Hey guys welcome back again to Ken Tamplin Vocal Academy where the proof is in the singing. I'm
continuing my series on How To Sing Like and next up is the voice of rock Mr Glenn Hughes. Before
we get started, if you wouldn't mind please liking and subscribing to my channel, that'd be super cool.
Don't forget to ring the Bell so I can keep new cool videos coming your way
and I have a singing course and the course is called How to Sing Better
Than Anyone Else. You can find it right here at Ken Tamplin Vocal Academy.com
where I also have a free singing forum for you guys interested in learning how to sing, for you
guys that are intermediate singers or all the way to the most advanced levels like Glenn. Now we're
gonna discover what makes Glenn great in order to help hopefully help make you great and it's a
privilege and an honor because Glenn is one of my greatest information, informations, greatest
influences as a rock singer so I'm just going to get started and comment along the way. I want
to start with Gabriela one of my students because she was a big Glenn Hughes fan also and we decided
to do "Mistreated". Now we took this up a full step so it's a little higher than the original,
to accommodate a female vocal but I do want to point out now I know there's some interchange
between Glenn and, and David Coverdale and whatnot. I'm focusing on Glenn today though I know there's
some Coverdale aspects to this but we're gonna stay tuned on Glenn and go from there. Here we go.
Okay so now (sings) right.
He's got just the most unique belting rock voice and can still
kill it to this day which is awesome. Coverdale not so much. Coverdale's kind of had some vocal trouble
over the years and Glenn has maintained his voice. Now Glenn often uses a raised laryngeal position
and distorts his sound but when he goes high he doesn't and he has some theatrics along the way so
(sings) It's kind of like a Dio, you Ronnie James Dio approach where
we've got this big open throat technique. Now I know I talk about this a lot you guys but it's
really important to understand what this means. Now I cover this explicitly and thoroughly and
comprehensively in my singing course How to Sing Better Than Anyone Else where we must build open
throat technique and muscle structure first, before we start adding distortion, before we start
manipulating the throat, before we start belting into the sound we've got to get
really good diaphragmatic support to strengthen and hold up the sound. Now let me give you an
example of what it would sound like if I didn't have the strength in my stomach
(sings) right. I'd be straining like a maniac
and so you guys, that's me, that's what i sound like. I strain, I can't get to those notes. How do I do
that. I'm telling you how to do it. We start with a (sings). We got to get the abdominal cavity
really strong to be the engine that drives our car to do all of our work for us and then we have
to build good open throat muscles, tones and texture but strength in the throat to hold the
throat open in order to be able for these sounds to come out in a non-constricted kind of way.
Now Gabriela actually take, we took it up a notch beyond what Glenn had done, even in the recordings
and even what Glenn does now. Glenn switches a lot where he doesn't sing a belted up register like
C's you know B, B4s, C5s, D5s you know in there. He doesn't really do that so much he'll flip into (sings)
and you know just like, like a belted head voice kind of thing which you know there's a lot of
range to that but it's not the same of what I'm about to show you with Gabriela. Check this out.
(sings)
right. All those open vowel sounds. Now the only time we usually close down
the sound with like a Deep Purple sound (sings) you know he does like kinda (sings)
you know. Those kinds of sounds he'll do that too for effect. It's fun right.
Some of the rock guys like I said Grand Funk and other bands did that back in back in the 70s so
it was kind of a fun theatrical sort of approach to to rock singing but notice her vowels they
almost sound like they're all the same vowel with very little shifting in the vowels, check it out.
Now when we get to this bridge check this out watch it's coming up in a
minute.
Now by the way too from a vibrato standpoint, we over exaggerate the vibrato a little bit like a,
like Uriah Heep for example (sings) remember Uriah Heep (sings)
right. That real wide vibrato and again we love Bruce Dickinson too so you know we use a lot
of that. That's not necessarily a natural sound but it's fun because it's big and really
dramatic right. So we use this here too, not as a natural vibrato but for effect okay so.
Let me get past this solo here.
Here we go.
Cool okay so that's, that's a good example of of what you know, that kind of looks like right.
