bring all of the sound directly out of the mouth and front, or to open and those two mics in the sound, or even go totally into, you know, so I will demonstrate that if I'm singing a node like it, that's straight direct from my breath, support our fretboard pillar of breath. Ionizing. The node could call closure everything we talked about, retraction. Maybe I'm dealing with with a mass. Maybe there was, speech level is not full mass of just thin mass. And then there is this idea of bringing the sound weather into the mouth orange. And who knows? What you've heard is directly straight through the mouth. The, you can control yourself if you're singing through the nose. If you close the nose by singing with the figures, the, you can see that I'm closing the nose, but the sound is not affected. I bring the sound totally through my mouth. The now that means the soft palate is close totally. What if I open it? It's like sucking or like if you pulling on your nose, like you tried to imitate the pig. Some people laugh like that. By all of that movements, you can, can feel the muscle that's important or that's, that's making that little switch from opening or closing your nose. Okay. So can you feel it in the back? That's very important. So if I open it, I'm going in the nose and that's the easiest way if I'm singing and NGOs. Because I only can produce that sound NG when I opened the soft palate. Maybe you can feel that as sound of closing as more in the back and it's NG resonates a bit more in front of your throat. Now to your control, close the nausea. There has no sound anymore because you seeing totally through your nasal capacities, That's nasal resonance. So I'm not joking. It's really I can push the hardest my life. There is no sound coming because there is that the sound is totally aminos. Now I can blend in between that. The singing to you that sounds we hear the switch. He tried with me. The the your turn. Maybe higher. Your turn. Okay, great, good. And now control yourself so no sound in the nose. Then switching. A good sound and the nose and the end is Angie, full sound and the notes. Sounds like that. Okay. That's the whole way of getting into control of your soft palate and the back of your throat. Of course, we have exercises for that. Here we go. 74. Exercise: Nasal Resonance with si-ng: Now let's try to find your nasal capacities. There is a nice exercise that can help you with that. We just take one note beginning here. And we're singing. Singing. The sea brings us into the node E is the vowel with singing, and that's absolutely without in the nose. And then you try to bring it with them. With that switching node into your nose. Control and the end is your fingers closing your nose and the sound should be where our demonstrates a woman time and then we start together. It's like C or as safe. Okay, That's it. Here we go. Ladies, one octave above. Been seeing. Great thing in VNG helps you to get into the nose. The same grade? Grade? Yes. Yeah. Grays. Even those tiny nodes are working with that technique. Absolutely perfect. Let's go for the next exercise. 75. Exercise: Ning-ee-ng: With the next exercise, we try to work it the other way around. We're starting with an NG sound, getting into the open sound ee, and back into Angie again. Why is that so important? Well, the idea of getting out of a sound into your nose is quite easy. You can use that like we had before. For a decrescendo. Maybe if you're singing sob or Oprah, or you sing in a ballot and you want to, to thin out the node. This is a good idea to bring it totally into your nose. The other way around is not all about the idea of coming out of your nose totally into your non nasal sound. But this will give you an idea of how this nasal resonance sound can help you bring less brightness in your sound if you want to make it more smooth like he could be. There are more overtones, more warm overtones that bring more warmth and to sound. And that's why it's so important to get into this and it works like that. We're seeing in total knows me. So a free times control for your for your nose, starting on NG the and getting back and forth, okay, together ladies, one octave above. Here we go. And please control if on the E there is no nose in a way very, very important. And nice. The nice. You can open your, your fingers a little. So it's not, that's exhausting. Great job. No effect when you're seeing the nice. Perfect Last one. That's it about nasal or capacities nasal resonance. 76. 1. VOCAL MODE: SPEECH LEVEL: So for now, let's bring it up to another level. What does that mean when diving into our first vocal mode? And first of all, I have to explain what is a bulk mode. And we, usually we make a difference between different vocal styles. For instance, if you have an opera singer, you know what sound that is. It's a big sound. It's meant to be sung in big theaters where there's no microphone, for instance. So they use a totally different technique. But if you're a guy or girl who's more into pop singing, jazz singing, Soul, RMB, hip hop, there are told different ways to get that sound and it's a big difference too, for instance, opera sounds. So we add voice control. We make a difference in between six different vocal modes. And now we're going to have a look for the first mode. And in a way it's the easiest and most common mode and pop singing, it's speech level singing. What does it mean? Speech level is when you put a no effort and no more gaining for volume or things like that. And you sing like you're speaking. So of course, very interesting for storytelling, very interesting for almost every part of a pop song that you're singing, instead of the special parts and the song. And that's a very important point. It does not mean that you necessarily seeing throughout the whole song in speech level, but most of the parts will be in speech level. For instance, if you have a, let's say a pop song, you have verse, you have bridge, you have a course. You would normally start in falsetto or speech level. The bridge would be to bring it up with more, more power off, maybe with twang. And then you could maybe go for the chorus in a big belting sounds who have the most power in the song. So that's how you in a way, create style, create your own story, and create your own feelings throughout the song. So we switching between one node to the other. But first of all, let's have a look. What is speech level and how do you create it. We learned different tool kits. Now you open up a toolbox and we have a look in it. And you could have a look on your handout. There you find the mode speech level. So you will see, we're talking about all the different things we have. Speech level means your tongue is neutral. Your larynx is, in the most cases neutral. If we go up high of the larynx may rise. And we, usually we use retraction because we want to have all the false vocal folds out of our way. Normally you seeing in thin vocal mass, that's very important. If we go up higher, you have some trouble with the vocal vowels, for instance, but that's it. So no anchoring, no full mass are the things that you sing in thin mass anomaly speech level. So how can you find speech level? That's a good question and let's move on to the next lesson where we try to find our speech level ourselves. 77. Demo: Speech Level: So how can you find speech level and all the modalities you need to do that. These, this way would be if you're simply talking, not really talking like I am because I'm really, really pushing away because I want to tell you something very important. So I'm a bit over it, a bit over the top. But if you're normally talking about see you on the phone and say Hi, how are you? I'm fine. And you start resonating in that sound maybe around normal, easy for me. Would be this today, more like, Hi, how are you? I'm fine. My tongue is neutral. My larynx is neutral because it's not a very high tone. It shouldn't feel much more different than toggling. See, hi, hi. How are you? How are you? Well, I'm fine. Well, I'm fine. Please try that by yourself. And maybe you have a piano or something to give you one node, please take you one single tone and try to sing that, okay, and then you go up higher and how are you? I'm fine and be smooth on your voice. Be gentle and really, really be careful that you're not using full vocal now. So it's very, very, very important. And of course, we have an exercise to get more into it. Let's have a look. 78. Exercise: Speech Level (yee): Here we go exercise for getting more into speech level. We're starting here, the ladies one octave above. And you know that scale. And to be really careful we start within. You, smooth the onset to get into our sound. As we go up higher, please be careful that you don't push on the vocals. And we don't want to get into full mass. That's very, very important. So here we go. Okay, ladies, gentle manner. We're going to start with the smooth onset. Stay tiny. Thin mass back. Did you hear that? And what that sensation is? We're going to talk about that just in a second. 