I didn't know people stood on their tippy toes for high notes! One of the things i do is actually tilt my head down while singing high notes, it really helps with not straining yourself and putting in all your effort!
@@Deerhunterjs well the first reason is. That the cords are actually more free in a neutral position. Which I know because then I can lay the most effects onto them without hurting myself (properly training required in firstplace.) The second reson might be, that you going into different characters. Your body is your metronom. Have you ever tried to walk slow while speeking fast. Or have you ever tried to talk slow while walking fast. This does not feel connected at all. Your voice melody is an extention of your body language. You can disconect it. But then your brain does not know what you want to present.
I wish I could thank you in person but sir- I had never heard of the plane technique and wow that really works extra well like holy cow. It prevents strain and it really helps you not be afraid. Thank you!
Another common one: running helps to improve overall singing ability. Running is actually good for health and breathing, but I believe it has little actual benefits to singing because it doesn't involve the use of the voice and actual vocal cord closure. Half truth at best.
2:42-3:03 - When you said 'ee' (/i/) felt like it has an open throat but is anything but open, I scratched my head a little. From Practical Vocal Acoustics / Kinesthetic Voice Pedagogy 2 by Ken Bozeman, plus my own experience asking around, most people find a yawny /ɑ/ to be more open throated than /i/ whereas the opposite is true (i.e. there's a certain false kinesthesia). When you went close up to the camera to show what /i/ looked like at 3:03 though, I realized the difference may be a matter of definitions. For myself (and, I believe, in Ken Bozeman's writing), when we think of 'open throat', we're thinking of a wider (oro)pharyngeal space, in which case /i/ has a very wide oropharyngeal space (as the tongue is high, fronted and out of the way of the oropharynx) but a very narrow space in the oral cavity (with the tongue being very close to the hard palate), as opposed to /ɑ/ which has a somewhat opposite configuration. For yourself, it seems that you are referring to the entire vocal tract when you refer to the 'throat', in which case the narrowness in the oral cavity would count as a 'closed throat'. Based on what you said in the part before this section (including showing the demo of the synthetic larynx and mold of a vocal tract), it also seems that any consonant or vowel by your definition would constitute a 'closed' throat (save maybe for schwa) as they all require some narrowing or constriction somewhere along the vocal tract. Could I say then that your issue with the idea of an 'open throat' isn't that the idea of keeping an open **pharynx** is problematic (as it would be per my or what I believe to be Ken Bozeman's definition), but rather that the idea that your vocal tract has to be completely free of narrowings / constrictions is false? Sorry for the long comment and thanks for taking the time to read if you get to the end here 😅
I've noticed as a bass when I've had a few drinks I can't drop to my lowest notes. Which is frustrating as a karaoke singer who wants to see how people react to the drop I can do.
I used to be in a couple of bar bands, I've also walked out on a few bands after the first 1 or 2 practices. Why? 1 or 2 beers will help with stage fright BUT any more than that, you'll be flat! Even when I'm the one that's flat, it's like fingernails on a chalkboard. CRINGE!
Well at some part everyone has to flipp registers that's totally normal. But warming up actually helps alot. For low notes there are a bunche of techniques. Including falsecordgrowl, vocal fry and dragonbreathing. But I would place them carefully. One or two words in that actually sounds good. But whole songs it doesn't feel as Natural as these techneques can get. (And you have to train these techniques. As your walking on a thin line between two techniques.) So just relax your voice. It might not be that deep. But it doesn't sound to artifical.
Master Your Voice Singing Course: ramseyvoice.com/special-offer
I didn't know people stood on their tippy toes for high notes! One of the things i do is actually tilt my head down while singing high notes, it really helps with not straining yourself and putting in all your effort!
I do that too, when I'm going low. No idea why I do it, but I do.
@@Deerhunterjs well the first reason is. That the cords are actually more free in a neutral position. Which I know because then I can lay the most effects onto them without hurting myself (properly training required in firstplace.)
