How to Sing Gospel

Hi oh it's John again and I'm coming to you with another video today I'm going to give you a gospel music tutorial now I'm a singer and when I've gone out and I've been in choirs and I've met other singers and musicians a lot of the things we would hear is how do you do that with your voice so if they come from a different singing background a special your ability to do that thing with your voice is based upon technique it has nothing to do with the way you were born or the kind of music you listen to it's all a matter of technique today I want to give you three things they need to know when you're singing gospel music number one you're always singing from your chest voice when you're singing gospel music especially traditional gospel music and your chest voice is just basically the area where the sound is going to emanate from where you get your power it's always going to come from your chest and your chest voice is the voice that you use for instance when you're talking to a large group of people hello hi that's what you're just voices so it doesn't matter if you're singing loud or high or soft and low yeah it's always going to be coming from a chest well you're not going to get a whole bunch of different variations of techniques like falsetto and in different kind of styles okay it's going to mostly be you just voice the second thing you need to know about gospel music is that you need to be able to sing very low and you need to be able to sing very loud traditional gospel music is characterized by a very emotional and storytelling song the beginning of the song is very contemplative and low for the sake of the video let's call this part God's goodness you're thinking about God's goodness and you're just talking to yourself and you're telling a story about the things that happen to you and then at the end you're talking about how great God is we'll call this one God's glory and in this part of the song I'm just singing as loud and as powerful as you can and you're trying to get everybody to feel everything that you know is true in your heart that's what gospel music is about now it's kind of hard to do all this some people are good at very loud and some people are good at things very soft but in order for you to do this you need to practice using your chest going the best way to do this is the practice scale just going up and down getting those lows and softish can getting as high and as loud as you can it all takes practice tragedies come in place hold on can say sorry I'm a little sick right now but you get my point and the third thing is that traditional gospel music does have runs or melisma in gospel circles you'll always hear them called runs now runs are basically singing the same syllable and singing different notes on the same syllable ah so they're basically just they're basically just scales and were arpeggios and the most important thing you need to know about doing run you have to get your vocal muscles accustomed to doing all that kind of work it takes a lot of time but the best way to do it is through pract through imitation of people you know who could do it well the most important thing you can do for yourself when you're doing runs is you have to have an idea of what that one is going to sound like in your head before you attempt it if you don't your run is going to sound a lot more like falling down stairs so without further ado I'm going to sing a song for you guys but right now I'm not feeling too fortunately I recorded this song a little while ago so I hope you enjoy it it's called let it be me have a good one there's something about God's presence yeah hey a Yelp said the atmosphere send a message to glowy a saying Lord Lord you're welcome he when he comes there will be joy peace and good cheer yeah yay cuz he promised to why people wait every T there is good news oh you saying have no fear lift your hands I can feel that he's near zones on the verge of blessing something good is about tapley's yay sums on the word of a miracle hear yourself out your faith someone's on the verge of deliver words yeah yeah this is a day that you shall be free or someone's Oliver birds have a pain to live go ahead and say just let me.

Hey subscribers hey youtube Paul McKay here one voice Music Academy mind and guess what in this video we're all going to learn how riffs and runs are performed I'm just going to break it down so simply that anyone with a decent voice and a decent ear can understand riffs and runs and I know it's frustrating because we're hearing these artists doing these intricate sequences of notes and they're doing them so quickly and it's amazing you know um but trust me I have cracked the code on this and we're all going to get riffs and runs okay you just got to sing with me I'm not going to go into the theory too much I'm just going to sing and I need you to sing along with me for this video to work okay so check it out it's designed like a triangle I'm just going to let it appear on the screen right here looks like Pascal's triangle they for those of you know math and what it looks like but this is an exercise it's a framework for understanding it now here we go just sing with me well I'll do it first I'll demonstrate it and then you can sing with me so here we go series 1 1 2 1 1 2 3 1 1 2 3 four three two one one two three four five four three two one the thing about the pentatonic scale is when it is applied when it's used not all five notes of the pentatonic are used in every riff and every run quite often it's only four notes or three notes of the pentatonic and this is going to make sense when I drop the numbers okay so I'm going to drop the numbers and I'll use an oo vowel okay so here it is I'm gonna say oh okay now it doesn't sound like riffs and runs right now but if I were to sing it with a style that's more reflective of today's modern contemporary vocalists very quickly this exercise will sound pretty legit uh-uh uh-uh see what I did I just added some little style tricks in there some grace notes a couple of little slides and then it sounds more authentic okay now you look at the pyramid real quick you can actually see how each layer of this exercise represents a certain type of riff or run and this is the first inversion now this is not an Illuminati triangle okay it's just a triangle and this is just an exercise and this is the first inversion of the pentatonic scale okay and we're going to move on to the next exercise so here we go there we go we're going to use the numbers and it's going to appear on the screen as well so it's 2 2 3 2 2 3 4 3 2 2 3 4 5 4 3 two three four five wonderful all right um you can just rewind and try it again okay just go through it practice it do it again practice it again it takes this type of practice to actually understand riffs and runs okay but if you will commit yourself to the work it will be extraordinary what you come out with okay we're going to drop the numbers and we'll use an oval okay so check this out oh okay I'm gonna sing it with a style that sounds more like um modern contemporary vocalists oh you see how that works please practice this you'll get it if you practice this video you will get riffs and runs okay now this particular application of the pentatonic scale it does continue and there are three other inversions okay so just learn these two first okay you can visit my website one voice music CA and you'll find just a lot of resources there to actually help you okay so one more time Paul McCade subscribe like this video.

