Hey guys welcome back again to Ken Tamplin Vocal Academy where the proof is
in the singing. We get a lot of requests and a lot of
questions about singing and I just want to go through a bunch of requests that
we have. Now before we get started here and I'm gonna repeat myself a few times
when I answer these questions. I remember vividly going through, trying to figure
out when a vocal coach says just do this or another vocal coach says do that and
they don't really demonstrate it themselves and they don't really prove
it out themselves. So you're kind of left going well gosh you know you told me how
to do it or you read it in a textbook or you read it online somewhere but
you're not physically demonstrating this for me. Can you please demonstrate what
it is that you're talking about and man I just spent I don't know a couple
decades of going to some of the world's greatest vocal coaches and most of them
could not demonstrate what they teach. So that drove me nuts and in fact it's what
drove me to doing my singing course called How to Sing Better Than Anyone
Else is that I could be very explicit and very simple and not get bogged down
with big technical terms and big fancy ways of trying to make me look good and
pretend that I have all this great knowledge of the voice or pretend
or really have great knowledge of the voice whatever that means but and then
not really be able to explain it to you clearly, succinctly and simply okay. So as
I go through some of these questions I'm gonna you know try to do my best to do
just that so you really apprehend this. Now please also understand that when you
ask a question, it is multifaceted. There is a lot to this so it's not just one
answer here, one answer there and not one-size-fits-all or there could be
multiple answers or there could also be a combination of you know, you start at
this point and then you do this and then you do this and you do this. So to give
you a quick five-minute tutorial or a 5 minute answer is really I want to use
the word irresponsible. No one is going to be able to just get it from one quick
tip or a quick answer but at least it'll clarify a lot of things for you to
really help have you see the vision of how you can see yourself doing whatever
question is that your answering and I'll do my best to answer those questions
okay. So with that said I'm gonna put this at the head of a lot of these
little or a lot not little but big questions that I have coming in to
really again clarify and just make simple for you to understand how to do
some of the things you guys want to know okay. So with that said let's get started.
The next question that I have is how do I build mixed voice okay. Well this seems
to be like a mystery, mixed voice you know and it is actually because there is a
lot to it. Now no one including myself is gonna show you and give you the ability
to all of a sudden sing great mixed voice just like that. There's a lot to it folks
and if someone says that there isn't, they are not... they don't understand it and
they can't do it themselves and demonstrate it. Now I have a singing
course it's called How to Sing Better Than Anyone Else and I have an entire
section dedicated to get you guys to understand how to get into mixed voice
through the passaggio and back but I want to give you some tutorials right
here and right now that will be get you starting on this. Now I do have a couple..
I think a video or two on this and if I do I'll put that in the description so
you can you know see how this stacks up next to that but some really simple
things that we can do are sirens you know or sliders whatever you want to
call them and I'm just gonna do a few of them. Now the goal of this that we're
gonna do on one vowel and by the way guys this is predicated or based on the
fact that you've already gone through the whole sections I have on
diaphragmatic support and the relaxation response, the bright ping vowel of AA, vowel
modifications. They matter why and how you get two different vowel
modifications. That bright ping of aa, that bright timbral sound that we discussed
already. So all those things have to come into play first before you start going
into mixed voice and growing mixed voice okay but and by the way you can grow a mixed
voice by adding a lot of air to the sound and the more air that you add to a
sound.. overuse of air is the arch enemy of the voice because it dries it out and
all of a sudden then you start adding more air because you get dysphonia or
lack of the ability to phonate, create sound and then you start adding more air
and then the vocal folds start to swell they get inflammation,
you have to add more air. It's this vicious cycle that is not a good place
to be okay. So you get this bright tone, all the other things we've talked about
first and now we talk about mixed voice. So we're gonna do some simple sliders or
some simple sirens on an aa vowel and what our goal is, is to get from our
chest register, our belt and call register. Actually really starting from
the speaking register. People don't know this, there's actually two passaggios.
There there's a passaggio that comes from your speaking register into your
call register, your belting register. That's one thing we have to overcome and
then from our belting register which is the most obvious passagio which is
segundo passagio, second passaggio.
(sounds)
Say that 20 times fast segundo passagio.
So we have to get that, the reason it's the most obvious is because it goes into
our falsetto which you know growing it is really our head voice if we
grow this correctly and by the way are.. even the terminologies are funky because
a lot of people just use the terminology of head voice, meaning something that
resonates in your head. I like to use the terminology, the 70's terminology of head
voice for women. Meaning that they've crossed over from their chest speaking
or belting register excuse me, on into their falsetto which is called head
voice. So when I use the term head voice I really mean reinforced falsetto
or a falsetto that has been built up enough to match the tonal qualities of your
chest voice. Let me say that again when I use the term head voice, I mean it as
falsetto that you have worked up and worked, made strong enough, bright enough
to where it matches the tonal qualities of your chest voice so you can't really
tell if you're in chest or in head voice right it's one long powerful note. So as
we do these sirens or as we do these sliders, we're gonna start like this and
the goal is to get past the passaggio without hearing the break okay. Now if
you hear the break back off the sound. That doesn't mean add a bunch of air or
whatever, it just means less volume because you'll find that the less volume
you have in chest voice, the easier it is to get through the passaggio without
hearing the break or the back of the throat spasming and closing down and
then you can enter into head voice and then you can come in for a
landing bringing it back down into chest voice again seamlessly without the break
okay. So here we go on an aa vowel, that nice bright aa ping.
