So, for me, there are two things that broke into the next level; 1. learning that vowel modification is NOT vowel substitution (your vowel sound stays the same) 2. Your AH and AY drill with that very bright sound. those made mu high notes so much easier, Immediately! Seriously blew my mind!
This is what I love so much about you, man! I highly recommend anyone to, at the very least, have a consultation with him. Vowel modification, in itself, with the way he walks us through it, in so much detail, is directly responsible for what made me capable of hitting C5+, pretty much over night. And I'm saying this, as someone who couldn't sing, and had no range beyond C4, at best, one year ago.
OK I think I'm finally getting it😂 when I tighten the CT muscle and use head voice placement and raise the soft palate those high notes are super easy, sometimes I'll go sharp but there's no strain... amazing!!! 👏
I think I get it now, you're talking about the size and shape of the place in your mouth/throat the the sound enters into (is received by/into) is what shapes/refines the soundwave coming out and affects the quality of the sound. 4 times through this video now trying to figure this out!
Rock singing is really the key for MUCH easier high notes singing, for me it made my singing overall so much better sounding,freedom,control(now i can easier sing r&b,pop songs) Thanks for your videos 💪
I really have to say, you explaining using my soft palate changed everything for me. NOW all those exercises (well, at least most of them) make sense. (Kind of like when Ben Eller explained to me what pick slanting is. Changed my guitar playing on a single day!) Eternal gratitude 🙏🏼 😅
As a someone, who watches your channel at least a year and a half. And as someone who writes songs, records it and gives a concerts somitemes(and sings my own songs), i can say your videos are really useful and truthful outside of all singing lessons. Definitely will buy your course in near future. Cause I need a little more stability in my second passagio area f#4-g#4. Cause i feel like they are the most challenging part of my voice and iI need help with them. Even now I can sing in that area live, but they are l the most tricky ones..
This is really helpful. It seems like receiving the sound is like allowing the space for sound. My goal has never been to have a “better sound” but to have a voice that feels better to use …A “more free and less constricted sound” I think when that feeling sets in the “better sound” just happens naturally
Nice video, as always. Funny enough, my band picked Like a stone as our next song. I have to learn this one for next Saturday. Harder then expected for me.
I follow the distinction you’re describing in the change in the formant. BUT, what I’m not following is what you’re describing as “receiving the sound”. What’s the mechanical explanation of what that looks like? Great channel!
I'm with you. He uses the term "receive the vowel," but he doesn't explain what that means ... therefore, we lose half of what he taught because we don't understand the term he used, and he doesn't adequately explain it. So, we have to spend more time trying to figure out "receive the vowel" before we can adequately understand this video and try to put what he says into practice. Of course, if his intent was to help us learn by making us view more of his videos, he succeeded. 😃
I'm such a scammer, you've caught me out! Look at those 0.000001 cents rolling into my bank account... Or, perhaps you simply missed my point. Did you try the exercise moving between the AY and AA vowels to find the difference in the formants? There's your starting point. Instead of referring to me as "he" in an accusatory way twenty times, perhaps you could have just asked me a question, Don? I'm known to answer politely and succinctly. Best - K
Yes, you get the first part of it. So, in my example of AY to AA, you're receiving TWO different vowels without actually making a 'different sound' at a vocal fold level, right? So instead of trying to push out or change either vowel, you simply need to change the setup above the vocal folds, instead of trying to 'make' a different sound at a vocal fold level. The same with my example of ascending in range, I'm not actively trying to push out a higher note, I'm changing the shape in the vocal tract to 'receive' the higher frequency - put some headphones on and you'll actually hear the frequency shift in my tone, not just a shift in pitch.
@@FoundationVocalStudio The term receiving the sound is really confusing. I think you mean, we make a certain shape in the formant cavity/space/area, and the SOUND WAVE itself generated from our vocal chords and contained within the moving air stream is the thing that when it enters our formant area is thus "received". Continuing from that, I think your main idea here is to work on creating a better shaped formant area so that it can catch that sound wave and have a beneficial effect on what the sound wave comes out like? Did I get all that right?
