This is pretty funny because im self taught and ive had a belting baritone chest voice for years and the last few years ive developed a more confident approach with my head voice ping. But the other day at band practice id had a super bad day, i was really emotional and i just let loose with this Rob Halford style shrieking an octave above normal in a lot of my songs and i wasnt even trying. My band members were kind of surprised and laughing because they'd never heard me do that before. In the past ive occassionally hit A5 or another note up around there but it's been kind of random, not something ive consciously aimed for. Its always just me feeling lost in the moment and just hotting that note. When i consciously try to get those super high notes its a struggle
@@FoundationVocalStudio yeah in the past I was able to tap into the upper voice above my voice but it's always been random. I think what's helping is some songs I've been singing back up to a female in my band and to match my voice with hers I've been using a light head voice instead of belting in my head voice and this style has been getting easier. It's changing the way I approach head voice.
First of all, congrats for your new channel. I thought I was crazy because I couldn’t find it any more. I’ve always heard that high notes go easier with open throat, but you say it needs small space. Im confused now.
So, your understanding of what "open throat" (or perhaps, the understanding of the coach that keeps telling you to "open") really is, is skewed. Look at any vowel modification chart; you sing towards closed vowels. La Gola Aperta really means "freedom from constriction" - that rings a little differently to "open your throat physically", right? It's a poorly named/translated classical approach. Let me guess, the same people that same "open throat" ALSO talk about "ping" in the vowel? Ping comes from a small space to catch high frequencies ;) - K
I actually do this puffy cheek exercise on a siren everyday. I do it mainly to safely warm up and to (hopefully) not lose this easy, floaty feeling balance in the voice (since I lost it many times before, which is super annoying). I use it also to train for more range after the warmup. Here I try to maintain this "ping" as high as possible without straining. Because of my tendency to squeeze too much I see "safe excercises" as a necessity. Any thoughts?
The way you do it is more important than actually just doing it and hoping that one day it goes a little higher. When you 'squeeze too much' the three tenets of this exercise aren't functioning in your voice properly (let me guess, on an AH vowel?) - slow exhale, cry in the tone, ping within the vowel. Agreed, it's a good and 'safe' one to practice - but the point is really to apply the 'why' from it working so well. If you want to 'extend' I'd look at your vowel, and also the tone (go for something slightly witchy). Best - k
I sang all my life but really started singing a year ago. Started to watch videos, buy courses, do exercices,… then you realize that there is more then being a good car signer. What I find difficult is that the voice is not like a guitar. You can’t picture the note on the neck. So all these video and lessons you see…. People are trying to explain what’s working for them. But is not that easy as seeing on a guitar. Them trying to explain what’s happening and me trying to understand what it means. All those good signers that are natural or so, I doubt they ever thought about this. They do the sounds without thinking about it. And same terms are used in different variations. Which add to the confusion. I get what you mean with “front sounds”. I was experimenting with that yesterday, while being stuck on “when passion’s a prison” …. All this to say sometime it is confusing. For example: “Make the sound in the back of your head but let it resonate in front. “ Also I need to spend more time on support. It is confusing too. Like inspire down and out but with the belly in. When I’m all inflated my belly can’t go in 😂😂. I often talk about tennis. Cause I play a lot. Trying to develop good habits is hard especially when your natural reflexes are not what is supposed to happen. There is a chain of event that needs to occur in order to hit a good tennis shot. The more I sign the more I make parallel. If you are not correctly placed things go wrong fast. Don’t k ow if it makes sense but it does to me 😂.
Hey man! I was clear that I'm not actively "trying" to do these things - they happen by the nature of this puffy cheek setup that creates compression within the air. Don't think about singing, just make the puffy cheek frustrated exhale and you'll feel what I explain here. The problem is, you're trying to do it within your bounds of understanding singing - which you're right, isn't like playing guitar. Start with the puffy cheeks and a slow exhale, then add a quiet sound, then bring it higher like I'm doing. The second you try to 'sing it' - you'll push and break. Yes, I agree - natural singers (and coaches) likely don't really think about any of this - however, if it's NOT happening naturally, it's something you have to work towards - in many cases it's something you have to 'find' by way of these sounds and exercises. A problem for you specifically is pushing the sound out - so this slow exhale is actually paramount for moving forward with your singing. Best - K
@@FoundationVocalStudio Thanks. I was not specifically referring to this video but on my overall progress over the last year. Like always I wrote much more than my initial intent and might not ended very clear 😂😂😂. I’ll try your tip tonight.