And ladies you'll do this up the octave.
Now right there at the top for you high baritones or baritones and even low
tenors, you're gonna start to feel like that top note and ladies you too, you'll
feel some pull in this as well. You're gonna feel like that top note is already
starting to want to go to your head voice okay. Now like I said, there is a
lot more to this than just doing these exercises. There's a whole bunch of
building up the foundation for this, stretching chest to get it to go higher
so that you could hand it off to the head voice later so that you built up
your chest voice and you you know you grow this mid voice a mixed voice part
but for now it'll give you a really good start in foundation and understanding
how to start the process okay. Let's continue.
See you don't hear any break. Let's continue. If you do hear the break just stop come
back sing even lighter.
Right, to where you don't hear the break and as you get better at it with the
bright timbral sound we talked about, you can lean into the sound which just means
adding more volume to strengthen this area of the passaggio. We have to start
there first before we can go into mixed voice okay.
Seamlessly.
and for you Altos out there, Sopranos you're way up in the rafters right now,
way up here right. You Altos come in when you can so
don't think you had to start where I started and end where I ended, try to
find the sweet spot for you that challenges you to be able to do this.
Now you notice I'm hitting a B4 and you're going you're right Ken, I don't
hear any break in your voice and I can lean into the sound to make it loud, I can
come all the way back to piano and make it small, I can go forte make it loud
come back piano make it small. So if you notice I've worked this enough where
I just keep doing it and doing it and doing it and doing it where I built up
the muscle memory and strength to be able to get through the passaggio
without the chirp (sounds) where the back of the throat spasms and creates that yodeling
sound. So it's fusing together my chest voice with my falsetto or my head voice
like we just discussed and creating one long powerful note so I can connect that
sound and go up and sing really high without the strain of pulling muscle
mass of my chest voice into my head voice. Now let's continue so that was the
B. Let's go to the male tenor high C.
Ew I cracked.
See I have to work at it just like you guys right.
Okay that's a that's a d5. Now if you notice I start in chest, I go into head
and I come back to chest okay. You don't want to go chest into head and bring
head voice back down in your chest yet. You'll do some of this later but and the
reason is is you want to be able to have it even. You don't know you don't want to
lop side the vocal folds. You want it even you want to be able to do it going
up and then you want to be able to come back through the passaggio back in the
chest coming back down. We say coming in for the landing into chest voice. So that
you can grow this evenly in both directions. Now Ken is this mixed voice.
Well it's the beginning of understanding how to learn mixed okay.
Now if you guys out there are choking going Ken I just..
And I keep getting that yodel. What do I do. Well there's a little trick you can do.
Let's start here, let's go way down here. On an A, A4. What you can do is you can
throw in a quick little H.
and you can throw in this H to force or to train the
throat to stay open so that you can get through the passaggio
without hearing the break. That's training the throat to stay open but you
don't want that H to be in there for very long, you want to pull that H out
of there because you don't want to weaken the passaggio. The goal is to
strengthen the passaggio with that nice, bright, timbral sound. Remember we discussed
that bright, timbral sound is the only true sound that grows the voice. So in
order to do that you want to come in and out of the passaggio in order to be able
to get to that thing. Now it's really important to understand again guys this
is just a soundbite, a snapshot, a very small part of what it really takes to
get good mixed voice. I cover all of this in my singing course called How to Sing
Better than Anyone Else. I give you the whole enchilada on exactly how to get
into mixed voice, this is just the beginning. You have to have already
strengthened your chest voice, already understand the building blocks to that -
to building chest, already understand the building blocks to building head voice
and then you come back and start to mix this sound okay. Vowel modifications
matter, all this stuff matters but I'm just giving you a quick again overview
of what it really takes to do this stuff. So anyway if you guys like what you
heard please like and subscribe to my channel. Oh I forgot to add one more
quick thing is within mixed voice, what is mixed voice. Well mixed is the combination
or percentage I meant to say this before, now I'm saying it now is the percentage
of chest and head mixing okay. The percentage of chest voice and falsetto
mixing but you have to built your falsetto up bright, bright enough and
powerful enough to match the tonal qualities of your chest voice so that
when you start to mix this sound, you can mix it at virtually any spectrum of the
voice and no one's really gonna know is he in chest
is he in head, is he mixing. Wow this is incredible it's just sounds...
right and I can
go through the whole spectrum of the voice and I could come in louder or
softer anywhere I want because I understand mixed voice okay. Alright gang
God bless you and until next time peace out.
Hey guys if you like what you heard
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peace out.