Feel the Joy of Singing!


Ep. 71「ベルティングの歌い方三部作の二 - 高音のミックス」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード71「ベルティングの歌い方三部作の二 - 高音のミックス」です。どうぞお楽しみください ;)


Ep. 71 "How To Belt Trilogy 2 - Mixed High Notes" - Voice Lessons To The World

エピソード71「ベルティングの歌い方三部作の二 - 高音のミックス






Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.
Welcome to episode 71 of Voice Lessons To The World. And, part two of our How To Belt Trilogy. ♪ Yeah ♪ Yeah. [hits piano]
So, uh, anyway, last time we talked about dragging chest voice up. Which is kind of the "bad" kind of belting but still something you need to be able to do.
さて、前回はチェストヴォイスの引っぱりについて話しました。悪い感じ* のベルティングですが、できることが必要なものでもあります。


And today our question comes from Fathur S. in Bogor, Indonesia. And Fathur writes, "Dear Justin, how do I belt the high notes?"
And Fathur that is a great question for us today. But before we get into that we should revisit the topic- what is belting?

1. ベルティングとは?

If you remember last time, belting we can define as a drag of a lower gear up past where it would natively go to achieve a kind of belty sound.
Now last time what we looked at was a true chest drag. It's really, basically a kind of shout. Now this is not the voice that I would want you doing all the time. In fact I would use it very sparingly. That voice will fatigue your cords and in some extreme cases if you do it too much, or you abuse it, could even injure your voice.
The one we really want is the chest dominant mix. We want to take our mix up higher
and it will still sound belty.
So that chest drag is basically a kind of controlled shout. And the mix, this is the one that I'd have you use probably 90, maybe even 95, percent of the time.
When we use the mix we're going to be balancing the cricothyroids- woah [hits piano]- with the thyroarytenoids- woah [hits piano]. Okay, fancy words that basically just mean flexibility and strength to the vocal cords. We're balancing them out.
And instead of pushing out or getting louder, raising the larynx, or one of those shouty qualities. Instead we're using nasal resonance and head resonance in the belting.
So what that's gonna achieve is really high notes that sound strong like chest voice. They sound like they're being belted or maybe even yelled, but they're really not. They're actually in that mix.
So what we're gonna do today is first look at this chest dominant mix belting in a song. Then I'm gonna give you some tips and then we're gonna try it out together in an exercise.

2. 曲例:レナード・コーエンの「ハレルヤ」

So the song I'd like to look at is "Hallelujah" by Leonard Cohen. The song "Hallelujah" by Leonard Cohen was made famous by Jeff Buckley who's just a great, great singer.
And last time for a male we went up to only around G4, which is pretty high for a chest belt, but not really very high for a mix. This song I'm gonna take up past there - the Ab, all the way up actually to a Db5, which gets quite high for both a male and even for a female in this kind of mixed belt.
前回はG4* の辺りまでしか行きませんでした。これは男性のチェストベルトとしてはかなり高い音ですが、ミックスとしてはそれほど高い音ではありません。この曲ではそれを越えて、Abから、さらにずっと上のDb5* まで行きます。男性にとって、そして女性にとってさえも、この種類のミックスド・ベルトとしては相当高い音です。
But this is just a great song, one of my very favorite songs. And here's a bit of that extension containing head resonance from the great song "Hallelujah".
♪ Well there was a time you let me know
What's really going on below
But now you never show that to me, do ya
Remember when I moved in you
The holy dove was moving too
And every breath we drew was hallelujah
Hallelujah ♪
And so you see as I extend up there into that upper mixed belt territory it really moves into the head resonators. It's not a push of chest anymore like the first kind of belting. It starts to become contained. And it's still got that substance to it but it's really effortless because of the head resonance that's involved.

3. ベルティングの秘訣

So what we're gonna do next is look at some belting tips that can help build the mix and the chest dominant mix in your voice.
Tips for this kind of belting are very different than what we did last time. If you remember last time we kind of threw technique out the window and said let's see if we can actually really belt because not everybody can.
Last time we did- whoa! Where the sound is opening up, larynx can rise, breath can come out, the sound can get louder. That's a real kind of shout.
This could not be more different, which is what makes this one the safer belt and the one that I would recommend you do very, very often.
Here we're gonna keep more of a narrow embouchure, alright. We're not going to be widening things in the front.
We're gonna keep the tongue more tall like our NG, more of this tongue.
*訳注:英語で "Sing" と発音するときのngの音のことです。日本語だと「りんご」と言うときの「ん」がそれに近いですね。
So, stuff blocking the mouth so that it doesn't get out like a shout but stays in like head voice however it has that strong quality at the same time.
We are gonna have nasal resonance and head resonance of course. So if you feel that [hum] kind of nasal sensation or the air "back and up", those are positive qualities.
We also don't want to be pushing breath or getting louder. Don't take too much, don't use too much. This kind of mixing and belting is gonna rely on light compression to the cords. And that can't happen if you're slamming the air too much. So really maintain good breath support. Don't take too much, use a constant air flow.
And then if you're aware of your larynx also this is not gonna be raising, [Demonstrates raised larynx] just like we did last time where we didn't care about it, we just let it happen. Here you're gonna be more sensitive. Keep the larynx as stable, as neutral, as you possibly can.
So those are some tips for making that chest dominant mix happen.

4. 「ハレルヤ」でエクササイズ

Now we're gonna look at an exercise. This is going to be, hallelujah.
So we're gonna use this great word, hallelujah. It's great to say, it's great to sing. And it's from our Leonard Cohen song.
And, hallelujah, why is this so great to sing? Well, the "ah" vowel releases the jaw, and the "eh" vowel is gonna give us that taller tongue. The "oo" will be blocking the mouth, all qualities that help you keep the air in the head for your mixed belting.
Then if you remember "L in a Cell", episode 67, that L becoming... [demonstrates] using nasal resonance then we get our nasal resonance present too.
So you got nose, embouchure, tongue, jaw, everything contained in this belting. So I'm gonna have the guys start and then I'm gonna bring in the ladies after we start. So it's gonna be this... ♪ Hallelujah ♪
Hallelujah! What a great job with that mix finding the contained, resonant space for your belting. It's so, so important and I hope that you guys belt like that almost all the time when you're belting.
But there is more to go because we have part three of our How To Belt Trilogy.
♪ Yeah ♪ Ugh... [hits piano] Yeah. So stay tuned for that. Next time we'll have more good work.


But Fathur and all, I hope that this has been helpful for you guys today as singers.
If you've got questions that you'd like to see us answer on the show you can send an email to Questions@VoiceLessonsToTheWorld.com.
というわけで、今回の内容がファスルさんやシンガーのみなさんの役に立てば幸いです。このショーで答えてほしい質問があれば、 Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。
And I just encourage you don't lost that joy, don't lost that passion, do not let people
tell you that you can't sing cause you can I both know it's simply not true.
Get with a great voice teacher in your area or if you guys are in the New York City area
or you'd like to Skype with one of our staff, you can visit us at www.NewYorkVocalCoaching.com.
あなたの住む地域で素晴らしいヴォイス・ティーチャーに就きましょう。ニューヨークにいるか、NYVCのスタッフとスカイプ(でレッスン)をしたければ、 www.NewYorkVocalCoaching.com にアクセスしてみてください。
And if you like these videos you can download our free app. It's for iPad, iPhone, and hopefully more in the future. A lot of great resources, articles, tips, videos, ways to help you guys take your game to the next level as singers. Or you can simply just visit www.VoiceLessonsToTheWorld.com.
動画を気に入ってもらえたのなら、無料のアプリもダウンロードできますよ。iPadiPhone専用ですが、もっと増やせればと思います。教材や記事、歌の秘訣、動画など、シンガーのみなさんを次のレベルへと連れて行くのに役立つような素晴らしい内容が盛りだくさんです。それか www.VoiceLessonsToTheWorld.com にアクセスしてみてくださいね。
I'm Justin Stoney. We'll see you next time.