Hi Kegan, I wanted to tell you a little about my experience and maybe it will help your channel. I had a problem and that is that I tried to learn to sing from a very young age. This is problematic because my voice is that of a baritone. However, when trying to sing high, I kept my voice, even the spoken voice, in what is known as the crying register. but trying to extend my range even further I kept myself in that crying register because I read everywhere that it was that register that would allow me to achieve higher notes. However, after a few months reviewing your content I realized that the crying register cannot extend beyond what is popularly known as chest voice. In my case, the maximum register I can reach with my chest voice is a G4. I believed due to my ignorance and clarity in the content I found online, what I could extend with the crying voice and more powerful treble strength and training higher than that g4. However, thanks to your video on the crying voice, I didn't need to learn the crying voice because in fact it is where I usually speak since my spoken voice is quite high-pitched for a baritone. I needed to go above that g4 it was pure head voice with a very closed vowel, that is, I was confusing what we would call the second bridge where both voices are mixed with the third bridge where the chest voice ends and the head voice begins pure I am just exploring this new register but I feel very comfortable with the new highs that I am achieving. Thank you very much for your content and I hope to soon upload videos in Spanish talking about what you say since in my language there is almost no content about it.
Hey mate! It's something I'm going to follow up with - the key here is to use the CT muscle as your secondary pitching mechanism, not as medial compression to try and push your chest voice higher. The vowel itself controls your register, not the tone or mechanism - ergo, I suspect you're singing your vowel too wide if you're getting stuck at G4. Cry in and of itself isn't going to change the frequencies within the vowel, only the setup within the vocal folds - without changing the vowel, it's like trying to play a guitar string with a wet cloth. Awesome, look forward to the spanish videos. K
@@FoundationVocalStudio Yes, the problem was a DK effect that made me think that the change point to the pure head voice must be much higher than a G4 and believe that I needed to cry to make those notes between G4 and this imaginary point. Because it was relatively easy to get to that G4 and I thought that was not my crying voice. I don't know if the problem I had is clarified better.
Yes, absolutely. It likely should come in as a pitching mechanism around the E4 or so - it isn't really related to register through the middle of the voice.
![WHY does this work for rock singing? [How to actually USE vocal exercises, lip trills, puffy cheeks]](http://i.ytimg.com/vi/CWRJDtRu-WI/mqdefault.jpg)
![WHY does this work for rock singing? [How to actually USE vocal exercises, lip trills, puffy cheeks]](/img/tr.png)
This is pretty funny because im self taught and ive had a belting baritone chest voice for years and the last few years ive developed a more confident approach with my head voice ping. But the other day at band practice id had a super bad day, i was really emotional and i just let loose with this Rob Halford style shrieking an octave above normal in a lot of my songs and i wasnt even trying. My band members were kind of surprised and laughing because they'd never heard me do that before. In the past ive occassionally hit A5 or another note up around there but it's been kind of random, not something ive consciously aimed for. Its always just me feeling lost in the moment and just hotting that note. When i consciously try to get those super high notes its a struggle
Yep, that's where I was at before I worked much of this out - except it was more A4 as my highest shriek at the time ha. Best - K
@@FoundationVocalStudio yeah in the past I was able to tap into the upper voice above my voice but it's always been random. I think what's helping is some songs I've been singing back up to a female in my band and to match my voice with hers I've been using a light head voice instead of belting in my head voice and this style has been getting easier. It's changing the way I approach head voice.
First of all, congrats for your new channel. I thought I was crazy because I couldn’t find it any more.
I’ve always heard that high notes go easier with open throat, but you say it needs small space. Im confused now.
So, your understanding of what "open throat" (or perhaps, the understanding of the coach that keeps telling you to "open") really is, is skewed. Look at any vowel modification chart; you sing towards closed vowels. La Gola Aperta really means "freedom from constriction" - that rings a little differently to "open your throat physically", right? It's a poorly named/translated classical approach. Let me guess, the same people that same "open throat" ALSO talk about "ping" in the vowel? Ping comes from a small space to catch high frequencies ;) - K
@@FoundationVocalStudio Tks for your answer. Sorry, actually I meant low larynx to reach high notes. Am I too wrong? 🙃
I actually do this puffy cheek exercise on a siren everyday. I do it mainly to safely warm up and to (hopefully) not lose this easy, floaty feeling balance in the voice (since I lost it many times before, which is super annoying).
I use it also to train for more range after the warmup. Here I try to maintain this "ping" as high as possible without straining.
Because of my tendency to squeeze too much I see "safe excercises" as a necessity.
Any thoughts?