79. REGISTER BREAK: Did you hear that sensation in our last lesson? We were seeing in just on a yi and we were like, What is that sound? And many, many, many, many people do have that. So there are two kinds of ways to think about that 11 word. You always find if you're looking for that as pistachio, that's a very, very old word for it. We usually say it's the register break. And what does register break me? Well, if you go through your deepest node, you're able to sing just up to the highest note, you're able to sync. We call this different registers. So maybe you have 23, maybe four registers. There is the chest register, there is your head voice. Sometimes you find that that letter of the word and the meaning had voice and the whistle register. And in the middle in-between your head voice, so everything resonating in your head and chest voice. There is, for some people it's like five single nodes, maybe seven. For others, it's just like three single nodes. Way you can make a choice if you choose chest voice or head voice, and if you don't know how to control that. So that's why many, many students have different problems with that register break. There. Is this break, this yodel. Maybe I can demonstrate a non-Muslim. Yeah. That's because I'm switching in-between my head voice very thin to the chest voice, more mass. So what is happening here? If you have a look on your vocal chords again, speech level and the chassis part is the full length of the, both, both of those vocal cords. And if you switch to have voice, we will talk about that when we go to falsetto again, you go to find mass, you go to stiff mode. So those, those bones and the end of the vocal chords, they open up a bit so we don't have the full length of the vocal cord. But just like yeah, the third is missing something like that. It's minus 1 third of the string. And there is air passing, we have less of the mass, so that brings you to less power, less strength in the vocal cords. And if you're switching in between those two modes, it can happen that you have this yodel sound because it's too, too much of a switch. And to get rid of that, because imagine you're singing the song and you're going from chest voice you had was you don't want to have that vocal break. So this is why can find so many exercises on fixing register break, getting rid of register break, going through the massage you many, many, many, many exercises all around the world, all maybe all around the Internet. So it's really important to talk about that. But before we go on and try to fix it, Let's have another quick look on why is there the register breaks. So while you're getting better and better on chest voice and head voice, and I do not really like the term head voice. The register break comes because you have the ability of bringing up your chest voice. And if you get better and maybe can rise one node per per node and you get, I don't know, the register break would be broke down to like three. If you had seven nodes, maybe you come to five or three nodes and the ante will get totally rid of the register breaks. So there will be still a Posada and you really have to know well those nodes are where you have to work to, to be careful with it. And two, don't get into this yodel, into this crack. But if you can bring up the chest voice, you also can bring down head voice. And for me as a student, it was far more easy to bring up my chest was I was the boomy guy, the guy who's seeing with full mass and power. And so I was in a way trying and belting and bringing it up really high, but I was not able to sing smooth in that Posada. So I really had to work, work, work really hard on bringing down falsetto, bringing down this stiff vocal cords, and into my Posada and control it. And the switching point, especially for you guys maybe who are singing with good vocal mass with full mass, a lot is even more hot than for many, many, many girls because they're more used to sing with fine and stiffness. So maybe it's far more easy for you to get rid of this massage. But let's go on and have a quick look how we can fix it. And we have lots of exercises for that. 80. Exercise: Sirene on Mmmmm low-high-low: The really best trick to get rid of this, yeah, vocal crack or yodel is to bring together two things we already talked about. We talked about vocal stretch. So using a siren to get from low register to high register and back again. And of course, while you're doing that, you're, you're passing your Posada, you're passing your register break. And you really can, Can Be careful to stretch a bit on the vocals. But the second thing we need is nasal resonance, nasal capacity. And to get into the nose while you're doing that. With choosing the letter M, like, you're really trying to be careful to get until your pistachio, something around for the Gaius. The latest one octave above. And maybe the best idea would be to start in a low voice. So just that you know where you registered and you start like, but not only bring up the voice, not push or a pull up chest voice really tried to go into your head. And the idea should be that you're like sitting in an elevator starting in the middle of the chest, driving behind your bearings into your hat and the resonance you should feel in the end for the, for the high notes and they had register is somewhere around your cheekbones, somewhere behind your nose. Okay, so really drive it BB smooth on the vocal folds. Be really tiny with your mass. Not really stiff, not really fine vocal mass still tried to keep thin vocal mass, but go into those nasal capacities to place the sound there and be careful on going down again that you can hold that sensation of head voice while going down. Okay, so we do it again. You choose maybe your own node, nice chest denote and go into your head voice on him and go back again. Okay. So nasal resonance for getting rid of register break, breathe. And remember, you can't control yourself by putting your fingers on your nose, closing your nose, if you're really in your nasal resonance in your nasal capacity, again, maybe you start a bit higher. At the highest start, it's not important that you go very, very high in your head voice. It's important that you're in the middle of your mid-range where your your, your register break is sitting. So maybe always make sure to be in your nose. Now your turn. Great job. Make it another, another time. Come on. Rate, and now put it a little bit higher, just like one or two semitones. Grade, grade. You can do that whenever you are, I don't know, sitting in a traffic jam under the shower, you really can make that exercise part of your day to get better and better. And on the other hand, it's great for your vocal stretch as well. So great exercise. And let's move on to the next one. 81. Exercise: sighing high to low: To get rid of the vocal tract when you're coming from up there. Room for your head voice or like a mixed voice, like your highest speech level. And you're going through the pistachio because it could happen as well that you're singing a note and a good speech level quality. And as you're going down your scale, you lose control. And to get rid of that, there's another exercise. It's a bit more complicated than going from low to high to low because we starting up there with the signs like I would I would prefer how or he ha it's more easy because you have your throat more open the afternoon larynx down. So start in them. Had