Feel the Joy of Singing!


Ep. 22「クイック・チェンジ」【VLTTW翻訳】

Ep. 22 "Quick Changes" - 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 22 of Voice Lessons To The World, the show 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 a question for this week comes from Daniel J. in Queensland, Australia.
And Daniel writes, "Dear Justin, Can you tell us how to manipulate and alternate between head voice and chest voice quickly, like Adele does in the chorus of, "Set Fire to the Rain."
ダニエルさんはこう書いています。「ジャスティンさん、こんにちは。アデルが “Set Fire to the Rain” のサビで歌っているように、ヘッドヴォイスとチェストヴォイスの間をうまく行き来する方法を教えてくれませんか?」
That's a great question, Daniel. And you're right about that. Adele has this really unique ability to move between her registers very quickly.
It gives her a really cool and different sound. That's partly why she's such a great singer, is she does this quick alternation between her registers.
So we'll look at "Set Fire to the Rain" today. But I want to first do a quick registration overview.
それでは今日は “Set Fire to the Rain” を見ていきましょう。まずは声区についてざっと説明したいと思います。
So we've got our chest voice. That's the thick, robust, powerful coordination. It's like speaking on pitch. It's thick cords, it's air out the mouth, and like I say it's like speaking. And Adele has that really strong, speaky-belty chest voice that she uses a lot.
But then you've got your head voice, which is a lighter sound, and it's air to the back, thinner cords a sort of, lighter and "hooty-ier" quality to the voice. So that's head voice. 
And then in the middle, you've got all manner of blends between the two... All manner of strengths, of vocal cord coordinations, and things that are between head voice and chest voice, which helps you to blend smoothly.
そしてその間には、その二つを混ぜたあらゆる種類の声があります。あらゆる種類の力強さ、声帯の使い方 - ヘッドヴォイスとチェストヴォイスの間にあるものが、声を滑らかに混ぜるのに役立ちます。
Now Adele does blend smoothly sometimes. But she also moves quickly between the registers and makes it almost in some ways - not so smooth - on purpose.
And I'll show you what I mean by that with the song. So let's get to "Set Fire to the Rain."
これがどういうことなのか、曲で説明しますね。”Set Fire to the Rain” に行ってみましょう。
And I'm just going to take one passage, and breakdown kind of some of the things that Adele does in the song.
This is not an Adele imitation. I'm just taking some of the coordinations that she uses
and I'm gonna just show you what she's doing with her register changes so that it
gives you a better idea of understanding what some of these great singers do with
their voices.
So if I take that chorus of "Set Fire to the Rain:"
それでは ”Set Fire to the Rain” のサビを歌ってみますね。
"But I set fire to the rain and I threw us into the flames. Well I felt something die cause I knew that that was the last time the last time..."
(歌)"But I set fire to the rain and I threw us into the flames. Well I felt something die cause I knew that that was the last time the last time..."
So she starts off in chest voice and then quickly she throws it up into head voice and then back down into a mix and then back up into head voice and then back down again, "But I set fire to the rain and I threw us... and I threw us..." right into
head voice and then right back into mix.
チェストヴォイスで歌い始めてから、素早くヘッドヴォイスに移り、そのあとミックスに戻ってからまたヘッドヴォイスに行き、また戻っています。”But I set fire to the rain and I threw us... and I threw us…” という感じで、ヘッドヴォイスに行ってからすぐにミックスに戻ります。
So she starts off strong with, "I set fire," and then, "threw us" is head voice, and then mix. "I threw us into the..." and then right back, "into the flames..."
"I set fire" で力強く歌い始め、"threw us" ではヘッドヴォイスからミックスに移ります。"I threw us into the..." でもヘッドヴォイスから "into the flames..." とミックスに戻ります。
So she's back and forth between her head voice and her mix. And that's giving it that really unique quality.
Now another thing to know about Adele is that she's often doing the head voice that she throws in so quickly on an e vowel or an oo vowel.
And those are very heady vowels. They do help the air get to the back.
The "oo" because the air is being blocked from the mouth, "threw us... threw," helps me get it back here. And then the e vowel often you'll hear her do that one as well.
「ウー」では口で息が遮られているので、"threw us... threw," が息を後ろに持っていくのに役立っています。そして「イー」の母音の時も彼女がそうしているのを聴けるでしょう。
When she picks a heady vowel, she often just lets her voice go quickly up into head voice.
So hope that can help you see just what she's doing in her song work to go... I wouldn't actually call it graceful, but purposefully "not graceful" between her registers.
To do that you have to be very very confident in your registration. You have to make sure that you have all the registers worked out.
So let's then talk about how you can develop some of those skills of moving so quickly between registers like that. The first thing I want you to know is to work on every register.
A lot of people neglect one or another. They say, "Well I'm a belter. I want to sound powerful like Adele."
(※訳注 ベルター 声を張るような歌い方をする人のこと。現代のポピュラーミュージックによく聴かれる歌唱法で、それ自体は悪いことではありません)
But then they don't work on their falsetto. They don't work on their head voice. They don't work on the lighter coordinations. Belters, you need to work on your head voice just as much as you work on your belt.
Same thing is true of head voice singers. Make sure that you have a strong robust chest voice to add power to your voice so that it's not always just head voice.
Then finally, make sure that you have the mix qualities in-between. You should be able to have every note that you're going to be doing in a song in every different coordination.
So if i just take this note, "he..." sorry, "he," I should also be able to do, "he" or "he" or "he" or "he" or "he..."
I have all these different registers that I can use for that single note. If you make sure
that you can sing each note in all different registers, then you're going to be able to move quickly between them.
It's not like you sing your g, and it's always chest voice, you want to make sure
that you can do it in different coordinations.
Another way to develop the ability to do all those different coordinations is, don't add air for the coordinations.
Don't add more air for your chest voice or less air for your head voice. You want to keep the airflow even, regardless of what register you're in. Pop singers are very very good at keeping the airflow even regardless of the register.
The other thing similar to that is don't change the volume for your registration. Keep the volume the same and don't get louder for chest voice, don't get softer for head voice, and then it's easier to go back and forth between the registers.
So I hope that gives you a little sense of what Adele does and how you can start working on it too.
Now I'm going to do a Part 2 kind of next week on this, Daniel, and all. And I’m going to give you an exercise that helps you to feel how you can move quickly back and forth between registers yourself.
So there's gonna be a Part 2. Stay tuned for that next week as we do that.
But I hope that's been helpful for you guys today as singers. If you have questions you want to see this answer on the show you can send an email to: Questions@VoiceLessonsToTheWorld.com.
今回の内容がみなさんの役に立っていれば嬉しいです。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。
We just encourage you not to lose the joy, don't lose the passion... Keep working
on all the registers of your voice. Keep being inspired by great artists like Adele.
Find a great voice teacher in your area. If you guys are in New York you can check us out at: www.NewYorkVocalCoaching.com
あなたの地域の素晴らしい先生を見つけましょう。ニューヨークにいるのなら、www.NewYorkVocalCoaching.com をチェックしてみてください。
And if you like these videos you can visit: www.VoiceLessonsToTheWorld.com.
動画を気に入ってもらえたのなら、 www.VoiceLessonsToTheWorld.com も見てみてくださいね。
I'm Justin Stoney. We'll see you next time.








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