※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 70「ベルティングの歌い方三部作の一 - チェストの引っぱり」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード70「ベルティングの歌い方三部作の一 - チェストの引っぱり」です。どうぞお楽しみください ;)


Ep. 70 "How To Belt Trilogy 1 - Chest Dragging" - Voice Lessons To The World

エピソード70「ベルティングの歌い方三部作の一 - チェストの引っぱり






Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.
Welcome to episode 70 of Voice Lessons To The World. And, part one of our How To Belt Trilogy. ♪ Yeah ♪ Yeah... [hits piano]
ようこそ、ヴォイス・レッスンズ・トゥー・ザ・ワールドのエピソード70 - ベルティングの歌い方三部作のパート1へ!「(突然かっこいい女性の歌声が流れて)イェー!」そうですね(イェー!)…
So, yes that's right we're going to take three whole episodes to talk about how to belt. Because I know you guys really want to know about some of these contemporary vocal techniques that are out there.


So, we're gonna take our question first which is from Ernest C. in Singapore City, Singapore. And Ernest writes, "Dear Justin, what is belting?"
And Ernest, I've got to thank you my friend. Because that is a perfect question
to kick off our How To Belt Trilogy. ♪ Yeah ♪ Yeah! [hits piano]


So, what is belting? That's the first thing we need to ask ourselves.
And, I know that belting is one of those principles that you're going to here a lot of different things, different methods, different singing teachers, different people say different things. That's okay!
We're going to create a definition that helps you guys see that belting is a very nuanced technique. There's lots involved in belting. It's not just one thing.
But what we're gonna say today is that belting is the drag of a stronger register of the voice, or a stronger gear, up into a lighter register or a lighter gear.
今回お伝えするのはこちらです - ベルティングとは、力強い方の声区(力強い方のギア)を、上の方の軽い声区(軽い方のギア)まで引っぱることです。
So let me show you in my speaking voice. If I just take my voice up... ♪ Ah ♪ It wants to go to Falsetto. My chest voice wants to break into my falsetto register.
But what if I don't do it? What if I just drag it right past where it wanted to switch? And I do... ♪ Ah ♪ Then I'm really dragging chest voice past that point where it wanted to switch. And it's kind of like a yell. ♪ Ah ♪ It's a shout, or a belt! [hits piano]
Okay, so now that's just one example. That's dragging my chest voice up. I can also drag a mix up, a chest dominant mix, a mix, a head mix, maybe I could drag my falsetto upwards or create a reinforced falsetto kind of sound. There are lots of different varieties of belting.
Not only that but there's also a lot of different acoustical things that we can do to make the voice sound beltier. Now we're going to look at all these things together.
But that's what I want you guys to really know about belting, is that it's a drag of a stronger gear up past the point where it wants to switch. That's common to basically all belting.
And then we'll throw the bells and whistles on there later. But today what we're going to look at is that drag of pure chest voice, alright. Now this is the one that gets a bad rap because this is the one that is actually kind of like a yell. It's really that shout.
But, not everybody can just do this voice. It's very common actually for people to have slightly weaker chest voices and not actually be able to yell it out. We make that assumption that anybody can just yell it out there. But actually no. It's tough for some singers. But that's our first step today, is learning about dragging chest voice.
So what we're gonna do is I'm first going to show you in a song example. Then I'm going to give you some tips and we're gonna try it together in an exercise.

2. 曲例:「ユーズ・サムバディ」

But the song that we're gonna look at today is "Use Somebody" by Kings Of Leon.
So in this song it's really gonna be a true drag of chest voice, almost a shout. It's not going to be a protected kind of sound. It's not even gonna be a mix. Nope, just that drag of pure chest voice past where it wants to go. Which is a really common sound in contemporary singing.
この曲で使われている声は純粋にチェストヴォイスを引っぱったもので、ほとんどシャウトです。保護された感じ* の声ではないでしょうし、ミックスでさえないでしょう。裏返りたくなるところを通過した、純粋なチェストヴォイスの引っぱりなのです。現代の(ポピュラー音楽の)歌い方ではとてもよく使われる声でもあります。
So here we go with "Use Somebody" by Kings Of Leon.
"I've been roaming around always looking down at all I see
Painted faces fill the places I can't reach
You know that I could use somebody
You know that I could use somebody
Someone like you, Whoa, Whoa
Someone like you, Whoa, Whoa"
So you see that's that drag of chest voice. It's a lot of a shout in the sound. And again, that's a very common sound that you hear in contemporary singing.
So you can tell it's not a protected thing. ♪ Whoa ♪ It's nothing like that, nope. ♪ Whoa ♪ Straight out, full belting. A really important sound to know.

3. ベルティングの秘訣

So next what we're going to do is look at some tips and then an exercise that can help you guys develop that drag of pure chest in your voice.
So here's a few tips when you're working on getting that kind of pulled up, chest drag
for your belting.


First of all, is this a healthy belt? Like we've talked about in the past, a "healthy" one?
Well yes, it can be. But also we have to know this is a pretty athletic coordination.
This can be the way that some people hurt their voices. By just yelling it out there all the time. If you do this in moderation and if you do this sensitively, it won't be harmful for your voice.
So how do we do that? Well, you need to listen to yourself. Does this hurt? It should not hurt. Are you getting hoarse when you're doing it? You should not be getting hoarse.
It's a little bit athletic, so it might be slightly vocally fatiguing. But it shouldn't be something that's causing you pain or making you hoarse. Those are big warning signs. So listen to your body. But if you do this in moderation you will find that this is a nice addition to your overall singing.


Next, this one is gonna go out the mouth, alright. We talk a lot about incorporating nasal resonance and head resonance into the sound. Those are things that help with the mix.
This is not the time for that. This is... ♪ Whoa ♪ Right? Not... ♪ Whoa ♪ We're not putting the air in, in this kind of belting we're letting the air out.
Remember too, this is chest voice. So you need to speak boldly into the sound.
You need to use your speaking voice.
This kind of sound is not "pretty singing". So if you try to make this kind of belting "pretty" you're going to have a lot of trouble with it. Not all kinds of singing are beautiful sounds. Some can be a little bit more edgy. So when you're going for this belt don't try to be too pretty with it.


Finally, this does still require good breath support. If you use a constant air flow
and don't get too much louder on the high notes, they're going to be loud but don't get louder, don't force air at it, then it's going to be way healthier and way more sustainable even though chest dragging is an athletic coordination.
So those are some things to keep in mind. And now we're gonna try an exercise.