heavy, heavy voice in a way. And get back into good speech level, a good, good support speech sounds so together. How like, how, um, so Saturday. Okay. If there is air on the voice, totally okay. We're just concentrating on holding the same quality as we go down. Okay. So again, How nice one on he, maybe he raised together again. The hold it together, hold onto that string and keep it, keep it under tension as you go down. Because if you don't do that, it's like the digital era. He we won't hear that if we're holding onto that stretch. So he the really go into your chest was bring that chest and again together on he he the think of the elevator as well behind your larynx is going from the, can you hear the chest kickin this booming US and the sound where we're looking for, that's when your chest voice kicks in again. So again with me. If you can tell they hear that and you can feel it as well. So be sure to make that exercise as often as possible to get rid of this coming from high to low and onto the next one. 82. Exercise: Vocal Fall on Hmmm high to low: With the next exercise, we're going to bring together the idea of starting with an aspirin onset like we did the exercise before, like he and starting in your head voice register, bringing it down to the load, to the chest register, holding onto that stretch. Very important that as well we're going to bring in the nasal capacities because we've seen it on Hen. Okay. So resonating in your nose as we go down and just boys hold on to that stretch that you bring your stiff vocal folds from up there, controlled into thin vocal mass as we go down. Okay, So I'll demonstrate it one time for you and then we can bring it in together. So make sure that you're not staying in falsetto mode, that you're staying on that fine vocal mass. Okay, Now, that's totally fine mass throughout all the exercise, we're going to bring in the Bulinus, the chest in a. So here we go, Breathe in star in your head voice and bringing Control down and assay, go through the massage. Makes sure that you're holding on that vocal stretch to bring control into your voice. And as you do that, day by day, you're getting better and better. So here we go. Stop. Maybe on your own note, it's a siren zone. There's nothing to really seeing nothing to fix my tone that I'm seeing it. So I swan thing of the elevator and the bag. And while you're concentrating on that nasal capacity, you stay away from that crack from that Joel. Again, you here is which important, but it's not a crack. One more time. If you're getting confused because I'm choosing other nodes as you like, just switch off the exercise for now and make it by yourself and go higher and higher and try to fix the point. And as you do that day by day, you really are getting better on getting out of the register break. And of course we have another exercise as well because it's very complicated. So let's move on. 83. Exercise: Ma-on-on-on: With the next exercise we bring it in altogether. We have Naser capacities with M and noon. And we have the vowels are an OH, the sound is on. So I think you get the idea. The vowels are for opening up to be more in a singing mood. And we get from deep to hire. First of all, you won't get any sensation like register break. But as we move on higher, we'll get into Posada and really try to stay on that speech level sound. Stay on that thin mass. Don't get into stiff. That's the thing. The other exercises were like switching from stiff too thin or where like bringing speech level further down or further up. Now we're like singing from the first to the fifth. We will start alone two times and the latest getting later. Okay, So here we go. You ready? So nom nom. Ladies? Mau, Mau, Mau, Mau, Mau, Mau. Now we're getting into massage. Your latest one octave above. Get into the nose one more time together. And gray job. Don't sing. Oh, no, no, no. You bring up that speech level. You bring up thin mass. You hold on that vocal stretch, where it's getting complicated and complicated. My ladies. Nice job. Last one for you. Yeah. Backwards. Nice. Think of your nasal capacities. Guys. And again, no, long long ago. Now, you know, ladies, maybe it's too deep for you now. No more. Nice, one Good job. 84. Exercise: Sirene on jee: And our last exercise on Register break is with good vocal stretch. So we're using the siren on yeast smooth onset to get in guys starting over here. Okay. The girls get in a little later. Okay, So here we go. Ladies, really hold on that string. Or maybe we're getting too high for you guys. It's okay if you get out. Okay. Now this is too much ladies buys your strap, Shane, I'm not crashing anymore. Lice and bag again. Ron. Okay. Guys, getting back again. Be careful. Also gave you a very not pushing the breath finger off laser capacity for the high note. And if you have this little vibrator in there, I demonstrated throughout the whole exercise. That's okay for now. Of course, in the uninsured have a strong was like the or. But I really want to be careful that you're not pushing on your breath and pushing on your vocal force. Tried to get a feeling for how little you can hold your speech level sound before you switching into stiff vocal folds. So great job. I hope that was helpful and to really have some exercises and to work on your register break and get better and better and better. Enjoy that. 85. 2. VOCAL MODE: FALSETTO: Welcome to our second vocal mode, falsetto. Falsetto is done in many, many, many, many genres. But many, especially guys don't get to it that easy. And many, many, many people don't like it in a way because it's like a children's voice or it's very classical. But that's not true if you're listening to many R&B songs, many pop songs, all the people that are seen with lots of air in their voice are singing in falsetto. So first myth, Prego myth buster In this episode is falsetto does not necessarily mean that you're singing high register. You can also sync falsetto mode in your load register. It's just if you have a look on your handout, depending on what tools do you use? So let's talk about the tools we need for falsetto. Falsetto does mean we have fine vocal mass, so stiff, not closed. Already. In most towns were using much air. So aspart onset is always a good idea. We can have high larynx, but it's not that necessary. Your tongue should be neutral too high, and retractions always a good idea so you can bring the breath to the vocal folds where they are needed. No anchoring, no pushing, no energy in any way. It's a very, very nice and easy idea of singing. So I like singing falsetto. It's always good for balance for very intimate stuff that you're singing for, for getting a coziness, getting nearer to your, to your audience. And if you listen to signals like Billie Eilish for instance, very, very young actual singing. And there's lots of Aaron and lots of falsetto and pop vocal. So very interesting to have a look at it. So let's go on to the next lesson because there we will find our own falsetto voice. 86. Demo: Falsetto: So as I said before, falsetto is a very nice mode. You can find that in many, many, many genres and it's very smooth to sing, but you have to be a bit careful because you're losing lots of air singing and with aspirin onset can dry out your vocal cords. So maybe you have to take your break sometimes and really be careful on that and please stay hydrated. That's very important. So how do you find fossa? We talked about the two box kits we need. If you if you didn't get that, go back one lesson or have a quick look on your handout that you can find the tools you should use to find your falsetto. The easiest way to get a first set of is you think of having an anti bottle and you try to blow air over their bottle to get that nice sound. Maybe you've done that as, as a child and you can still do today. And maybe you take a bottle in your hand and try because it's really the easiest way to get into falsetto setting. So imagine the bottle. I'll take a bottle and you blow over the edge of the bottle. It's like and while you blow over it, you start getting into tone just, just to choose a mid-range tone by yourself. Important is like with the bottle. You really have to blow first. And the moment the amount of air is right, the