"Burn" is a great example and again here you had Coverdale and Glenn Hughes in the same band, how
killer is that. One of my favorite songs and again, there's an old, I think it's Cal Jam One
or Two version of this where David Coverdale does a live version, the song is "Mistreated".
On the record I know they go back and forth and they've done different live things but
they both did an extraordinary job in this but I'm going to use Glenn's, Glenn Hughes's version,
the way I sang it a little more on the Glenn Hughes side of "Mistreated". It goes like this.
Ok nows there (sounds). You know I'm throw, I'm heaving up my vowels
(sings).
It's kind of like if Ronnie James Dio, Glenn Hughes, Coverdale all come in. Now if you listen
to Coverdale's version, for you guys that are in the know and care about this stuff,
he's really short phrase (sings) you know he has, he's very
very short phrased on it. Glenn's not, Glenn is all in when he's in the song, that's why i chose to do
the Glenn Hughes version of this as we're going so check it out and again open throat technique.
Notice how big and round my vowel sounds are as I'm going through this.
Okay now, I can't emphasize this enough guys. We're doing How To Sing Like so and so. I still
sound like Ken Tamplin, I have influences of Coverdale, I have influences of Dio,
I have influences of Glenn Hughes because I'm taking on more the persona of his style of singing,
but I still sound like me. Now I'm not doing How To Sing Like and just give you a little tip or how
to start to sing like someone or whatever this is, I'm actually showing you how to do it and i cover
this explicitly in my singing course. Everything from the vibratos, everything from the distorted
tones, everything from the, the, the strength that's required in the diaphragm. It's one thing to go
(sings) and be real constricted in the sound right and a lot of people take
that approach where they pinch and squeeze and you think that that's how this sound, how you
get the sound. It is not. You have to learn good muscle structure of open throat. Watch this (sings) right.
So we start with, and notice too like I'm not all tired right and I've been singing for hours by the
way I'm doing a bunch of these back to back and I'm singing you know Michael Jackson one minute,
I'm singing Coverdale or Glenn Hughes the next then, I just did a vocal reaction to or not
reaction but How To Sing like Whitney Houston you know one minute I'm doing Whitney Houston
then I'm doing you know, Glenn Hughes, next one I'm gonna do who knows, like I don't know, I think
Celine Dion is my next one but so I'm going in and out of these vocal different styles and timbres
and textures and tones because the technique I use, allows me the privilege to do that so
let's continue because I want to talk more about the shifting of the vowels
themselves.
Now, I know I've taught you this before where I've, said all vowel sounds come from it's the la ah
except e and ooh and I'm going to give you an example of this (sings)
right. All my vowels shift ever so slightly off of that vowel sound. So I'm not making big
jumps from one vowel to the next. The exception is (sings) is when i go to a e right or ooh (sings)
I use an o position to get to ooh. Now we have to strengthen this in different ways
we have to use different vowel sounds in different ranges that we do this in
because it's not one size fits all. Oh I always go o ooh or oh I always go e. No we train as we go up
and down our ranges, how these seat in the throat differently and how a goes as we go higher, we
close it more down to AE8 at the top or as we're in our mid voice it's more like singing the word
lay instead of E and as we're on the bottom, Ken you're confusing me. Well let me make it
a little more simple. I'll use an E vowel for example. If i'm on the bottom I can go (sings)
and be more pointed in the sound (sings). If I'm up in my mid voice I'm gonna have to sing A with E in it (sings).
I'm not gonna E, I'm not pinching and squeezing, as I go higher
that A (sings) right. It's gonna close down on me and I can't get to it because it's
too wide, it's pharyngeally spread. It's too big. So I have to sing the word eight (sings)
and I've got to close the sound down. Now at different spectrums or different ranges in the
voice, we learn how all these different vowel sounds themselves, we memorize different
positions of the vowels, in order to maintain good open throat technique and this is certainly no
exception so. I'll put all this in the description so you can check these out and see how we did.
Listen to you know Glenn Hughes and check out some of the David Coverdale stuff and whatnot
and I'm doing most of this by request guys so if you have a request of something you want me to do,
How To Sing Like, bring it on and check out my next video.