What's up everybody um this is me I'm just coming to you all with the video real quick I have a couple of people ask me questions about about singing gospel music and for me just about the fatigue and getting tired and all of that particularly a couple of individuals that will come to me and they say express that they have a rasp unnatural rasping estate never really goes away well some people chalk it up to allergies or to different things and before I even say anything about this video this video is particularly for Gospel we can take fingers and contemporary singers and people that do a lot of belting and screaming and all that kind of stuff this is not necessarily for class I don't know anything about classical singers I have had some classical training so I'm sure at the end of this video there's probably a vocal coach or a somebody music teacher throw out there somebody's like cursing me out but this is this is particularly for individuals that are building and are singing natural checks voice a lot okay and they have a natural hoarseness to their voice okay to chalk it up this this is the thing okay for an individual like myself my purse anzio your passaggio is a place in your voice where your voice breaks okay so if you were to go from a bottom note all the way up to a certain point there will be a point where you wouldn't be able to go up any more okay so like right there ah that right there that's my purse Anzio but I can still go ah a note like half step above it clear as a clear as a whistle why okay what what what I'm doing with my Rosario what a lot of individuals have done with them precise you know it's pushed it what I mean by that this is probably where there are doctors and and and like anybody watching this is a vocal teachers probably um cut me out okay but okay um considering more along the lines of vocal stability because in the last three weeks well I didn't say two weeks just with different changes that I've made I've been able to sustain and same different lines of different songs um a lot cleaner cleaner and clearer now for me ah that never leaves it's smooth sometimes sometimes it's a little bit harsh but it's very unpredictable and so what I have done is started to drown myself in different artists different singers people in the gospel or that you may not listen to like I don't know I love Kim Burrell I just I love is dead and you know me I are gonna get married one day but this is the thing like I listen to Kim Burrell you may not listen to the camera but she has that national that natural rasp in her voice by classical standards okay she would be a alto um however by gospel standards there's really no meter or limit to what she does why because she's learned to push her precise EO other individuals like on Myron Williams if you don't know who he is look them up he's an awesome singer awesome worship leader and even from our r.v people and my hip-hop people and people that that sing a little bit and rap a little bit um if you are experiencing you know you're trying to sing melodic lines in your interesting a lot of light and you don't want that you want uh you want that you have to drop your voice even when I think those pure tones there still is a huskiness behind it that's just a quality of my voice that's not really going anywhere so you have to sing through it uh if that means singing harder that means any harder if that means I'm pulling back pulling back you have to use your own it's really up to your judgment as to what your voice needs because some individuals like females you might need to pull back for somebody like me it's better just to sing it more fuller um nobody Greg it's better to do that as opposed to nobody Greg because it gets raised me don't pull that just even if even if you are singing the line by yourself and it's a part of the song that you have to pull back our own mic of it's a softer part nobody greater you're just going to have to drop it good try drop it Brandi does it I was in Brandi Allison Kim Burrell Allison Myra Williams I love all three of them and they are perfect examples of how to sing up above that place where your voice breaks is culture passagio uh if I do that uh that's the part of our voice it breaks however I'm still able to go ah why because I've learned how to push my precise you that comes with singing above your range being horse a lot because you're already you already have a national rest and then also even trying to go up above your natural range oh I guess I would be like a better time but if I'm singing where there's that's weird because that's my natural voice that's not on falsetto and so people hear Kim Burrell hmmm meanwhile she's able to do that is because she is pushed her passaggio so that's basically all I'm saying is you just kind of have to sing hard and sing hard and open up when you get to those higher parts you have to open up and you have to breathe if you sink through your nose you're going to have to sing more from here from your diaphragm not from now that but you have to poke your stomach out relax your shoulders relax your face and just ah and just sing it if that's what though is in your tenor then you that's what you're going to have to do um it's not ah is that I is ah I'm learning that two weeks I've done some went through some different