How to Sing Deeper

Hello YouTube, my name is David Larsen today I'll be showing you the basics of the subharmonic registered singing technique now this register encompasses notes from the octopus range really anywhere from around F sharp to to sharp one and done with C sharp one it goes very low depending on how your voice is and how long you train with it so I will be showing you the very beginning steps of it today but first this one is for those of you that have no idea what I'm talking about and you just stumbled across this video and you want to hear an example so I'll give you an example real quick the last two notes of the short little phrase are going to be in the sub harmonic register okay so that may or may not have been my cleanest one ever but I have another example on my channel the Volga boatmen or something like that the end of that and there are many other examples out there kay barber is very good at this technique cody jr.

Uses it and how yang is another really good user of this technique so they have some great examples on YouTube so go check them out as well this video though is going to be in a series of videos talking about some extra base techniques that I will be doing on the next few weeks but this one is for the very beginning steps of the subharmonic register technique first of all I want to talk about real quick what is actually going on in your throat while this is happening how is this how is this sound coming out this octopus sound well you have two sets of vocal cords in your throat you have your regular vocal cords which I'm using right now to speak oh and to sing regular things like that regular phonation then you have your false cords which are used for vocal fry' and things like that and some people use those very effectively Tim storms too Foust they use them effectively and sound decent and I call that singing that is a different story we'll talk about that some other time anyways so you have these two sets of vocal cords your regular cords and your false cords which are above your regular vocal boards so there is a technique out there that is a bit more common commonly heard of than some harmonic singing and it is called um throat singing Oh ugly tones it's kind of tough on your throat in beginning stages that utilizes both sets of vocal chords and people realize studying this technique that your false cords when they are controlled properly they vibrate with the resonant frequency exactly one octave below pitch is what your regular vocal cords are vibrating out which is really strange I mean the the physics are there and everything as to physically why they are it just feels a mass and structure that your false cords made out of but why it's such a it's such a strange thing as to why they vibrate an octave lower than your regular cords but kind of a mystery of the human voice anyways that technique utilizes both vocal cords why did I bring it up because some people get the common misconception that throat sing is sub harmonic singing and it is definitely not it is similar in the fact that you're using both sets of vocal cords to create a sound but it is different in the way that you activate the sound and the vocal cords so car guitar or throat singing you activate the sound using a glottal put short vowel attack whatever you want to call it a glottal and that is the home oh but it's a very abrasive sound that's one comedy sport is African or tribal music that you sing in honor bars whatever oh oh that push at the beginning of the phrase or word is a glottal push now the cargador method the kind of abuses this glottal push and sustains sound using the push through the entire thing so it takes quite a bit of muscle to do and people that practice it incorrectly hurt their voices toppy so this is not throat singing this technique utilizes the same set of vocal chords although you're activating those vocal cords with steady airflow regular airflow like you would normally speaking or normally singing so how do you get into this register well Kody Jeter one of his videos definitely go try to find a camera what it's called but he talks about the song the Joker by Kenny Rogers and the very first word Kenny Rogers comes in on he accidentally is in the sub harmonic register for a moment a very brief moment just a word and it's something like Oh like that he just starts in the subharmonic rapture and registered and slips into his normal chest voice so that is really how I started getting the feeling for this register and it's really all about feeling once you get it down so what I'm going to do now is try to take myself back about six months to when I first started so I can be something relatable for you guys that are just starting out I don't want to sound perfect here I want to sound like I did when I started six months ago so this is how I started and this is how I would suggest to start because it worked very well for me it may not for you but I hope it does so here we go if your speaking voice is roughly around mine or if your bottom usable chest voice note is around an E flat or an E then try to aim for the B flat E flat one B flat to B flat one your your first note your wheelhouse note or whatever you want to call it for this register will be B flat one which is pretty exciting that sounds pretty cool right you probably never saw one of those before or hardly so we're gonna we're gonna aim for a B flat one if you have a bit higher low end maybe an effort so it's probably going to be around to see and some of my friends David Kahn is one of them he has quite a bit lower voice than I do and his is actually sure I think so um so yeah we'll go from there pick whichever one suits you best so I'm gonna go with mine B flat and what you're going to do is take the pitch one octave above that so they pee for two okay so you got that note now what you're going to do while sustaining that note is let your voice relax to a point where it almost slips back into vocal fry' and you're going to have to practice this a few times to get the feeling down but I'll try to imitate the sound that you should get right now what I started with so this is what you'll this is what you should experience when that that is the very beginning of the sub harmonic technique um you'll get a lot of pops and it won't be very controllable but you'll hear this tone underneath that sounds like it could be this and it is that is you're doing well it sounds terrible but you're doing well just keep going so you've got that and what I would suggest in there is not much more than a half an hour a day for the first week or so practice just trying to get that note and sustain it until you can get it to a point oh you know with a few less pops but you you actually get that