vocal cords will close and the sound will come, but it's still stiff, so don't push on your vocal cords. What would happen is this. It's not really felt cytosol really be, be careful and just let the, let the air do the job for your care. Nice and easy. Next thing you can put in there is a little whining, little Villanova yawning to get space near throne and little wanting to be like, okay, who do? Let's give it a try on e. To hear the breath and my voice. He be, he can hear lots of sounds and there of course it can be very classic. It can be very dark like who, who parrot can be Poppy as well like with retraction. He, he, he. And if you do properly, it can be very loud as well. So be careful with your microphone or whatever you're using, because you will be very, very, very surprised how loud for Sarah can be. And of course, we have an exercise for that. 87. Exercise: hee in Falsetto (hee): Here it is our exercise to get more into falsetto voice. And we have an octave scale. Ladies, one octave above, we start a bit higher. Let's, let's take it from here. And we tried to sing throughout the whole section for cellulose nano about head voice. It's about being in that mode. Okay, ladies. So here we go. I tried to stay stuff okay. Lots of air to find it. Is1. Say go up higher, get more than two. Whining. Nice. Don't forget your retraction. Don't push on that vocal cord. They think of your soft palate. Like vowel modification on the top node. Oh, yeah. The last one. Normally for sorrow is because it's so easy. The easiest way to get very, very, very high nose. And that's why so many people say had voice is falsetto. It's, it's not true in a way. It's a quality you can use as a sound, but it's the key to get up to your high register. The easiest way, please check the amount of air you use. Please make sure that you're using the correct way of onset, the correct way of using air and the sound to get this vocal cords cords close. Yeah, hope you enjoyed it. Please stay on. That is very important to get into falsetto and let's move on to the next vocal mode. Sorry, I don't want to interrupt you, but could you please leave a rating and the review for this course, it would be so helpful for us, for us forth. 88. 3. VOCAL MODE: VOCAL TWANG: The third vocal mode is vocal twang, and we have to decide if we're choosing one or the other. There is the normal vocal twang. And they can be a so-called vocal twang with the nasal capacity. So nasal vocal twang, but no problem, it's quite easy to get into it because we simply can choose from different natural sounds to create it. Where do we find vocal twang? It's very common in country singing like all those, those modeling yodeling guys like, Hey, hey Mr. Tambourine Man, layers. For me, that's Bob Dylan for instance, singing with lots of nasal capacity and nasal twang, but it's not simply nasal capacity. We talk about that later. You can find it in high passages in a song. So if you have a very high note, this can be very helpful to choose vocal twang for this to get a more clear sound. If you want to raise volume, twang is always a good idea if you want to be heard or you have to sing against the band, the rest of the band. And twang is always helpful to get more clearness and your sound, to get more crispiness in your sound and to be louder. Okay, so what do we need for vocal twang? If you have a quick look on your handout, you'll find all the toolbox tools that we need for it. It's high larynx, very, very, very important because by bringing up the larynx, you can make the whole, in a way, sound box above the larynx, you can make it more narrow. And this narrow mass brings in the clear and almost creepy sound. We need to bring it as a covering sound over the tone. But stay, stay away from thick mass or full mass because that is too much so it's not pushing a breath is pushing the vocal cords. You always have to hold back the air, sing with a thin mouse throughout all the twang stuff. And just bring up the larynx and retraction very, very important. And high tongue is very important as well. To bring in all the creepy, crispiness you need for vocal twang. Maybe you can work with an ASR capacities as well to get nasal twang. But the idea is just to be Azure AD it can hear that sound. So how do we find that sound? We have a lesson for that. 89. Demo: Vocal Twang: In the last lesson, you heard twang already and we talked about nasal twang and Vogel twang. So we bring it together just to find it. The easiest way is tried to sound like a duck, like flatMap. Flatmap. Don't push on the sound in your, in your larynx. Don't do that. Thin Azra, Mackinac map, Mac, Mac, Mac. And now we bring in this sound in singing. So if you choose a note, the yeah, he yeah. Yeah, yeah, yeah, yeah. It's the easiest way to bring it in your nose and to really bring up the larynx. So try to be like, really, really, really hard on your laugh on a retraction. The at, at, at. And when you sing with this narrow throat, you automatically have this high overtones in there. And that will raise the gain, raise the volume of your sound, and bring in this creepy sound. Please remember the volume knob, so it's not important to bring in everything of that. If you have, let say it. Amazing Grace again. Sing. Amazing Grace. Has we the sounds. Now with vocals Wang, I will rise it a bit. You can find them, the gospel as well, especially for the lead singers. So let's say it one more time without pocket when omega is in gray, has we sound with twang? Bring up the larynx, retraction. In gray hands. We, the sound can hear the clearness in a sound. It was not like am I then rise? Has he has sound that would be for full volume level into Wang. That's not necessarily needed. So you can choose how much trainee will put into your sound. But there'll be, will be very, very helpful in many, many, many ways and in many, many problematic situations. In a song for raising the notes, bring up the bar to getting more high notes, raising volume and getting through pathology as well. There are problems in bringing in this clearness on. So make sure to work on that. It's a very nice mode to get through different, different situations where needed. So move on to the exercise to that. 90. Exercise: how to find Vocal Twang: So our first exercise for voltage swing is to find it. We remember the duck, we bring in the DAC in singing. So choose know that you can easily sync. For me, it's like this. E and e is good because you're still, you're already in a retraction mode. So II nitride to bring the duck in. Higher Tung, hi larynx, job and retraction. Very important cell a, a, a, your turn. Try to sound like a duck. Now bring in the nose as well. Hi larynx, high tongue, jar, retraction. A, a, e, e. Can you get resignation and your nose? Sometimes it's complicated. Why do you have high larynx and all of that tribe? Wow, sounds okay to me. So another time, a, a, a, your turn. Nice one. Let's move on higher. I'll choose this one. A, a, a good job. A nice warm for the ladies. I sing with a, with a little trick. It's not really vocal Twain, but I have two tricks because it's too high for me. But to demonstrate for you to sing with you, it's just as not nice. Yes. Sounds not gray what I'm doing, but I hope it sounds better like you do it. Yeah, it's really push. And because you have a glottal answered over here, you can sing twang as well with smooth onset, no problem, no trouble with that. But it's very important that we have some several notes for you guys and you ladies. So I hope you enjoyed this exercise. You can do that whenever you want. Choose your own notes, get up high, get a blow, and try to bring in twang. It can be very helpful as well if you tried to reach low notes. So for instance, I don't know. Usually when i'm I'm going low and I'm I'm not that loud. So if I bring in a little twist, it can be helpful to get a more clear deep sound. So work on that. It's very, very important and let's move on to the next exercise. 