VOICE CONTROL2: Singing For Intermediate Singers

1. VOICE CONTROL2: Introduction: Hi there and welcome to voice control number 2. This is our follow-up course to Voice Control 1. And this is meant for advanced singing people. So if you already did work on voice control, one great, There's not. So maybe it would be a good idea for you to move back to Voice Control 1 and work through the basic techniques there. Because in this video, we're going to talk about more specific things. My name is Philip for all the guys out there who do not know me already. I'm a professional singing teacher based in Germany. And within Voice Control 2, we want to have a look on a specific technique called nixed voice. Very, very important for jazz singing, pop singing musical and rock metal singing. Very specific technique. And we're gonna work on vocal tracks and vocal effects like compression, like distortion. So for all of you rock singing guys out there, a very important thing. We packed in three songs that we're going to work on. It's just a, an example on how you can work with the techniques out of voice control on your repertoire and your songs to bring in all the things that we talked about already to get a more detailed sound and to get the things out of the songs that you want them to sound like. And in the end we have a very cool thing. We have a vocal work around, I call it, always work around. We're going to have a warm up. That's pretty cool. So you can warm up your wars before his show rehearsal or even if you want to work with this online course, we have a vocal workout where we packed in all the technical things out of Voice Control 1 and 2. So pretty cool. You have like around 45 to 50 minutes, work out with all the techniques. So make sure to do that on a regular basis to get better and better and train your muscles. And we have a vocal cool down in the end to bring down your voice after a heart work out or a heart rehearsal or a show. Pretty cool thing that we did that as well. So if that sounds good to you, I would say let's move on to the first video and get into that mixed voice thing. Here we go. 2. 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. I'm super happy you are in this course. 3. Explanation: Mix Voice: Hello and welcome to the most complicated part of our course. And the way it's not dangerous and it's not the idea that you stop the video and go to another part of this course because it's very important, but it's a bit complicated what we're talking about. It's the seventh mode in our course. And many, many people won't agree with the idea of this being a mode as well. But I think it's necessary to talk about mixed voice or mixed voice or the mix as a Volker mode. Why? Well, I'm seeing for more than 25 years now and in the beginning you just start singing and you have your troubles. Some problems in the low notes, some of troubles the high notes, some have problem or trouble with the PSR, register break. And me for myself, I had all the problems you can imagine. I was able to seem low notes. I had a very high voice, but I was always pushing my chest voice to the limit. And of course I had a vulgar problems in a way I have problems with hoarseness and all the things you can remember. I had no vocal injury until today. And that's fine. But just because I started to recognize that there are some phenomenons you can see or hear by listening to two other singers throughout all genres and what are they doing? That it was a question I wish I had always in mind and I always wanted to learn and have mentors and coaches and always asked that one thing. And that's the very important question. That's what leads to this seventh mode. Although many, many cultures won't say it's a mode, It's just a technical thing. Well, not in our course, not at vocal control. Voice control. Why? The problem is, if you start singing you, some of some of the singers are more in speech level, some are more and falsetto voice and some are not really in control of their voice. And we have that part somewhere in between speech and falsetto. As you go up higher and higher, you get into massage you. And as you get there, there are always two types of students, two types of singers. One is the type that starts to crack. We add that. Others are very, very fond of changing directly from speech level, or as many called the chest voice into their head voice into falsetto. So from we, we are more into the details for now, switching from sin vocal mass to find vocal mass. And that's the yodel effect. We talked about that early on. And if you did not see that until now, go back to register break and practice that. Okay. But as you get over the years more into singing and u one or the other. So your voice cracks, maybe you, you are trained into pushing chest voice and bringing it up higher. But then you want to see other songs like, I don't know, I had that for, for instance, with thriller Williams staff or BG stuff or George Michael stuff. You bring up the chest voice very, very high with a belt or something like that. So maybe in your range, it's like comfort zone around here, a speech level and SOB. Then the nearer you get to the massage, you get into belts voice. So it's from nice sounding speech. She sounds getting up, up, up. It's more, more mass, more vocal Nas vom, more vocal mass, getting into, dealt in a way, although you do not necessarily need belt or you want is not the sound you're looking for because it's shouting, It's more aggressive, it's with more power. And then let's say your highest known as around C. And then you have a directly switch into falsetto. So it's no risk register break anyway, it's not like tracking your voice. But those, those types of singers are going like higher, higher, higher belt, so less power, more power, the list. And that's not what you're looking for. So I always I was angry about that thing that I'm not able to, in a way move into higher positions without that much of a power and to connect hat and chest voice in a better way. So one thing is talking about register break too. Connection. Said that already before as we talked about register break, you can get more into the detail to bring down falsetto, to bring down your head voice, and to bring up the chest voice, or to bring in speech level. But now we have to talk about different things. And that's why this mode is called mixed-mode because in register break, we're talking about chest voice and head voice. But if you look more deep into the details, it's more like connecting speech level and falsetto. And in-between there is this register break where you just try to bring up speech level a bit. You tried to bring down falsetto bit and this will blend over so you don't have a crack or you don't have one or two nodes that you don't even can sing. But you have like a range of two or three nodes where you can choose if using speech level or falsetto. But still, you have not really a transition is singing speech, speech speed, speech, falsetto. Although you can choose to just sing speech, speech, falsetto, or speed, speed, speed speech, falsetto. So you have like a range of two or three notes where you can decide it's always a crack. It's always like speech directly to falsetto. So what about a transition? And transition is what mixed voice means. Mixed voice is not a chest voice. Mixed voice is not a head voice. Mixed voice is definitely not speech level and it's not falsetto. So what is it? We will talk about that in a second, but just to get the idea and I know I talked a lot right now, but it's so important to, in my opinion, that's why it's the seventh mode in our course, voice control, because it's the most complicated, but also most important thing. When you want to master than the last level of singing despite effects and things like that. This book, a transition to really control your voice. And as you can imagine, when you, when you give your course the name voice control. That's why I'm talking about that so much. So the idea of mixed voice is bringing a blend of chest and head voice and altogether to a new sound that snap belting, not speech, not falsetto, not wearing something around that. And why? To bring your voice controlled up high? Where do you use it? Well, you can hear it in many, many, many songs of pop singers who find it by seeing as like Michael Jackson, a very, very, very good singer in mixed voice. You find it in MATLAB and hydroxyzine a lot when, when people bring up those high, yeah. It's not necessarily about they're using, but you can blend in, so it's not that aggressive and it's not that lose or that That's airy as a falsetto. Now, let's move on to the next, next part, where we will, yeah, check out the parameters for searching the explores and finding mixed voice. Come up. 4. Mix Voice Technique: Now, how do we find mix for us? Well, we're talking of course, about our pasado part that's for men and women, almost the same as the ground like something here like C, C sharp, D to E, F, F sharp, somewhere around that, normally around gene. And below C or C, it's more chest voice or more headway. So if I'm going up yeah. Let's let's take e because it's easier. That's where you start to explore that struggle in your, in your throat. You can feel, yeah, the larynx wants to move your vocal cords are going to change the way. So let's do that again together. Ladies, one octave above. Can you feel it? If not, maybe. It's like singing against a barrier and you're in your throat, the larynx wants to move so you have to release the larynx. We talked about that. So again, and maybe you're even better now at going into your nasal capacities. Bring up the larynx, bring up the whole sound. Like I said, always in an elevator in your in your throat and you go with an elevator higher and higher floor by floor. But there is a point around a massage or where you really get into struggles. So we go up higher speech level, you lose control and it starts to, to, to jump. Yeah, between III, find vocal mass like falsetto sound and speech levels. So what does, does that mean? You can, with a bit of rehearsing, with a bit of exercise, bring up that speech level sound, but you have to really be careful and do some transitions in your throat to get it more stable. What do you need? We need our vocal folds and would really have to stretch them. So sirens and things, we will see that later. Now exercises are very important because if we don't stretch, then it's jumping back and forth between falsetto and speech level. We don't want to have that. So we grab on that vocal folds and try to pull them like a band, a rubber band or something like that. And hold that note as we go up higher to bring in more booming US because the idea is not pushing. The other other idea would be, let me explain. That's belt. I'm bringing in more mass, same idea, but another quantity. And if you do not want to have this aggressive sound, you do not bring in more mass like that, that speech level thin mouse. And now you bring in more of a full mass, but you get a different sound. What we're doing is we're trying to stay in sin mass, but not going into fine mass, not going into falsetto. So we hold on that rubber band and try not to push more on the muscle, but hold it back by E given it the yarn and given it a wine, he saw me okay. Like vibrato in a way, holding it back in our back of the throat by retraction, of course. And a good idea is to lower the larynx a bit. Not to bring in a sound like Oprah services. It's not the ideas more like an O, like if you're yawning, but not too much, I do not want to have a too dark sound, but what happens now is you get into that. You can choose whether to bring up like, more like 45 notes from that. The sound in a speech sound, although your almost transitioning into head voice. So you get a heaviness in the sound with the quality of speech. Hey, what does that mean? You do not get falsetto sound. You get a more strong note but not that booming out, that fat, not aggressive Lag if you choosing belts, it's a mixed voice, mixed chest head voice. And now because it is mixed like if you're mixing a cocktail or something like that, you can choose how much of the chest you want to bring in and how much of the heaviness you want to bring in. So we have three ideas of a transition of mixed voice, neutral. That's almost just possible in the mid of your massage where you have the idea of choosing chess. Our head voice. You can bring in more heaviness if you try to reduce the Bulinus with your larynx, with the sound. And if you're tried to do the little amount, just a little amount of stretching on your vocal chords or you bring in more, so even stretch more on that vocal cords and bring in more dominus with that idea of a lower larynx, with that idea of an R. So you have more chest in as new voice, I will demonstrate it. Maybe you can try it with me. Start over here again with an EEG. Let's start on. Yey. Okay. It's not to go as high as you ever wanted, okay, but that was very, very, very high. Something rod B, C, C sharp, and you can even go higher. You still have a transition in here, but it was just pulling a little bit on a vocal cords, so it's not a font setosa, etc, would have been. Here I am. But it's not like a belt. A very, very big difference. And you can choose whether you are whatever you're saying, how much chest you want to have into that, bring into that sound. How much happiness you want to bring Internet somebody, you get a fine and still strong and connected voice. And that's why it is called mixed voice. So I think there was a lot of information. Maybe you stop the video and think about that and try a bit. If you have a piano or a guitar or something to give you a node around there was starting at a G and getting up more high. Try to focus on lowering the larynx, but not too much or holding it in a neutral position in a way not really bringing it up, but why you not bring up the larynx to try to get more space in the throat. Thinking of them are in the back. Think of the soft palate. Think of bringing up the sound while you have that space in your throat, back into the nasal capacities to have it in a high place in a way. And really go on that vocal cords and stretch them by going into more detail. But I'm not losing and not going to be falsetto. Okay, a lot of information you find all that on your handout. Of course. Have a quick look. Please go through all the different tools are a toolbox step-by-step, and you will find your mixed voice. And of course, we have lots of exercises to really get focused and get good at singing in mixed voice. So here we go. 5. Exercise: Lip-Roll: Let's start with our first exercise for getting into mixed voice. We take our best friend, the lip roll, and we start a new realm. We start at the octave. Important thing is keep in mind or in the back of your throat. As we go up higher, stretch that vocal cords, go into a yawning. Keep it nice and easy. Don't go into head voice, into falsetto. Okay, here we go. We bring in the ladies afterwards. Ladies were often lovely. Okay, So here we go. Ladies in tragic connect. Back again. Think of the elevator and the back. Boys alone. Nice one because it is so good. We do it one more time without explanation just directly through a bit faster. Okay, Here we go. Ladies. That if, if done correctly, he do not get any switch between registers in a way. That's a good exercise to connect those both