4. キングス・オブ・レオンの「ウォー!」でエクササイズ

So this exercise is gonna help you guys to drag that chest voice, that pure belt, up.
And so what we're gonna do is a W-H Whoa! Kings of Leon WHOA exercise. We're going to use "Use Somebody" in order to help us to build our belts higher.
このエクササイズはチェストヴォイス - 純粋なベルト- を上に引っぱるのに役立ちます。これからやってもらうのはキングス・オブ・レオンの W - H 「ウォー」を使ったエクササイズです。より高いベルトを作っていくために「ユーズ・サムバディ」を使っていきます。
Now I'm gonna have girls and guys on the same notes. But at a certain moment I'm gonna have guys drop out and ladies will continue. This is because guys and girls voices do work a little differently.
And there's only a certain point where I want you guys and girls dragging chest voice. Later I promise we're going higher in other episodes. But today it's full chest voice. It doesn't need to go that high.
So here we go with a Kings Of Leon WHOA. It's gonna be this... ♪ Whoa ♪ And here we go... [Exercise]
Wonderful! I say, Whoa! That was awesome.
So I hope that helped you guys to drag chest voice and that chest dominant belt
up a little bit higher and really work that coordination in your voice.
Now, like I say, there's so many other belt coordinations that do go higher and involve different aspects of the voice. And that's why this is just part one of our How To Belt Trilogy. ♪ Yeah ♪ Uh. Right... [hits piano]


So, I hope that's been helpful for you guys today as singers. If you've got questions that you'd like answered on the show you can send an email to Questions@VoiceLessonsToTheWorld.com.
というわけで、今回の内容がシンガーのみなさんの役に立てば幸いです。このショーで答えてほしい質問があれば、 Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。
So I just encourage you, don't lost that joy, don't lost that passion, don't let people tell you that you can't sing. You and I both know that is just not true.
Get with a great voice teacher in your area. Or if you guys are in the New York City area  or you'd like to Skype with one of our Staff, you can visit us at www.NewYorkVocalCoaching.com.
あなたの住む地域で素晴らしいヴォイスティーチャーに就きましょう。ニューヨークにいるか、NYVCのスタッフとスカイプ(でレッスン)をしたければ、 www.NewYorkVocalCoaching.com にアクセスしてみてください。
And I just encourage you guys to download our free app. It's for iPad, iPhone, and hopefully more in the future. A lot of great resources, tips, articles, videos, lots of things there to help you guys get to the next level on your singing journey.
So just keep working hard, work at that belt. Be safe with it, be sensitive with it. I know you guys are gonna really incorporate that into your voice.
I'm Justin Stoney. We'll see you next time.








※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 69「良いヴォイスティーチャーの見つけ方」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード69「良いヴォイスティーチャーの見つけ方」です。どうぞお楽しみください ;)


Ep. 69 "How To Find A Good Voice Teacher" - Voice Lessons To The World







Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal coaching here in New York City.
Welcome to episode 69 of Voice Lessons To The World. The show where we want to help you guys as singers by answering your questions from all over.


And I'll give you a chance to ask questions later. But our question for this week comes from Katerina K. in Patras, Greece.
And Katerina writes, "Dear Justin, at the end of every episode you always say to 'find a great voice teacher in your area'. How can I find a great voice teacher?"
Now Katerina, that's just a spectacular question. And actually a thing, if I can speak humbly, that I feel I know a thing or two about.
First of all I feel just blessed to have found my calling in life to be a voice teacher. To me, giving you guys vocal information is just the coolest thing.
Not only that, but along the way as a singer and as a voice teacher, I got to study with some of the greatest voice teachers that I've ever known.
I've also trained voice teachers with our New York Vocal Coaching Teacher Training and Certification. And then I've employed some of the fiercest, finest, most ferocious voice teachers to our staff at New York Vocal Coaching.
So at this point I feel fortunate to be able to say I know a thing or two, I think, about finding a great voice teacher. And so today I'm gonna share with you guys some tips for what to look for in a great voice teacher.

1. 教えることに情熱を持っている

And our very first tip is that teaching is their passion.
In nature we have hunters and gatherers. Hunters would be something like a lion or a shark or a wolf. Gatherers would be something like a squirrel or an ant or a bee. At New York Vocal Coaching the voice teachers I look to hire are hunters AND gatherers.
Hunting constantly for more vocal information, and gathering it up in their vocal vault.
In other words, lifelong students of the voice who can never get enough vocal information to help their students.
Katerina, you want a voice teacher who can discuss the muscular antagonism between the cricothyroid and the thyroarytenoid muscle. [hits piano] You want your voice teacher to be able to discuss the role the palatoglossus muscle plays in laryngeal stability. [hits piano] You want your voice teacher to wax rhapsodic at the dysphonia
and its source of vocal fry, false vocal cords, or aryepiglottic folds. [hits piano]
In other words Katerina, you want a voice teacher who's hungry for vocal knowledge and who can answer your question. And if they can't answer your question, someone who's gonna go out and get that information to help you.

2. ヴォイスティーチャーと耳

The next thing is, voice teachers and their ears.
Voice teachers need to have superhero kind of hearing. You want your voice teacher to pick up on vocal habits right away. You want them to hear cricothyroid. Bam! Digastric. Pow! Sternocleidomastoid. Zap! And get it right away.
And this is another reason why you want to find a voice teacher that's passionate about voice teaching first and foremost. The only way to get your voice teaching ears to that level is to be devoted to this job, to teach teach teach teach teach.
If I can share personally, back in the day when I was cutting my chops as a voice teacher I used to teach twelve hour days, this is insane. I used to teach twelve hours without a break. From 10:00AM to 10:00PM the entire day, every day. That was my teaching day.
I used to go out after that and every little car horn, every little tree leaf, my ears were just buzzing. But it was all worth it, because now there's nothing that gets by the goalie.
教えたあとに外出すると、クラクションや木の葉の揺れる音、全てに耳が震えていたものです。でももうゴールキーパーを通り抜けてしまうものはない* のですから、全てやった甲斐があったのでしょう。
And the only way that you can get your ears to that level is to be totally devoted to teaching. So find a voice teacher who really knows what they're hearing.

3. 結果を出せる

The next thing is a voice teacher that gets the results.
Now Katarina, it should come as no surprise that singing is very difficult to master. It takes years of study, practice, and devotion.
This being said, you don't want to be sitting in your voice lessons constantly thinking, "hmm...I'm not really sure if I'm getting any better...".
No, you want a voice teacher that gets you those tangible results. I know our staff prides themselves on getting that result every single lesson.
Now it's okay to take two steps forward sometimes and then one step back, two steps forward. But you really want to know what progress you're making and know that your voice teacher is communicating that. So a teacher that gets results.

4. 先生の声

Next, the voice teacher and their singing.
Now it seems like common sense, but I think it's worth saying. You should like the sound of your voice teacher's voice. You should say that voice is pleasing to me. I think they have very good vocal technique. I admire what they can do with their voice.
If your voice teacher is going to ask you to do it they ought to be able to do it themself. Your voice teacher should be able to demonstrate various vocal coordinations for you in the exercises and in songs. You should say this voice teacher has a voice that I think is healthy and demonstrates good vocal technique.

5. 楽器の腕前と音楽の能力

Next is instrument and musical prowess.
Voice teachers are not just teachers of voice but also teachers of music. So you need to find a voice teacher who's also a great musician. Somebody that can explain musical concepts to you and also who knows and understands your style.
Now not every voice teacher is going to be an amazing accompanist. If you find a great pianist as a voice teacher that's a very, very cool thing.
But most voice teachers are going to be competent on the piano enough to give you great vocal exercises to work on and ideally to accompany you a little bit. But in any case you want to have a voice teacher who you admire as a musician not just as a singer.

6. 適応力

Next is adaptability.
Now Katarina, no two singers are the same. No two voices are the same. And no two people are the same. So while vocal methods can be helpful, we don't want to get lost in them. You want to find a voice teacher who's able to adapt to you and your needs.
I know that when I train voice teachers I try to train them and mentor them to be able to change their ways, change their methods, to be able to best help the person standing in front of them. Find creative strategies to help them get to their goals. So you want to find a voice teacher who can adapt to you.

7. ポジティブな環境

Next we're gonna need a positive environment.
When we study singing we're not just studying how to make the muscles do what we want them to do. But we're also bearing our souls. And so you want to feel really good around your voice teacher. You want to trust them and you want them to create a positive and safe space for you.
You may notice your voice teacher becoming something of a mentor or a friend, or a therapist, a confidant or a professional guide, or many of these things. That's why it's so important that the voice teacher creates a very positive space for you to explore those places in your soul and those places in your physical technique.