The second reson might be, that you going into different characters. Your body is your metronom. Have you ever tried to walk slow while speeking fast. Or have you ever tried to talk slow while walking fast. This does not feel connected at all. Your voice melody is an extention of your body language. You can disconect it. But then your brain does not know what you want to present.
@@Ottonormalverbraucher2525 that's interesting.
I love how well you explain yourself, I am teaching myself how to sing by putting in practice all your knowledge.
I wish I could thank you in person but sir- I had never heard of the plane technique and wow that really works extra well like holy cow. It prevents strain and it really helps you not be afraid. Thank you!
Another common one: running helps to improve overall singing ability. Running is actually good for health and breathing, but I believe it has little actual benefits to singing because it doesn't involve the use of the voice and actual vocal cord closure.
Half truth at best.
2:42-3:03 - When you said 'ee' (/i/) felt like it has an open throat but is anything but open, I scratched my head a little. From Practical Vocal Acoustics / Kinesthetic Voice Pedagogy 2 by Ken Bozeman, plus my own experience asking around, most people find a yawny /ɑ/ to be more open throated than /i/ whereas the opposite is true (i.e. there's a certain false kinesthesia).
When you went close up to the camera to show what /i/ looked like at 3:03 though, I realized the difference may be a matter of definitions.
For myself (and, I believe, in Ken Bozeman's writing), when we think of 'open throat', we're thinking of a wider (oro)pharyngeal space, in which case /i/ has a very wide oropharyngeal space (as the tongue is high, fronted and out of the way of the oropharynx) but a very narrow space in the oral cavity (with the tongue being very close to the hard palate), as opposed to /ɑ/ which has a somewhat opposite configuration.
For yourself, it seems that you are referring to the entire vocal tract when you refer to the 'throat', in which case the narrowness in the oral cavity would count as a 'closed throat'. Based on what you said in the part before this section (including showing the demo of the synthetic larynx and mold of a vocal tract), it also seems that any consonant or vowel by your definition would constitute a 'closed' throat (save maybe for schwa) as they all require some narrowing or constriction somewhere along the vocal tract.
Could I say then that your issue with the idea of an 'open throat' isn't that the idea of keeping an open **pharynx** is problematic (as it would be per my or what I believe to be Ken Bozeman's definition), but rather that the idea that your vocal tract has to be completely free of narrowings / constrictions is false?
Sorry for the long comment and thanks for taking the time to read if you get to the end here 😅
How big of an effect can severe anxiety have on someone's vocals?
Another nice tutorial 👌 nice and clear 👌 thank you.
Thanks, Matt!
I've noticed as a bass when I've had a few drinks I can't drop to my lowest notes. Which is frustrating as a karaoke singer who wants to see how people react to the drop I can do.
I used to be in a couple of bar bands, I've also walked out on a few bands after the first 1 or 2 practices. Why? 1 or 2 beers will help with stage fright BUT any more than that, you'll be flat! Even when I'm the one that's flat, it's like fingernails on a chalkboard. CRINGE!
plane technique has really helped me hit how notes ...but how do I hit high notes without switching to head voice...and what about low notes??
Well at some part everyone has to flipp registers that's totally normal. But warming up actually helps alot.
For low notes there are a bunche of techniques. Including falsecordgrowl, vocal fry and dragonbreathing. But I would place them carefully. One or two words in that actually sounds good. But whole songs it doesn't feel as Natural as these techneques can get. (And you have to train these techniques. As your walking on a thin line between two techniques.) So just relax your voice. It might not be that deep. But it doesn't sound to artifical.
Very informative.
Lol. Wes was awful there.
Hi Matt
I'm from
Pakistan
Thnx for your videos
Please view my home vocal practice sessions
And tell me what I need to do to improve
The whisky does help if you want a better low range though, bass tip 🥴
Good to know, I might try that tonight.