worlds, okay, Onto the next one. 6. Exercise: Gi Gi Gi: Next exercise is a well-known as well the idea of gig Iggy, we know that from the register break, if you didn't do that, maybe move back again and we see you in a minute. And now we have it a bit higher just to get into the other scalars. And we really try to focus on the template to really get fast in and out. It's a bit exhausting, but Danny can concentrate on moving into their stay in speech level down here, we start with the boys ladies get in later and an octave higher. So Boys Come on. So little notes to PGP. E, e, e, e, e, e, e, e e. E. Key to be late. The latest logo? Yes. Back again. Or is M C B bar is low, e e e e e e e e e. The e e e e, e to the n grave on 7. Exercise: Nay Nay Nay: The next one is again nasal capacity. So we sing Laney ne, ne, the ideas. The same scale as was saying before. They Mei, Mei, Mei, Mei, Mei, Mei, Mei, Mei, Mei. Short nodes, just like a staccato, always go back to them that connects the vowels. Idea of a chain in a way. Okay, ladies, begin as we go down. So here we go. Ladies. Nice. Connect both worlds. You get ready. Here we go. Ladies, you can get out. They may they may. Last one. They may go up Eigen. All living. Mei, Mei, Mei, Mei, Mei ladies back again it May and the ladies. That's enough. Good, good job. Over to the next one. 8. Exercise: Mum-Mum-Mum: Next one, same scale. We start over here. Ladies alone. And now we see on mm, mm, mm, same idea in a way, but it's the, is open and bringing down the larynx again. So really try to get into that vibrato kind of stretchy voice in the back. Hold down the Lyceum. Mama, mama, mama, mama, mama, mama, mama, mama, mom. Okay. So latest begin your turn, ladies. Night. Boys, given that you don't hold down the larynx is an ideal. Last one. We will now release. Great job on to the next one. 9. Exercise: Miau-Miau-Miau-Miau: Next one's totally crazy. We're doing the cat. We're seeing meow, meow and the idea is close, closes it down. We're going to, we saw many, many things happening in the back of the throat, around the soft palate. And really Again, breathe that on the back of the throat so we sing like, Oh no, no, no. Really keep it nice and easy. Young, young, young, young, no. Think of it like a meal, pneumonia, pneumonia on this happening in the back of the throat. I always think like just singing that direction on that. No. Jamil, no, no, no. Okay. Why is ladies one octave above and so yo Michelle no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Now, yeah, no, no, no, no. Really nice and easy. Meow, meow, meow, meow, meow, meow, meow, meow. Meow. Meow, meow, meow. Meow. No. No, no. No, no, no, no. No, no, no, no, no, no, no, no, no, no, no, no. Meow, meow, meow, meow, meow, meow. Know now. Leona. If you do that a lot of times you really can recognize how your your voice gets clean and tiny because it's it doesn't have an anemia is not much movement in your jar. And that's a good idea to really concentrate on that vocal stretch. So do that oftentimes very good exercise and you know it onto the next one. 10. Exercise: Bub-Bub-Bub-Bub: Last exercise for mix or mixed voice. We start with the boys alone ladies get into later, but on the same note, that's very important. So here we go. Boop, boop, boop, boop. Beginning out the octave. So the books just to, to be the onset for the, not just a book as well. To get into that through dienes of the sound we need for mixed voice and we go in, hazard. Why is alone? Nice and smooth? Ladies in the novel? Bring it up the elevator. Back again. Buys ladies. Now you're out. And the last one, boys. Please repeat all those exercises and really get more into singing in mixed voice. And because they're so important in such a nice mode, we go onto a song example that you will enjoy and you can really try to experiment with that mixed voice mix sounds. So let's move on to the sun. 11. Song Example 1 in Mix: Now let's have a look, a listen, and a rehearsal. See together on a song. We take our well-known Amazing Grace again and now mixed voices, of course, for getting into that high knows who we had. We the sound that saved a wretch. And now this is a very important note because he can sing as we, as we've seen. Okay? So now we get more into that interesting detail. You can do the choosing. You can say, Do I go into falsetto? Do I tried to? Or is it low enough to, to stay in a clean speech level? But if it is not, we go in to mix it has, we have the head, see if it's beginning of a mixed voice. It's definitely not me. That was what I meant before. It the same area and have speeded up. That's too hard of a transition and it's not easily transition, it's going higher from one to the other mode. So maybe this is a good part to go into the mixed voice. Let's take it one, yeah, one single node higher would be. These gray things has that same range. One more note, let's go to B. Is how sweet the sound that say, I'm already in my head voice. But it's not sounding like advice, You know what I mean? In the back of my throat. And it's thinking of the nodes sitting like here because for me it's already a high no, maybe for you it's not. So you just go up and up and up until you are on that point. So I think we take it in B to get to that sensation warm water answer, you would go to the reins. How sweet the sound. And then say, Hey, this is where you see. Okay, maybe let's take it even warm or node higher because I have filled in the node, it's even one more high to show you what it's about. That's good to see you. Okay. Then state the grace. How sweet. The sound. See snow belt. Then it's closed and it's not a business. That's more of a bell that was full volume, as it says, it's still thin Bahamas was. And the more you bring in that the more booming is that more chest tightness to get in. But unless you do that and you still hold on on that stretch of the vocal cords, get it more, more, more and more heavy, more tiny K. Let's, let's give it a try. Is grace. How sweet the sound. That saved a wretch. You do you then it's less chest warhead. Okay. So while more or less time you meet together things really how this burden and say. 12. Song Example 2 in Mix: Let's have a look at oh happy day again as an example because we sang it already as a belting example. There's an d, happy there. That's almost the highest part we can sync. So what if I do not want to sing it in Bao, the, what if I'm not the beltway guy off of a singer? Well, you can start in a normal speech level. You can keep that speech level and try to go into mixed voice when he go high, what would it sound like? It's like Happy Wednesday. He watched muscle. Maybe another actor to another, another key just for you. If it's too low for you, maybe take it even more, more high. Where you get into that sound as well. So already high, very, very high. And it sounds a bit with that chest in it. It sounds a bit boomy, a bit like a a bell, but it does not release. Well, let's just take the first part again. So all the palpable or how big formats, not format. Oh, how can you hear the difference? That's very important because many, many, many parts and songs are in that kind of voice and that kind of mixed voice. So really stay focused, stay as long as you can, as long as you have trouble with fitting that technique into your repertoire. And so your songs in this, in this chapter, to really make sure that you get into all the details necessary for singing a proper mixed voice. And as long as you try to do many rehearsals, many exercises by that technique, you really get better and better and you really get your in a way higher and higher in your range. So enjoy that it's a nice journey. Have fun. 13. WHAT ARE VOCAL EFFECTS?: Vocal effects. Now what our vocal effects? Well, it's not about electronical things, of things a computer can do to your voice is choosing some of the techniques we talked about, or for instance, doing contrary things with your tools to get a special sound. Well, of course, that can be dangerous because if you do something that's not the idea of using the two tools for it can be dangerous, it can be a problem, but that's the trouble. That's not really dangerous because I will show you how it works. And when do you use vocal effects or how do you use them? Well, we talked about vocal modes the last time and vocal modes are more like a yeah, like shifting gear. In a car. You have a vulgar mode one, then you have 2, 3, 4. So the higher you get in that range, you get more power out of it. You get more complicated things, and you're changing the whole sound. And many, many people get that wrong because they think of singing a song in one mode. So if it is an opera song, we have to see an opera. Well, that's true in a way because classical singing is using the mode Oprah as well in a way using falsetto. Sometimes they use speech, sometimes they use SAB and all that things together, together bring the song, bring the style of the song. So don't mix up songs style or genre and vocal mode. It's shifting gear. It's what you need for that part of the song, that song, for the tragic in the song, for the style of the song for in a way telling your story from beginning to end, to have a climax and the way so that's when you use vocal modes or switch in between vocal modes. Vocal effects are just four little, little, little things like a blues guitar player who's, who's choosing a lake or in who's having a paddle board full of paddles that can make several effects. Some of them are running all the time, like a vocal mode, but that can be the amplifier as well. But maybe he's choosing a delay or a reverb. So sounds that make a special effect and just brings it in for one reason, for just one little part, just for the chorus, just for a, and just for stretching out a point in the song and the lyrics bringing drama into everything, bring in, I don't know, more power that could be just working with more, more sounds as you can choose more sounds out of your toolbox. And that's what this chapter is about. So we're talking about different effects you can use while singing. You can bring in, as a fact, not really as a mode, as a style, as a sound just for little parts. So let's have a nice and quick look on several effects you might want to use in your singing. 14. Vocal Distortion: Now let's start with a frequently asked one. It's distortion. Rock singers uses distortion. Metal singers use distortion and it's in a way dangerous. We talked about retraction really in the beginning of this course was control and to stay in a healthy condition with your voice, It's very, very important and necessary that you stay away with those false vocal folds we talked about. Now, when you do retraction, like you would start to laugh or you have a big smile, you bring out that false vocal folds out of the way so the air can, can float and it's, no, it's not an away. But let's get a little detail and more closed. Let's have a close look on that. If you bring in this false vocal folds or if they stay in away and you let flow the air after your vocal chords. Now, to have that in mind again, you have your breath support or your pillar of breath. You have the right note, the right tone in your larynx with the vocal folds. And above that, where the air goes, There is the part of your grown in a way where those false vocal folds are sitting. And if you bring them out of the way by retraction, you have a nice and clear and crisp and present note. Now, what if you bring them in again? Well, usually if you just bring them in or you leave them in the scene without retraction. It's not a provenance. The if I get in retraction the note gets just clearer. But if you bring in dose false vocal folds, like if you lift a heavy weight, that's a good way to get into it. So you just grab a heavy weight and you're like, you tried to lift it like, um, maybe you do that that that face of a heavy weightlifter. Okay. And then you bring in automatically the opposite of retraction. You bring in constriction recorded. Well, the important thing is if you do that weightlifting, usually holding your vocal folds together as well. So very important for distortion is not sing with full mass. You can do that, but first of all, stay in thin mass and you bring in above that, those false vocal folds. It's not on my voice. My voice is totally normal, really trying to to feel it above my voice. So if here's my voice, you have to have a feeling like, here's a bit of squeezy Nas and there's a bit of squeezing, isn't there the little, little tiny throughly part where the tone where the air can move and go up to your upper part of the throat and out of your mouth. So you're not doing this, you're not bringing together the vocal folds as hard as it can, neither see if it's above your voice. We have a quick demo and a try with you and me together in a minute. 15. Vocal Distortion Demo: Now as we lift our heavy weight, we in a way hold in the air, we don't breathe. We like can you do that? And if you, if you do that cell editing, it's not with your voice, it's still, you try to hold in the air, but just imagine you have a very, very heavy weight. You grab that weight, and then you do like maybe you can feel that sound, that resonance of that sound on some, some kind of upper part of the upper throat. In a way, it's not really that high as the soft palate. It's it's somewhere like like here, like in the back. Just a little under your tongue, somewhere around here. And if you then inhale and do that sound like that's getting distorted already. So we have like, can you do that? Nice one more time. Bring in that, that false vocal folds above. So setup like holding in the ER, smooth node like then you bring it in. Not going on your vocal folds. The trouble is when you first start doing that, you bring in too much of it and maybe you cut off the air by the advocacy, make it very, very, very narrow and the air cannot move. We just need a little of that to bring in that zone. It's not holding back or bringing the vocal folds out of their way. They still have to resonate is still up to you that that's happening above, but don't bring in so much to cut off the node, just keep it there. Okay? Okay. Can it be there for me? Trial? Really careful. Again. Ah, nice point. Now, let's give it a note. Tried on E. Okay. The, Can you do that? Nice one. Let's choose another one. A. The now you maybe you recognize you start pushing a bit, so hold back the air and then bringing the distortion. Here the better, one more time. E grade. And of course it's easier if you're in a belt mode. So let's bring that not in speed level. And let's do a bell with this tone and band. Bring in the distortion. Okay, prepare for guarding wars. Had an anchoring Tulsa in green hi tongue format. Your turn. Years one more time. Yes, great. And let's go higher. Nice job one more time. The great thing is if you have that torso anchoring and that had an agreement can lay in that anchoring for the distortion sound. So let's go to an exercise and get into distortion just in a minute. 