What's bright and dark? Well, there's the note that we're singing or speaking and then there's overtones above that note. And if we emphasize the higher overtones it sounds brighter. If we emphasize the lower overtones it sounds darker.
Lifting the tongue root like in an E vowel is another thing to make it sound brighter. And then lowering the soft palate using nasal resonance is another element related to brightness. It doesn't have to but it's a part of our brightness.
It's super important that you find twang in your speaking voice before you find it in your singing voice. Because if you can do it with your speech it becomes very easy to translate to your singing. However, if you can't do it in your speech it's rather difficult to apply to your singing.
Or you might try an auctioneer. Twenty five, twenty five do I hear twenty five, Twenty five to that man over there. Thirty, thirty, do I hear thirty, thirty to that woman in the back. Forty, forty, anybody forty, forty sold to Sergey M. in Murmans, Russia.
Or you might do a robot character. Hello my name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City. 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 that's just not true.
Or maybe the best one would be a nerd character. Um, well, I just thought that maybe we would have a voice lesson and then after that we could go get our allergy shots or maybe see a movie, I mean whichever one you might think would be better to do. [hits piano]
So if I take "nan", for example, ♪ Nan ♪ I start to find that edge, that cord closure within the twang. Then I go back over into my song... ♪ I am titanium ♪ And then all of a sudden I can start to get that belt happening up on upper notes.
Then, brightness independent of other factors. I don't want to have to spread to be bright. I don't want to have to crank the larynx sky high to be bright. I don't even want to have to use nasal resonance to be bright. Nope, those things are different.
*訳注：先ほども出てきましたが "Apple" の "A" と同じ母音なので「ナーン」と「ネーン」の中間くらいの音ですね。ジャスティンの発音を真似してやってみてください。
With this one we're going to have guys and ladies on the same pitch. Not up and down the octave, but the same pitch. So we're going to be starting too low for most ladies, and going too high for most guys.
It's okay to flip to falsetto, it's okay to flip to head voice. But if you can, stay in a mix. It's not going to be too loud. We're just going to keep it really bad sounding, really twangy. That's really the purpose of this exercise.
Fantastic work with those twanged up sounds! So it's been a great day finding out what twang is, how it can be used in the speaking voice, the singing voice, the benefits of it, and then you guys did such a great job adding some of those qualities to your voice.
You also might be interested in our Voice Lessons To The World Vocal Course. This is a 12-part vocal course with hundreds of vocal exercises, it's a good resource for you on your journey from beginning to master singer. To download the course go to www.VoiceLessonsToTheWorld.com.
Finally, if you'd like free vocal tips sent to your email every single day you can sign up at www.DailyVocalTips.com. Fresh vocal tips delivered to you from your good old pals at New York Vocal Coaching every single day.
In singing, good breath support is foundationalto everything that we do. Now what does that mean? That means don't go slamming a bunch of air at the vocal cords. Any civilian can exhale, but a singer knows how to release a small steady breath when they sing.
Now we know from episode 1 of the show that there's different kinds of breathing types. There's clavicular, there's rib, and there's belly. Whatever breathing system you choose, make sure you're not taking in too much and make sure that the air you let out is small and smooth.
Vocal registers are things like head voice, chest voice, mix, falsetto, different territories of your voice. Your head voice is kind of like your flexibility and your chest voice is kind of like your strength.
The mistake that singers make is only developing one of the registers. So a singer says, "♪ I ♪ would like the power of chest voice" and only does chest voice. Or another singer says "♪ I ♪ would like the sound of head voice" and only does head voice. Another singer says, ♪ I wanna rock and mix ♪ and only works on their mix voice.
Your larynx is essentially the house for your vocal cords. So when people say don't sing from the throat, really they mean don't strain. You have to sing from your throat. [Hits piano] That's exactly where the sound making happens.
Now if you remember from episode 4 of Voice Lessons To The World, we talked about larynx and style. I'm at an opera birthday party... ♪ Happy birthday to you ♪ I'm at a choral birthday party... ♪ Happy birthday to you ♪ I'm at a musical theatre birthday party... ♪ Happy birthday to you ♪ I'm at a pop birthday party... ♪ Happy birthday to you ♪ I'm at a rock birthday party... ♪ Happy birthday to you ♪ And I have different styles that I can do with different positions of my larynx.
Maybe shoulders are raising or maybe the sternocleidomastoids (whoa) are squeezing. Maybe my jaw is coming a little bit too far forward or maybe from NBC Nightly News my tongue is pulling too far back. Um, Miss Piggy, are my digastric muscles too tight? And we want to take these physical tensions and basically say "hiyah!" to them.
Now nasal resonance does not mean sounding nasal. As we talked about in episode two of the show. If I want to sound "nasal" I can widen the embouchure, I can raise my larynx, or I can even narrow my epiglottic sphincter.
