Hey guys vocal coach Ken Taylor here with ask a vocal coach calm and today I wanted to chat with you for a minute about how to sing louder without using any more effort now there are a handful of different ways that we as singers can increase the volume of our voice but the way that we're going to focus on today has to do with resonance space you see it's space that creates the fullness of the sound and to illustrate that I want to give you a little example in my hand I have a decorative glass thing on what's called but if I thump it it makes a nice big ringing sound but if I take the same glass and I fill it with pebbles can see right here and I thump it it's just a bud you don't have near the same amount of sound so what's the difference in the tube well one of them's hollow so the hollow glass the empty glass the first one has space for that sound to bounce back and forth and resonate and to give bigger whereas the other one you just have a thud because there's nowhere for it to bounce around right well the same thing holds true with our voice if we can create more space when we're singing then we're going to have a bigger sound and we really don't have to put it forth any more effort to get it so there are a handful of different places where you can create that type of space in your body okay there are resonance chambers if you will your one excuse me one of them is located in your chest ones in the throat ones in the mouth the ones in the head now all of these spaces put together is going to make a much much bigger sound when you don't really have to put any effort into it so how do we do that how do we open up these spaces well for the chest you want to make sure you're utilizing good posture if your shoulders are forward you're kind of hunched over then you know you don't have near as much space but if you relax your shoulders back let them drop away from each other and you have a good alignment here then you're going to have more space in your sound is going to naturally be bigger the second place that we can create more resonant spaces in our throat and we can do that in a handful different ways I'm just going to outline a couple of them first off also has to do with posture you know you want to have a nice tall posture you want to make sure the top of your head kind of towards the back it's going to be the tallest point of your head you're expending this area as much as you can right naturally and comfortably the next way that you can open up the throat area is to make sure that you're not engaging the external muscles of the neck now using these muscles those are swallowing muscles they're not sinking muscles okay we don't need them for singing and actually using them in singing is going to create more tension than you really mean it's going to make things more difficult for you but it also takes up more space because think about it what happens when you flex a muscle it gets bigger right so if the muscle gets bigger it's going to take up more space on the inside so make sure you keep this area relaxed and you'll have more space for the sound to resonate now the third place that we can use to create space that will help us resonate and create more sound is in our mouth now there are a couple of different ways that we can do that one you've probably heard before drop your jaw especially when you're singing higher we really want to make sure we have a lot of space here when we're singing another way that you can create more space in your mouth and this more in the back of the mouth is by allowing the time to relax a little bit more forward a lot of singers I can't tell you how many times I have to fix this especially with new students they slowly pull their tongue back when they think it really closes off the sound so you want to allow the sound to release excuse me allow the tongue to release forward the back of it I kind of aim for the back of the tongue towards the middle of the mouth really and that gives me just so much more space for resonance naturally that my voice gets much much bigger so that that kind of sums up mouth resonance the final place that we can utilize two resonates to create resonance base is in our head now to meet one of the easiest ways to create that space is really more through visualization so and one of the favorite techniques a lot of people will use is to think of this coming up and over so kind loulou kind of like that and utilize that visualization to create that space I hope that makes sense but um anyway so that's a handful of different ways that you can a handful of different things that you can use to create more space in the different resonance chambers in our body and by doing that like I said we're going to make our voice much bigger and much louder without having to put really any effort into it so what I want you to do now is go back and play through this video again and pause it and really test out these things see how you can utilize it and apply it to your own voice because really all of this informations worth nothing unless you actually practice it so go back check it out you know comment on your experience below you know let me know what worked what didn't work and if you have any questions I'll try to get to those I can't promise the lines or everything but I'll try to get to them and we'll can I go about like that so I hope this video helped you and if it did feel free to subscribe to my channel because I'm going to be putting out videos like this all the time I'm putting out singing tip videos just trying to help singers like you mean to kind of grow the community and make us all a little better so subscribe to the page if you're not on YouTube or you don't have a youtube account you can also go to facebook.com slash singing tips and like that page I'll be posting all my videos there's there as well so you can get them there you can get them through YouTube by subscribing and anyway come back check out the new videos I hope you enjoyed this one on how to sing louder with out using any more effort and we'll be.