16. Exercise: Vocal Distortion on hey: So let's go into an exercise for finding your distortion. We start with, Hey, what does that help or what, what is it to break it down a bit. It's an aspirin onset. Bring together your vocal cords. But in a way like a bell, that's very important. So hadn't they angering towards the angering high tongue, high larynx, lean back into that sound, full vocal mass for the sound we're going into, into a write notes, three notes in a minute, and bring in the ends, the ideas to bring it altogether in a minute or in just 1 second. Um, but you can bring in part by parts of good belts, aspirin onset into that belt and then bring in the false vocal folds like, Hey, your turn. Lean into that sound, high tongue Alex, hey, Kay, bit higher here. Okay, So here we go. Outside. Hey, hey. Yes. Great. Good job. Nice one. Okay. Great. And the last one here. I really get to that soft Pelapapas. Bring, bring it down from there, push a bit on that, on that crazy photographer. You can't really feel them, but you can get an idea of where they sit and bring them in an acid Raffles more and more, you get the sound you're looking for. Enjoy that, and let's move on to the next effect. 17. Compression/Inhale: Our next sound or effect is compression or inhale inhalers Mora. An idea of getting to the sounds we're looking for. Compression is in a way a little bit like this torsion, but without the false vocal folds. So you're not trying to bring them into, make a rattle, a crazy sound, a distorted sound. It's just like bringing onto your belting sounds onto your high belt the nodes a little bit more power like a compression works if you take a compressor for instruments. So what do you do? It's going to that sound that when you remember belting means you're in, in a mood where you inhale before you sing, but it's not like taking a big amount of air. It's like inhaling and holding back the breath. And if you now try to inhale in a way so you try to sing more into you. You can bring a compressed sound up with soft palate is into that thing. And I will show that for you in a minute. So the parameters or the tools you need are everything from the belt and the idea of inhale inhalation. So maybe you have a quick look to the lessons where we talked about that and see you in a minute for bringing those together for compression or inhaled sound as an effects. So see you. 18. Compression Demo: Now what does compression sound like? Well, it's, if you take a high note about node, let's say this is f, gives her a full mass. It's almost a belt. And now, as I tried to not let that much amount of move away, I'll try to hold it in a bit and it's a bit dangerous. So you're not trying to push the vocal folds outwards. You try to hold them inwards and that brings a more stable kind of sound which sounds compressed. So normal belts. With compression. It's not that big of a difference, but you can bring it in and you can bring it in with speech level as well. If you sing HE or let's say the, the, um, in a way it feels like pulling down on the upper part of my my beca part of the throat like the soft pellet and everything run E not reloading my larynx and uptrend you the, that's compressing the sound. It's an idea of an effect. It's an idea of bringing in a more aggressive sound, but not really, not really necessarily in the belt. You can use it as well if you just like a single speech level, something like that. Quite easily, quite cool. So let's move on to a quick demo of the cells. 19. Exercise: Compression in yee: So let's bring it into singing a little demo, a little exercise for you. We start a bit higher. Ladies, one octave above, and we were sitting like me. But let's give it a try and not sing in a belt voice. Try to sing it in a speech level voice. Okay. So it's like we're not moving that high from there. But as you can hear, that's just speech level. Now if I do this idea of inhaled compressing the sounds more like thinking from the soft palate downwards into or indirection of the vocal chords and those vocal cords should stay down on, not go up and steady of comparison, normal speech level. That direction. You get a more throughly compress sounds. So let's do it together. Basilar babies. Special contrast, brand compression. Great. Be a register break as well. One more. Back again. So a nice ideas sounds a bit nasal, but it brings in this compressed sound. And you can bring that as a effect as well. Yeah. 20. Rattle/Fry: Next effect is a very, very popular one. It's called Rattle all vocal fry. Well, vocal fry, we already talked about that as we talked about the onsets. It's like an idea of bringing the vocal folds together without any node. As it already sounds, the note drops in, and that's all it is is about to know that's the whole technique behind that. So what is the idea of when do we use it? Well, most famous singer of all times using rental or fry is Britney Spears. She was using it all the time. And you can find it in pop music and soul, in jazz and all timid things that want to bring in a little idea of Timothy. So you have like you bring in like oh baby, they, you remember. So not really going in with an onset like Astra and say, Hey, not really a yay, it's bringing in more. That's yeah, in a way, sexiness and to sound. So let's have a quick look on the technique and how to find rattle and fry for your effects chain. Are you enjoying voice control so far? Well, maybe you can leave a little rating and review. Thanks a lot. 21. Rattle/Fry Demo: Now thinking of Rattle and fry as an onset, it's quite easy. You don't have to sing. Or he, you get it from the theater sound. So it's like almost the right note is in your throat and you get to like ba, ba, ba, ba the weather. What part of range you choose, it's more easy like 44 deeper nodes. It's quite more easy then. And in falsetto is almost impossible for most of us because we're already in that Feinberg or mode. So it's just an idea to start from, not really a node. And it's normally use in speech level of course, but it can be a nice sound to get more intimidating, to get more sexiness and to your sound. So let's go to a quick exercise for rental and fry. 22. Exercise Rattle/Fry on yee: As an exits size, we've just taken several nodes to get into that onset if things so let's take midrange for guys and then we go to the girls. Or maybe Gertz, you can try to sing one octave above just to get into the sound, but I'll try to keep it in the mid-range so you all can do know will be YY, now we got to be together. You really do not close the vocal cords until the sand drops in and hold it awhile. Okay. And so when you're up and try to feel when the node drops, when the vocal cords close. Okay. E, e, e, You can do that. Nice Next one. More time. Nice Next one. Keep it, keep it nice and easy. And the experiment, how much you want to do that? Explore your sound. The light that more or less. Be higher for the girls. The nice Huan. Here. Keep in mind we going to his speech level from there. Don't try to reach full mass. Of course it can go into for mass, but let's stay there for a while, ladies. Yeah, enjoy your rebels. Grade. In high school. Girls, your alarm. Good job. Gray, take your time. Find your own sounds. Nice job. That's rattle the fries thing. 23. How to use vocal effects: Now that we talked about vocal effects, and of course there are many, many more like growls and grants and everything. But in my opinion, they're a bit dangerous and way. So we are not talking about that, but there are many, many, many tutorials on the web. So if you are through, if you work through your course, voice control, maybe you can go the next step and do even more complicated vocal effects for your things, for your singing. No problem, you're definitely welcome that. For now, Let's talk about how to use vocal effects, how to bring them into your singing into your toolbox? Well, as you've seen, some of them are just the opposite of what we usually do, not do so be careful with that like distortion. Some of them are an idea of an onset where you, when we talked about onset maybe thought about, well, why do we why would you have to learn that I do not necessarily need it. I don't like the sound. Now you know that there are some signals that are used in many singers. And the idea is to bring in your own style. So play around with that in the Eurostar, but I just want to fix it by bringing some examples where you can find those effects. For instance, if you listen to a Britney Spears, we talked about that in Fry and rattle. She sings, always was as pearls. Or if he listened to Enrique glaciers, which his hands, if I ask him dance, there's much air in the cell and he brings them. Do you lie? And he sings in the curling. I can hear a little bit. I can give away your pain. He uses rattle and Friday to get into this vowel, this I vowel. Great example for that. If you listened to Freddie Mercury, for instance, he was a great use of vocal distortion compression in a way he was always using glottal onset. So if you bring in the glottal sound, It's easier to get into there. But for instance, he is saying, I want to breakfast. He did not think are 123. That would be a clear sound and clean note. You, if you think of, I want to break free, It's definitely this distorted sound and he brings it in their breakfast. Do it's just a choice. It's not because it's too high for him. He has lots of, lots of songs where he's going far more high than in this song. It's a choosing off vocal distortion because one of the sound. And if you take rock singers, Aerosmith as Steve tile or Bon Jovi for instance, many, many metals seen as bringing distortion on one part of the song where they want to have. And if you, if you play in the band or if you do gigs, maybe you have this moments on status. Where were you have a really, really nice belt, a really high note, or even a mixed voice. And then you, you lean into that sound and you bring in compression and you're bringing distortion in a really, you really like what you're doing. That's nice, that's fun, and that's what affects are about as well. And another example is what you can choose. Just as an example, we didn't talk about the effect as an, as, a simple effect as well because it's not really a technique. It's a choosing of things. Michael Jackson, he was always doing this thing. If you listen to beat it, or black or white or Billie Jean, there are many, many, many glottal glottis sounds he's doing as an effect. Why? It's Saturday necessary just like the effect in-between. It's just bringing your vocal folds together, compressing them in a way, and bringing them out again. That's all there is to know about that. It's just a thing between glottal answered and compression. So keep that in mind. Maybe a last example. If you take Billie Eilish, she's not really singing in a way. It's just like she's just whispering using a lot of air, but it's, it's an effect as well. And that's why she is so famous retina, while she in a way has found a new way, you'll see many, many, many singers are doing the same thing right now because it's very popular at the moment. So be creative with a two box. Be creative with what your voice needs, what you sound like. Experiment about how can I sing, how do alike to sound? Record yourself and get into these details and the Maurice sing, you get your own effects with, with a little while. But please make sure to listen to other singers a lot of the times because that brings effects from time to time. You hear those crazy little things they do all the time. And if you try to copy that, that's definitely fine. That's definitely okay. It brings in your idea of vocal effects and it, Yeah, In a way opens up a new part of a toolbox to bring in that stuff. So having ice time by doing that, enjoy that a lot and we go on to the next chapter. 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. 24. INTRODUCTION: WHAT ARE VOCAL TRICKS?: This chapter is called Volcker tricks, and of course we have to talk about what is meant by that. Well, we talked about vocal effects earlier and they are just bringing in some, some, some spice in your sound. But Volcker tricks are a little more complicated or not that offensive. What do I mean when I say not that offensive? When he when you use something to have an effect, you want, you want the people to recognize that effect you want to get the people to see are That's nice sound. That's a great choice of tools to sing that line, for instance, or that one note, that signal that can be, as we talked about vibrate oldest stores and things like that. But when I'm talking of vocal tricks and opening up the toolbox to talk about things we use to make life more easy or to reach a higher node, or to work with all of those things we talked about to get some trouble stuff out of our way. And that's what we're talking about here. So it's about fade ins and fade outs. It's about volume or a presence. It's about reaching behind node or getting the low node in a better way. So let's move on to the next videos and talk about vocal tricks you can use and choose out of your toolbox to get a very, very stressful life. And all the complications are moving away if you use those tricks. So here we go. 25. Nasal Resonance as Vocal Trick: Our first vocal trick is nasal resonance. And I cannot point out how important that is enough because most of the time when you tried to, to avoid some trouble with high nodes or with there with, with tiny nodes that you don't want to have that full of a sound. Nasal resonance can help you a lot. For instance, if you want to have a fade out, you have a node like if you want to get out of the way, you can even make it nicer if you bring it into your notes. We talked about how that works some chapters before. So you can use it as a trick to get into that fade outs on the abroad it into the nose, it's not an e anymore. But if you record that, if you sing that live through microphone, you really can have this nice transition from an E2 in until it's gone. Listen closely. And I take it away in my nose. Great. If we talk about high notes, It's helpful because if we stay in the throat, Let's say I want to sing it out. And I'm totally not in my nose. I'm maybe struggling. I'm stroking on the vocal cords are really try to reach the high note. Or I stopped to belt. I talked about that audience. That's not nasal resonance. So thinking about you'll Naser capacities as a target where you want to push the NO2, you can release some of the stress from your larynx, from the muscles around the lens and from your vocal chords to bring it to the space where you want them though to sit. Choose it as a resonance as it is Colt. So without nasal resonance, I'm already pushing a bit. I take it away from me. It's still fine on another really famous, it's thin mass at that point, but I'm bringing it in through the nose and it brings in some more presence and so mall, yeah, great sound into that. And of course you can bring nasal sounds in as well, but that's more of a sound we talked about nasal capacities before. So nasal resonance, a good idea of bringing the cell into your nose to bring it more low, to bring the volume down, to fade out a note very nicely and getting away or the E or the, no matter what value you bring it in your nose and bring it back in and take it away, fade out. Or as you go up higher and fuel in, no matter what you're seeing, half falsetto, if you're singing belting, if you're singing opera, if you singing Saab and if you're singing in mixed voice, choose nasal resonance all the time if you go up high because that's the right place to have to the note to sit, to bring it to resonance. Okay, let's talk about them next trick. 