91. Exercise: Vocal Twang on (ee): So let's bring it, bring it together in singing. We have our well known Scare, beginning with the I node, and we're singing it on glottal. So we really tried to a staccato all of us. So please be careful on your vocal folds. Okay, So here we go, ladies. One octave above, and here we go. Bring it in. Like a duck egg. A nice a, a, a, a, a, a, a, a, a, a, a, B, a, a singer. The nose. A, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a a a a, a, a, a, a, a, a, a a, a a a, a, a, a, a, a, a, a, a, a, a scaffold on those low notes. The last one, a, a, a good job, great. Onto the black swan. 92. Exercise: Vocal Twang Kick-In: The next and last exercise for vocal twang is very important if you want to get into bringing vocal twang in for just a single node 2. I don't know, raise the volume or get the high note. So we have, we start over here and we have three notes. We just get up to the high note on, let's say Yey. Okay. So he sought and over there you bring in the 2-AG. So you sing speech level and bring up that node. Ladies, one octave above. You know that as you go. Nice. Make it, make it really hard to make it all in for volume. Okay. Good job. Be careful on a high note. The last one. Bring it back again. Sorry. I swap. I hope you heard that through bringing in that twang, the sound, the vowel switches bit, is it like E? And it brings in like an AR or something like that. I hope you enjoyed that lots is very, very, very important exercise to get more intertwined. And now you know how Bob Dylan and all the others, Axl Rose many, many, many rock and metal singers are creating this crisp and high and narrow sound for their high note. So it's very important to work on that and I hope you have fun. 93. ANCHORING: As we dig deeper in our vocal modes where yeah, almost are at the holy grail of seeing the most complicated modes like sob, like Oprah and of course, belting. And we need another tool kit part, another element for our toolkit. To get into those. Let, let's, let me call it exhausting ways of singing because we really have to be careful when we're seeing with that. It's not just a vocal mass, its power and relaxation and bringing down everything you, you have, every stress you have on the vocal chords. And to get rid of that, to sing with the least amount of effort necessary, we need something that's called anchoring. Anchoring is, in a way, a very old idea of releasing stress from your larynx and from your vocal or voice box, let's call it voice box. So all the muscles in your throat and around the larynx are just there for raising the larynx and lowering larynx, holding the note. Vibrator and vocal mass. All the stress to get louder, to get more resonance, to get more power will be released through your body. And that's what anchoring is. Four, we have two types of anchoring. There's tarsal anchoring and had an egg angry and we start with had an egg anchoring at first. That's what this lesson is called. And had an egg anchoring is all about your neck. So when you sing and you try to get more strength of focus in your notes that you singing, then you can do a little tiny thing that's almost invisible. You bring back, you had the bit just a little bit. And you can see it in this way, just a little bit backwards. And this position, That's it. What happens is your larynx is free, but you give more stability in the back of your neck. Bye, pulling back that don't do that too much because then it will affect the larynx in a bad way. But that's helping to get more strength and stability in the tone as well. So if I take this note, so you know, the, the hit that little switch. Please think of had an AC anchoring or the ankle where the movement begins, like from here, just around a cheekbones. So you have like someone's pulling your bag and putting two fingers on here. And you have a very loose hat and it's putting like this, do that for yourself or maybe you have someone around you who can help you. So you're just releasing it be maybe you can feel the muscles in your lower back when he do that. If the, if the sound gets more stability and that leads into a much more powerful sound. And when you're belting and when you're singing opera, this is absolutely necessary. So please keep that in mind and maybe work a bit on that. And we go on to TASO anchoring. 94. Torso Anchoring: Torso anchoring has the same targets. We want to get a more stable tone, more stability, more power, more strength in your voice and taken away the stress and strength from your voice box from your larynx. So how do you do that? Your torso, your upper part of the body, just below the half. So we talked about head and neck anchoring, like pulling back or taken back. You had a bit to get more stability. And now we doing something with a torso. So if you go to your shoulders and the back side of your lat, okay, then you can pull back on that. So maybe it's helpful if you pull up your fists or your hands in front of your body. And you think of leaning back into the sound and Y yielding impact you pulling down your shoulders with his shoulder muscle was your latissimus. Okay. And why you doing that? Maybe you imagine like leaning into another person's hands who's placing their hands on the back on your shoulder blades. Okay. So you just bringing down your shoulder blades? Bringing down your shoulder blades. That's torso anchoring. And if you see an a note by doing that, if we are not pushing on my voice and not bringing in more mass, it's just getting that stability and my back. Okay. If the EBI that's far too much effort, but I'm I'm really trying to demo what's happening to yourself. So if you bring those two together, had a neck anchoring and Toslink ring, you really can get louder sound without affecting your voice. So I'm sitting still in speech level. Had an egg and torso one more time. It be, it's a physical thing, so quite easy. And work on that because we will need it several lessons later, at least when we're working on belting. So very, very, very important and we have two exercises to get more into detail. 95. Exercise: Head & Neck Anchoring Sirene: Exercise for working on your head and neck anchoring, we take a higher note, but would come in from below and it's quite easy. We sing like that's it. And we lean into the high node, lean into the octave and get into had an egg angry. So we start in a normal shape and speech level. That's it, ladies. One octave above. Okay, so here we go. Nice. Next one. Nice. The nice, Good, Nice one. Don't push on the vocal chords. Just had an Eigen current. Gerd. Get more stability in the sun. For the first part, that's enough. Let's go to torso anchoring. Another exercise. 96. Exercise: Torso Anchoring Sirene: Same thing with torso anchoring. So octave up, getting into TASO, Ladies, another act of above. So quite easy numbers to say we're going to start and here we go. Nice. Very nice. For me. Years. We don't go too high because maybe you start pushing on your voice. Be very, very, very careful. Maybe if you're getting better on that, anchoring had an EKG or towards the anchoring, you can go up higher and higher by herself. And we have another one left for you. 97. 4. VOCAL MODE: BELTING: The absolute most asked modes or style in singing or technique. All my students asked for it is belting. So what does belting mean? What is belting? Of course, you can find all the tools on your handout. But it's a bit complicated and it's a very, very, very hard mode. So we'd really have to talk about that and be careful. You can find lots of explanations throughout the Internet about belting in a way, it's the idea of bringing up chest voice, reducing the chest in us you haven't, they're getting a crisp and high sound, but be powerful. So it's the most powerful sound. You can find that in all genres for, let's say, musical is very famous for belting sounds, but very healthy belting. But you can find it as well in pop singer size like Bruno Mars is greater belting for instance, and Beyonce is graded as well. So let's say pop, R&B, rock, of course, mantle of course. So very important to talk about that. But it's in a way dangerous. Why is it dangerous? Because we're not using thin mass as we did while talking about Twain. It's using full mass. And because we're using fullness, we bring this total thick sound in there. But it's very important to have anchoring in math. So if you didn't work on your anchor had a neck anchor and toss or anchor, please move back a few steps and go through the lessons about anchoring. Very important because without anchoring, there's no way to get a healthy belting in your toolbox. So what do we need? We need heighten, definitely heighten. We need high larynx to get this crispiness and the sound we need. I'm full vocal mass. We need retraction. We need had an egg anchoring and we need to also incurring. So it's very exhausting because it's a lot of muscle work. Most important thing is if you get tired in your, in your vocal tract and the vocal folds, please, please make a break. It's very important because it could hurt your voice. Please have in mind cutting back there, it's not necessarily needed that we see on her. We don't do that although way we're going to find it that way in a minute. But please be careful on the air, not pushing on air, not really on your vocal strength. Vocal strings, It's all the strength that is coming from this vocal mode will be released throughout the anchoring through the rest of your body. So let's move on to the next lesson and we tried to find your belting voice. 