hi everyone happy Thursday well thanks for tuning in this week if you saw my last voice lesson about belting probably made you curious about twang so instead of Lee in the hallways doesn't like this I'm just giving you an example of how to talk when you're talking about twin and of course the accent just comes in like I'm framed friendship from The Nanny I know I'm old okay what is twang twang is that brightening it's not nasality which people think it is it is a nasal placement yes for sure but um it's dealing with kind of the vocal color and putting it in to the front of your face there are a lot of great exercises that I will do today that can teach you how to use twang what are the benefits of twang you can increase your sound up to six hundred percent what and it requires less effort than say belting and it requires you to use less air which in turn means less effort you can sustain and carry a sound without belting okay so ground rules number one that you cannot be afraid to sound ugly we're going to do a lot of exercises today actually all of the exercises will do will not sound good well not sound pretty not exactly what you're wanting but I'll try to give you an example of using twinning and how you can kind of lessen it and create you know this is this is like what we build up to and then you can decide on your own how you adjust your sound to make it how you want it to sound if you want it to be a little bit deeper not as nasal not as bright but there are some notes that you just need to get into that brain placement and then you can kind of adjust the sound from there twins definitely a more contemporary term that is usually associated with more contemporary singing but if you're a classical singer you can really add more vibrancy and brilliance or brightness to your sound by using techniques of play huh okay so we're gonna make some weird sounds just go with me over exaggerated twang a really great sound to demonstrate that would be a duck right right right right right like that I use the term a dying cat a lot let's change it to whining cat oh that's so much nicer think of a whiny sound yeah yeah you hear a lot of teachers use me me me me me I like to just say this kind of like that whiny cat sound it's all up here in the front so I need to try that squish your face up a little bit think of really high tongue placement winey winey bright sound now this is pretty much the opposite of when we talk about lifting our soft palate in our head voice that like you know the open Miller swole space this is the opposite so you're lowering your soft palate and raising your tongue and kind of squishing your face okay baby uh if you're at home and there are other people there either tell them to take a nice walk or shut your door thanks here's a good vocal exercise when we're working on 20 I want you to think of saying the word sing but then just the ng now that was all in my lower register can I go into my mix and up into my upper register see see see so you should feel it resonating it's kind of like a buzzing you'll feel it here singing singing II feel that that's 20 Mille so when can we put twang to use a good time to use twang would be when you need to sing something that's too high to belt and it feels too thin like your head voice if you're struggling with your upper notes and you feel like your head voice is too breathy sounding and open it feels really breathy and you want to create a bigger bolder sound then that's a good place to bring in twin so we're going to try scales and you're gonna do this on an EF so n why I just think Nia Nia Nia that's in that lifted soft palo space too far back think of that squishy frontal space you're sending it right here really attractive I know last week you might have seen my music video hello my Adele and I did a lot of belting in that music video I did use twining on a few notes when I was flipping in that song but today I'm going to raise the chorus make it much higher a little too high to belt for me comfortably so if I wasn't using twang and I was singing all the way up here first of all I feel like that sound is a little too maybe classical a little too straight square it's also pretty thin for me the more and more I push the air out the more and more I try to give myself more volume in that space it's just thin okay so now I'm going to use twin there's the okay now what so that's not necessarily a pretty sound either but I hope that gives you an idea of the contrast if you could tell the difference between the two how the second one was much louder it really cuts through that's definitely an example of twinning another singer that I reference a lot Mercedes from Glee her character you know was frequently kind of that high gospel belt sound so that's a high G if I were to sing that kind of just as I would sing that so that's kind of my class called really focused upper soprano sound okay now I'm going to move that note directly from that classical kind of long placement into twang and you can see how it kind of creates that really whiny bright sound but imagine over that Gospel Choir are that you know that really beefy sound that we want that was just an example kind of transforming your tongue will lift and your face will get a little squishier so I'm gonna try yeah up here yeah that's the difference it's a much more powerful sound um I believe it when you say six hundred percent volume because it really does increase your volume and I didn't have to do much at all it's still you know really easy healthy it sounds pretty intense doesn't it you're probably going I don't want to learn how to do that but obviously if you can kind of gain this technique of just learning twang then I promise you you'll be able to do a lot more as a singer especially when you're wanting to create more volume and a more powerful sound in your upper register so thank you all for twanging with me and if you have any other questions please leave them below it's hard to teach your voice lesson to just leave it out there and not get feedback so I really want to know what's working for you what you have questions about again my overall rule that I you know always talk about if you do any of these exercises if you watch any of my other voice lessons well and you feel tension or you feel tired you feel uncomfortable and if things don't feel right then something's not right so start over you know try to take a really big nice grounded breath feel relaxed and your breath really what routes you your breath is what's creating the sound that comes out of your mouth as a singer so breathing is key and feeling grounded you know even when you're singing it's all about that grounding in your body so thanks again for watching I will see you guys next week for Thanksgiving and I will be very thankful if you'll come back and watch my newest music video all right take.