26. Twang as Vocal Trick: The next trick in our toolbox, you can use this twang. Although twang is a mode, 20 can be used as a trick to get some effects or some things that might cause troubles. So one thing is volume. If you have a problem with your loudness. Not even just as you're singing in an ensemble or in your band within your song. Let's for instance, say you have a part where you're in speech level and you go up higher and you worked on your mixed voice and you go into mix for us, but you record yourself and you always have the trouble that you sound a little, little last loud when you go to that mixed voice or that when you go to another mode, no matter what it is, there could be a nice way to bring in more crispiness and more volume if you change or if you trend z, if you choose the transition into more twain yourself. Maybe if you do that, don't think of twang as a full switch to another mode. You just bring in that narrowness in your throat. So as, as, as, yeah, for, for instance as putting a layer of 20 over the other modules singing. And of course it will feel like transitioning into twang and that's okay, but it's just for that one node for instance. So let's take an example. I'm going from, I don't know. And I want to go to that high note. It's in my register break, so it is in my mixed voice, for instance. And it's not that big of a mixed was I'm not that sure about that. I'm not that confident about that. So it's a little too low. Now, when I bring up the larynx and make the the flow part more narrow, I bring in more crispiness and I can hold back on that thin vocal mass that I have chosen for twang or either, either twang or mixed wise, I have the possibility to bring in more power and Assad listened closely. I'm not changing anything, I'm just bringing in for the high note twang to that sound. Okay, there's still a lot of air on that sound. I can cut that back, but that would be a possibility to bring in more sound. Another idea is you have a low part, you singing like and you want to go down to that node and you're seeing there is no sound because it's a low note, it's hard for you to sing. Well, same thing here. Bring in part by part more of that 20 sound. Open up the sound. You bring in more presence in the sound and you will hear the note in a better way. So maybe it's in a way nasal capacity again because we're talking about Wang, are you choosing nasal twang? That's okay. So far, it's the question, when do you use it? Well, twang, in my opinion, is always a good idea if you want to have it more loud, even if it's low or high, very good trick, you should use that. 27. Humming/Nasal Resonance for Fade-Outs/Thin-Outs: Humming or nasal resonance, again, ANOVA and I'm sorry for that. Great things for fade outs. We talked about that when we talked about nasal resonance as a vocal trig, but thin out as well. Well, what are thin out? It's not that easy to explain, but I'll give it a try using an apart like Amazing Grace. And now you have that amount of sound raise. And let's say you want to make it a long note and you want to take away the sound. So not, not really a fade out to feed it, as it said, out, just to bring it more down in volume. How can you do that? Well, 11 possibility would be you are in speech level so thin vocal mouse and you thin out the vocal folds, but that would lead into font setup that would sound like an amazing gray. Now switch from thin to find vocal mass to that stiff, stiffness okay. Is not really the sound I wanted to have. But if you hmm, you bring the sound in your nose. You can always try if you're in your nose while you're closing down your nose, again, you know that? How does it help me? Well, if you have the idea of a humming, you bring that in on the vowel. You seen a inlays engraving. I'm already in those again, there is a capacity like and gray. And if you switch from humming to sing, from humming, singing, humming to sing, sorry. You have that mixed sound of nasal capacity like a humming sound and you thin other south sounds like that. Amazing grace. How sweet. That was not a switch to 0 to find Vogel mass, It's a total difference. First, find vocal mouse sounds like a gray area ns, and you hit the switch. Now going into a humming mode or nasal resonance to fill out the sound would sound like this. In gray, the things can hear the slight difference. The good thing is you have a choice you can make, and that's very important if you want to think about that. And that can be away as well as well. When you try to go from speech level 2 through your fade out and you move through humming, nice resonance to falsetto and away and then you take it out or you go directly into the nose and hold it there and cut off the node in the trie around with that, play around with that very nice trick to have, to have more choices that you can make for the quantity and node has. 28. Falsetto for Thin-Out: Falsetto as a trick as well. Very nice to thin out nodes to, to cut down the sound, to cut down the volume. We talked about that a bit before, but I want to point it out as a solid trick you should use when you are in your song. Well, you have a noticing like a speech level. And now the only problem is if you want to cut back the volume of where you really have to be careful if you going into falsetto directly because the problem is, it could be a sound like YOLO. That's Cyber. We want, you really have to make a smooth transition, maybe with nasal capacities as well or again, so we have a B, He just a slight movement like a, a. But now you have an idea how can I move back to that sound? Well, you go from thin vocal mass to find vocal mass, but don't do it like put that with something. Then you have that switching point, that sound. We don't want to have that, that CEO, if you really try to hold it, you you stay in your vocal straps. A. And I'm already in falsetto, so I'm going here. The moment when the vocal cords starts to open a bit, It's like moving back and forward because they don't want you to open it and that's what I am controlling and I'm open it softly step-by-step so you don't hear that crack of that switching point. Listen again closely. It be Homo time in B now and my fine vocal mass, That's a very nice trick. You should practice that because it's so important if you want to move from speech level to falsetto, or if you want to really go to a thinner know just at the end of a phrase, for instance. 29. Aspirate Onset/Singing with air as Vocal Trick: Another trick, which is an effect in the way as well, is using the idea of aspirin onset or seen with air arenas in the sound as a style or as a fact just to bring in another, another sound. It's in a way the same thing with like singing with for salary. You have a node is switching over, but you know the trouble. You can hear this sound in a way not the same if you start like HE, because then we're already in falsetto. So what can we do? Usually when you think speech level, you hold back the air. Now the problem is you try to lead more airflow into your sound you're already doing so you have like thin vocal mass. And now the trouble is you're not going to open up to find Walker mass, but you try to bring more air through your sound. So in a way, cutting back the mass of bit, but bringing in more air into the sound. Let's give it a try. You have ie. I'm just bringing in more. So it's the other way around as the aspirin onset works usually where we're starting like with the age, with you, her and bringing in that air, bringing in the vocal cords, bringing in the node we want to sink, closing it down. It's cutting off. That I'm cutting back the air and in the end I have a fine, non airy, non-aspirin note, listen closely. The still the same. And as I cut back the air, it's getting clearer and clearer. Now, the other way around is a bit more complicated. You should practice that, but it helps if you want to bring out that cells. And we'll talk about why you would want to do that in a minute. You see like the, the fact is the same in your throat. He get into fine vocal chords in a way and find vocal mass. But you do that by overpowering the Arabic. So you take away the mass of the vocal mass step-by-step, just a smooth transition. And at the same time you bring in more and more air. So from the E, you get more sound. When do we use it? Well, if you listen to songs, so R&B singers, we have that oftentimes four versus four bridge parts or four parts and the chorus, when he wanted to bring it down into some sexiness. When he, when he wanted to bring it down into more intimidating to have a nicer and smoother and more mirror cell in a way. So if you listen with headphones, for instance, if someone is seeing amazing grace, it's cool. But if we're singing in gray, we playing with that, everything that aspirin thing is a nice idea. Let's give it just one tried together. The pushing air and letting go you your truck and give it a try. Pushing air. Okay. If the sound cracks, That's okay because if it did it and you push in, redact, that's too much. Really have to be careful. A year the transition try to avoid that. Is B. Maybe you, Here's some disturbing sound on the vocal cords. That's all okay. That's just finding that trick, that idea. So a there was a click, you don't want to happen in the Your turn. Make the transition. Have a look for that sound. More time. A bring in more air, more and more air. Okay. Last time. Yeah, great. And maybe for the ladies one or two parts higher. Even if had said, Oh, I'm doing for etc. Now, I can bring in more air. Okay, sorry. You have more of our throaty sound. That's okay. They can happen from time to time. That's what I'm looking for. That part of the sun. Your turn. Bringing the bringing in if it cracks, no problems. Start again. Transition. Give it a try. Bringing the air great. Another time. Transition. Capac the air, bringing the air play with that. And I think he got the point. And there are so many songs, as I said before, are seen as like Billie Eilish, lose, use lots of air all the time. One of my favorites, George Michael, was a master and seeing that if he listened to Careless Whisper for instance, there, yes. Always a transition in between mixed voice, speech level, and singing with those aspirin notes in between. It's not really going into falsetto, but the idea is almost the same. So play with that. Triads, practice that very, very nice trick and I hope all the tricks are very helpful for your toolbox. Practiced all of them together, put them in and put them in your songs. But just as nuances for several tones, several nodes as you like until become a great singer, I can promise that. 30. INTRODUCTION: SONGWORK: So here we are right now and let's get into the most important part, sung work. Why is this chapter called song work? Well, we talked about all the qualities about other genres, stuff. We talked about facts and how they can work for you. We talked about all the tools we need for our toolbox. And of course, in the end, although we already heard some song parts as examples for the qualities, there is a song. Now, the trouble with this Video cores coaching is that I can just show some songs as an example. And that's what we're doing in this chapter right now because it is always a good idea for you to work on your songs. Or if you have a coach is a good idea to work with a person one-on-one on your things because all voices are different or styles are different. Whether you have a lower voice or a higher voice. So it's not that easy for me to bring a song and all the keys that you need for your rehearsals or everything. So we tried to come as close to this coaching thing as possible. This whole section works like this. We have chosen some traditionals that I will show you how I would work on a song as a singer. So if you're a singer and your, and your rehearsal room or at home or wherever you are, and you want to work on a new song, those examples shall help you to find a way to work out your phrases, your parts to work on your effects, for example, or to work on your attractor state to really find a way to get more used to how can I learn a new song? How should I do it? How should I work? What are the steps I have to work through things like that. After that, we have a, a video and an mp3 that you can download and use. And that's quite cool because if you download the MP3, you can, maybe if you have a tool, app or a thing like that, the possibility to change keys to bring it up or down so you can find the key that you can work on. And I will play the piano so you can sync freely with the tricks and tips that I have shown you in the video before. At the end of the section, we have some videos and I'm quite sure that we, from time to time, we'll update this part of the course so you can find new songs and new examples for you to have a look and listen and to get new tips and tricks, how to work with songs. And these videos are quite cool because luckily, we got some of our students to get into a video where we can show you how a one-on-one coaching can look like and how a one-on-one coaching works with the use of this toolbox. Okay, So you have some songs just as an example and as a exercise for you to work on. I know it's not the easiest way to find songs all of you love. So we just have chosen some traditionals, you all might know, and we're in a way genre free because there are so many hip hoppers and soldiers and the R and beers out there. So just take the information you get from here and work on your song and your style and your stuff to get better and better. And in the end, just enjoy those coaching sessions we recorded with some of our students to really have a close look how they develop during the coaching session, how they use the toolbox and all the qualities and the things we have invoiced control to work on, problem, things, on range issues and everything like that. And maybe you get some more out of this course by watching this. And of course, if you have trouble doing things, if you have questions about anything on your songs, on your repertoire, please feel free. Sends a message. We get back on you as soon as possible and try to help as good as we can. And please send us your questions all the time. Because from time to time we update this course and sometimes we're doing new videos on questions that are frequently asked. So it's always a good idea to stay in contact with us and be part of this voice control community. So let's go into the detail and restart with the first song. I hope you enjoy this part because it's what it's all about working on songs. 