How to find our chest voice-or how to belt with our chest voice.
Well, this is actually again, a very expansive subject, and it’s really cool because sopranos,
you are kind of at a disadvantage, in that you are often taught to bring your head voice
down really low into your chest registration, so you are: (Sings from high to low, bottoms
out on low notes).
And you have this really weak, Flutie hooty kind of sound.
It’s true for some altos, as well.
I want you to think of it like this, okay?
It’s going to be a silly analogy, but you’ll relate to this.
If you’re in a restaurant, and you go to the bathroom, and you asked somebody to watch
your stuff.
And let’s say you leave your phone on the table.
And you go to the bathroom and you come back and you see some guy and he runs across to
the table and grabs your cell phone and he bolts out the door.
You wouldn’t say (in a weak, heady voice) hey!
Stop that guy!
He’s got my phone!
Oh, ooh, hoo, hoo!
No. You’d go: “HEY!!!! THATGUY!!!
STOP HIM!!! HE GRABBED MY PURSE! MY WALLET!!! MYPHONE!!!!
STOP HIM!!! NOW!!! Right?
You’d Call Out.
It’s called the CALLING or Belting Register.
So you’d belt out to that guy.
You’d say, you know, that guy just stole my phone.
Right?
Well, as strange as it sounds, that is your call register.
Now we can’t do this with that kind of intensity when we sing, but the idea is that we understand
what that is so we know how to grow it and then curb it or control it safely.
So we do these exercises in the belting register.
Now there’s two registrations in your call and your speaking register.
So right now I’m speaking to you in my speaking register.
And there’s actually what’s called Primo passaggio.
There is a, let’s call it a gear – shifting between my speaking register “Heeey, yeah,
yeah, yeah, yeah!”
Right?
When I kind of move into that sound, that kind of belting register, all of a sudden
I kind of have to shift gears to get up into it.
So as I’m speaking I have to understand that I have to shed or get rid of a lot of
the weight from my speaking register to get into my belting register.
Otherwise there’s too much girth, or too much mass that’s brought up into the throat.
Well, that’s also true when I go through secondo passaggio, the “passageway”.
Remember we talked about mix voice in one of my videos, where I had to “Heeeeey!”
And I want to go up into that sound.
I have to thin out the sound, make it smaller.
Thin, not as in “weak” but thin as in small, and thin out that sound to get through
the passaggio to go up into my head voice or mixed voice and combine those two sounds.
So we could do some exercises, and we’re going to do them now and there’s a simple
one, actually there’s two of them I’m going to do…
This is going to be a little complicated at first, so bear with me, 'cause
I think you’ll appreciate this, but it’s going to be:
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Just do just that with me.
First, real quick.
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Next one: La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Now ladies, you're getting up pretty high especially if you’re an alto.
If you’re a soprano your kinda just cruising what’s easy for you.
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Now don’t forget.
I have a whole thing on support, which is super important.
And also, how to relax and release tension as I’m going through this, so I'm not going
“HA! HA, AH HAH!”
I’m not killing it on the bottom.
I’m being really gentle.
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Okay.
I want to add one more component to this mixed voice/chest voice predominantly chest voice
exercise.
So we’re going to do this again, the first two are going to happen the same way.
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
And this is going to help strengthen that chest voice that you’re looking to do.
Now, by the way, there’s more to this, as well.
There’s vowel modifications if you notice I’m going to do this quietly for a second
so I’m not shouting at you.
La, ah, ah, ah, ah, ah, ah… (lightly) like I have these different vowel modifications
and I have this whole section in my singing course about how we modify the vowels to
make it smaller as we go up top, so that we're not over-singing or over-exploiting the vowel
itself.
We’re actually corralling, or literally lassoing that vowel, kind of pulling it in and making
it smaller and compressing the vowel as we go up.
So let’s do the next one…
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Now don’t forget…
Support.
Ping is king.
If you watch my other videos about ping, ping is king, that brightness.
That Open Throat.
Keep that throat nice and open.
Let’s do it again…
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
Now, by the way…
As you get good at this you’re going to speed it up.
And I’m going to give you kind of a ridiculous example:
La.
Ah,ah,ah.
Ah, ah, ah.
Ah, ah, ah, ah, ah, ah, ah…
And you’ll want to kind of get to the point where you can kinda have agility in the throat
too, so theres not so much mass that builds up and you feel like you have to struggle
with the notes themselves because they’re so thick in the throat.
You can make them small.
In fact, another cool thing to do is, this is like getting way off track but I’ll throw
it at you guys anyway, because I think you’re smart.
It’s Ha.
Ha, ah, hah.
Ha, ah, ha.
Ha, ah, ha, ah, ah, ah, ah, ah, ah, ah, ah…
Where you actually have to kind of land the vowel placement in the throat with each note
along the way.
It’s pretty advanced.
And I cover this also in my singing course.
But what that does is when if you’re ever going to hit a high note, all of a sudden
you feel the placement in the throat and you don’t have to struggle for it.
From the bottom or the top or whatever.
You’ve already worked out the muscle memory in the throat to get to that placement.
Okay?
I hope you guys enjoyed this lesson.
Until next time.
Ken Tamplin Vocal Academy.
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So check me out, and until next time guys…
Peace.
Out.