So I'm guessing this is the solution when you're sure you're producing the sound correctly already? So for example I need to be able to do sirens on humming or "ng" (basically without opening of the mouth) with great cord closure, no excessive tension, and no breaking throughout my range first? Thanks in advance.
Yes and no! Quite often, "not making the right sound" is simply not being set up with the right vowel or formant - ie: if your OO sound is hollow and weak, it's not necessarily the wrong 'sound', it's often the wrong vowel. ie: move the tongue up and forward on an OO vowel to turn it into OE, and you'll find that slide MUCH easier. Best - K
Great video mate out of all the vocal coaches I’ve watched you have my favourite voice. I’m curious I’ve recently watch a old opera singer micheal tremble on RUclips who talks about how singing used to be taught all from below the throat and that there should be no action with the tongue throat and jaw. That all the action should be done with the diaphragm by breathing into the lower back ribs and the mouth throat and tongue all react to the diaphragm. Is this just a different style of singing? Or is just because you need different techniques for rock to classical? I hope that makes sense
Wax on, wax off my friend. If grit isn't accessible/easy/sustainable, I'd wager you have an issue first with your vowels, secondly with your tone, then thirdly your support/perhaps your pitching mechanism - this is the wax. Grit is the wax off stage. Best - K
How does the shape you receive the sound into allow the vocal chords to vibrate faster? Considering that your vocal chords are located in a separate space from the top of your throat into your mouth? Or are you considering that entire space/area from your vocal chords through to your lips to be the entire area considered to receive the sound? That for me edges into that area also creating the sound since it's the vibration at the vocal chords that creates the sound but everything above them shapes the sound? Did I get any of this understood incorrectly?
Is there a definitive list of front and back vowels around? I find when I go to sing that I unexpectedly just... don't know which placement to choose on some words. Doesn't help that the word references are pronounced differently here.
You might find some variance between approaches, however, I suggest; AH/AA (hard/cat) - bright in the back AY/EE/OE (hey/see/wildcard) - bright in the front This is related to tongue position. There's also OO and OH, which you won't actually use for rock or contemporary singing - at least, if you want to sing with the freedom and power that I do. Forget the pronunciation, because it's about how the sound RINGS. You won't be able to sustain the sound if it's pronounced in your dialect, in the same way that "AY" comes out closer to EH when I actually sing it. F2 is your 'pronunciation formant' - ergo, if you make sure you resonate in the back, it won't be pronounced incorrectly. Best, K
So, instead of focusing on what your vocal folds or your throat are doing - focus higher up on how this sound resonates above. Make changes to how it resonates rather than trying to force out a new word or force out a higher pitch. Move the tongue, move the mouth, alter the palate and see what this does for your sound and range.
Try the exercise moving between AY and AA like I'm demonstrating here - you're actually making ONE sound, but 'receiving' this sound in two different ways. When you learn to apply this across all elements of the voice; tone, pitch, range, vowel - you can sing with freedom in any range on any sound.
Not sure if you’ll ever see this but….I am a classical, Andrea Bocelli kind of singer. Meaning, I sing a similar repertoire but I don’t have a top range. I can push up to a G#4 but that’s not the answer seeing as I’m a baritone. I’ve spent 1000’ on courses and lessons. I still can’t sing in my top range. I was recently referred to you by Eli Prinsen for my mix voice development (his approach also didn’t work for me). I pulled up your Mix Booster program but was scared off my the price @almost $300. So my question is this, seeing as I’m not a Rock singer and never ever want to be, will your program assist me sing with a semi classical approach through my middle / mixed voice? I’ll never need to sing above a C5 but seeing as I can’t even manage an effortless F4, I am still a long way from “home”. Please advise if possible. Thank you.