Hi this is Fran with another singing tip thank you so much for tuning in today today I want to talk about how can you get a louder voice because a lot of times singers think well I can sing fine but I think my voice is just my loud enough how to fix this problem if you want to find out stay tuned now before I get into any technical stuff let me say a few things now first of all remember your vocal cords consist of muscles so one component of being able to sing louder is certainly training it's not going to happen overnight so your overall volume will really increase with training I used to have not a strong voice at all when I was younger and I could sing very well but I did not have a very strong and loud voice however over the years this really changed just because I trained so much and I trained in opera for many years and then I trained just by singing in bands and in combos and with orchestras and my voice became stronger so that's one big element of what it's going to take for your voice to get stronger one day also what I realized is that the healing in my voice like after I sang a whole lot or after I have a cold that also goes onto my vocal cords the healing time is so much shorter because my vocal cords are trained and those muscles are always being worked so don't underestimate the fact of just working those muscles and always using them so having said that let's talk about how to increase your volume a lot of times even when your sing with a mic you may have the feeling that your dynamic range like you can sing softly but you can't really get extremely loud and while it's good to have a large dynamic range which means to be able to get soft and loud you need to be very careful cause you should not sing unsupported and so here is the first element the first element of being able to sing louder is definitely support support support support now in order to support really really well make sure whenever you inhale your ribs go way out like your tummy your back everything that's around your lungs needs to expand and then when you breathe out don't collapse try to hold those muscles in place and what this will do is it will increase the pressure of that air column that passes through the vocal chords and that will help you produce a much louder note like let me demonstrate to you so if I and if I went any louder now I would put a lot of strain on the vocal cords because I did not support now just by raising myself up standing straight and really expanding the ribs and holding my midsection very tightly I can really increase the volume yeah just by getting that breath enos out of your pitch you already have so much more umph you have so much more energy and it just cuts through so much more now the next element that's really important is resonating space and that's one thing that a lot of singers underestimate because you see in the end it's not about how loud you can be like in decibels but what frequencies you can produce that really cut through it all for example when you sing with a band or an orchestra like all these instruments that play around you you need to be able to produce frequencies with your voice that cut through that you can still be hurt above all that and that's the main reason why you want to sing louder or sing with better frequencies that way you can be heard and I'll I have experienced it in my life many times that I'm the director initially thought well I don't know if your voice will be loud enough over the orchestra but you know what I had a tenor standing right beside me and he was so incredibly loud when you stood right beside him like I mean really loud it was like deafeningly loud but whenever you heard the recording afterwards on the video recording of the whole concert or the Opera it was like you can hear my voice above his voice like it had those frequencies that cut through and you could hear it over the whole Orchestra and his voice though it was loud when you stood right beside him it didn't cut through and that's so important so what you need to do in order to get those really necessary and important frequencies to cut through to be above ISM and I have a video about the ping in your voice that's really the main thing I need to make sure that first of all your jaw is relaxed because when you don't relax your jaw the space that's inside of your mouth doesn't it can't be around at space it's very tense and it just doesn't make a round space in order for you to have a lot of resonating space you need to be able to have a round space like your jaw shouldn't be opened actively but you should just let it fall and then also relax your tongue relax your jaw just let it fall let gravity take it and so the difference between just being tense yeah ah it's like I could try to get louder and put strain on the vocal cords but it still wouldn't cut through I would just hurt myself but if I relaxed here yeah it just produces much more of those frequencies that really cut through it has a lot more overtones which gives the tone a lot more brilliance and brightness and that's what's going to be heard and that's what everybody wants to hear right now another important thing is to not push on