8. 寛大さ

Now the next thing is generosity.
Now it's no secret that voice lessons can cost quite a bit of money. It's hard to find a very qualified voice teacher. So if you find one and they charge a significant amount
that's different than being in it for the money.
What you're gonna notice Katerina, is a generosity of spirit with a truly great voice teacher. Generous with their time, generous with their ideas, generous with their resources.
People are always asking me, Justin aren't you worried about giving away so much free vocal information? And the answer is no!
Because, for example, if a top surgeon gives away his surgical techniques that doesn't mean that another doctor is going to be able to do surgery. Great voice teachers are not copycats. And great voice teachers are not in it for the money. They're in it to help you.

9. エゴを持ち込まない

Last but not least we have leaving the ego at the door.
Now the arts and singing and music do tend to attract some big egos. And this is really not the best quality for a voice teacher to have.
You don't want a voice teacher that's showing off their voice or showing off their knowledge, or teaching at you when they're supposed to be working with you. No, you want a voice teacher that'll leave their ego at the door.
A voice teacher who wants to learn from you as much as they want to teach you. A voice teacher who would be thrilled if one day they found you singing better than they've ever sung in their life.
A voice teacher who when they're in the audience doesn't secretly wish that they were up there but instead is the one with a tear rolling down their cheek because they're so so proud of you and all that you've accomplished. That's the voice teacher that you want.


So Katerina and all, I hope that that's been helpful for you guys and I hope that it leads you to the voice teacher that you were meant to be with.
If you guys have got questions that you'd like to see us answer on the show you can send an email to Questions@VoiceLessonsToTheWorld.com.
このショーで答えてほしい質問があれば、  Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。
So we just encourage you don't lose that joy, don't lose that passion, don't let people tell you that you can't sing, you and I know it's not true.
As we've been talking about, find a great voice teacher in your area. Or if you guys are in the New York City area or you'd like to Skype with one of us, you can visit us at www.NewYorkVocalCoaching.com.
今回話したように、あなたの地域で素晴らしいヴォイスティーチャーを見つけましょう。ニューヨークにいるか、NYVCのスタッフとスカイプ(でレッスン)をしたければ、 www.NewYorkVocalCoaching.com にアクセスしてみてください。
And if you are a voice teacher or an aspiring voice teacher, I encourage you to check out VoiceTeacherTraining.com. It's the New York Vocal Coaching Voice Teacher Training and Certification. A great chance for you guys to have the training in vocal pedagogy and in voice teaching that you want to start a very successful vocal studio, hopefully all around the world.
この動画をご覧になっているあなたがヴォイスティーチャーやその卵なのでしたら、ぜひ VoiceTeacherTraining.com をチェックしてみてください。NYVCのヴォイスティーチャー・トレーニングとサーティフィケーションです。ヴォーカルの教育理論やヴォイスティーチングのトレーニングを受け、成功するヴォーカルスタジオを始める、絶好の機会です。世界中に広まればと思います。
Also we have our free app for iPad and iPhone that I encourage you guys to download. There's also www.VoiceLessonsToTheWorld.com.
iPadとiPhoneのための無料のアプリもありますので、ぜひダウンロードしてみてくださいね。それから www.VoiceLessonsToTheWorld.com もありますよ。 
I'm Justin Stoney. We'll see you next time.








※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 68「ウォームアップのやり方」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード68「ウォームアップのやり方」です。どうぞお楽しみください ;)


Ep. 68 "How To Warm Up Your Voice" - Voice Lessons To The World








Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.




Welcome to episode 68 of Voice Lessons To The World, the show where we want to help you guys as singers by answering your questions from all over.




And I'll give you a chance to ask questions later, but our question for this week comes from Sargon O. in Sydney, Australia.






And Sargon writes, "Dear Justin, I always wake up and have morning voice. What can I do to warm up my voice?"




Now Sargon, that's an awesome question. And I think it's a question that everybody is going to want to know the answer to. How do we warm up our voice?




But first, Sargon, a confession... I'm actually not a huge fan of vocal warm ups. That's not something I'm into. I love to give you guys fierce vocal technique exercises. Right? Great concepts and exercises to work on your voice. If you really want to get great at singing, you've really got to do that kind of work.




But what if you really needed a true vocal warm up? That's another thing, and that's what we're gonna do today.




So if you've got that big audition, or if you're feeling groggy in the morning, or you've got a big performance and you need a really good vocal warm up, that's what we're gonna do today.




And we're gonna warm up the physical body, the face, the jaw, the tongue, every vocal register, and we're even gonna warm up the soul. So here we go with your vocal warm up.




1. 体のウォームアップ


And first things first, let's warm up the physical body.




So here we go soldiers, on your feet! First thing I want to see is 20 jumping jacks from you. So here we go with jumping jacks. 1, 2, 3, 4… And, rest. Fantastic stuff. Now you got that breath moving little bit.


では全隊行くぞ、位置について!最初にジャンピング・ジャックを20回やりましょう。行きます。1, 2, 3, 4… 休憩しましょう。よくできました。少し呼吸を使いましたね。


Next thing is to reach your arms up over your head, and now you're gonna fold over and touch your toes. Good job. Reach up again, up to the sky. And then fold over and touch your toes. So nice. Now, inhale, one more time reach up to the sky and then fold over touch your toes. And then come on back up here.




Now, a couple of exhales, here we go. Blow out the air. And another one, inhale... Blow it out. Get that breath goin', so nice. Inhale. And blow out the air. And last one, inhale.




And now let's do a hiss. Sssssssssss... Hang onto that hiss, go go go. Ssssssssss... And that's it. Now we've got the breath and body going.


次はヒス* をやりましょう。「スー…」。息を保って、続けます。「スー…」これで息と体がウォームアップできましたね。




2. 顔、あご、舌のウォームアップ


Next thing, let's get the face, jaw, and tongue moving.




First thing I want to see here is just a little head roll. So roll your head to one side. And then to the other, good for you. Another one, roll. And then, roll. And then upwards roll. And then roll. One more time, roll. And, roll. Good for you, gettin' that head, neck, warmed up.




Now here's a great friend of ours... Piggy-Lion! It's gonna be super weird. Make this face, piggy... Lion! Piggy... Lion! Say it with me now, come on... Piggy... Lion! Ah-huh! Piggy... Lion! That's fantastic. Getting the jaw, tongue, mouth, warmed up.


次はみんなの仲間、ピギー・ライオン* です!とっても変な感じですが…顔真似してくださいね。ピギー…ライオン!ピギー…ライオン!一緒に言いましょう。行きます。ピギー…ライオン!ピギー…ライオン!素晴らしい!あごと舌、口がウォームアップできましたね。




Now, the next thing, let's do a couple tongue twisters to get the articulators warmed up. Say this one for me, unique New York, unique New York, unique New York. So nice!


次は早口言葉* で発音器官をウォームアップしましょう。言ってみてください。「ユニーク・ニューヨーク、ユニーク・ニューヨーク、ユニーク・ニューヨーク」いいですね!




Now how about this one... Red leather, yellow leather, red leather, yellow leather red leather, yellow leather. Super nice!




Now- the lips the teeth the tip of the tongue, the lips the teeth the tip of the tongue, the lips the teeth the tip of the tongue... Super nice.




Now that's your warm up for jaw, face, and tongue.




3. 鼻腔共鳴のエクササイズ


Next we're gonna warm up the different registers of the voice, starting with the nasal resonance.




So to get the sound into the nasal cavity, into our nasal resonators, we're just going to use the letter N. Say for me, Nnnnnn... So nice, yes that's right. Feel that buzz, one more time... Nnnnnn... You got it, that's the resonance right up in the nasal cavity.