One of the hardest things to do in life is just to be ourselves. And vowels have this very same problem.
We've talked already about a few vowels on the show. The e vowel and the O vowel. And if I take the E vowel something like this might happen... ♪ Me ♪ It changed to "ih" at the top. But really I wanted... ♪ Me ♪ ...the vowel to stay itself and not shift to "ih".
Now there's times to modify our vowels for all kinds of different reasons. But our step one is to make sure that we're singing pure vowels in our technique and also in our song work. Making sure that the vowels are themselves.
Look, quite frankly, singing is one of the most amazing things that we can do. It's our bodies and our spirits expressing what's inside us that needs to come out. It's one of the greatest opportunities we'll ever have in life.
So I want you to promise me that you don't let friends or familyor enemies or voices in your head talk you out of it and say... "Oh no maybe I shouldn't do this." No, you need to sing for you and you need to sing for joy.
I also encourage you to download our vocal course. This is a 12-part course that takes you on a journey from beginning singer to master singer. Hundreds and hundreds of vocal exercises that will help you reinforce these concepts and grow with your voice. To check that out you can visit www.VoiceLessonsToTheWorld.com.
Now Daquan, thank you so much for that awesome question. Because we get this question all the time which makes me know you guys are thirsty for more vocal information. Hungry for a vocal course designed just for you.
So there it is, our vocal course. We are so, so excited about it. And I hope that you are so, so excited about it too. Because, you know, people always ask me- Justin don't you ever miss performing? And I say no I don't! Because I am hopelessly devoted to you as singers.
That's the feeling that I get from this, is that now something that I've created is going to be benefiting all of you. And so as a teaching artist, I'm so thrilled that this is going to be out there for you all to enjoy.
So let's talk about what you can expect in the vocal course.
This vocal course is truly epic. Twelve whole parts! Three beginner, three intermediate, three advanced, three master. Hours and hours of content, hundreds of vocal exercises. There's a male course and also a female course.
And we're going to cover every topic that you could want. Chest voice, mix, head voice, falsetto, flageolet, vocal fry, growls, riffs and agility, vibrato, straight tone, every vowel, every kind of sound that you could want to make on all kinds of patterns.
And now next let's talk about how to get the vocal course.
Downloading the vocal course could not be easier. All you have to do is go to www.VoiceLessonsToTheWorld.com. And all the information and instructions and download is right there so that you can get the course.
Now I know other vocal courses make you get the entire course. But we didn't think that would be fair to you guys so you're welcome to get the entire vocal course or you can get different levels or even different sections so that you can really tailor make the course for what is best for you. We thought that would be a great thing to give you options.
Think of it as a resource. I know it's a great course, I know you're going to learn a lot. I know you're going to make huge improvements to your voice and you're going to have a heck of a lot of fun doing it. That's what it's all about.
So as long as you think of the vocal course that way, I know it's going to really benefit your singing.
Also I don't want you guys thinking this is the end of Voice Lessons To The World. No no no, this is just the beginning. And I will be teaching until I ascend from the piano bench. So don't worry, we're just getting started.
Now Rodrigo that's a spectacular question. Because we work very hard on our vibrato. We've talked about it in lessons in the past and I know we're gonna talk about it more in the future. Vibrato is very important.
A vibrato note, however, does. Take a listen... ♪ Ah ♪ Those are small little pitch bends. Not... ♪ Ah ♪ Not enough to move the pitch away from its fundamental note. ♪ Ah ♪ But, little baby pitch movements within that note.
And we want to be able to control our voices like that. To say I'm choosing to do straight tone or I'm choosing to do vibrato. This gives us a lot of control not just technically but also stylistically.
It's very interesting to me that in the world of voice somehow people started getting the notion that vibrato is the natural way to sing and straight tone is not natural and sometimes people even think that it's unhealthy for the voice, that it's damaging for the voice, and it's simply not true.
But this is not to suggest that vibrato is a kind of thing of the past and straight tone is something of the present and contemporary styles. In fact straight tone dates back hundreds if not thousands of years.
You hear it in a lot of world music and folks music, emerging from different cultures. You hear it in things like Gregorian chants. And even in the classical world, things like baroque and the choral tradition. They all have straight tone present in the sound.
Now, modern examples would be things like pop, rock, R&B, musical theatre, bluegrass, and Rodrigo, you mentioned jazz! Which is definitely a style that uses a lot of straight tone. In fact, jazz would be a style where sometimes singers sing exclusively with straight tone.
So what I'm gonna do here with this song is try my very best to sing with all straight tone, no vibrato at all for the entire piece. Just to give us a sense of what that would sound like to sing with literally zero vibrato. Now jazz is a good style to do that with.