your throat don't just push your vocal cords try to have a bright barrel so whenever you think you're not quite cutting through try to change your vowel around just a little bit and it really helps sometimes just let's take the song rather be okay it goes really high and it goes on those no no no no no place I'd rather be no no no no no so I'm probably not in the right kids I think a little bit higher but um the thing is that no no no no those high pitches right there they can get so much easier if you just change the vowel around to where it's very open and let me just show you the difference no no no no no place I'd rather be no no no no no place I'd rather be now let me open it up no no no no no place I'd rather be no no no no place I'd rather be so I mean I'm not gonna be that loud if I really did it but if I would really want it to get loud and cut through I would just have to change the No – no just open it up more and that way you have so much more resonating space and the sound could travel into your head and all those nice cavities in there and that's really the secret to being more efficient with your voice in what you want to do all the time is no matter whether your sing loud or softly you want to say any energy you want to save your vocal cords from you know having to do too much work because these are the components that we're out of quickest and the fastest and the easiest and these are the parts of your voice that wear out the quickest then they are very fragile so you want to be very careful on those right here and instead increase you know your workload on like if your support your abs it can do tons of work and it's not going to hurt anything and also your resonating space just be intelligent about it and about the sound so these were my tips about how to increase your volume which sometimes it's really necessary in order to be heard another thing that I'm going to say just be careful a lot of my students they sing with bands and what I notice all the time and what they tell me is just like a lot of times the key they sing it in it is too low and then when you have to sing move all the time it's really hard to be heard over the rest of the musicians you really need to be sure that you're singing it in a key that's right for you that way you can in have that ping otherwise you're gonna sing yourself to death if you no no no no and if you just push on those lower frequencies quite a lot it's really hard to cut through so make sure you don't seem too low and also and that's something I don't know a lot of musicians and to me a good band is one that plays together not competing with each other and a lot of times it seems like whenever you play with other musicians everybody just wants to be heard and everybody just wants to get even louder and play up a storm on their own instrument but they don't listen to one another and they don't listen to the whole overall sound so I hope these tips could help you a little bit today I hope you have wonderful day and don't forget to check back next Tuesday I upload another video about how to sing song and of course every Friday I have my singing tips and if you have not already subscribed to my channel I would really love it if you left me a comment or something like that have a wonderful day and don't forget always keep the song in your heart and always keep on.
I’d been getting comments on my youtube channel about how… about what…what’s the best technique to use…what’s the best technique to use when you want to sing high without straining…and the technique is called…the cry in the voice. (sniff) Hi, this is Craig from Shimizu Voice and today’s lesson is about how to belt high without straining. On my youtube channel, someone asked what is the most effective technique to use to belt high. Now, there’s all kinds of ways to develop belting and it really depends (upon) where you’re starting from. Some people, they’ve been screaming loud so that means they’re strong, although not strong, not in a good way. But they have well-developed vocal folds. Other people are still too breathy. And so if you’re still too breathy when you’re singing, you’re going to have to learn some other things to develop a more powerful voice. So, it all depends on where you’re at to learn how to belt correctly.
So, this technique for learning how to sing high is the one I like to use. When I don’t have a lot of time to practice but I have a song that has a couple high parts that I have to belt…of course, without screaming, then this is the technique I use. It’s called the cry in the voice. And it’s what it sounds like. Like that little introduction there, it’s a crying sound that you use. And I’m kind of surprised that some people can’t make that sound. So, if you can’t make this crying sound, then, um, you probably have to skip this video. And go to another technique to help you belt. What’s the value of this sound that I’m making right now? If you look at my adam’s apple, my larynx, when I get sad, the adam’s apple drops. One of the important things that you should learn about singing, to control your adam’s apple, your larynx, that you don’t want it to be moving up while you’re singing.