98. Demo: how to find Belting: So how do we find belting voice? Well, belting is a natural thing because it is like shouting in a way. So let's say you're on the street and you see a friend of yours and on the other, on the other side of the street. And you want to, to to get his attention, what do you do? It's not like you choosing speechless and saying, Hey, you can you hear me? No. You'll maybe you put up your hands. You lean back a bit and say, hey, my friend Kenny. And that's belting, that's all that is to it. It's not even more power because all that's, that's even more power than that is unhealthy condition. But what did I do? I raised my hand forbid. I brought up my larynx. I tried to have a high tongue, so like the Apple by, you know, and if I'm getting even higher, I will really push my tongue into the upper back teeth. And I am leaning back a bit and see, hey, hey, hey, hey. So there is full vocal mouse. No question about that. But I'm trying to get rid of the power in my larynx and bring it into a loud sound. Is that like and that pulling it up from the deepest. And I'm already starting off, it's like, Hey, hey, hey, hey, hey. That's the idea of getting attention. I don't know, a 100 yards away. So this is your idea of getting into belting. So give it a try. Addressed to me. Give me your best. Hey, you have amazing and now lean back a bit and bring it all in. Yeah, Another time. 123, go. Great. So that's a perfect thing to start off and we have an exercise for that. 99. Exercise: hey: So first thing to get into your bedding sound is an exercise called, hey, we want to find it together. So let's do the same thing as in the demo we calling here. But please, before you do that, hey, hey tongue. You should have good retraction. Lean back, so toss or anchoring, head and neck anchoring. And when you have that, say, Hey, okay, I'll demo for you then it's your turn. Preparing, leaning back. Now your turn. Great job. Be be brave on that. Okay, So, so let's get more into preparation. We do together preparation, mutterings, tongue, tarsal, had a neck. And very important thing is, don't bring your larynx up to the notes. So imagine the note that you're going to sing and be up there. So like, Hey, that's not healthy, you have to be already there. So preparation had an act. Also. Bring up the larynx and imagine the, the node that you're going to sing right now, bring your learnings in that position, okay? Hey, hey, hey, hey you with me. You can hold it for different notes. So let's say we sing three hace behind another. Okay, so preparation, breathe in, hope back the hey, hey, hey, hey, hey, great job. And if we going higher and higher, there's an important thing while your shouting or you preparing for a shout, your larynx is doing one important thing. We talked about that when we talked about larynx. The larynx is put together out of two parts. You can tilt the upper part. This was important for stretching your voice or for vibrator. And now we're talking about the, um, the, the other part of it. You can tell that as well. It's like being surprised like and this brings in more stability again for your sounds. So it's not really that you need lots of L. So if you, if you start seeing in a belt, it's not really loved. Because this error is almost too much. We need compression, we need compressed sound. So just breathing a little, little tiny amount of air lag, you would really fast. Or let's say surprises is a good idea. Let's say you're doing something forbidden and your mama gets in, the door, opens it like this is the, the idea you need. So it's like, hey, hey, hey, hey, hey. It's not about the amount of air you push, you pull in. Its about this little thing that happens when you're like. Okay, Very important. And let's move on to the next exercise where we dig deeper into this topic. 100. Exercise: yay (high): So it's a bit complicated to do the next thing because each of you has its own tab Range Node. So I'll hold it more like a demo. And we're singing a yea. But we starting on a high note. And as I'm reaching more, hi guys will stop. So the latest can have some, some different notes above that thing of all the things we need high Tang Hai larynx. This idea of being surprised, retraction for vocal mass, anchoring in head and neck and torso. That's the thing we need. So good preparation before the first note, and then we have an idea of releasing it. So I'll demo at first and then we do together. Let's say we start over here. Or maybe that's a good starting point. I started full belt and then I'm letting go for a release one octave below. So I'm seeing like preparation. You can really go into it. Yeah. Hey, for mass, okay. We do together, ladies, one octave below and one octave below, one of the above. Okay? So here we go. Preparation. If you're sitting, be be really sure that you have good head and neck and toss anchoring. Okay. Preparation. Hey, let's move on to yea, to make that clear again, now, I wasn't a demo mode still, so yay, yay. Smooth answered. But bring your larynx and your voice in the condition that tone must be in already, not bringing it up. So high tongue. We go up higher. Your tongue into the upper, back to you. Okay. So don't forget that surprise moment. Release between again, preparation and yeah. Okay. Here we go. One more and prepper, prepare, please. Back again. The guy's getting and again, prepare. Nice job. Nice job. There's two. Nevertheless warm already know Belt. Would it still the quality of belting voice? Nice one. Let's move on to the next one. 101. Exercise: Yay-Yay: Because it's so well needed and so important we have another exercise for belting. We start a bit higher. Who's singing the fifth and the first. And so we have like, hey, same thing as in the last exercise. Good preparation is very important. So be sure to set up, we do it really slowly. Ladies. One octave above. Okay, here we go. So preparation. Yay, a nice one. Preparation. Preparation. Preparation. Don't take too much breath and propel. One next one, I think, of the position of the learnings where it should be released in between and go back to it. So prepare your job. Don't forget to retraction. Prepare your job. Now. We take our time. You can prepare yourself, okay. And the last one, nice job. If it really working on that you will get even higher. So for, for guys, it's no problem to be like there was around C, C sharp, D as your high belt with full mouse, and so you can raise it for the ladies as well in this range, there's no problem to build your belt, but please, please, please make sure that you stay healthy. If you get any trouble, if you have any idea of injuring your voice, stop it. Relax in between. Do you vocal warm up before? Do you evoke a cool down after it and relax? Always make sure because if you're really, really hard on working that out, your larynx will in a way feel like blocks on the top of your neck. So sometimes it's, it's really important to bring a Downing and you can do it like sirens from high to low. Or always a good idea to bring down the larynx in-between your your workout sessions. Okay. So that was it to the topic bouncing and let's move on. Hi there. It's me again and Sorry for asking again, but maybe you could leave a little rating or a little review for this course. If you're enjoying it, it would be very helpful for us. Thank you so much. 102. 