31. Example 1: Molly Malone: So the first song we will have a look at is Molly Malone. We already heard that song and it's a, yeah, Irish, English traditional. I chose the key of G to work on that. And let's start with the melody. In blends fair city, where the girls are so pretty. I first set my high sounds sweet, Mali, Malta. So when you go into a new song, the first thing is to have a look at the melody. Of course, you have recordings, you can listen to your nuts. You do not necessarily need to play an instrument, but it can be helpful because it can slow down things. But if you're working with a recording, No problem. Even with this recording, you can always pause the track, sing it on your own, see it in wrong temple, just to get that set. Okay? When you look at the melody, the first thing is to get a feeling in your throat. Is it high or is it low? Let's go. Maybe you sing with me. And land's fair city where the girls are so pretty at first set my Sweden, Molly Malone, I'm trying to stay really specie that I'm not not going into quantities are ready because we were starting to work. So we have this range, something around you and the highest knowledge. So I'm just within five nodes from G to G. Now, you can start by using the toolbox. First question is, where do I need to breathe in? Of course, you start with breath, good support and then you go through the line in Dublin sphericity. Now the question is, do I breathe again? Or do I sing through out the whole phrase? So one possibility would be the first one in Dublin, fair city, where the girls are so pretty in my opinion, it's too much of a breath because you do not need to breathe that early. And if you breathe at that point of the phrase, you kept through the phrase and that can be not really a problem. But imagine you have a single always in dominance, fair, that city where the so pretty it does not sound the Q. It doesn't sound that much like a pro, okay, so maybe you try to sink the whole phrase in one on one breath. Okay, here we go. Blends fair city where the girls are so pretty. I first set my eyes on Sweden. Molly, if you want to do some, some notes where to breathe, you can't just do a little, little, little, little, little mark on that point where you want to breathe. So set a mark at the end of the first phrase and at the end of the second phrase, that's the first thing. Now, if you sing notes, you have to do another decision as well. You have the melody. If I play it like that, then I could have the idea of singing it like that. It could be in that blends fair city where the girls dance. So so we have to do with onsets, we have to do with the idea, how stressed out do I want to have each note? Is it more like a staccato or is it more like a, a chain, a pearl chain. So you have like each node is a pearl on that chain and you try to connect them. So always think of those nodes not like pop, pop, pop, pop. They are like, like a wave. Breathing or stopping. If you sing that, it's even more like a chain in the blends fair city where the girls are so pretty. To get the idea. That means while you're singing your song, you're not yet in a way, playing like with the keys on the piano. Pop, pop, pop, pop up, yo In a way all the time are stretching your Wagner calls to get them next node. And that's why you have that chain things. So you start with one onset in the beginning and then you sing through all the things. And even if there is a consonant cutting through that chain, cutting through that wave, you have to hold that thing in your throat. You'd really have to keep that stretch. Hold that stretch. Okay, so please try not to let the consonants cut-through, through your tone. Always keep that tone in your, in your throat until the phrase is finished. And now, if you've seen a really exhausting quality in an exhausting mode like belting, for instance. If you have a phrase that ends, used that part and use that time to relax again. So maybe if you're if you're in a belt and blends fair city where the girls are so pretty relax. And now, as you can see, we are at the point where we're talking about attractor state, talking about John Ray, talking about how do you want to sing it? We sang that song in different styles. We can choose from belting speech level mix if we take it up higher. So these are the next questions. Now we've checked out the melody part over here and we would go further. So before we work on lyrics, before we really get into one of the vowels, whether the consonants while the problematic parts, maybe now would be a good idea now that you have gone through the song and you know where to breathe to work on your key. So maybe for you it would be better to sing it down. Maybe for you it's better in blends, fair city where the girls are so pretty ready to go and in another key. So that's the next thing you should work out in a way. And how do you find the right key? Well, start in speech level to be as relaxed as possible and then bring it up or down to find a range where you can be relaxed and very important as well. Where you can have space for other things that you can bring in. Whether it's a fact like the storage and, or whether it's the idea of changing qualities throughout the song. So you can already use your volume knob to bring in more of a climax, more of a yeah, tension in your song. That's very important. So always keep in mind. You have a beginning, you have a thing that's bringing more of the stuff in and then you have to maybe go back, for instance, a pop song or a song like Molly Malone. You have a verse, you have a chorus, you have a verse, you have a chorus, a verse, a chorus, maybe C part like a bridge or something like that. Bring in that tension. So don't start at a high belt in the verse and then bring it down in the chorus. That's, that's nonsense. You see what I mean? Always kept in mind. So if I start at the highest of my voice, I'd maybe do not have the possibility to bring in for the last, the last chorus. All that I have. So if you find a key that's on your highest level of the range, bring it down one or two steps again. So you can really bring that high belt in the last chorus to really have that $1 million note in the end. That's very important to have that in mind. So for me, the key of G is quite okay because I can sing in dabbling, fair city, where the girls are so pretty. Or I can see in that blends fair city where the girls are so pretty like a more musical 20 kind of style Bowtie canister. So that's the next thing you have to choose. You have and your breath points set. You have your key. Now, we must have a look at what can we do by style? Is it a total style things? So do you want to sing it like a like an R&B song? Do you want to sing it like a jazz standard? So what can you do? And that's most of the time working with lower larynx. Higher larynx are working with more or less twang to give it a more like a country style, okay? So you can choose what to bring in as a little too upon and really as a quality to work on there. But as we go through the song and we go a little further right now, and we see the first problem very, very soon. So maybe we have like an intro in Dublin sphericity where the girls are so pretty. I first set my eyes and sweet Marlene alone. Next part, we worked on that and we figured out everything. Melody is the same. The words are different. Yields a wheel barrow through the streets, broad and narrow, cry and cackle some muscle. So the second part is as she wheeled her wheelbarrow. And that's a bit complicated to talk about things you have to keep in mind as well, no matter in what key we are and why you tried to bring a, so naming sounds to the front of your mask. Those things like wheel are closing down the mask. So we're really have to keep retraction, really have to keep an open throat. You may think about singing in your nasal capacities for those sounds because wheel is closing it down and the L is yeah, even worse in a way because. L brings up the tongue that pulls up the larynx. So if you want to sing with a low larynx, that's a part where you really have to look at a first glance with money Malone now switching to the larynx as she was. Lu Can you hear when I'm going to the L, that the sound gets more crisp and I do not want that as enforcing the tongue too much to go further, I bring up the larynx and the sound gets more clear. And if you want to have that lower larynx sound like a Sabi sound like a de-blurring sound. Really have to work on your tongue at that part, so don't bring the tongue up too much. Not that not at the tip of my my teeth. I tried to hold it more back so I still have an l, but I can keep the lower learnings. As she will know, we'll borrow the streets broad and narrow. Prying Kharkov also muscle. So that's just one thing of taste, one thing of using the toolbox as a taste thing. Okay, so That's one problem and now we have the next problem. We worked through crying cockles, see, and cochlea. The sound cuh is a consonant that cuts away the air and explode. So it interrupts your wave of air, your wave of tone. Hold that tone in a back. Now, bring it in like he settled down. And bring in the tone again. You really have to hold that tone and the back of the throat in your in your voice box. And bring that at the Becker part of your throat, at your soft palate into two, just half, that's short consonant and then go back again to your vowel. That's very important. So complicated things are there throughout the whole verse. Du dv in Dublin can be a problem, Fair? Is a problem as well. Brings a lot of air to the front of your mask. A city is, is okay because c pushes the arrogance or from fair, you have like fare going into that vowel, closing it down again like CD. And maybe it's important to not seeing as, as a German, we, usually we sing city and those hard consonants are not a good at this, or it's even better to seeing it more in a, in a, in a software city. So more AD like a T and that's a good, good hint for all the consonants. Try to keep them as smooth as possible. So that's seen in Dublin sphericity. The girls are so pretty as sharper as you do your consonants as harder it gets to bring in that wavy thing, that holding of a node, that holding of a tone. So keep that in mind. If you have a trouble, especially in high range parts. Try to smooth down the consonants are. If it's really, really troubling, you, leave them away. So it could be a good idea. There was a first two sentences, the first two phrases and just the consonants. Blending them into another, sounds. Totally stupid, I know, but it's a very good exercise if you have trouble going into a song and if you want to suit to point out where the trouble is, because then you can work on your vowel modification. Then you can search for that point where you need that vowel modification to get to that high note. And when you then mastered apart and bring in the consonants again, you can see how troubling consonants are and how hard it is to troubleshoot out this topic. Yeah, so tip number one, if you have a problem with several nodes, leave away the consonants, bring them. And again, if you mastered seen just by consonants and working out your vowel modification. And then if, if the problem comes back, tried to take back the power and the amount of hardness your consonants gets. Okay, So smooth them out in a way very important him. Now, let's go back. We talked a lot. Intro in Dublin, sphericity were the girls are so prairie. First set my eyes on sweet Molly. Will burrow through the streets broad and narrow, crying calf muscles. First thing, cockles and mussels. I would bring up the larynx theorem. It's just easier if you want to hold speech level. Then I would decide to bring in a little twang. Because I think for the state, I'm looking for it for me. It says a song that's sung in a pub. I can smell beer. I imagine a big pub where I'm singing in and all the people want to join in. It's a well-known song, so I want to have a sharper sound. I want to bring it in with more power. So twang would be a good idea because a belt is maybe too, too hard for the beginner. So I would start in speech level with a little twist. So where to put the train in that blends fair city. I is a good vowel, e vowel to bring in that city. The idea of twin in Dublin sphericity, where the girls are so pretty. I first said my eyes and eyes is to work where I would bring in the latest because Sweden, Molly Malone, you can stay in thin vocal mass. You can stay in a speech level idea, but you just can reach that notes more easy and be more hertz or raising the volume by bringing in 20. That would be my, my, my idea. Maybe Sweden may allow for Malone. You, you take it back again and then your speech level. We use wheel barrow through the streets broad and narrow, narrow as the word says, Make it narrows. Who bring in Twain? And for the high notes to be not in a bell teapot in the end, crying calf, muscle and lie and I would bring into ANG again. Okay. So let's go there. Speech level, getting into twang on city eyes, the latest methadone, getting back into speech level. Okay. Singing further in speech level. And around streets broad and narrow, I would bring in twang again, crying cockles and mussels to be those high notes, I will bring in 20 for sure. So let's start here. In Dublin sphericity when the girls are so Prairie, a first set my eyes on Sweden money. We use a wheel barrow through the streets. Try and catch. Now we brought in 2020, makes it narrow and fine and easy and everything like that. And now, as you imagine, you're sitting in that pub. Now the chorus starts, it's another melody. Try and cargo, muscles. That would be the first part for me to bring in more power. How can we do that? Well, that would be a, a Yeah. Choosing point for yeah. Either choosing more vocal mass, but then we're coming away from speech level in a way, but just to, to, to, to use it as a tool. It would be an idea bringing in more mass. Another way could be bringing in twang for the whole section to be more sharp, to be more crisp. Another idea would be to simulate that pop singers all around. So like, like a choir, but you're singing alone. Now. You bring in that masculine sound, Bye, lowering your larynx. So singing with a low larynx could be an idea, more mass, focal mass, bringing in a lower larynx. Or you could go, you could go in a belt or in a Oprah style. So let's give it a try. We take it as she weird we have Barrow and go into the corresponding okay. Wheel barrow through the streets. Trying can't say, Well, let's give it a try with trying trying Cao, Cao's muscle. Nice idea would sound to me, but it reminds me a bit of Bob Dylan saying, Hey Mr. Tambourine Man, thanks, hang from a maybe not that, that sound that I'm looking for. So maybe we give it a try with just blowing the larynx. So prion cargos some muscles on both. Try and cargo holds. Muscles. Where larval that to me sounds more like the direction I'm looking for because it brings in that idea of many men singing together, lowering the larynx have a low voice, so getting more space into your throat and get, getting that bigger, bigger cell. Let's give it a try with a proper opera song. How that sounds. Remember, low larynx, high tongue. Try and catch, cry and cargo. Now we can start to argue for myself to not prefer that sound that much, but it sounds in a way like many men would sing. So why not choosing this year? Let's give it a try with a belting sound, how they would sound a belt drive and can they be now we're charging. But if you choose belting at that point, we're talking about the first chorus in that song. It, because this is the key, you're choosing this as the maximum of the range you need for that song, you do not have any chance to get more power into that sound. So my suggestion would be we start in speech level and we bring back the other versus in speech level as well. Then we use Chuang and a way to bring in the high notes without a bell, to bring in more space to reach those little high notes in speech level. I, for myself would, for the first chorus, prefer that lower larynx thing because it sounds more and energetic. It sounds like with more volume. But we can keep the beltway idea using belting for the last chorus. If I look through, I have a second verse, chorus, a third verse and the chorus and the chorus again. So