鼻腔(鼻の共鳴腔)に声を持っていくために、アルファベットのNを使いましょう。言ってみてください「ンー…* 」いいですね、合ってます。鼻の震えを感じて、もう一度。「ンー…」できましたね。これが上の方 - 鼻腔で起きる共鳴です。




So here we go, guys down here, “Nnn.” Ladies up here, “Nnn.“ And let's establish that resonance. Here we go! [Exercise]




Awesome job! You're feeling that resonance already.




4. ファルセット/ヘッドヴォイスのエクササイズ


Now we're gonna get up into the head voice for females and the falsetto territory for males with a flexibility exercise. So, we're warming up falsetto and head voice. To warm up the top here, let's use an owl sound. An H-U, hu. So here we go with this sound, hu hu. Try that. So nice. One more time, hu hu. Good for you.




Now, guys and girls, same exact place in the voice. Let's go right here! [Exercise]




Now you've got the top and your falsetto and head voice stretched out.




5. チェストヴォイスのエクササイズ


Now let's work the strength. We're down into chest voice. Here we go with a chest voice strengthening exercise. So to get the chest warmed up we're gonna use Y-O, yo. Say that for me, yo. Fantastic, real tough. Yo. That's right.




It's gonna have a nice low larynx, high tongue with the Y, and you're gonna speak strong and deep into this sound.




Guys right here, “Yo-Yo.” Ladies up here, “Yo-Yo.” And here we go!








6. ミックスヴォイスのエクササイズ


Next we're gonna warm up the mix for our last vocal exercise. Blending all of the strength, resonance, and flexibility into a mix exercise. So for our mix exercise we’re going to use Kay-Nayn, K-A-Y-N-A-Y-N. This is going to establish your resonance up here, plus some of our flexibility and strength down here.




So, guys right here, “Kay-Nayn.” And ladies up here, “Kay-Nayn.” And here we go together! [Exercise]




Awesome! Now you guys are starting to feel real warm. The body's warm, the face is warm, and you've warmed up all kinds of registers and resonances.




7. 心のウォームアップ


And last but not least, we're gonna warm up the soul. To warm up the soul, I'm going to give you guys three soul reminders.




Soul reminder number one - Singing is a miracle! Can you believe that we can even do this? These two little vocal cords are going to slap together tens or hundreds of thousands of times today to produce all kinds of vocal glory?


ソウル・リマインダーその1 - 歌うことは奇跡なんです。そもそもこんなことができるって信じられますか?今日も小さな声帯が、何十、何百万回もパタパタとはためいて、声という栄光を生み出しているんですよ?


The fact that this is even possible is something that we can be thankful for. Wow, I get to sing today. How amazing is that? Not everybody has that possibility to sing every day. And you and I do? What a miracle.




Point number two. I can look at my voice and say “It's so bad, I'm so discouraged, I hate how I sound, I'm never gonna be good enough or make it.” You have that choice, you can look at it that way.




Or you can choose to say “I’m getting better at my singing, I love to sing, I love what it does for me, I love to give it away to others, I feel good about my singing.” That's your choice. You can choose either of them.




And point number three - You look good. Did I tell you that recently? You are lookin' really good. You're lookin' fit, you're lookin' like you got that sparkle, you got a twinkle in your eye, a smile on your face, you just seem like you got that swagger, that confidence.


その3 - みなさん、いい顔してますよ。最近言ってましたっけ?すごくいい顔をしていますよ。シュッとしてるし、輝いて見えるし、瞳もキラキラしているし、笑顔だし、余裕と自信があるように見えますよ。


So I don't know what you've been doing, but I want to be the first person today to tell you, you have got it goin' on. You are lookin' really, really good.




So those are your soul reminders for today. I hope everybody's feeling all warmed up at this point. 






And I hope that this has been helpful for you Sargon, and for singers everywhere. So if you guys have questions that you'd like to see us answer on the show, you can send an email to Questions@VoiceLessonsToTheWorld.com.


サーゴンさんやシンガーのみなさんにとって今回の内容が役に立てば幸いです。このショーで答えてほしい質問がある場合は、 Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。


So we just encourage you, don't lose that joy, don't lose that passion. Don't let people tell you that you can't sing. You and I both know more than anybody that is not true.




Get with a great voice teacher in your area. If you guys are in the New York City area or you'd like to Skype with one of our staff you can visit us at www.NewYorkVocalCoaching.com.


あなたの地域の優れた先生に就きましょう。ニューヨークにいる方や、NYVCのスタッフとスカイプをしたい方は、 www.NewYorkVocalCoaching.com にアクセスしてみてくださいね。


And if you like these videos I encourage you to download our free app. It's for iPad, iPhone, and hopefully more in the future. Lots of free resources, videos, articles, tips, all kinds of great stuff there to help you guys as singers. Or you can check out www.VoiceLessonsToTheWorld.com.


動画を気に入ってもらえたのなら、ぜひ無料のアプリをダウンロードしてみてください。iPhone/iPad専用ですが、今後他の機種にも対応できればと思います。教材や動画、記事、歌のコツなど、あらゆる種類の内容でシンガーのみなさんを応援しています。それか www.VoiceLessonsToTheWorld.com にアクセスしてみてくださいね。


I'm Justin Stoney. We'll see you next time.











※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 67「ヴォイスネット2 - Rを収監せよ!」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード67「ヴォイスネット2 - Rを収監せよ!」です。どうぞお楽しみください ;)


Ep. 67 "Voicenet 2 - R Behind Bars" - Voice Lessons To The World

エピソード67「ヴォイスネット2 - Rを収監せよ!








Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.




Welcome to episode 67 of Voice Lessons To The World and part two of our two-part series “The L and the R - Partners in Crime.”


ようこそ、ヴォイス・レッスンズ・トゥー・ザ・ワールドのエピソード67、「LとR - 共犯者たち」二部作のパート2へ!




If you can remember Charlotte H. of Honolulu, Hawaii wrote, "Dear Justin, the L and the R are particularly difficult to sing, especially in songs. Why are they so evil?”




Well, again, Charlotte, very sorry to hear of your distress. But all we know are the facts, ma'am.






[Investigator music]




Ladies and gentlemen, the story you are about to see is true. The names have been changed to protect the innocent.




This is the city. I'm Sergeant Joe Stoney of the NYVCPD. I solve vocal crimes.




The accused, R. One of our most wanted vocal criminals. Last seen with his accomplice L, who, I'm happy to say, is safe behind bars thanks to a great vocal tip we received last week.




The R we believe is still in cahoots with the soft palate.




R, accused of breaking and entering. Breaking nasal resonance, causing the tongue to retract and enter the laryngopharynx.




Assault, using physical force to hold the larynx down and back.




Aiding and abetting the L and the soft palate in a massive inner web of vocal evil, ultimately contributing to the soft palate's attempt to rise to power.




Neglect of lip corners, not even attempting to use the very God-given device that could save singers in peril from tongue retraction.


口尻 - 舌の引っ込みの危険からシンガーを救い得る、神より与えられた器官 - これを使おうとすらせず、ないがしろにしている。


Loitering, hanging around in darkened forbidden places where us vocal cops can't see him.




These are just the facts, ma'am. And I for one would like to see the R behind bars, right next to his pal, L. But it's gonna take a great vocal tip.




1. 二つのR


Yep... Uhhh... Now I know what you guys are gonna say. Justin, it looks like you've been doing too many hiss contests these days. [hits piano]






And no, I know, I know. But R is such a pesky problem that we're really gonna have to open a criminal investigation against R.




Now I'm not talking about the trill that we talked about in the past. The [trill] sound or [rolled] sound. That's a different R, that's really a trill.


Rと言っても以前に話したトリルのことではありませんよ。「(巻き舌で)ルルルラ」という音は違うR* で、これはトリルです。




I'm talking about the front R as in the word “rascal” and the back R as in the word “harmful.” Right? Front R, “rascal” and back R, “harmful.”