5. VOCAL MODE: SOB: The next vocal mode is SAB. It's not that popular. It's not that well known as a, as a term, but I really like it and many, many, many singers use it. Oftentimes. The best example for using SOP is if you listened to old swing music out of the Swing Era like Dean Martin, Sinatra of course, and in nowadays, Micah Bu blaze, big, big master of using SOB. If you have a look on your handout, you can see what difference between sovereign, for instance, speech level. The most important part is we're seeing with low larynx. So we're bringing over dark and warm sound into music. It's a very low-level sounds. So more for all school sounds like in swing music, for instance, with the low larynx. So you have tongue more like neutral. So you can bring your larynx very, very good. In a lower position. We use retraction. It's not that necessary, but better. You have that in mind if there is any crackling or distortion in your sound. And because we hold back the air, it's an idea of singing with inhalation. Again, you really need to use anchoring. That's very interesting. So you have like a vocal Massey using more thin mouse. You want to have a very thin, dark and kind of kept back or hold back sound. That's the idea of Saab. And where can you use it? So if you're not the swing guy, the swing girl, you can use it. For instance, in pop music if you want to have a very dark voice, if you're looking for low notes or very interesting, we have a look on that in a special exercise. And if you want to sing with decrescendo, big female singers use that. Oftentimes, for instance, you can hear that by and if you listened to Celine Dion, you can hear. Riana uses this a lot. Beyonce used this large Mariah Carey is extraordinary, good at singing in SOB to hold back the sound to bring more intensity in the things you're seeing. And how do you find sorry, we have a quick look on that. So let's go. 103. Demo: how to find Sob: So how do you find sum up? The first thing you have to do is lowering your larynx. So if you're speaking like me and you take it down, you get more into resonance. You singing like, I don't know, at churn, like the lowering down the larynx, then you bring in the idea of singing into yourself, not singing out, holding back the air. So it's like the and you all know that sound. Yeah. So you have like head and neck anchoring and taus are anchoring to really get that that holds, you really have to put in, I think it's a very exhausting mode. But let's have a quick demo so you can find it. It's like singing Amazing Grace. How sweet the sound with saba would sound like that. Holding back the air lowering the larynx. In gray. We learned. How can you find that sound? You really want to bring it down low so you have more like an O, let's say, Oh, nice one. And now drop the larynx while you say, or let's say, Oh, nice one another. 10. While you sing in Atlanta, larynx drop 00, 00. Oh, now bring in, had a neck and toss anchoring. And maybe think of not saying, Oh and this direction. Maybe more singing or saying Oh in that direction. So sorry, you're thinking like singing in the back of yourself. Okay, So, oh, dropping the larynx, bringing had an egg and towards the anchoring like 0, 0, and now start singing a bit. So and for me the most important part is think of the air stream, the breath control in your pillar of breath. Not like moving out. It's more like inhaling through. The more you lower the larynx white on that, oh, the more you get into soap. So that's tried with an a bit more complicated because it abroad position. Okay, so head and neck anchoring, knowing that larynx and the more volume you want to cut back, the more you have to lean into your torso and had a neck gray. Okay, so think of vibrate or it's very important because it's, if you want to get into a decrescendo, it's like E, cutting off the volume. So it's a bit vibrate through a bit, getting back to the sound, please try that by yourself and we move on to an exercise to get more funner. 104. Exercise: Sob on (yee): So cutting back the sound, getting into deep larynx and good anchoring, we still have to be prepared before we start seeing a. So let's move over to the piano, and we're starting over here. The easiest way is to get into that sound by reducing the height of the nodes and bring in more, ye, not the smaller, the lack an ooh, oh, covering the e sound. Lowering the larynx, prepare for it and gets, the more he kept back the L, the Molly's sing with inhalation. Bring in your head and neck and toss and growing. Okay. Ladies, one of the above. Okay, here we go. So very low larynx, anchoring vibrator in the end. No mass. The higher we get, the more important is to lower the larynx and to hold that little tiny mass again. Now we massage. And here it's oftentimes a bit complicated to hold this sound, especially in the beginning. So be sure to just given little mass and lowering that larynx, we do one more. The more exhausting and fields for you, you have to cut on that anchoring. Okay, let's move on to the next one. 105. Exercise: decrescendo with Sob on (yee): Another way of using SOP is decrescendo. And to get more into that, I have an exercise for you. We just seeing one single node, ladies, one octave above. And we're in speech level at the beginning. And then we tried to cut back the sound by bringing in Saab as an idea or a technical idea to bring back the volume, to bring like the sound to get in this decrescendo or I'll demonstrate their onetime for you. Then we do together like the bring an anchoring, lowering the larynx and get from acceleration to inhalation. Okay, So ladies, what I've done above, and here we go, so we are getting lower and lower. Okay. I faded out. Nice job. Back again. The lowering it really Gabi, really tiny because usually you would stop the note. I forgot the anchoring, the good job and always keep that in mind if you want to have a decrescendo at the end of a phrase in your song. Nice to, nice way of seeing, and I hope you enjoyed it. And let's move on to the next mode. 106. 6. VOCAL MODE: OPERA: Our last vocal mode is o. Promote classical thinking. We all know that sound and I have to admit, I'm not a specialist on that. I'm more the pop and rock guy, but of course it's an interesting sound. And for all of you who want to get into it, I'm not the easiest way of seeing, but a very good thing you should learn. And sometimes I needed as well and not really as a sound. But sometimes you have to sing songs out of, in a way, little bit of classic sound. And it's very important if you need a loud voice while you're in a surrounding where there is no microphone or something like that. So very good, healthy way of singing loud and, and heavy things in your songs or maybe just singing classical style. So how do you do that? Well, if you have a quick look on your handout, you can see we need thin to full mass so it's more impressive sound. The difference to batting and other stuff is we have a low larynx. We sing with high tongue as well. Most of the time, sometimes you find the idea of seeing with compressed at tongue. We don't do that anymore, but it's, it's more like embouchure. We have a lot of covering, so that's why you sometimes do not understand the lyrics that good. It's not that clear like in pop singing or, or jazz and the puppy stuff. But that's okay. So it's more like covered in a lot of things dealing with your soft palate. And we have anchoring, very, very important, angry, so little summary. High tongue, low larynx, thin to full mass, no stiffness and other things like that, then it would be falsetto. Covering lots of soft palate is a big player in this. Nasal capacities can, can play a big role and anchoring, anchoring, anchoring to get that mass of sound. So let's move on to finding classical sound together. 