I would say 99 percent of pop songs have this structure. So in the end we want to have the biggest chorus and maybe we're seeing two of them. So let's keep that belting part for the end of the song. And we sing first verse speech level with twang here in their first chorus, lowering the larynx. Then we go back to speech level. Then we go to the chorus, again, lower larynx. There we go through the third verse and now we must talk about story. If you have a look at the words and the third chorus, it's, she died of a fever. So we're telling the story of Molly Malone and maybe that could be just a suggestion. You can do it in any other way as you want it. But my suggestion would be because it's the story of her life and she dies, but she will be remembered and things like that. I would Bring it down already in the end. So we have the idea of singing speech level, lower lettering, speech level, lower larynx, and then bring it a bit back. So maybe it's an idea of M60 voice. Maybe you can choose a falsetto for the last verse. So let's, let's give it a try. And we go to verse number 3. The fever shown on kids say. And that was the swing modeling. Could be, could work. Maybe it's a better idea not to declare it as a whole verse in falsetto. But maybe you can bring in aspirin sound, airy sound. So we start in speeches. Well, she fever, bringing some air and show and show. No. Kids say could be some idea of mix. I'm bringing it up to the soft palate and keep it as tiny as possible. And that was the mix voice with some kind of air. That was the end. Sweden modeling goes, we saw through the streets crime clock. So I bring in more air and then I can go to the belt. And that's a good, good way to do it because we have speech, lower larynx speech, lower larynx speech makes air falsetto mix, and now we have the lowest part of the song and bring in belts. So the, the range from low singing with air racing to the belting part will be amazingly big. So we ever try and conquer. You can imagine that, that picture, we have a mind, so let's give it a whole walk-through together. And then I have the same thing for you, the whole song, for you to sing with all the changes we talked about. And just to point that out once, once more, It's just a suggestion is just a way of showing you how you could work out a song like that or any other song is just as suggested, few free and work on that song for yourself with the next video. But first of all, we're going to see this together. So I will play an intro. And after that in true we starting together. And that is fair city in where the girls, so Prairie a first set my eyes on Sweden in Barrow, through the streets broad and try and cargo, The Quran cargo and some who she was a fish monger. Sure twelfths now wonder for. So we're her father before. And they will turn wheel barrow through the streets broad and narrow, cry and cargo. So the lower layer is dry and cargo. So now lowering she theme and shrew one, say safe. And that was the ofs when it goes wheel, barrow through the streets, brand crying. Sounds and pelts. You try and Kakar, our sound. Once more. Cry account. That's a way to lead into the idea of using that. And if you listen closely to the last verse, I, even, because I was in the mood, I even sang with the little bit of distortion, with a little bit of vocal fry to get into one of those, sorry. Wheels. Streets broad and narrow. You can work with things like that as well. So take your time for that section and is a very, very big part. Listen closely to all the little advisors I gave to you. And now let's move on to the next video where I just simply play the piano and you can sing along in your style and try that. 32. Instrumental: Molly Malone: Here we go. Monument loan at play the piano and you going to sing, I'll start with the intro. Here we go, for the chorus. And then, of course, the last verse. It's a little too small or too loud. 33. Example 2: Auld lang syne: This song is a classic called old Lang Syne, and I can say one of my favorites. I've chosen the key of F. Just, just to get into it. And as you know from the last song, I hope you worked on Molly Malone already. We, first of all have a look at the melody. So now we have and this node, it's a, D, is the highest node in that song. So that's very important to know because d is a node that could be in your register break. So as you know, register break means we have to work on that or we have the decision to make. Do we sing in speech level or do we take mixed voice, or do we sing in falsetto mode? That's a good and very important question, that part. So we start with a melody and we were all quaint sounds be forgotten and abroad. Should on the acquaintance be forgotten. And those are the nodes and the melody in the first part in the verse. So not that, that part. That's very complicated, but we have that high notes. So let's start with that. Maybe we can do the decision and just take the node separately and sing on an E, just give it a try. So let's say we want to sing and falsetto. Be. Then I would start to search for the perfect place for that. Now, because of course, we worked on falsetto. We know what to do with saying our scales up and down. So every node was in it and we already worked on all the vowels, bad. Each song is a chance for you to get a feeling in your throat, where to place a song and where to put the resonance of that sound in your song. That's very important. So we choose the note and very important to say, if you do not have an instrument, It's absolutely okay if you just sing the melody along with that track or you have an original that you can start and pause and just pick out that node and not sitting directly in that mind. But you start on E because E is a very useful vows work on retraction to see how much space do we need them back of our throat just for that note. Okay. So the first thing would be to see the baby cutting back the era, working on your retraction and c with a volume of how much of what to do I need for a perfect note. And then you go back to I because we're seeing minds, we're seeing an E. Me. Okay, good work, but I think it sounds a bit classic, a bit too classic for my opinion. So maybe choose another ideal falsetto, maybe more singing like speech level but with breath. So how that could work, we give it a try. Quaint sounds me forgot. Brought to me. It's a nice way of seeing that, but let's say it's not what we want, it's not what we're looking for. We want to have the node more stable with more resonance, with more than a little bit more power because it's the highest note and that phrase, it's in a way like a question or like a, I'm imagining things. So we want to stress out that one node. How can we do that? Well, let's give it a try with speech level or with mixed voice. So we're starting to acquaint sounds be forgotten abroad. Okay, that's where we're talking about, what we're talking about. We're at that point in register break and now we have to stretch that voice. We have to go in that by broader thing. We have to bring in all the qualities or all the tools we need for that mix quality to have a, a really stable node over there that's important as well. And maybe cutting back the error could be important. And it seems like it's complicated. So let's move back one step and let's talk about breath. The question is, if you sing that song, high temple, like town's be forgotten. Mind. You can't sing the whole phrase on one breath, but I would prefer a more ballad way. So that takes longer. We are in a much, much, much, much lower temperature and that leads to more breathing because. Equation sounds be broadly. We can do that if we have that breath and if you have a good support, you can't see it, but it sounds more stressful and there is time to breathe after the forgot. So to, to point that out, we put our breathing marks after forgot and after mind and after forgot and after sign folder verse. Okay. Let's give that a try. Quaint. Forgot. Brought to claim zones be forgotten and they will blanks. That works fine. So this is our temple and there are question marks I'll breathing points, okay? But that word mind is a thing we really have to have a deeper look at because it's a bit complicated to sing that note in speech level M60 things. So how can we do that? Well, we go back to the node again. And we tried to sing only the node in mix on e because it's easier maybe going in with Y00 to really, really get into that stretch and have a look for the least amount of stretch and mass that you need for that node to make it a proper mix wise. Okay? Okay, and now I see, I have to bring up the larynx a bit to go in there, create space and back like in the back. Okay. The resonance pond I'm I'm pointing at at the soft palate. So I'm bringing in that muscle bit and maybe I can give a little nasal sounds as well as give it a try up. Some bringing a little percentage of that sound into my nose. Why? Well, it, it, it gives it a more glands see thing and gives it a little more crispiness in the sound. Okay. The sounds good to me. It's not like a belt. It's not too loud for that part because it's about, you know, a well, to sing that on an E is quite easy, but we're singing mind. So a definite idea is to go there and 23 or four steps, step 1 would be to take away all the consonants. We talked about that earlier. We sing the whole phrase on e to see if we can make the connection from the node before to that note. Okay, So we sing the whole phrase without anywhere. Just an e. Sounds like that. He works. Now, we want to come back from E2, the vowel we need in that word, the word is mind. So we have an AI. And AIS a bit complicated because we're seeing like I, me, my, and, so it's almost two vowels blending together. I, yy, okay? Before we fill in all the words, we just make that transition from e to i y while singing throughout all of the phrase IE. But just on that word, we switch over to I. Okay, here we go. He maybe you have to tweak it a little bit because I and II are different. The idea of are on an IE goes more on the soft petals, so more of that muscle, bring it more in the nose one more time. He nice and smooth sound. It's enough chests and just a little head resonance and it sounds clear and the eddy little starlight on that phrase like at the end of a sentence or at the end of a question. So now we're not going in the third step directly to all the words. We stay on that e thing. Now we try the transition from e, from the node before to mind. So we're bringing in the consonants in our problematic word. I know it's not that complicated than a upon, but let's pretend it is a complicated part in another song so you know how to work out things like that. So we're seeing me throughout the phrase and then transitioning into mind because that moon closest down our mask and goes into I0 could be complicated. Let's give it a try. And if you really hold that way, if you can just close the m down while you're still singing in the back of your throat with your vocal cords and going to ma and bring it in the nose a bit, bring it to the soft palate to really have that clear, nice, and smooth sound. Perfect. Okay, so let's bring in Step 4, the words again, because we have many, many, many things going on here. And now we have a look if it works. And maybe we find another part in that phrase that could be complicated. Okay. Quaint sounds be for. Okay, I am fine with the second verse, but I know I'm, I'm, I'm really struggling and I'm really doing some things that are not that complicated, but it's just an example. So don't get rude on me. It's just an example on a song. You can work on any, you can take out as many as advisors as possible. So the idea is should is a complicated thing as well because you're pushing air. And the second complicated thing is the idea of should o, what to do with those words are two ways of seeing energy could sing, should old acquaintance cutting those words. Yeah, in slices in a way, you can do that. But the trouble is if we do that, we have the problem that we have like, like cutting out should all querying turns, all the querying towns. So the idea of old acquaintance is definitely no, no good idea, but it's in a way, some, some question of tastes on question of attractor state. If you want to sing, Should old, you could do that bom, bom, or it can sing, shoot old. And I want to point out that idea because bringing those nodes together, combining those notes brings in more of the waviness. It sounds more poppy, it sounds more CPU, and it's not that hard as a singer can be. The second thing is, as I said, with a ssh, you do not need that, show the power of that push. And you do not need that much of a D. It's not, should bring down the, the aggressive way you could sing consonants to make it more smooth. Okay, So I would say it's not even a word, but it's binding those two words together. Okay. Now we'll give it a try throughout. Come on. Little acquaintance be for God and brought to other things, come into my mind. Quaint cells be the idea of B, cuts down your note. There's no chance to sing that while singing in the back shrewd older queens. You need to cut back the note. There's no other way. So that can be complicated as well. And think about the onset for the end. Never brought to mind. Because here you can decide if you choose a smooth onset, a glottal onset if you sing with vocal fry or as I did because it's for me it sounds more natural. And I'm using an aspirin onset here. Listen closely. Clay and zones be forgot. Brought. You could all also try. Smooth answer, should be forgotten. And we're be careful when you decide for smooth onsets. And that's why many, many people do not use them, but it's a pity because it's so good for your voice, but it should not sound like should acquaint sounds be forgot. And that's not the idea. And please do not slide it to the notes. Should sound like that. Quaint sounds be forgot. Okay. Fry could work as well. Let's give it a try. Acquaintances be forgiven. Brought on that mind. I know I'm talking a lot about just in the song, but it is a short song is it is just like light, like eight freezes and that's it. Okay. On that mind, now that we find the perfect spot, the right place for some, it could be a good idea to work with nasal resonance and cutting back the know to get like a thin out or a fade out. Let's give it a try. Let's start in that partner and never brought to mind, okay, broad. Just a little bit. Thinking about vibrato because vibrato is very important as well for singing with singing in ballad style. So maybe the quaint be for gun brought to me. He could work with that as well. So let's move on to the X-bar. Definitely show the same thing as a first part, shoudl binding those words together. Oh, that sounds be for God. For me. That key on the last, on that Lang Syne, I would choose a bit twang because the node is a bit deep. And so Yang Yang Yang without 20 would be and they will sign. It's not that much of a difference, but you can hear it. Okay? And so now that we moved to the chorus for 40. 