So, "push up to G#4" is your first problem - does Andrea Bocelli push? Remember, "baritone" is a timbre, not a range. Pushing a G4 doesn't make you a baritone - this will only become apparent when you're actually using your full range correctly. However, you're likely trying to sing with that deeper aesthetic - which isn't actually what classical singers are really doing. I would suggest working with an Opera or Classical teacher rather than myself in this case - I can tell you the solution is likely to use a cry in the tone from D4 up, modify your vowel towards the narrow, and also keep the tongue high in the back of the mouth - there's an MRI somewhere of a classical singer, and the tongue is extremely high on all vowels. It's highly likely you've got the wrong idea about 'support' also - keep the ribs out from the body and exhale slightly, it shouldn't be like lifting (I assume that's why you push the G4). However, there would always be that element of disconnect because I'm 100% a rock singer, and you're going to avoid what you think my tone is for that reason - so, find a teacher that sings the style you enjoy well, and they're probably a good bet if you want to sing like that. All the best to you, K
Hi, i have the same problem at F#4, G4 G#4. I tried so many techniques... but the game changer for me as singing high notes was definitely being aware of my soft palate. I just raise it (think of yawning or think of a lyric singer like Pavarotti) just before going high make it this so much easy and keep my voice from being thin and cracking. Try this and think about exhaling and having a great support
![c̶h̶e̶s̶t̶y̶ ̶m̶i̶x̶? Sing high notes in full voice [Vocal Fold Closure 101]](http://i.ytimg.com/vi/jjAWMbMRhcg/mqdefault.jpg)
![c̶h̶e̶s̶t̶y̶ ̶m̶i̶x̶? Sing high notes in full voice [Vocal Fold Closure 101]](/img/tr.png)
![Sing Higher Notes [NOT just for naturals!]](http://i.ytimg.com/vi/4A-8Sc06sPE/mqdefault.jpg)
So, for me, there are two things that broke into the next level; 1. learning that vowel modification is NOT vowel substitution (your vowel sound stays the same) 2. Your AH and AY drill with that very bright sound. those made mu high notes so much easier, Immediately! Seriously blew my mind!
This is what I love so much about you, man!
I highly recommend anyone to, at the very least, have a consultation with him. Vowel modification, in itself, with the way he walks us through it, in so much detail, is directly responsible for what made me capable of hitting C5+, pretty much over night. And I'm saying this, as someone who couldn't sing, and had no range beyond C4, at best, one year ago.
OK I think I'm finally getting it😂 when I tighten the CT muscle and use head voice placement and raise the soft palate those high notes are super easy, sometimes I'll go sharp but there's no strain... amazing!!! 👏
I think I get it now, you're talking about the size and shape of the place in your mouth/throat the the sound enters into (is received by/into) is what shapes/refines the soundwave coming out and affects the quality of the sound. 4 times through this video now trying to figure this out!
Rock singing is really the key for MUCH easier high notes singing, for me it made my singing overall so much better sounding,freedom,control(now i can easier sing r&b,pop songs)
Thanks for your videos 💪
I really have to say, you explaining using my soft palate changed everything for me. NOW all those exercises (well, at least most of them) make sense. (Kind of like when Ben Eller explained to me what pick slanting is. Changed my guitar playing on a single day!) Eternal gratitude 🙏🏼 😅
Uncle Ben is great! Thankyou for the kind words. All the best - K
You rock man! I am looking getting this down.
As a someone, who watches your channel at least a year and a half. And as someone who writes songs, records it and gives a concerts somitemes(and sings my own songs), i can say your videos are really useful and truthful outside of all singing lessons.
Definitely will buy your course in near future. Cause I need a little more stability in my second passagio area f#4-g#4. Cause i feel like they are the most challenging part of my voice and iI need help with them. Even now I can sing in that area live, but they are l the most tricky ones..
This is really helpful. It seems like receiving the sound is like allowing the space for sound. My goal has never been to have a “better sound” but to have a voice that feels better to use …A “more free and less constricted sound” I think when that feeling sets in the “better sound” just happens naturally
Much recommend! Kegan's courses helped me tremendously.
All the best,
Ivan
Thanks for continuing to make videos and share your insights!