So next I'm going to give you some tips on how to sing with straight tone. And then we're gonna look at an exercise.
There's gonna be two kinds of singers watching this video. Those like you, Rodrigo, who've been doing vibrato for so long that straight tone has actually become difficult to do. And then there's also going to be those who find straight tone rather easy but would like to improve their control over that straight tone.
Try changing the circumstances so that you're not in the same place where vibrato is present in your voice. Learn it in the foreign circumstance and then bring it back to where you're used to singing. That's for those who find straight tone difficult.
For those who'd like to improve their straight tone- sameness is actually going to be the answer.
We need to have sameness of breath. With straight tone breath support becomes even more important. Taking that low breath, and then letting it out slowly but also steadily. Blasts of air, changes of air, will affect the pitch. We really have to master that small steady breath even more for straight tone.
Other elements of sameness are going to be- larynx postion. Doesn't matter which larynx you pick, but you're going to have to keep it relatively the same or else straight tone becomes quite difficult to do.
Or if you like these videos you can download our free app for iPad, iPhone, and hopefully more in the future. Or visit www.VoiceLessonsToTheWorld.com. There's so many great resources, articles, tips, videos, things to help you improve as a singer.
Randy, thank you so much for that great, great question. Because I hear this question from singers actually of all ages all the time. Justin, am I too old to sing? And the short answer is no! [hits piano] No you are most certainly not too old to sing. [hits piano] Sorry... Now that's my short answer. No.
Singing? That's something that's a part of our human spirit. A part of our human experience. That's why we have it at weddings, celebrations, parties, funerals, graduations. It's integrated into our human life. It's something that we really need to do.
Now sometimes people say, Justin, I don't know if I need to sing. Maybe that's good for other people. But I personally don't really have singing as a part of my life at all. Well, to those who say that... I'm onto you.
So I'm out late one night for a tall, cold, frosty glass of warm milk. And I like to stay out really late in New York City. And I like to sit in the corner with my books, and I like to look at pictures of cricothyroid muscles and epithelial layers and all kinds of vocal nerdery. [hits piano]
And I said, well I'm a voice teacher and I like to take my game to the next level. He said, ah, a voice teacher, vocal coach, cool. I said, are you a singer? He said, oh no no no, no I'm not a singer. No, I never sing, I don't care for singing. I said, okay that's great. So I take my tall, cold, frosty glass of warm milk and I get back to my studies.
So next let's look at- how old is too old? Here's a fun fact for you, in my teaching career I've worked with thousands of singers. But I've never had a singer over the age of 12 who didn't say- I feel so old. [hits piano]
And it's funny you meet, like, a 10 year old and they say- I'm a kid! 11- I'm a kid! 12- I'm a kid! 13- I feel so old. [hits piano] 15- I feel so old. [hits piano] 17- I feel so old. [hits piano] 20- old. [hits piano] 25- old. [hits piano] 30- old. [hits piano] 35, 40, 45, 50-
Actually, by the time you get to be about 50 people start saying I feel younger than
But the point is if everybody gets to say I feel so old, then nobody is old. If 13 year old and a 40 year old can both say I feel so old, age doesn't matter. Age is very relative, it's all in the mind. And you can overcome age as a singer.
Here's some more facts for you. My original mentor as a singer was a metropolitan opera singer. He didn't even start singing until he was 27. That's way, way later than mostopera singers start. And he made it to the highest opera in the world.
So why? Why can we overcome age? Really the truth is because the voice is muscular.
This is actually the very reason why we can train our voice to begin with, that it's muscular. Why we don't have to believe that myth that you have to be born with singing ability. No, we train these muscles.
And the good news as we age, is they're not like bench press muscles or run a marathon kind of muscles. No, they're coordination muscles. Almost like hitting a pool shot instead of throwing a shot put. So these little coordination muscles can really be trained at just about any age.
Now that's good news! Because you might say... I don't have a six-pack but you ought to see my lateral cricoarytenoids. Or you might say... These love handles ain't pretty but you ought to see what they do for my breath support. Or you might say... Stuff may be sagging a little bit but my pitch ain't sagging because of my cricothyroid. ♫ Thank you!
Our physical strength does diminish and that's gonna lead to a little less vocal strength. Same thing with our flexibility. We have less flexibility as we age. And so our vocal flexibility will be no different.
So those are some things that you can watch out for as you age. However does that mean to not sing? No way! In fact, it means just the opposite. It means we need to focus more on our vocal technique overtime.
I also encourage you to download our free app for iPad, iPhone, and hopefully more in the future. A lot of great resources, tips, articles, videos, things to help you to grow as singers at really any age. Or you can visit www.VoiceLessonsToTheWorld.com.