And being sad controls that. The other great thing that the cry in the voice does is that it puts the vocal folds into a particular position that’s a little lighter but air-efficient. And that’s what you want to do to be able to belt without straining. You must reduce the airflow. Velocity is high, but the volume of air must be reduced because that’s the main thing that causes strain. So what does it sound like? One of the requests I had is, if I could cover the song, “The Show Must Go On” by Queen. And I said okay, I’ll do it, not realizing that that’s a “B”. He has to sing…he sings a “B” up there. “SHOW MUST…” I’m trying to do the “B” with a full chest voice. Next option is a head voice. “Show must go on”. That’s no good. So now, if I apply the cry to that chest sound. “Show must go on”. The thinning of the vocal folds allows me to get up there without killing myself or blasting your ear drums out.
“Show must go on”. It changes the over-heavy, over-compressed chest voice into a little lighter sound. “Show must go on”. Yes, it is a mix, it is a mixed tone, but this is a little easier to generate if you can be sad. Sob, sob. If you can be sad. “Show must go on”. The other nice thing that the cry does…when you’re singing in your head voice or falsetto, if you apply sadness to it, the vocal folds will close… a little more. Thereby transforming the sound closer to a more resonant, clear, meaty sound that has less air coming out. “Show must go on”. I’m going to apply a little bit of sadness to that.
“Show must go on”. And the head voice, falsetto is transformed to a little more meaty sound. Let me apply a little more. “Show must go on”. Sort of like a wail. “Show must go on”. That’s applying the cry to change the head voice or falsetto sound into more of a belt sound. Now the first time I heard the cry in the voice, it was to learn how to bridge the gap, the transition zone, the passaggio. Just at that point where you’re going to break, you’re going to crack, you apply some of the cry to that. Ah… Right at that point. Ah….. And you keep applying the cry as much as you need it to keep the voice from opening up, letting the air out and going into your head or falsetto. Ah… That’s the cry.
The other thing that the cry in the voice is just terrific for is that it gives your voice a lot of color…texture. “You’re here.. there’s nothing I fear”. So that’s without it. If I add a little cry to it. “You’re here.. there’s nothing I fear”. If I apply a little more. “You’re here.. there’s nothing I fear”. I just love this technique because you can use it on a one-to-ten scale, where the ten would be out of control wailing. And, of course, the zero or one would be nothing, dead feeling. And then the cry, about the middle, about a five, you would have this texture to it. So I’m just a little bit sad, but not noticeably. But this color, the texture, when you sing, the sound just becomes a little more interesting to listen to. And so you have to practice it on that one to ten scale just how much of that cry you want to allow to be heard. But, as this video is about, whenever you’re getting up there, or you know that you’re just screaming, then apply some cry to it just to back it off.
“You’re here.. there’s nothing I fear”. That’s without the cry. “You’re here.. there’s nothing I fear”. So you can here there’s a little more brightness to the voice. And then I feel a lot better. That’s one of main things that I use it for so I can consistently produce a high tone without using my throat. So that’s the cry in the voice. Great for learning how to belt high without killing yourself, great for working on your transition, your break. And great for expression. So thanks for those comments letting me know what it is that you folks want to see on the upcoming videos. If you learned anything from this video, please give it a thumbs up. And please subscribe. You know when I see that subscription numbers go up I feel more pressure to release more videos. I have a lot of them in mind, but then I just saw this comment, so I decided to do it, one on the cry in the voice.
This is Craig from Shimizu Voice. Thank you so much for taking your time to view this video and I’ll see you folks in the comment section. Have a great day.