Thank you Kegan 🙏
Nice video, as always.
Funny enough, my band picked Like a stone as our next song. I have to learn this one for next Saturday. Harder then expected for me.
You've legit changed my singing, no cap.
When I started changing my vowels to better suit the register I'm in, everything changed.
I follow the distinction you’re describing in the change in the formant. BUT, what I’m not following is what you’re describing as “receiving the sound”. What’s the mechanical explanation of what that looks like?
Great channel!
I'm with you. He uses the term "receive the vowel," but he doesn't explain what that means ... therefore, we lose half of what he taught because we don't understand the term he used, and he doesn't adequately explain it. So, we have to spend more time trying to figure out "receive the vowel" before we can adequately understand this video and try to put what he says into practice. Of course, if his intent was to help us learn by making us view more of his videos, he succeeded. 😃
I'm such a scammer, you've caught me out! Look at those 0.000001 cents rolling into my bank account... Or, perhaps you simply missed my point. Did you try the exercise moving between the AY and AA vowels to find the difference in the formants? There's your starting point. Instead of referring to me as "he" in an accusatory way twenty times, perhaps you could have just asked me a question, Don? I'm known to answer politely and succinctly. Best - K
Yes, you get the first part of it. So, in my example of AY to AA, you're receiving TWO different vowels without actually making a 'different sound' at a vocal fold level, right? So instead of trying to push out or change either vowel, you simply need to change the setup above the vocal folds, instead of trying to 'make' a different sound at a vocal fold level. The same with my example of ascending in range, I'm not actively trying to push out a higher note, I'm changing the shape in the vocal tract to 'receive' the higher frequency - put some headphones on and you'll actually hear the frequency shift in my tone, not just a shift in pitch.
@@FoundationVocalStudioexcellent distinction...which I didn't really grasp from other approaches. Thanks!
@@FoundationVocalStudio The term receiving the sound is really confusing. I think you mean, we make a certain shape in the formant cavity/space/area, and the SOUND WAVE itself generated from our vocal chords and contained within the moving air stream is the thing that when it enters our formant area is thus "received". Continuing from that, I think your main idea here is to work on creating a better shaped formant area so that it can catch that sound wave and have a beneficial effect on what the sound wave comes out like? Did I get all that right?
Really helpful stuff man. Thanks!
Great man .. can you make a vid about resonance and vibrato
So I'm guessing this is the solution when you're sure you're producing the sound correctly already? So for example I need to be able to do sirens on humming or "ng" (basically without opening of the mouth) with great cord closure, no excessive tension, and no breaking throughout my range first? Thanks in advance.
Yes and no! Quite often, "not making the right sound" is simply not being set up with the right vowel or formant - ie: if your OO sound is hollow and weak, it's not necessarily the wrong 'sound', it's often the wrong vowel. ie: move the tongue up and forward on an OO vowel to turn it into OE, and you'll find that slide MUCH easier. Best - K
Great video mate out of all the vocal coaches I’ve watched you have my favourite voice. I’m curious I’ve recently watch a old opera singer micheal tremble on RUclips who talks about how singing used to be taught all from below the throat and that there should be no action with the tongue throat and jaw. That all the action should be done with the diaphragm by breathing into the lower back ribs and the mouth throat and tongue all react to the diaphragm. Is this just a different style of singing? Or is just because you need different techniques for rock to classical? I hope that makes sense
Sure, that's because all they used to sing was OH - and now we like to actually pronounce words clearly, especially when it comes to rock. Best - K
Good stuff Teach!! I love it, thanks for the info! But where do you feel the grittiness in your voice resonate? Can you please explain?
Wax on, wax off my friend. If grit isn't accessible/easy/sustainable, I'd wager you have an issue first with your vowels, secondly with your tone, then thirdly your support/perhaps your pitching mechanism - this is the wax. Grit is the wax off stage. Best - K
How does the shape you receive the sound into allow the vocal chords to vibrate faster? Considering that your vocal chords are located in a separate space from the top of your throat into your mouth? Or are you considering that entire space/area from your vocal chords through to your lips to be the entire area considered to receive the sound? That for me edges into that area also creating the sound since it's the vibration at the vocal chords that creates the sound but everything above them shapes the sound? Did I get any of this understood incorrectly?