Now of course that's the perfect question for us to ask. And we looked already at two very specific kinds of belting. So today we're going to look further at even more ideas surrounding belting. Because as we know it is not just one thing. It is a very, very nuanced art form.
Actually more than I can even cover in three episodes. So know that we're gonna do even more belting to come in the future. But we'll start off the day with more ideas by just going back to the question of - what is belting?
So in episode one we looked at dragging chest voice up where things become a kind of shout.
Then in episode 2 we looked at taking the mix voice up higher than it would go. And that's the belt to use almost all the time because it's got that great nasal resonance to it and also head resonance, as big features protecting the sound.
But those aren't the only varieties of belting. And also there's some other tricks that I would like you to know that help make things sound beltier. This can be applied to chest voice, to mix, even head voice and falsetto.
So let's look at some other alternatives, other tricks that we can add to our belt.
Belting is called belting because it's basically a kind of shout. Now, we're not shouting very often. When we drag the chest voice up then we are doing a kind of controlled shout. But, when we take the mix up we know that we're not shouting at all.
There's the nasal resonance that can give it a shine and a real zing to the sound.
And then sometimes there's even a bit of a raspy quality to the sound. Now we're gonna look at rasp a lot more in videos later on. But some rasp in the sound can actually increase the belty quality as well.
So that's it, those are some shouty qualities that don't necessarily mean shoutiness. The mouth exit, the mouth shape, the raise of the larynx, the nasal resonance, and the raspiness. And so we want to be able to use some of these coordinations.
Like I say, whether I'm in chest voice or mix or getting up into head voice and falsetto, anywhere that I'm at in my range if I want something to sound beltier I can apply belt tricks to make it do that even if I'm not dragging a shout.
And a really good song to demonstrate this with is actually "Gethsemane" from the musical Jesus Christ Super Star, because it goes sky, sky high but we're doing it right, here. We're letting the cords lengthen. The cricothyroid is lengthening the vocal cords,
the air is staying in, and we're doing acoustical shapes and sounds that make it sound beltier and actually quite rockin' up at the top even though it's quite light to the voice.
So let's check this out with "Gethsemane" from Jesus Christ Super Star. In the musical Jesus Christ Super Star, I don't want to give it away, but Jesus dies. [hits piano] And when he does he has to sing a Jesus kind of high note which happens to be a G5.
And, you think, well why would anyone even want to belt that high? What's the purpose of going all the way up there that high in a belt? There better be a darn good artistic, or dramatic, or musical reason for doing so.
Phew! That is just way, way up there in the stratosphere. But here's the cool thing. That doesn't really cost the voice very much. It's actually not that hard to do. Maybe technically it's difficult but not physically.
As we go higher and higher we actually lighten the vocal cords if we're doing things properly. If you're yelling and pushing chest up, like we did in the first episode, if that stuff goes too high of course it starts to cost you.
But, if you move into the mix, you move into head voice and sometimes Falsetto even, in a reinforced falsetto when you go up way high in the voice and then disguise it with other tricks and resonances it gives that impression of belt, belt, belt, belt, belt, belt, belt, all the way up there.
And so we're next gonna look at some of these belt tips and tricks that are a little bit different from what we've looked at yet.
These are some tips and strategies that I'd like you to keep in mind because what we're about to do is an exercise that covers all of what we have done in the entire How To Belt Trilogy. ♪ Yeah ♪ [hits piano] Don't listen to her, listen to me.
You're going to use nasal resonance in all the registers, cause this exercise is gonna go from chest, to mix, up into head voice, reinforced falsetto, all of that high, high, highest of belting. So you're gonna keep the resonance involved in all of what you do.
Steady volume, steady breath, resonance, and then you can play around with some of those alternative acoustical shapes that I mentioned earlier in today's lesson. And so you're gonna mess with all of that stuff. The exercise will facilitate it.
The one thing I don't want you doing is pushing volume. It shouldn't hurt, it shouldn't feel like a strain. We're lightening up, you can connect as long as you can currently go and then let it get lighter. That way you're building the mix the right way, the light way and not the pushed way.
Awesome job! And I know that Manny Cooner is very, very proud of you. And so am I because this has just been such an awesome How To Belt Trilogy. ♪ Whoa ♪ [hits piano] Ha! I finally got her. And I'm so glad about that! Took her down after all this nonsense.
Like I say, there's more work for us to do on belting to come. And I'm not gonna spare these tips from you. We're gonna do more of this in the future. But this trilogy really helped us to kick things off. And I hope it helped you guys.
I also encourage you to download our free app. It's for iPhone, iPad, and hopefully more in the future. Great resources, tips, articles, videos, all kinds of things to help you guys get to the next level on your singing journey. Or you can simply visit www.VoiceLessonsToTheWorld.com.