The way you do it is more important than actually just doing it and hoping that one day it goes a little higher. When you 'squeeze too much' the three tenets of this exercise aren't functioning in your voice properly (let me guess, on an AH vowel?) - slow exhale, cry in the tone, ping within the vowel. Agreed, it's a good and 'safe' one to practice - but the point is really to apply the 'why' from it working so well. If you want to 'extend' I'd look at your vowel, and also the tone (go for something slightly witchy). Best - k
I sang all my life but really started singing a year ago. Started to watch videos, buy courses, do exercices,… then you realize that there is more then being a good car signer.
What I find difficult is that the voice is not like a guitar. You can’t picture the note on the neck. So all these video and lessons you see…. People are trying to explain what’s working for them. But is not that easy as seeing on a guitar. Them trying to explain what’s happening and me trying to understand what it means. All those good signers that are natural or so, I doubt they ever thought about this. They do the sounds without thinking about it. And same terms are used in different variations. Which add to the confusion.
I get what you mean with “front sounds”. I was experimenting with that yesterday, while being stuck on “when passion’s a prison” …. All this to say sometime it is confusing. For example: “Make the sound in the back of your head but let it resonate in front. “
Also I need to spend more time on support. It is confusing too. Like inspire down and out but with the belly in. When I’m all inflated my belly can’t go in 😂😂.
I often talk about tennis. Cause I play a lot. Trying to develop good habits is hard especially when your natural reflexes are not what is supposed to happen. There is a chain of event that needs to occur in order to hit a good tennis shot. The more I sign the more I make parallel. If you are not correctly placed things go wrong fast. Don’t k ow if it makes sense but it does to me 😂.
Hey man! I was clear that I'm not actively "trying" to do these things - they happen by the nature of this puffy cheek setup that creates compression within the air. Don't think about singing, just make the puffy cheek frustrated exhale and you'll feel what I explain here. The problem is, you're trying to do it within your bounds of understanding singing - which you're right, isn't like playing guitar. Start with the puffy cheeks and a slow exhale, then add a quiet sound, then bring it higher like I'm doing. The second you try to 'sing it' - you'll push and break. Yes, I agree - natural singers (and coaches) likely don't really think about any of this - however, if it's NOT happening naturally, it's something you have to work towards - in many cases it's something you have to 'find' by way of these sounds and exercises. A problem for you specifically is pushing the sound out - so this slow exhale is actually paramount for moving forward with your singing. Best - K
@@FoundationVocalStudio
Thanks.
I was not specifically referring to this video but on my overall progress over the last year. Like always I wrote much more than my initial intent and might not ended very clear 😂😂😂.
I’ll try your tip tonight.
what was that song at 5:42?
Livin on a chain gang by Skid Row.
Hi Kegan, I wanted to tell you a little about my experience and maybe it will help your channel. I had a problem and that is that I tried to learn to sing from a very young age. This is problematic because my voice is that of a baritone. However, when trying to sing high, I kept my voice, even the spoken voice, in what is known as the crying register. but trying to extend my range even further I kept myself in that crying register because I read everywhere that it was that register that would allow me to achieve higher notes. However, after a few months reviewing your content I realized that the crying register cannot extend beyond what is popularly known as chest voice. In my case, the maximum register I can reach with my chest voice is a G4. I believed due to my ignorance and clarity in the content I found online, what I could extend with the crying voice and more powerful treble strength and training higher than that g4. However, thanks to your video on the crying voice, I didn't need to learn the crying voice because in fact it is where I usually speak since my spoken voice is quite high-pitched for a baritone. I needed to go above that g4 it was pure head voice with a very closed vowel, that is, I was confusing what we would call the second bridge where both voices are mixed with the third bridge where the chest voice ends and the head voice begins pure I am just exploring this new register but I feel very comfortable with the new highs that I am achieving. Thank you very much for your content and I hope to soon upload videos in Spanish talking about what you say since in my language there is almost no content about it.
Hey mate! It's something I'm going to follow up with - the key here is to use the CT muscle as your secondary pitching mechanism, not as medial compression to try and push your chest voice higher. The vowel itself controls your register, not the tone or mechanism - ergo, I suspect you're singing your vowel too wide if you're getting stuck at G4. Cry in and of itself isn't going to change the frequencies within the vowel, only the setup within the vocal folds - without changing the vowel, it's like trying to play a guitar string with a wet cloth. Awesome, look forward to the spanish videos. K
@@FoundationVocalStudio Yes, the problem was a DK effect that made me think that the change point to the pure head voice must be much higher than a G4 and believe that I needed to cry to make those notes between G4 and this imaginary point. Because it was relatively easy to get to that G4 and I thought that was not my crying voice. I don't know if the problem I had is clarified better.
Yes, absolutely. It likely should come in as a pitching mechanism around the E4 or so - it isn't really related to register through the middle of the voice.
This felt like a little dig at tamplin?
Who?
Tamplin who? He says! Haha!
I disagree