34. Instrumental 2: Auld lang syne: Now he is the song in a piano version. I will play the piano and giving you a little intro verse, chorus, verse, chorus, chorus, and the last phrase two times. Okay, so here we go. Okay. Hi. 35. Example 3: Amazing Grace: The next song is a classic, a standard all over the world, Amazing Grace and you all should know that song and his son of many, many, many singers all over the world in all genres. So definitely a good example to work on because we can try out some things. The first thing we have to notice we're in the key of G Again. Why I'm in the key of G? We want, we'll talk about that in a minute. And the first thing we want to point out is the melody. So let's have a quick look in Crane's hand Sui. And that's me. Long, no, that's important. We found was blind. Hi. As it is a gospel song. The song is not really about refrain or Corps. It's, it's more like several versus coming afterwards. So the melody is throughout the song always the same. That's a good thing. Now we already heard that there's a long note, so many, many possibilities for fade in, fade out, thin out vibrato placement. We will have a look on that in a few seconds. But what we can stress out here is because we're in the key of G. I said we're gonna talk about that. The highest note is a, D again and d. Nadh we all are, although most of us are able to seeing within the chest voice or within their head voice. So it's the topic, register break mixed voice, speech level again. Now that it's the gospel, when you sing this, like a mantra throughout all the time and you, you repeat and repeat and repeat it. And you can change the dynamic a lot. And that's what many, many gospel singers do you find that like a more soul vibe with lots of different notes? So I tried to sing the notes like the original melody already is, but you all have that idea of a maze in gray. How sweet he either sound. So here it is again, a song where you can choose a lot of links and tricks and work with changing the melody. So if we just would have look on the first part, we can see that over and over and change all the time things, styles, qualities of facts, malady legs, and that's quite cool. That's why the song is so famous. And I use that song in workshops a lot because other people know it and you can really show a lot of things. Now, the next thing is, where do we breathe? Now let's say we wanted to sing it in a more valid way. Yes, as low, as low, for example, as I did before. Okay? Then we have plenty of time from one node to the other and from one phrase to another. So when we breathe, that's the questions we start breathing. Zai Cray, House. We say that's a it may be maybe breathing again. And that's a bit complicated. So that means first time that we have a, a breathing point within the phrase they had, say ease, they may be breathing in May. Okay. And the next very, very exciting thing is that lung me can be taken as a, as a bridge to the next. So if you do not breathe before like me and you want to connect that line with the next line. It would get very complicated because you need that air. Let me show you how the Zane Grey has we see that say day. So you can't do that, especially if you sing it over and over again. I want to do some changes, do some transition. And so here it is very complicated to say you need to breathe here or there, you have a possibility because what many gospel style singers do is, in a way breathing afterward for work because you can sing and even make a cut here then Z in gray. So you can do so many things just by those words, by words, but words he can bring in distortion as I already did this part. So all of that stuff is inhere in a way, depending the tumble you choose. So you can see it very free and very, very easy. Let's move back to the melody again. We pointed out that me is, are complicated. We already know that we go in like an E is the excepts exact vowel we haven't here, so perfect for exercise. We point out the note. Take ethanol, say a mixed voice, good placement, soft palate and the back of the throat. Maybe still trying be. Maybe a falsetto node could be interesting as well. But the thing we should practice is that it's a long note. So we see in the and either cutting it off at that point or singing into the next phrase, II. Ions, combining those two together. So if you have a node that's a, a, a whole bar long, you definitely have to do something. It would sound awkward. Have it with me. It's okay, but it's just a note. So where to put and the vibrato, what should I do at that point? Well, you have to find your own style in a way, some people go directly into vibrato. Some hold a note for one or two quarter notes and then bringing the vibrato slightly and even go faster in the end. Some are fast from the beginning, some only hold their, their long vibrato and kept back the cutback the sound to make it more tiny and thin out the sound. You could also do. Really cut it back with transitioning to falsetto. Or you can do what we talked about nasal capacities. Me. Of course I know at the end you hear like ONE, but it's an idea can do that and bring out the node or fussing with a microphone. You can go away from the microphone by doing that. So many, many possibilities I would first of all, like to work with you on a vibrato. So we take the noticing. We take Moon as a Onset here. The and go into vibrato. You know how to do that if you're not sure, go back to the chapter vibrato and have a look with stretching that vocal chords by going into a whining and be careful because we have a mixed voice already. So that means a little more lowering the larynx to create space in the back of your throat. You already stretched on the vocal cords because you're not pushing on full vocal mass was singing and an idea of speech level is sound. So when you now start to tilt that, that's a larynx to another point. To go into this, it will pull on your vocal chords and maybe that will force you to go back to falsetto. So really be careful going in with me. Maybe. Okay. And I'm going directly into a normal Tambo of fibrin. Okay, So maybe let's start a little slower and bring it in with more power. Bi and really tragic all to know because he going down, down, down, down, down through the vibrato and not that you, me moving the node. Okay, Very, very important. So maybe it's just the idea of being, being sad, singing, singing a sad song. Me. And if you now want to take it away to go into a fade out, you really have to carry it back and bring it even more into your nose. Let's try that. Me. Okay. Taking back the sound, taking back the BRAF to really take it away. If you listen closely, I'm getting a little flat and the answer really tried to avoid that I was not so good when I was assuming right now and listen closely. So one more time, tried to stay on that node and really only just cut back the air and an inhalant where k, So here we go. Be a bravo carrying bacteria. Okay. That was even bad. And one more time. Nice relief shoes your nose as a placement for that sound, we go back to the beginning again. Started cut it off. Z. May be you can work with gray with a slide. We didn't talk about that already. Slides are very useful if you want to bring it more blues he Nas and to the sound. Okay. See, I found myself oftentimes 2s, Twain and nasal twang to bring more alike, alike that salad, it's not what you, what you need to do, but you can give it a try. Interesting is we have lots of things like amazing how soon we eat. So many, many resonates in consonants. That's, that's quite good for that words to work on that. So use the M to bind to combine the AMA grains. And that's the point where I think this is a great song to start with another trick, if you have trouble, for instance, with long notes or if you are in speech level and you want to bring in more, um, yeah, more, more resonance into your note. First of all, use a trick. You sing it like a humming. You start really start. I can bring it in your nose. You can control that, you know how that works. The good thing is we do not do anything with our throat. It's just your voice building the notes and just resonating in your voice box and your resonance, resonance is sent to your mosque and interior nasal capacity. So one more time and go on. And why you only doing that, it feels quite good. You can see how loud can I be? How much mass can I put in there to get a feeling for, for the vocal chords and how much they are involved into singing that stuff. That's a very, very good advice. And if you finish with that, you can already, as we were that me, I can push even more and even work on that vibrato thing without being like AMI, mask and the jaw and the larynx. All is three. And why? Okay, so let's do it one more time for the whole verse. Yeah, all of those together. So here we go. Okay, that's a good exercise and maybe you can sing a whole verse just by that. It's good for your voice. You can feel where all the nodes should sit. You can work on your placement in a way, you can focus on your soft palate and how much the node takes from you needs for that sound. Okay? Now we go back to summating. You can still do the same thing here to say he, he, he, he, he, he he, he, he, he. And if you're fine with that, maybe you look for your key by doing that and all that stuff. We go back to the third idea and that will be to bring in all the consonants, bit complicated. But for that song, It's not, not that. I'm a bad idea because there are many consonants and many, many, many vowels going on. So now we bring in all the vowels in the okay. Makes me and say, Hey, now. And when you do that time for time, step-by-step, you find all the resonance places in Europe. Those for each of this, this part for each of those vowels and for each of the nodes, the vowel has to be sung with. So it's a better exercise for a song than just seeing scales all the day because scales are a good exercise to get through your whole range. But in most of the times, like in this song, you do not sing la, la, la, la, la, la, la. That's just just the cord. And here we have a proper melodies. So their new changes and tweaks and things to the things you learned about vowels and consonants. Okay, fourth step would be bringing in the consonants again and please have a mind we have and some swinging and clinging consonants and we have hard consonants and the ideas already cutting off or cutting back those sharpness and hardness off that constants. Okay, So here we go. Just how we see a man who was blind, eyes. Good. We're, so all the vowels I clear all the constants likely. And I hope you got that sensation of when I first work with this humming idea. Really have a better idea of where to place the vowels. That's really, really true and it really gets easier into the song, no matter what song it is. So the next thing is, what do we do with that song? Well, we're just, we're concentrate on that first part and we're seeing it over and over again three times. The idea is we can work on it as a song. So we want to have from low to more power, too powerful ending, okay? And maybe in the ending we go down again because we want to have some, some kind of end. So how can we do that? Well, as it is a gospel, it's definitely a great song for singing in belting mode. But if we, and we talked about that earlier, start and belting, it's far too early because what shall we do in the end of the song to bring in more belting? Well, we could do it like belting. First settled. Belting could work, but maybe it's a better idea to work with those climax ideas like going through falsetto speech, she speech with twang or speech with twang and mixed voice, to mix voice and bells in a way, and of course, their ideas of bringing in effects. So let's work out three different types of this verse to bring three different versions. Okay, we start from the beginning, like you so Guy know a larynx, the idea of more fat settle airy sound could be like this. Stay gray and say, Hey, there were already some links in it. It's an idea of Saab and is I have for my opinion, I would work on that mean now because that was not what I really wanted to do. I need some other party because I have to decide if I go in a falsetto or stay in solve them. They'll say, Well maybe, maybe it's more seven. And then maybe bringing it back into NO so sob, sob until me. I once I would go into a full settled with lot of nasal capacities. Who is blood? That's always cool. Now, switching over and two had voice. I see you doing a dark like an Elvis or MCA b2b play with, okay, let's give it a try for the first verse. This is the great. Now begun to raise the volume by choosing more like speech level with Chuang. Okay, see, resistance genes changed, the melody. Has sway. That that's slots. When you see that was quite easy, maybe you can work on some Fry to get into some of those words. We'll see. Then we are at the last part. And maybe it's a good idea to go to another direction from here. So maybe take like and then we go up. Okay, Let's give it a try. And most boring. I see, you know, this seems strange. That says, Hey, you. Okay. So now just how it is that we'll go back and I see. Got it. We repeat the last sentence, go to speech level again, and the last note is SOP against. We have some in the beginning bringing in some falsetto stuff. Going over to sub again, second verse, speech level, mixed voice, little, little links here and there. Little L6, sorry. And then last verse we go up to another key that was a key of a. And then we bring it in with belting through our sink. Top-level knows not that much of lakes. We bring in distortion, we bring in compression. And then we take it down at the end to Sabah or auto speech level for the last lessons and bring for the last sound, sea salt. And from that SOB we move over to the nose, see when to take it away. Okay. Can we do that together? If there was too fast, go back to the several parts where I explained what we're gonna do right now. And here we are. Speech level, mixed voice belting to solve again, This That's a slow us down. Success rates sweep. So this is given by this. How is C? Hope you enjoyed it? And of course, we have a second part of that where I just play the piano and you can see your three parts, three versions of that song. Have fun, enjoy. 36. Instrumental 3: Amazing Grace: Now here is amazing grace and the version we talked about and we sang together. Now it's your turn. Now I'm just starting. I'm giving you a G, taking a breath and then you begin. Think of it, sob than speech level, then Belting and going back again. Okay, So here we go. Okay, next level. 