今話しているのは “rascal” という単語に見られる前のRや、”harmful” という単語に見られる後ろのRです。前のRが “rascal” で、後ろのRが “harmful” です。 


2. Rの犯罪


Okay, so now let's look at the crimes that R has really committed against singers.






That front R, we tend to have a problem using the lips to do it. So if I have that word “rascal”, and I don't use my lips, “rascal”, then my tongue is gonna be jamming back for the R.


前のRにありがちなのは、唇を使うかどうかの問題です。 ”Rascal” という単語を唇を使わずに “rascal” とすると、舌が引っ込んでしまいます。 


Instead, I could use my lips and keep my tongue in that great position to sing. Not retracted, but high and tall. [Demonstrates R with lips] So if I use my lips the tongue is solved.




The next thing is it could lack nasal resonance, that front R. So we make the R more like an M... [Demonstrates sound] And then change that M to an R. [Demonstrates sound] “Rascal.” And now it's in a great place to sing. So that's the deeds that you see that front R committing.




訳注:英語の「ン」はM, N, NGの3種類があります。Mは唇を閉じた状態で「ン」と発音します。




Now the back R is even worse as in the word “harmful.”


一方で “harmful” という単語に見られる後ろのRは、もっと嫌なやつです。


That is a real tongue retraction that we tend to do when we have that back R sound. And again, that's a tongue retraction.




It also braces the larynx, it doesn't give the larynx freedom with all that retraction. And we also tend to raise the soft palate too much and again, block that nasal resonance. So it's all an inter web of vocal crimes going on.




So what are we gonna do about that back R? Well, we can keep the tongue actually forward and tall and the resonance up here with the R.




I can do “harmful.” [Demonstrates forward tongue] Right? Watch my tongue, harmful. [Demonstrates forward tongue] I don't have to do “harmful”, [Demonstrates back R] which is gonna cause a big problem for me as a singer.






So you're really gonna see this in a song example. So the song we're gonna look at is "Why God Why?" from the musical “Miss Saigon.”




And you're gonna see that this song has a lot of challenging R's in it, which could make it very difficult to sing. So here's "Why God Why?" from the musical “Miss Saigon.” 




“Why God, why this face

Why such beauty in this place

I liked my memories as they were

But now I'll leave remembering her

Just her”




So you see that there's a lot of er’s, some pullback of tongue that wants to happen. Now I was singing... [Demonstrates] which I would recommend with that higher more forward tongue, not the [Demonstrates] that tends to happen with R.


“Er” * がたくさんあるのがわかったでしょう。舌を引っ込めたくなるものです。今の歌い方は舌を高く、前に保つ「(舌を前に保って)アーゥ」というおすすめの歌い方で、Rに起こりがちな「(舌を引っ込めて)ゥゥゥ」という歌い方ではありませんでした。


*訳注:”were” や “her” など、語尾のRがフレーズの最後にありますね。


So, “I liked my memories as they were” Oh man... “As they were” “As they were” And then I get that pull back... “As they were” And that's the more tall forward tongue that fixes that R problem.




Now that's the back R. What about the front R? The [demonstrates] sound. There's some of that too.




“I liked my memories as they were, But now I'll leave remembering” So, not [demonstrates] but [demonstrates], right? Small lips and nasal resonance. “Remembering” [demonstrates] That pulls me out of there. But “Remembering” [demonstrates front R] and not [demonstrates back R.] Right? So that's the front R.




So there's the back R [demonstrates] and the front R [demonstrates] in application to a song. But next we're gonna put R behind bars [sound of cell door closing] with a vocal exercise.






And it's gonna be M-R-A-R-M, “mrarm.” Now it's kind of a tongue twister, yes. “Mrarm.” But I promise you it's all for the benefits of the justice system. Right? [demonstrates front R] That's gonna give you that small and nasally resonant R at the front.




And then, “arm”, that's gonna help you keep the tongue forward and tall through the sound. So you're gonna get the front and back R both, with “mrarm.” Alright?




So, loose jaw, high relaxed forward tongue and buzzy resonance. So here we go with guys down here “mrarm.” “mrarm - mrarm - mrarm…” And ladies here “mrarm - mrarm - mrarm…” and here we go together! [Exercise]




Awesome job. I think that will help you guys to fix those R's, front and back. And finally put R behind bars. But, let's take a look.




[Investigator music]




R, you're going right to the slammer. Right alongside your pal, L. What do you have to say for yourself?




“Rrrrrrrrr rrr rrrrrrrr.”




Mmmhmm. Anything you'd like to add R?








Any last words R?








Book him, boys!




“Rrrrrrrr rrrr rrr arr ar arrroowr. Rrrr.”











※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 66「ヴォイスネット1 - Lを収監せよ!」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード66「ヴォイスネット1 - Lを収監せよ!」です。どうぞお楽しみください ;)


Ep. 66 "Voicenet 1 - L In A Cell" - Voice Lessons To The World

エピソード66「ヴォイスネット1 - Lを収監せよ!







Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City. Welcome to episode 66 of Voice Lessons To The World.


Our question for this week comes from Charlotte H. in Honolulu, Hawaii. And Charlotte writes, "Dear Justin, the L and the R are particularly difficult to sing, especially in a song. Why are they so evil?"
Well, Charlotte, I'm very sorry to hear of your distress. But all we know are the facts, ma'am.


[Investigator Music]
*訳注:おそらくアメリカの刑事もののテレビドラマシリーズ "Dragnet" のパロディーと思われます(笑)
Ladies and gentlemen, the story you are about to see is true. The names have been changed to protect the innocent.
This is the city. I'm Sergeant Joe Stoney of the NYVCPD. I solve vocal crimes.
The accused L. Last seen with his accomplice R. These are our most wanted vocal criminals. Real rotten apples, real bad eggs. Rumor has it they're even in cahoots with the soft palate.
The L accused of conspiracy. Conspiring with the jaw for excessive tension in the neighborhood of the mylohyoid.
共謀により告発されているL… やつはあごと共謀し、顎舌骨付近の過剰な緊張を生み出している。
Disturbing the peace of innocent singers just trying to sing a song that contains L's.
Grand larceny of nasal resonance, robbing singers of mask and head resonance from already difficult musical phrases.
Disorderly conduct violating the god-given rights and freedom of the larynx by constantly holding him back with physical force.
Resisting a rest, a resting position that's relaxed and tall like the NG and not fleeing into the dark shadows of the laryngopharynx.
These are the facts, ma'am. And I for one would like to see the L in a Cell. But we're gonna need a darn good vocal tip.

1. 二つのL

Uh... okay, so I know what you guys are gonna say... Justin... do you remember what it was like before you went crazy? And no, no I don't.
(シーンから戻って)えーっと… みなさんの言いたいことはわかりますよ。「ジャスティンさん… おかしくなる前はどんな感じだったか覚えていますか?」うーん、覚えていないなあ…
But that's not the point, the point is we've got to open a criminal investigation against L because it's causing too much grief for singers all over the world. So, let's talk about it.


There's two kinds of L's really. There's the front L as in the word "unlawful." Right? That's a front L, "unlawful."
Lの種類は二つあります。単語 "unlawful" に見られる、前のLです。そうです。これは前のLですね。 "unlawful"


But then there's another kind of L, the back L, which is as in the word "evil, evil." Right? That's a back L.
そしてもう一種類のLは、単語 "evil" に見られる、後ろのLです。 "Evil" これが後ろのLです。
So the front L, "unlawful." And the back L, "evil."
前のLは "unlawful" 後ろのLは "evil" ですね。

2. Lの犯罪

Now let's talk about the crimes that L has committed against singers.