Sure, you get it. It's largely an involuntary reflex - ergo, changing the space oft changes the sound that the folds are producing. K
Is there a definitive list of front and back vowels around? I find when I go to sing that I unexpectedly just... don't know which placement to choose on some words. Doesn't help that the word references are pronounced differently here.
You might find some variance between approaches, however, I suggest;
AH/AA (hard/cat) - bright in the back
AY/EE/OE (hey/see/wildcard) - bright in the front
This is related to tongue position. There's also OO and OH, which you won't actually use for rock or contemporary singing - at least, if you want to sing with the freedom and power that I do.
Forget the pronunciation, because it's about how the sound RINGS. You won't be able to sustain the sound if it's pronounced in your dialect, in the same way that "AY" comes out closer to EH when I actually sing it. F2 is your 'pronunciation formant' - ergo, if you make sure you resonate in the back, it won't be pronounced incorrectly.
Best,
K
Ahah cute little bug)
I didn't get what you mean by receiving the sounds
So, instead of focusing on what your vocal folds or your throat are doing - focus higher up on how this sound resonates above. Make changes to how it resonates rather than trying to force out a new word or force out a higher pitch. Move the tongue, move the mouth, alter the palate and see what this does for your sound and range.
sorry, what did you mean by "Receiving the sound?"
Try the exercise moving between AY and AA like I'm demonstrating here - you're actually making ONE sound, but 'receiving' this sound in two different ways. When you learn to apply this across all elements of the voice; tone, pitch, range, vowel - you can sing with freedom in any range on any sound.
Not sure if you’ll ever see this but….I am a classical, Andrea Bocelli kind of singer. Meaning, I sing a similar repertoire but I don’t have a top range. I can push up to a G#4 but that’s not the answer seeing as I’m a baritone. I’ve spent 1000’ on courses and lessons. I still can’t sing in my top range. I was recently referred to you by Eli Prinsen for my mix voice development (his approach also didn’t work for me). I pulled up your Mix Booster program but was scared off my the price @almost $300. So my question is this, seeing as I’m not a Rock singer and never ever want to be, will your program assist me sing with a semi classical approach through my middle / mixed voice? I’ll never need to sing above a C5 but seeing as I can’t even manage an effortless F4, I am still a long way from “home”. Please advise if possible. Thank you.
So, "push up to G#4" is your first problem - does Andrea Bocelli push? Remember, "baritone" is a timbre, not a range. Pushing a G4 doesn't make you a baritone - this will only become apparent when you're actually using your full range correctly. However, you're likely trying to sing with that deeper aesthetic - which isn't actually what classical singers are really doing. I would suggest working with an Opera or Classical teacher rather than myself in this case - I can tell you the solution is likely to use a cry in the tone from D4 up, modify your vowel towards the narrow, and also keep the tongue high in the back of the mouth - there's an MRI somewhere of a classical singer, and the tongue is extremely high on all vowels. It's highly likely you've got the wrong idea about 'support' also - keep the ribs out from the body and exhale slightly, it shouldn't be like lifting (I assume that's why you push the G4). However, there would always be that element of disconnect because I'm 100% a rock singer, and you're going to avoid what you think my tone is for that reason - so, find a teacher that sings the style you enjoy well, and they're probably a good bet if you want to sing like that. All the best to you, K
Hi, i have the same problem at F#4, G4 G#4. I tried so many techniques... but the game changer for me as singing high notes was definitely being aware of my soft palate. I just raise it (think of yawning or think of a lyric singer like Pavarotti) just before going high make it this so much easy and keep my voice from being thin and cracking. Try this and think about exhaling and having a great support
@@laotsefab yep, getting that palate raised is one of the most important fundamentals.