37. Vocal Warm Up: So let's get started with your vocal warm up just to get warm and nice and get into whatever they wanna do, maybe the vocal work out just after this section. So here we go. We start with a little NG. First of all, little nice and smooth tone. Siren from up above there, down their own choice of nodes. Connecting head and chest voice. Think of retraction. And if you're starting to feel more free, tried to connect the other way around, but not pushing on the vocal cords. Great. The second thing you should always do, maybe if you have like the Lax Vox like this little tiny tube, you can do the exercise with this one just in case you have one. If not, you do the classical liberal. It's like, okay, here we go. Ladies one octave above. Think of not pushing on your jaw, not closing your teeth too much like stay little tiny. So far for the first thing to get warm, next thing is to control your breath and to warm up. Sound like getting control of your breath by pushing it but not really pushing on your breath. You know what I mean? Same here. That the airflow, okay, ladies, one octave above here we go. Try to get five notes or another. Okay? Soon as the airflow to stay little in tiny, that should be enough for Sofar. Back down again. And now the same thing, little more sound than it with foo, foo, foo, foo, we're just like foo. Okay, ladies, one octave above. Here we go. Breath control. Foo, foo, foo, foo. Like a fat said, Oh, nice. If you can go higher and it's feeling like freedom and nice and cool, you can do that. No problem there you work on. So that was the full thing and now we have a little siren going. Are we going to do the singing? And we stay on the NG and go down. It's like insane. But we take it a little more higher. Let's start over here. That is above guys on it saying, here we go. Get into the nose, sing, sing, sing, sing, sing, sing. And we're seeing the same thing. Maybe switching to have voice. Sin and sin. Feel the vibration in your nose. And maybe you started it over here and take it even more higher by yourself. Nice one that was very nice. And the next thing is still in your voice and your upper register like this is to get your onset more set. So we starting like the little, a little deeper. Let's take it from maybe here with a ning. Okay, ladies, one octave above, little, little tiny nose like a stack it. Okay. Here we go. Mingling, making big, big, big, big, big, big Ming, Ming Ming Ming Ming Ming Ming Ming Ming, Ming Ming Ming Ming. And then nicknamed naming Ming Ming Ming Ming Ming Ming Ming Ming head voice. Maybe until there. And the last one we're starting again our VM scale. It's bom, bom, bom, bom, bom, bom, bom, bom, bom, bom. Ok. Concentrate on the right on satellite palm, palm. Let your, your, your pale and all the jaw. Very, very smooth. Bom, bom, bom, bom, bom, bom. No pressure. We're bom, bom, bom, bom, bom, but still pushing the little, little tiny note in France, or you have a staccato. Pum, pum, pum, pum, pum. Pum, pum, pum pum pum, pum, pum, pum, pum pum, pum, pum pum, pum, pum. Pum, pum, pum bom, bom, bom, bom, bom. And bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, stay. A little untidy. Bump, bump, bump, bump, bump, bump, bump, bump. Last one. Very, very nice. And I hope you're feeling warmed up to get into the vocal workout right now. 38. Vocal Workout: So let's do this. Our vocal will a warm up. The idea is we have other things packed in here together. So please make sure that you worked on each vocal mode and each tool that we talked about now we bring them all together. And if you do this regularly, you get better and better and better. You will also find that MP3 of this to put it on your phone or anything to work on it while you're in your car or so that you do not necessarily need the laptop or the PC to work that out with me. So we start with retraction and our tongue, or scales are well-known and we choose this one. So means tongue and retraction, so ombre. Sure. Okay, make sure that everything is fine. Ladies. One octave above. Here we go. Keep that retraction is nice. The a, the a in the wagon that soft palate. It is easy to see you back again. They don't put our volume. Then the last one. Nice. Now let's move over to our onsets to make sure you're always are in a good mood and good shape for your answers, we start exercising them. So let's begin with the aspirin onset on a TKI. Easy thing, we start same scale here, ladies, one on the left, but makes sure because aspirin unsettled, we're more in a falsetto mood. Okay. So he we start much breath, much air. It may be careful with your voice thing of the soft palate. Hey Edwards, he, he, he, he, he, he. That's enough for the asteroid answer. The next one will be the smooth onset on yeast. So we start off with Ben Yi. The scale is Salma. Okay, ladies, one octave above. Here we go. Keep it smooth. Now you get into register break. Try to pull it up a bit. The job. Now maybe switch into falsetto. The knee back again. The pull it up to be your job. Search. A, nice warm. The next onset is our e e glottal onsets. Same procedure on the EEE to keep our own mushroom for the first conditional good shape. And to get. So lady's walked up above. And we sing each note as a staccato. So be careful and be smart with them. Okay, so the nice a, a, a, a, a, a, a, a, a, a, a, a don't push on your vocal folds. A, a, a, a, a, a soft palate. Don't forget about that. Creating space. The bag again. A, a, a, a, a, the, a, the, a, the, a nice job, nice one. So the next one is to make sure because most of those exercises are with the vowel e, because it's a mature, it's very important that you get into it. And especially in the modes in the end you have, of course, why you seen different vowels. So let's take all the vowels, e, a, 00. But we're seeing them on one note, guys here, ladies over here. And we do that three times. So once we start again with he, aspirin onset, after that we're seeing with smooth onset and after that we see with glottal on so again, so he, ha, ho, Okay. Ladies, here, we start to get him to stay in smooth, in, sorry, in stiff mode. Really careful. Nice. Ha, ha, ho, ho, ho. Don't push on their vocal folds. He, he, he, hey, hey, hey, hey, hello. Think of the soft palate to create space in the back of the throat. Now switching to have voice. Hoo, woo, hoo, woo, hoo. Great job. Now your bid breath him, him hitting your head. So let's move on to the other vowels. That was the beginning, the smooth onset for the vowels Ye, You, you, OK, and make it in one row. So not Yi. He says, he pay. You. Think of each vowels thing of us, soft palate. The video of your star. Ladies. Take it a bit higher. A, i, the a, i o he I think in your nose. Hi. Nice. A sorry. And the last one. Perfect. Now we're going to eat a standing over you guys here. Ladies, ones above the UI kit. So a a great space retraction ambush SRO, soft palate. In a a, a, a, a, a, a, a, a, and a, a, a, a, a, a, a, o, bring up that voice. A, a, a, a. Hey. That's the part about the onset. And we have to go on now we're going to look at our vibratos and then we have a nice exercise group from the deep one, like a G to the octave above down again and bring in that vibrator. He means the baby's one octave above, so E. Okay, here we go. So the, the, the, that women during the night the, make it very smooth. The, he knows he he gets a bit more strong or that vibrator be pushing on the vocal folds is stretching them by doing the vibrator. The really nice and warm Laughter. Let me down again. The, the, the, the, the, the, the, the nice one on that. The next thing is the register. Great. For register break. We had warned, great exercise. The mom mom, mom. Maybe you remember. And it's a little cord. And we'd seen Mao. Let's start a little bit high because it's above the register break. Remember getting in and out to create a laser resonance over here. So we're starting over there, ladies were not. Okay. Here we go. A long, long long, long Disk. Make sure that you're in thin vocal though. No long, no pushing on. Bring it in your nose. Mau Mau, Mau, Mau, Mau, Mau. Stale, tiny with their voice. Now. I hope not. For long. Back again. Bone. Nasal resonance. Now. Oh, no. No. No. Mau, Mau, Mau, Mau, Mau. And the last one another one for register break because we've been through there was great. Gregory did drop is a siren on, you know, that. And we start on view to bring in that work with scratch, vocal stretch and work with a vibrator ladies drawn a little bit later, you need to get over there to get into that great sound that we need. So here we go. The ladies in the, the a, The, a hole that's old abstracts. The babies. One more. Add back again. Guys back in. The a, the the, the the girls can get around. Great job for your registered break. So here we go to the last exercise for register Greg, that's a siren again on IE, it's a bit more complicated because we have Golan said, and we take that siren the same way from yellow nodes up to the high one and down again. So the same, same octaves we did before. So we're starting over here, but not on Y0 to get somebody in, please be careful. E is the same. Okay, So sorry. Ladies. Later in and we start guys, the two lasers into your nose. Nice. A religious Back again. Guys bragging in your nose. Okay. Little, little, little short break to relax your larynx because it was a lot of work for your larynx, but great job so far. And now we're moving on to the first mode we learned about its fall, settle, and we have simple exercise to get falsetto into our warm up. So we take this octave scale on HE. We did that before with the astronauts have had now concentrate on falsetto. We get up very, very, very high. That's been going on. Okay, ladies. We had earlier in register break and earlier in half or so. So we think of the mode. Maybe the place, well, when he became for the vowel and soft palate, the people. The place the a vowel and cut back the air. La, la, la, la, la. You, you don't push it back in speech level. Great job. All thought set on very, very, very high a try if you do that several times, that you kept back the air for the high notes, you really get a nice and smooth and big fat 0. So next mode was 20. We start by thinking of a duck. So we will start on smooth onset, I think is a good idea. Okay, Bring it in. So ladies, while I'm going above and here we'll sing of the nose, the Easterly pushing on the vocal chords. He said that. He said now portion, he separate sentence. Then back again. 50. Method. I mean for me. Nice job, great job. Next mode, next level is speech level quite easy. So we started a little bit lower. Same, same scale. But really try to stay in thin vocal masking. So the way he felt that he needed. Well, he would be like your target audience. To be careful and back again. So here we see. Again, relax. There was a lot of work for your vocal calls and for your larynx. Now the next mode we're looking at and we have an exercise for us, solve. So bring in the body right now. So angry, had a neck anchoring, lowering the larynx. And so we get into the vowel smooth answers. Ladies, one octave above. Here we go. We got back the, be careful with that. The last one. The last one. Nice and good job lowering the larynx. Perfect, perfect, perfectly made. And now we do in another exercise because I think it's so important we're going from speech level to sob. That's very, very important that we did that before. So let's take it from here. We're going from the KG in speech level, the latest one octave above, okay? Now, the nice gray, the VH. He may be down again. Nice. The very hard one. Move a little bit. There wasn't a lot of work for had a neck and for torso. And now we going to the belt mold and of course we have some exercises here as well. We start a bit higher, we're going to get from it. Maybe we go into, be a little bit careful but still bring strength into this war. Workers would bring him. Yeah. Okay. So we have so remember all the things needs if you don't know them anymore, if you're not sure, look on your handout. And we'll get into that mode and get up to that high note from the beginning. So your larynx is up. They're not bringing up the larynx. Larynx the moment you start to sing, it should already be done. So a high tone. So to bring up that lacks his power, it's important to have a very, very, very good preparation for that. So do that several times. Maybe you can pause it here and do it for yourself again. Always get in this condition very, very, very important exercise. And we have another one as well with the ROC curve. So getting here, ladies, one or two above. Okay, here we go. Nice one. Lean into that cell. Nice. Last one. Relaxed and the larynx again, there was a lot of work over here. Maybe the Kim massage your tongue and your hack may be bitten lack. Before we go through the last two exercises, we still have on our list. Yes. And now we're going to opera the last mode we learned. Here we have, yes, another one with our little scale. Lead is one octave above. We're seeing on he was opera sounds. So take your handout, what you need, lower your learning scatter in the torso and Anna nagging. And here we go. So formats here. And then that plays in a nose here, here. And here. We're back again. And our last one on here as well. So from here, because we going a classical version, the ground, the big RTF through our scale, ladies, one octave above, and here we go. You start school. You may be lean into that allows high note. Lean. Back again. Great job, great, work out. And we have other things in here that you need for the little tiny tools, the little tool box, things we learned about, we had all the modes, we had different and problem-solve like register break and passage and everything. So I hope you enjoyed this. We're going to do them every day. Please make sure to warm up before and whether what you're doing right now, maybe you start working on your song, something like that. But in the end or after this work out, please do the vocal cool down, which is in our course as well. And they'll forget to download this MP3 so you can work on that wherever you are and you don't need necessarily to your computer with you, and I hope you enjoyed it and wish you good luck and get better and better and better every time. Enjoy. 39. Vocal Cool Down: After this hard session and learning and working on your vocal chords and on your whole body and voice. We just have a cool down so you stay in a healthy condition. And here we go. We start with little dropping down the note, very, very tiny and with a lot of breath. So like like stroke in your voice. Who? Nice one. Just let the airflow direction. Yeah, In a way up to your head back. And then you're dropping the voice. Vocal cords very tiny and smooth. If your voice cracks, that's okay because you're trying to keep it very, very, very tiny. Nice one. Then. Great. Yawning together. Same thing here, maybe not that high. Breathe in. Nice. Great one. Now we signed together, like just breathe and hold your breath and let it out. Nice. Again. Very nice one and the last one. Now we're going to wind a little bit on energy. It's like, remember, just try to drop it always down from high, above, too low because we're trying to cool down the voice. This is the way we go. So tiny little note above in your head voice. Still connect into the chest voice to make it nice and smooth for your vocal cords. Nice one. If you want to, you can stop the record here and do that as often as you want to, as long as it feels good. The next thing is relaxation for your tongue muscles. That's quite nice exercise. You rolling your tongue in little circles in front of your teeth, like you're taking your tongue. Birth if the teeth or in front of the teeth and rolling behind you close lips looks like this. Just forming little circles behind you, closed lips, changing directions. Now you do the same thing on the inside of your left cheek. Other way around your right cheek. Feel the stretch between your larynx and your tongue the other way around. Nice one. And the final exercise for my personal cool down is always a literal or if you have take your Lax Vox your little tube and do the same thing. We starting high, getting down low. So ladies over here, guys over here, get down your voice and your larynx again. Okay. And another round again starting over here to bring down the larynx, bring down your tongue and bring down your vocal cords. That's your vocal. Cool down. You can do whenever you like, and to bring down your voice and relaxing voice. Hope you enjoyed it.