That front L, first. Now this L here, first of all, can often cause a lot of jaw tension. We talked about the marriage of jaw and tongue. That "Luh, luh" sound tends to lock the jaw when really we can just do "unlawful." "Luh, luh." I don't need to do "Luh." But the L causes a jaw tension.
まずは前のLから。このLは第一に、あごの緊張をもたらすことがよくあります。あごと舌の結婚については以前に話しましたね。この「ラー、ラー」という音はあごを固めてしまう傾向がありますが、本当は「(あごを固めずに)"unlawful" 」とできるのです。「(あごを固めずに)ラー、ラー」。「(あごを固めて)ラー」とする必要はないのですが、このLがあごの緊張をもたらしてしまいます。
Now the next thing is, L, the front L causes a lack of nasal resonance often, right? "Lll, Lll."
First we want to find it with an N sound. "Nnn, nnn." And then make that N into an L. "Nnn, nll, nnn, nll."  And then we have that nice "unlawful." And I have that buzz in my sound, that nasal resonance.
まずは理解するためにNの音を出しましょう。「ンー、ンー」* このNをLに入れてきます。「ンー、ンゥゥ、ンー、ンゥゥ」そうするといい感じに "unlawful" と言えますね。鼻が震える感じの、鼻腔共鳴が得られます。
So it's the jaw and the nasal resonance. That's the front L.


What about the back L? That "evil, lll" that's even worse. That's got a lot of tongue retraction and we know all about tongue retraction.
後ろのLはどうでしょうか?この "evil"「 ウゥゥ」 はさらに嫌なやつですね。以前にもお話しした、舌の強い引っ込みをもたらしてしまいます。
That's going to cause the larynx to have a backwards pressure on it, right? So that it can't be free. So "evil" causes that backwards tongue.
喉頭(のど)が後ろに引き下がってしまい、自由ではなくなってしまうのです。このように "evil" が舌を引っ込ませてしまいます。
It also will prevent nasal resonance as well because we're not getting some of that high free tongue that we want and the soft palate slightly down so we get that nasal resonance.
So that fix would be as in the pronunciation "eviiiil." See my tongue? "Viiiil." I don't have to go "evillll, lll" "Eviiiil."
That sounds a little strange to speak, but we're really gonna see how that applies more directly in a song.


So the song I'm gonna work on today is the classic jazz song "I'll Be Seeing You".
And you're gonna see in this song "I'll Be Seeing You" that there's all kinds of L's - front L's and especially back L's - the L sound that could make this song quite difficult.
So this is the classic jazz song "I'll Be Seeing You."
And you hear all of those L sounds all the way through. And so if I exaggerate the problem, we get something like this...
And you get the idea. So that L gives me a lot of tongue retraction, especially those back L's. "In that small" "That small cafe" I don't have to do "small." I can do "Small cafe." And I keep my tongue up and the sound up in the nasal resonance if I don't do that L.
So now that's the back L. But there's a few front L's in the song too. "I'll be seeing you, in all the old familiar places" "Familiar." I could do "lll" or "nll" and get that buzzy L. "Familiar places." "Nll." And I get "nll" instead of "lll." "Familiar places." And then it's in the right spot.
So you guys can really see the application of those L sounds to a song. But next we're going to put L in a cell [sound of cell door closing] by creating a vocal exercise.


It's going to be N-L-E-H-N, "nlehn." Now I know that's a little bit of a tongue twister. "Nlehn." But we're gonna need it if the vocal justice system is gonna have its way with L and bring it out of the darkness and into the light, exposed.
So, "nlehn." We're gonna have guys down here. "NLEHN-NLEHN-NLEHN..." And ladies up here. "NLEHN-NLEHN-NLEHN..." And here we go together! [Exercise]
Awesome, awesome job. So thank you for helping put L in its cell.
And Charlotte, I'm so sorry to hear of all the distress a few bad eggs have caused you with your singing. But I'm glad that we could put L in a Cell. And so, let's take a look...
そしてシャーロットさん… ゲス野郎どもが歌にもたらした苦痛に、改めてお見舞い申し上げます。Lを収監できてなによりです。やつの様子を見てみましょうか…


[Investigator music]
L, we've gotcha right where we want ya. What do you have to say for yourself?
Mmhmm. Anything else you'd like to add, L?
"Llll Llll L Lllll."
Mhm. Sad. Any last words, L?
"La la la la la la la..."
Book him, boys!
"Lll lllll llllll L lllll."









※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。

Ep. 65「あなたは完全に失敗者だ!?」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード65「あなたは完全に失敗者だ!?」です。どうぞお楽しみください ;)


Ep. 65 "You're A Complete Failure" - Voice Lessons To The World







Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.




Welcome to episode 65 of Voice Lessons To The World, the show where we want to help you guys as singers by answering your vocal questions from all over the world.






And I'll give you a chance to ask questions later. But our question for this week comes from Ona B. in Kaunas, Lithuania.




And Ona writes, "Dear Justin, I'm a perfectionist and I know that this is getting in the way of my singing. Any advice for a perfectionist like me?"




Now, Ona, that's a fantastic question. And I really appreciate you bringing up that topic of perfectionism because perfectionism is actually one of the worst plagues in the entire Vocal Kingdom.




Perfectionism can stand in the way of your vocal potential more than just about anything. So, I think this is definitely an important topic for us to discuss.






But before we do, I'd like to share something that I've never shared here on Voice Lessons To The World. Which is that... I personally am a complete and total failure. [hits piano]




No really, it's true. And my hope today is that I can show you guys why you're a complete and total failure too, alright. So that's gonna be our topic for today, is reasons why you're a complete and total failure.




1. 完璧であることにおいて


The first one is you're a failure... [hits piano] at being perfect.




So if we're perfectionists and we're judging by a perfect standard, we always have to be perfect- in our singing, in our life.




Then we're always actually going to be a failure, right? Because nobody's perfect. There's no perfect person and there's no perfect singer.




So if our standards are perfection, then we're always going to feel not good enough. Like we have to live up to a higher standard, like we have to do more, like something's wrong with us.




And so that's why we always have that feeling of being a failure when we're perfectionists. Is because by those standards we're always going to be a failure.




So repeat after me, I'm a failure at being perfect and it's okay to fail. That was nice.




2. ヴォーカルテクニックにおいて


Now next, you're a failure... [hits piano] at vocal technique.




To be great as a singer, to have great vocal technique, we've got to make all kinds of bizarre sounds.




We need nasal ones, we need deep ones, we need breathy ones, we need tight ones, we need low ones, we need high ones, we need all kinds of sounds in our voice in order to get great vocal technique.




But if we're perfectionists then we're never gonna be willing to make those odd, bizarre, imperfect sounds that really make singers great.




Not only that but we're always going to be trying to be perfectly on pitch instead of allowing the voice to learn where that pitch is. Being willing to be flat and sharp sometimes as we're working on vocal technique. Being willing to crack. We've talked about that in the past.


それだけではなく、声にピッチの居場所を学ぶ過程を認めず、いつも完璧にピッチを取ろうとしてしまいます。ヴォーカルテクニックに取り組んでいるときは、たまにフラットしたりシャープしたり* するのを厭わないことです。声が裏返るのを厭わないことです。このことは以前に話しましたよね。




We need to be able to make a lot of different kinds of sounds that may not be perfect in order to improve our vocal technique.




So repeat after me, I'm a failure at vocal technique and it's okay to fail.




3. 練習において


Next you're a failure... [hits piano] at practicing.




A lot of times when we're perfectionists, we have some problems with our vocal practice. Either it's that we procrastinate and avoid and put off our vocal practicing altogether or we're practicing so hard that other problems result.