tone on the bottom now it's kind of exciting then you're like oh I can actually hear this tone underneath that's got to be flat one there's still a few pops and cracks and lack of control and you'll go flat and all of that will happen as you're practicing this but it will get a lot better if you practice it just practice wisely don't practice too much if you practice too much you will lose your voice one of my friends just about lost his voice for a little while while trying to do this too much um so don't practice too much but yeah so try to get one note down and from there hopefully by the time you get one note solid I will have made another couple of videos explaining the next steps of this so there you go for now I will leave you with that if you want to find me on Facebook or Instagram I am putting those tags in the description box if you want to actually contact me or ask me more questions about this or just leave a comment below also if you want to see more examples of this like I said I have one other video on right now the Volga Volga boatmen just the ending of that I think it's just G or something like that um kay barber find his channel he is very good this technique Cody Jeter is very good at this technique and Cal yang those are the three main ones that I know about on YouTube if there are any others somebody please let me know also I will be making more videos in the future not just about sub harmonic singing the sub harmonic register but also about some other extra bass techniques that some people will talk about some people I have not seen any information about at all so I would like to share those with you guys as well so that will be in the future – I'm excited for those so any comments or suggestions just leave below and I'll try to get back to you soon so thank you.

Hi this is Freya thanks for tuning in have you ever really practiced low notes or do you mainly concentrate on the high notes I think low notes are just as important as the high notes the cusp you will need them and in order to make them sound beautiful you can do a few exercises you want to find out stay tuned usually we perceive the high notes as a really difficult ones and although they are the ones that will really impress your audience you know with really artistic singing low notes are just as important because this is where you could put a lot of emotion too and if you want to sound really pretty and velvety and silky whenever you sing low notes I have a few exercises for you now first of all what's really important is that you don't push him don't try to be loud try to be soft usually whenever the low notes have to be sung it's an a part of the song that is very relaxed or very emotional very maybe introverted so you don't want to get loud you don't want to go like no notes and you don't want your audience to think oh he or she is singing really low now that must be the limit now since some songs have this little tweak of first being sung in the lower octave and then later again in the upper octave such as hold back the river by James Bay you have to start quite low in order to make it on the top later on hold back the river let me look in your eyes hold back the river so I can stop for a minute and be by your side hold back the river hold back hold back the river let me look in your eyes hold back the river so low I can stop for a minute and be by your side hold back the river hold back you see in order to be able to get that high I would have to start pretty low in order to make it now first of all let's look for a really relaxed note start on an AH kind of in a mid-range and then slowly go down and make sure that your throat stays very very relaxed the lower you get the more relaxed you should be just get soft and get really relaxed because then it sounds really weird and pushed and dark and unless you are really wanting to come across like really dark and sinister you don't want really do that next I want you to imagine you are trying to tell a little baby a goodnight story so it will fall asleep and this is a baby that has a hard time falling asleep so you got to be really soft and really know and really kind of monotonous like this I'm gonna tell you a nighttime story and then you'll sleep you will fall asleep you will get really tired and your eyes just fall falsely close your eyes and the Sandman sprinkle sand in your eyes and bring you wonderful dreams so this speaking in a very soft and very low relax boys pretty much resembles the way you should sing whenever you sing a really soft and emotional song whenever you have those really low notes now let's try to apply this on this song hold back the river we'll do it even lower than other before just to demonstrate to you it's possible to still phone eight a tone but be very very very relaxed and hardly have any pressure whatsoever look in your eyes your side try to do this on a note that is extremely low for you maybe just the lowest note you can do maybe one above that if you can do that that's really great you'll notice you will need a little bit more air and what's important is that you don't push it you know let it go freely and let it go very relaxed but all the while always think of this very soft blow speaking now since we don't have a whole lot of space back here it's very important that in order to not sound really flat that inside of your mouth cavity you have enough space so you can make those vowels still be understood now this is how to sing low notes for very relaxed songs now if you are a bass or a bass baritone and you want to sing those low notes full power there's a whole different technique for that but most of the time and pop music we don't really need that usually you want to be soft and emotional and very intimate and then it's like speaking whenever you are relaxed and you're very introverted you don't speak loud and you don't speak very high you kind of want a lower pitch it Laxus and then when you get more excited you get louder and at the same time you get higher it kind of goes together low and soft high and louder there are exceptions of course but a lot of times that's the way it is so these were my tips for singing low notes beautifully I would love your comments on how it worked out for you or maybe some other exercise that you may do if you liked the tips I would really appreciate it if you left me a thumbs up for the video and of course if you have not already subscribed to my channel I upload a new singing tip every Friday and also there are some performance videos on my channel and other than that the only thing that's left to say is have a wonderful day always keep on singing and always keep a song in your heart music is good for the heart body and soul have a wonderful day.