107. Demo: how to find Opera: To find your way to opera sound, it's very important to make sure that all the things that are working together, together properly. So we need good diaphragm supports, so make sure you're breathing is in good shape. We need support over here. So think of the ring and other muscles we talked about. We need the pillar of breath, very important and we need fullness. So if we're coming from speech level in a way and the switch would be in a way going over some things we know out of SOB. But the problem is we cannot get from the thin mass and to the thickness, but I think it's of course we can. I think it's a very healthy way to get in there by bringing in mass step-by-step in a way. So let's take any notes. Start with a low note. First of all, for you guys ladies, one octave above. And it's like the lowering the land, the bring up the tongue. The, that's the basic part of a classic sound. One more time the difference, E pops out, classic. The classical sound. If you have the feeling that you're not that loud, It's okay. Don't push on the vocal cords, but you always can try to pull in full mouth. No larynx and caviar. It's more like an EEO. He lets take another node. Guys. Ladies, think I've had an anchoring. Sounds more like classic guys. Ladies tours are anchoring. If I bring up the larynx in there, you can hear what it does. We're covering all those, those interesting overtones. Okay, guys over here, ladies, snub, bring in power. Leaning back. At the most important thing is tone and finding that sweet spot. Releasing the power and the strophe stress into your body. Very, very important. One more note. Ladies, guy's thing up the node. Lower the larynx before. And here we go. Okay, that's the idea of getting into classical sound. So for the next step, we move on and have an exercise for that. 108. Exercise: Opera on yee downwards: Getting into the classical sound and to that opera mode, we take our well-known scale, prepare to sing the opera way. So had a neck anchoring, torso, anchoring, lower, lowering the larynx, getting up their tongue, and covering everything, especially as we go up higher with an all or at the soft palate. Okay. So here we go. Ladies, one of the above. Okay, let's do that. Let's begin with a smooth answer. Formats. The last one. Nice, be careful. Let's have another look for the deeper region. So for you guys, it's a bit more complicated because it's not that easy to bring a full mass in here. So let's take the, the diversion down a few notes, high and login. So you see it's hard to get for Melanie, ladies one octave above. Nice. Your job. Prepare or forget your tongue. A little different sound. And those deeps nodes. Hey, your tongue up. And the higher you get, the more you have to push the tongue against that that upper back teeth and please hold the larynx low. Okay. Again, both of them are still high tongue. You still for mass. Here? Last one. Good job. Let's move on to the next one. 109. Exercise: Opera on yee octaves: So if we're talking about classical sound, we should do the most classical exercise. You all know if you ever have been in music university or conservatory. And you always see a la, la, la, la, la, la. We do it like on Y00 because I like the smooth onset for beginners, ladies, one octave above. So in the beginning it won't be that easy, but because we're moving over one octave, we bring in deep sound and higher power sound very, very, very soon. Let's start new. We go. Don't forget the preparation. The low larynx item a in a, in a day. And to bring it up. Nice. The last one down again. Hello, anchoring. That comes to a close. In. The last one. Very good job for all those of you who are interested in classical seeing this is the mode, local mode operands. So hope you enjoyed it and let's move on to the next one. 110. How to use the vocal modes and the different building blocks?: So that was all you had to know, all you had to learn invoice control one, your toolbox is full of tricks and tools right now. And yeah, we're almost at the end of this course, but of course I wanted to come to a little conclusion and talk about how to use this toolbox and other stuff we packed in voice control. One, the best idea is really to see it as a tool case with many, many, many, several tools in it. So when you start working on your stuff, on your song or even just you're rehearsing. It tried to get higher in range, lower and range. He tried to get louder. You tried to fix maybe hoarseness or other troubles you have. You can work with several tools. And my suggestion would be, if you maybe you're working on a typical vocal problem, you try to, first of all put into BI tools. So let's say you want to get higher and range. We have several tools to work on that you can work with retraction. You can try to focus on your tongue. You can try to change the vocal mode you're in. And you can maybe try to anchor in that part, and so on and so on. So first thing you really have to use is the vocal workout to really get fun of all the little things to work on those muscles and to bring in your muscle memory and in a way, Program your muscles to the work they have to do to get better and better, better. It's like in the gym, you have to do your work out day by day to get better and stronger. It's as easy as that. But if you get better and it's, you want to work on songs and that's a bit more complicated. So first tip, if you're working on a song and you have some trouble here and there, leave away the consonants. Always good hint, leave away the consonants and just concentrate on the vowels. Remember the vowels are complicated as well. So think of the soft palate and create space. Think of open throat, think of retraction. That's most of the time, that's the key to getting higher and get the problem solved. If there's still a problem focused on the larynx and focus on maybe using a bit twang. Focus on your nasal capacity. So those are the tools that usually are the first go tools. If you have problems reaching high notes or things like that. If you want to get more into the sound of a single, like let's say you sing a song by Beyonce or Bruno Mars or Jon Bon Jovi, I don't know. And you want to get more of that sound. You want to experiment with sounds, then you should use those vocal modes. So please try to listen closely to those guys and girls. What are they doing? Can you hear what they're doing? Maybe you have the possibility to watch videos they have on the internet and, and have a look on. Is the jar open? Do they do the apple bide? Are they anchoring? So that's a very, very good kind of school to watch as many professional singers as possible and look what they are technically doing when they reached those high notes or seeing all this crazy stuff. And if it comes to genre or if it comes to your own style box, let's call it style box. You can use the modes as well. So if you, as I said before, if you're singing a song, let's say most of the time you're in speech level, but you want to bring in more power, then it's always a good idea to change to whether twang or Oprah or belting. And if you want to bring it more down, maybe it's a good idea to change for that part and falsetto or to go into sub. So please to really understand what voice control one is about. See all the stuff we talked about as one part of a big, big, big puzzle you can put together to create great sung, to have a great vocal performance. Same thing about vocal condition. Vocal condition and vocal health. You can course use the warm-ups and the cool downs or the time to make sure you stay in a really healthy condition to work on your songs that you always feel comfortable if you start to sing. That's very important. And last but not least, of course, I want to thank you for your time and that you hopefully enjoyed. This course was controlled one. But if you still have any questions, one possibility is you can always come to us. You can send us messages and we tried to answer as soon as possible and help you with your problem, but we are working with pressure on voice control to, so there will be a second voice course you can use Where we go more into detail on working on songs and more detailed on singing effect singer with distortion, with compression, with rasp. And of course, mixed voice. A very, very big topic. So for the start and for now, thank you so much for joining and working on voice control on, and maybe we see each other and voice control to I would love to, so have a good time and see you and y's control too.