instructional videos and done some different practices I've seen some major major changes in my voice um yeah and so I'm dead serious about that so you have to try that you have to just open up breathe if you do if you're singing a lot by yourself and you start to choke up I used to do it all the time right and sometimes I even feel like I'm gonna do it but you just have to sing through it uh uh you just have to think from there I mean you have to open up and breathe more because you're pushing air through your vocal cords so you're going to have to have more breath support because the less breath support you have the more arm friction and the more that the sound is going to come um people like brandy um she does it all the time uh she does she didn't have to sing one day like you know um I'll be right here with you that yeah she's nothing I heard oh she singing she's singing supporting my breath it's just that she's ah because that that note yeah you might get more of a raspy sound it's not what she's going for so I'm like I said this video there may be a vocal teacher somewhere cursing me out or a classical singer or something just pulling their hair out but right now I'm talking about individuals that do a lot of building a lot of screaming if you know squalling is squalling a lot of that um it's just one of those things is like fight or flight when it comes to a note either you're going to go for it or you not like you and if you're trying to get to a place of vocal stability you're just going to sound a mess for a little while because you're going to be pushing your purse oh gee oh you're going to be pushing that break and your voice where you should be singing falsetto you're actually going to be singing natural to our classical standards I am a baritone how ever when it comes down to the music that I want to say with music that I have to sing or charge or whatever I think up above that so um this is an instructional video this is just something like kind of like my little two cents and also when it comes down to oh this is another thing people ask me about Kim Burrell and about how she's able to hit those those really high notes I mean she's up above that but the sound and texture of her voice classically would be considered like a alto Kimber Rosen singing for very very very long time and so she has trained herself to do is to be able to sing up above that place okay where her voice breaks she's pushed it and pushed it and pushed she can still sing in her falsetto however however it is not necessarily something that is much needed because she's still able to mmm she still she's still able to do all this stuff natural and salt because her persona has pushed push push push push push push push is pushed way up and you just have to do that don't destroy your voice you know there is a time if you wake up and you can't talk that's not good but if you wake up and you're kind of hoarse a little bit get you some coffee and start saying it because that's going to push that force on zero push your range push your range like I said it classical by classical Sanders baritone but haven't seen b-flat a-flat and seas and all of that kind of crazy stuff on consistent basis it just pushes it and pushes it but at the same time if you see where you can push it more and get to a point where you're more comfortable it's just like a muscle so muscle this muscle didn't look like this before this muscle was little you know but I pushed it and pushed it and I pushed it I didn't tear it is going to fix itself is going to restore itself I know this is a long video but um that's just what I wanted to tell us of a couple people asked me about the video um also if you're trying to figure out how to avoid certain melodic lines that are too high like an old song like um – so Swift is so sweet – trust in Jesus and then you get to the next part and just to take it to heart just just to take okay if that's not for you then you can you have to figure out a way to fluctuate in between that Milani wanna um just just don't think that's something you can do because tank might be too hot for you okay um also in your private time your home you're in the car Singles lines signals hot lines sing along with individuals that have a waist texture similar to yours I love Myron Williams voice section I listen to them all the time you know um I love Kim Burrell's voice texture I listen to her all the time what I'm noticing is the need for falsetto is not necessarily something that I have because I mean in certain parts of certain songs where some people may be falling I don't necessarily need it now however where we get up it's becoming more comfortable because I'm pushing that pushing that place in my voice where I'm not precise you brakes everybody has the precise you except for maybe like a shower over center mica sample later somebody like that they don't have percentages because it's weight people so this what you have to do push your passagio up and then and then that break okay so before I get interrupted that's that um I'm going to put a video up of me singing when I probably tomorrow or something um so you can hear what I feel like because I can actually say I'm not just some weirdo. More singing lessons go to how to sing page.

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