everyone this is keegan from bahia inbox to do in this video when i talk about learning to sing with a low wrench so teaching people that have a naturally low range is a little bit of a nation mine considering that i am naturally a bass so there's a few tricks to doing this that i think are like coaches that have a bird voice types different voice types don't consider are important because they didn't have to do them for example placement when i first started learning I went to a classical female coach she was an amazing amazing singer but I was never taught anything about placement because having a high range naturally her voice created the right frequencies mine did not this is not a singing voice this is not what you can sing with so I've learned over time that I need to place my voice now placement is it's somewhat of a figurative thing it's a figurative way to communicate with your vocal cords so when I'm speaking my vocal cords are thick floppy and loose that's why I have a low voice I speak around about a low D which is lower than my voice actually sounds but it's it's considerably lower to speak with so when I'm singing I'm not actually taking this voice and bring it up through my ranch I'm actually communicating with my vocal cords that I want them to be you know tighter and more controlled and I want them to make it frequencies which buzz in a specific place so what you want to do is if you have a low range like me if you're a a baritone of some sort if you're a little baritone or even a bass you want to think that your voice is all above your mouth or all above the roof of the mouth you stopped it so when I'm singing it's been seven fifteen days since you took your love away see even with my lip voice taught I know what to sing stuff like that by placing my voice obviously this is other stuff that goes into it as well like I'm being careful of my bowels there's you know probably and all that kind of stuff as well so the other thing that we need to work on is middle voice so if you're a baritone alo singer like me you're probably trying to sing with the same frequencies that you speak with but if you must really good singer it's actually a different sound it's a different turn it's this Pleasant time you especially notice it with a singer that has a low voice voice like mine and when I'm singing something its pleasant but not weak when I sing in that middle range it doesn't go weak so if I if I go up an octave ah it doesn't get weak it's not aa breathy and like this pathetic sound it's assertive that is the best thing you can think of being assertive but not pushing you don't want to yell at people because if you yell at people they're not gonna listen you don't want to be weak you don't want to have a you know a really breathy weeks out want to be like that that's actually what I sing with so changes throughout you right so you can think of it it's kind of like a pyramid chest voice is you know the bottom of the pyramid what I'm speaking with now is the bottom of the pyramid as we sing up in range like that we're every night and sleep all day it's not like I'm going breathy and disconnecting and it connects through my full range so really fantastic exercise for working on this is to split up an opt-in into three steps up and three steps down if we pick a note read about my break ah for my break and I make a point of going into that Pleasant assertive tone oh I can sing that but that's not gonna help you and then you want to come back down from deliberately weak head voice you want to come back to that same assertive clear but pleasant tone then we start take it up when you work on how to do this properly you'll have extended your middle voice your middle register your middle tonality and your voice is gonna start to work like that pyramid like I was showing you before so learning to sing with a low range can be a little bit different to say being a tenor or 50-miles like having a higher female range is to find the different to learn to sing if you're a batterer so the other thing that is really really important is your vows so I've been over this perform but it's really really important there so there's a couple different types of that so there's practical vowel sounds ah II yeah you see that that different to the bowels of us speak with so with an Aussie accent it's actually a e i o you hear their nasal they're closed and they're kind of globally from my throat they're not singing about ah ah when I say them my soft palps actually a bit against my nose and my nose has blocked off so cut B nasal and those resonance Chavez open so when I sing sing something it's been seven thousand fifteen days it's with those practical vowel sounds now the second type the other type of vowels is Val modification or vowel positions which I much prefer teaching and using and singing with so if you get towards your vocal break then my broken breaks are at about a B which is lower than most people depending on your if you're a baritone at some point it's probably around about C to D that you want to change towards your first about position so we want to think about singing it to the soft palate so setting up your dogmatic breathing you want to be thinking a middle voice you want to have an open throat and when you're see how the practical vowel sound stays the same as an AA but there's a very slight characteristic of oh there's a pallet that point is the first bow position so you need to learn how to sing the five practical vowel sounds and you need to learn how to modify about as you're extending so placement really really important a song with a low voice learn to sing with Mill voices are developed middle voice extend middle voice and get there sooner and get out of it later than other ranches is really important as well then there's the practical vowel sounds those five vowel sounds we talked about and then there's the vowel placement or without positions. 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