hey it's Janice author of lock your voices secrets are singing and hateful coach of life Academy today I'm gonna share with you how you can project your voice better and sing with a stronger hate voice or stronger high voice by controlling your tongue that's right so the next time you think that your tongue is only good for tasting or for kissing think again because how you use your tongue can affect how you sound whether in speaking or in singing now before I dive into the details as to how you can do this it is very important for you to first grab a mirror that's right or a self facing camera alright so go on right now I'll go get it and come back and once you're back I've already got mine set up here which will explain why my eye contact might move from here to there you know every now and now and that's because I actually need to make sure I'm demonstrating everything correctly to you alright so if you're all set and ready let's begin now when it comes to vocal projection if you're the sort of person who has always struggled you know in getting louder as you sing like for some reason you know you as you go higher and higher in your and you find out you have that really airy and soft sounding hit bus like that right it's usually because the back of your tongue if you look at mine right now is dipped like this so it's very low at the back but if I raise the back of my tongue then the volume will change for example so you can see the back of my tongue goes and if I seen the same not with my tongue the back of my tongue dipped down like this so you don't actually have to stick your tongue out you just need to lift the back of your tongue so watch how you have been controlling the height of the you know that back of your tongue because it can channel your voice or amplify your voice towards the front or move your voice towards the back of your vocal mask now if you're still finding yourself you know having problems singing high notes at all usually it's to do with your not having good vocal control when it comes to vocal registers just yet now I have a video just on vocal registers so make sure you visit that one first and then come back and try this one but if you're just trying you know to sustain or belt out a certain own you know just one high note you can try it this way you can try it soft first if that's what you can do for now for example ah and you can see the back of my tongue is the dip haha and now if I lift it up a little bit and maintain somewhat a smile going on that you see if you try this yeah everybody tongue lifts it at the back and I tried it same not no of course you don't have to sing with such a you know twang you sort of sound which is what we're doing actually when we lift back about tongues but if you would like to be louder in a sense that's how it's gonna work but of course breath control also play a part in that so if you don't know much about breath control check out my video on breath control now likewise if you want to sound less nasally what you can do is you can lower the back of your tongue because I know some people do struggle with that may sound very nasally like this I and that's it cuz the back of the tongue is very less that's a visa lower it a little bit more then it would sound more natural now you can check if you're actually singing nasally or not and I will share a video on that in the very next vlog alright because I'm kind of running out of time right now now as usual if you have any questions just post your questions below and for more singing videos go to my website and lock your voice calm dot my I'll see you then.
hello YouTube and all my base followers and anybody else that might be watching welcome I'm sorry I haven't made a video in forever I've been very very busy I just got over a nasty cold which is why this video isn't on subharmonics I kind of lost those for a few days I will get a video of those up fairly soon I hope but this one is on how to project low notes and how to increase volume of the notes in the bottom of your chest voice range this is very important and something that many young basses struggle with and I've struggled with as well while I was growing up and took me a while to figure out how to do this how to increase the volume of these notes it's going to trick your mind a little bit on when I reveal how to do this later in the video after I show you an example but it's something that's not too hard I promise well I'm about to give you a quick example of a comparison of two different ways to sing a low note in your chest voice range and I want you to notice the difference maybe listen to it a couple times between the two you're going to notice something on the first time I sing it that is lacking maybe a set or a series of something so take a listen to this example that I'm about to give you and then I'll reveal after what the differences between the two and how to increase the volume of the pitch that you're all okay so two distinct tones that they have different qualities to them the first one was obviously a bit quieter a bit more muffled compared to the second one which was just all-around louder and had a better tone quality to it was richer and more full what did I do between the two what did I change well air flow is exactly the same between the two I use the same amount of breath I use the same amount of energy to produce both of those they both regard the same amount of pushing and relaxation everything my throat everything was the same there the only thing that changed was placement of sound you need to think of placement of sound as the place where the sound buzzes in your throat or chest or head while you're singing you need to focus on this while you're singing at times when you're learning how to do this think of it as a spinning little ball of energy that vibrates and the location where it tends to vibrate is where the sound is being placed generally so what you need to do is allow your brain to be tricked a little bit you need to actually place the sound in a very forward very nasally place way up in your mask and get you nasal cavity to buzz that is very important and very sought-after by many bases is singing as low of known as possible they possibly can while also saying that buzz in their sinus cavity this is the tricky part this is the part that might blow your mind a little bit that G or a or whatever is saying there on the first time I sang it compared to the second time the fundamental that I sang was almost the same exact volume on either one the only difference was between the overtone series the first one the overtones are filtered out and heavily covered because I place the sound really deep in my throat the second one I place the sound forward in my mask and love those overtones to resonate and be amplified so what that did was stacked a whole new level of tones that were amplified on top of my fundamental the fundamental volume stayed basically the same all I did was added this new dimension of volume on top of them by allowing the overtones to be amplified this is so so important every professional bass does this well this is how bases can be heard of require requires as how michaela Polsky was able to project like LOI flats across a choir because he's he's not even human but this is how he does that has to draw of all these Russian bases that do this because they allow the overtones to resonate and buzz in their sinus cavity and this allows the overtones to be amplified and stack a whole new level of volume on top of their low note in conclusion how do you increase the volume level of your bass singing voice the bottom of your range well first of all you need the note you need to be able to at least hit the pitch with an airy Airy voice and sustain that pitch so you flat or D or C or B flat if you could sing down that wall the next thing you need need to be able to do is change the placement of sound if you haven't operated to a forward position in your sinus cavity in your mask and allow those overtones to resonate and allow them to buzz in your sinuses and disregarding sound quality in this video those are the basic steps to increasing the volume or your base single voice and the bottom of your range so I hope you guys enjoyed this video practice safely leave any comments or suggestions below don't forget to subscribe because I have more awesome videos in the future including more sub harmonics videos and don't forget to drink lots of water so take care you guys until then.