If we have to be perfect, sometimes we're afraid to practice because practicing is going to be the place where we learn that we're not perfect. But there's things in our voice that we have to work out.




So, that causes us to avoid it, to put it off, and to save it for another day. And then we realize “Oh, three months have gone by and I still haven't practiced” Why is that? It's the perfectionism.




The other thing is we can sometimes be practicing so hard trying to get every detail right, just be so perfect with everything, and that also builds in frustration and tension to the voice.




We need to have enjoyable practices where we have a goal in mind, we're working hard, but we're also giving ourself a break. That's what's gonna make a successful practice, it's also gonna inspire you to practice more.




So say it with me now, I'm a failure at practicing and it's okay to fail.




4. 成功を楽しむことにおいて


Next, you're a failure... [hits piano] at enjoying success.




The voice really loves it when we give it positive reinforcement.




If you're always saying, “Oh, it could have been better” “Oh, it wasn't enough” “Oh, I didn't like how I did” that actually builds in more fear, more stress, more tension, into the voice.




If you had a successful practice session, a successful lesson, a successful audition, or a successful performance, you need to take that time to enjoy the success that you had.




Don't always just be looking for the future and not taking time to enjoy that moment. Because you need to value each step along your vocal journey. It's actually gonna make the journey move faster towards where you want to be if you're valuing your success.




So say it with me, I'm a failure at enjoying success and it's okay to fail.




5. 「世間」に対して


Now next, you're a failure... [hits piano] to all of "them".




One of the things that us perfectionists often do is we create "them"- these other people that may not even be real. What do they think? What are they going to think of me? "Them".




It could be real people for sure. But a lot of times it's imaginary fans, imaginary audience members, imaginary casting people, industry people, imaginary critics.




First of all, it doesn't matter what they think anyway. But a lot of times, like I say, they're not even real people to begin with.




What matters is what you think, how are you doing with your voice, are you growing and are you enjoying every step of your music making?




So say it with me now, I'm a failure to all of "them" and it's okay to fail.




6. パフォーマンスにおいて


Now next you're a failure... [hits piano] at performing.




The best performances that we see are from people who are willing to make mistakes. They go so far, they're so brave and so daring.




And the performance - whether that's a high note that they could easily crack on but they take the risk and they hit the note and it's amazing, or an emotional scene where the actor is so invested and you just say how are they so risky, how are they so brave to do that?




It's hard when you're a perfectionist because if you're always trying to avoid making a mistake, you can never get that brave, daring, awesome performance that it takes.




We need to be willing to make mistakes as performers so that we get our most true and most daring performance.




So say it with me, I'm a failure at performing and it's okay to fail.




7. キャリアにおいて


Now next, you're a failure... [hits piano] at your career.




One of the biggest mistakes that I see people making with perfectionism is that they never get out there.




They're always working so hard to get it perfect before they show anybody - they don't want to show this song, They don't want to go to this audition, They don't want to release this album, because it's not perfect.




There's no perfect artist and we love people's flaws. So, unfortunately so many people with beautiful voices and so much talent - we don't even get to see them because they keep it locked up until it's perfect. And really the truth is, it will never be perfect.




And so then we're missing out on so many great artists that are holding back their potential because they're afraid that people won't think it's perfect.




The other thing that's a little unfortunate about people's careers is sometimes I see people with great careers - we got some folks that are top recording artists and Broadway stars  - and a lot of times, it's not enough.




And that's kind of a sad thing when it's not quite enough for folks that you can't take that time to say “This was an incredible victory and I am really doing well as an artist.”




I will really encourage any professional artist to take stock of where you're at and say  “Wow, look at how far I have come on my artistic journey.”




But, that being said, let's say it together. I’m a failure at my career and it's okay to fail.




8. 人生において


Now next, you're a failure... [hits piano] at life.




Okay, now that's a good one. So, artists have this tendency sometimes to want to create an image of themselves through their art. A perfect image of somebody else. Some perfect singer, some perfect artist, some celebrity.




And the truth is you don't ever get to be that. You always get to be you.




And you might be very, very successful but you never get to be that perfect singer. You never get to be that perfect star, that perfect celebrity - even the celebrities that we have, they're still just people, alright. So you never really get to be that thing that you may possibly, as a perfectionist, be working towards.




And so it's good to know that that's not really going to happen. And then you can enjoy who you are - who you are in this life independent of your artistry. And then they're both gonna take off more - your life and your art - when you're free from having to be a perfect image of somebody else.




So say it with me, I'm a failure at life and it's okay to fail.




9. 幸せにおいて


Okay, so next you're a failure... [hits piano] at happiness.




One of the things that I think is the most important about this discussion is that I want you guys to be able to enjoy your singing, right?




Singing is not the thing to be frustrated, defeated, broken about. Singing is the thing that's supposed to make you happy. It's supposed to bring joy to you and to the people around you.




It doesn't matter if you are a top level singer or if you're just starting off. You can hardly stay on pitch, it's fine. Singing is a joyful thing and it's a good thing for all of us.




And so if your perfectionism is causing you to get so frustrated and so down, turn it around. Sing it for a different reason. Sing, as we always say, for the joy and for the passion. Don't lose that joy, don't lose that passion.




We want you to be singing for that purpose at any level whether you're a top, top pro or you're just starting off, anywhere in between.




Singing ought not be frustrating and defeating for you. Even if there's difficult times - there's a lot of hard technique to work through - Don't let yourself get discouraged and hold yourself to a high standard. Enjoy where you are so that you have that happiness and joy when you sing.




So, I'm a failure at happiness and it's okay to fail.




10. 歌うことにおいて(成功者!)


Now last, you're a success... [victory music] at singing.




That's right, singing is actually perfect for helping us eliminate our perfectionist tendencies.




Singing, if you do it with joy, will allow you to be goofy and allow you to be ridiculous, allow you to be okay with making mistakes, allow you to be braver, allow you to be more confident, allow you to know yourself on a deeper level and to work through things - emotional, mental, spiritual, vocal technique.




Singing is one of the greatest ways to get in touch with the fact that we're all imperfect successes. Singing will do that for you.




So, repeat after me, I'm a success because I know I'm not perfect but I choose to sing and live with joy and passion anyway.






And I hope that that's been helpful for you, Ona and for all of us perfectionists. If you guys have questions that you'd like to see us answer on the show, you can send an email to Questions@VoiceLessonsToTheWorld.com.


というわけで、オナさんや完璧主義者である私たちにとって、今回の内容が役に立てば幸いです。このショーで答えてほしい質問がある場合は、 Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。


And today, more than ever, I'll say to you guys again. Don't lose that joy. Don't lose that passion. Don't let people tell you that you can't sing even if that's your perfectionist self, you know it's not true.




Get with a great voice teacher in your area or if you guys are in the New York City area or you'd like to Skype with one of our staff, you can visit us at www.NewYorkVocalCoaching.com.


あなたの地域の優れた先生に就きましょう。ニューヨークにいる方や、NYVCのスタッフとスカイプをしたい方は、 www.NewYorkVocalCoaching.com にアクセスしてみてくださいね。


And if you like these videos, I encourage you to download our free app. It's for iPad, iPhone, and hopefully more in the future. A lot of free resources, articles, tips, great stuff to help you guys grow as singers. Or you can visit www.VoiceLessonsToTheWorld.com.


動画を気に入ってもらえたのなら、ぜひ無料のアプリをダウンロードしてみてください。iPhone/iPad専用ですが、他の機種にも今後対応できればと思います。教材や記事、歌のコツなど、盛りだくさんの内容でシンガーのみなさんの成長を応援しています。もしくは www.VoiceLessonsToTheWorld.com にアクセスしてみてくださいね。


I'm Justin Stoney. We'll see you next time.











※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。