welcome to another video with bohemian vocal studio my name is Keegan and I'm here to help you build a powerful singing voice one of the biggest obstacles or one of the most common issues that I find is holding back a lot of budding sins is their approach and attitude towards volume and singing loud the way they're making their voice louder is holding them back so frequencies and resonance are the key to singing louder but what most people do before they learn to do so correctly because actually push more load frequencies into their tone to make a thicker sound sure this makes the sound louder – there is but will do absolutely nothing for you in a real life or band situation that's because these low frequencies created by a voice sit in exactly the same frequency band as for example a guitar and many other instruments – and let's face it if you have a 100 watt marshall making these frequencies and you're also making these frequencies there is absolutely no way that you're going to be able to sing over the top of the guitar so how do we create volume what's the right way to create volume the answer is twang now I'm not talking about a country draw which is often known as a twang I'm talking about twang resonance so if you listen to a really fantastic singer you'll notice that their voice is clear powerful and effortless and no doubt has a ring or a buzz to it of course the first thing that comes to mind for me is Chris Cornell long down command seemed to give me through long tears of shame boughs down before you you hear the buzz or 20 in my voice this is allowing me to sing in a gentle but relaxed sound which even makes acoustic guitars in the Rumba tear ring after I'm done singing it's all about frequencies so as always there's a mechanical aspect to Twain of singing with twin and if you are looking at this from a classical perspective you might know this as soon as Foreman or vocal ring or even which voice or which capital and ER that's some of the some of the ways that people go about getting this which knowingly uses resonance chambers to amplify and release your sound but also also uses part of the vocal tract itself to amplify and resonate your tone at a higher frequency this is how you cut through an orchestra with no amplification it's not volume it's cutting through with frequencies now the most common way of building this sound is ng like in the word cm or similar to the way that I develop placement with my students by using a resonant n sound mm-hmm which is all fine and well but actual words aren't made up of ends and energies so the key to actually singing with Twain and a bright forward placed resonance is practical vowel sounds right forward vowel sounds like yeah they keep everything relaxed and open and allow you to resonate with a bright orb itself now the trick to building twang in these vocal sounds and building it into the Bell is actually your onset so if we first start with an N then sing into an open resonant valve for example then with an NG ah finally with a really bright Eason yeah yeah and then we do it much quicker without that drawing on set nah yeah then we try it without these 20 on set sounds but go from the same turn and the same placement now remember that your vowel sounds are dependent on how you control yourself fella so make sure you're not losing that three noes with the racket on or breathy sound it should be clear yeah how I keep the twin and resonance from the N and ng mmm even when I'm just singing a bell on its own that's because I'm singing with 20 it improves your onset or improves your cord closure and air pressure along with focusing in on the right bright frequencies like a laser its laser focus so if you find that your voice is a little quieter you know you're releasing through your registers and you're getting better and better with your vowel sounds and things do feel easier but your voice is still a little breathy and not powerful the first thing i'd actually look at is how you're controlling the soft palate on your vows and secondly i'll start building 20 if this video has been helpful and you feel like it's helped your voice feel free to hit the subscribe button down below there's also a link to my studio in the description down below where you can sign up to my upcoming webinars free foundations short. Thanks for reading and be sure to see all of the different singing lessons here.