hey Chris Liepe here with my very first Haley Williams vocal analysis and to to start with which
I believe is the place to start we've got Still Into You Studio vocals but filmed and recorded
home video style so we get a killer performance to pick apart and learn from get to see all her
mannerisms body language the way she works with the mic we also get to hear her voice isolated
without all the music without the production without the compression on the mic all that stuff
this is amazing and this video has been on YouTube for quite a while and it's
got millions and millions of views so be sure to go re-watch it without
interruptions so you can appreciate all the nuances that that I go through here
this is about learning from Hayley Williams I get to teach people how to sing on this channel and I
love picking apart vocalists that really know what they're doing but that also give us lots
of Clues to how we can improve with our own voice if you'd like to go deeper with this approach and
pull from inspiration you feel from your favorite vocalists and want to do it freely and without
judgment click the link below and join my free voice course I can also assure you that there
are going to be lots more Haley videos coming to this channel in the near future together
I need the other one to hold you make you feel make you feel better
it's not a walk in the park to love each other but when the fingers into dark can't deny can't deny
you were there cause after all this time I'm Still Into You I should be over all the butterflies
but I'm Into You and baby even on a worse nights how is it to you let them wonder how we got this
far cause I don't really need to wander at all after all this time I'm Still Into You
all right this is incredible stuff and there's so much going on here
I want to highlight just a few things that she's doing whether she's thinking about it or not that
set her apart as an incredible vocalist if you've ever felt tense or trapped or not
expressive enough or contrived or fake with your voice what I'm about to unpack in Haley
Williams is going to be gold for you let's go back watch her body language she's chill she's
listening to the producer in the other room and then she like bounces into character ready
[Music]
together
I need the other one to hold you I need the other one to hold you you can feel the rhythm even
though we can't hear the track we can hear little bits of bleed you can feel the rhythm in her
performance she is acting like a vocal percussion or a percussion instrument here in her vocal
delivery that is huge but she wouldn't be able to do that nor would she be able to give this in
your face performance if she was stuck trying to hit notes her body language her entrance into this
character helps her be rhythmically engaged but also engaged with her pitch in a way because she's
not focusing on Pitch she's focusing on engagement rhythmic engagement emotional engagement
you see all over her face as she moves all over the place watch her face again here
can come there is been together he is on one hand I mean I'm I'm playfully exaggerating
this but when was the last time you as a vocalist did something enunciate it's
not even it's more than enunciating it is changing the resonance and placement
could count the years on one hand could count the years on one hand we've been together we've
been together now you might say well I actually prefer the one where you're like more boring the
other one sounds contrived and weird yes but in in my case maybe so but we have to get to the point
as vocalists where we are able to abandon into this sort of ridiculousness in order
to free ourselves to fully emotionally engage with what we are singing and she's doing that
how she shapes her mouth allows her mouth to be shaped she she lengthens together together
been together those sorts of little nuances are part of what we love about her vocals
there is so much Variety in tone Timbre and a rhythmic connection and intensity not tension
but intensity engagement if she was tense that would be competing with her ability
to Be Free as a vocalist so let's watch with those things in mind notice how she she moves
gets her shoulders gets her swing and of course her jaw her face all those things are intense
not tense keeping her from doing what she wants to do because she's thinking about being good
she's abandoned into this character hold you make you feel make you feel better make you
feel make you feel better better better that's really interesting this make you
feel better isn't she's moving that resonance around partially by directing the energy with
her face but also her posturing the way she's moved her jaw don't worry about the pitches
just worry about the expressiveness better better better better uh foreign and belted
bad bad pride and sort of ah better it's not a walk in the park to love each other
you were there cause after all this time after all this time notice on time time becomes long
and sort of side and breathy and she's just gotten done being very forward and brash this
amount of character this is why we love Haley's Voice anybody can get out of their own head
enough to be this expressive yeah there's there's some vocal technique and giftings and stuff that
not everybody has but it starts with getting out of your own head and need to be perfect
so that you can be free and expressive I'm still into you and right I should be
over all the butterflies but I'm Into You and baby even on a worse nights how is it to you
notice the size this is another thing that great vocalists including Haley do all the time
oh eyes that kind of thing where you you enter into a really neat belted state with a great note
but you don't get locked into it so you don't get tired you release into a different note
the size connecting various notes and phrases keep you free and they add this
extra expressive element to your phrasing first
little side
there's Psy at the end she uses them in all different shapes and sizes
[Music]
Wonder at all huh time I'm Still Into You
if you want to try this along with me wonder at all I'm gonna put the notes in a way that
resonates with my voice a little bit more comfortably and I'm going to connect the phrase
hello instead of wonder
that way feels more tense I feel like I'm competing with myself but just the
fact that I have that sigh to abandon into Wonder
makes me feel more free because there's more variety and it's less strenuous
back to my house I told you that I told you that I loved you love those size and squeaks
there even in the midst of the percussion you felt the way of the world for love your shoulder listen
to her face watch her jaw so your favorite song We Sing along to the start of forever
you would think if you saw someone talking like this on the street forever you ready to be like
what now what are they doing this is part of the character part of the ACT part of what we love
[Music] oh
wind that instead of breakfast
but I'm into
[Music] she couldn't hear herself
[Music]
into you a lot of people say you know you don't want to be singing like this right into you and
oh she's got a lot of neck tension if she was having problems with her delivery or her intensity
things just some things just make sense in one of those is you and I
I would say that she's doing something wrong but she's she's sort of aiming up to the mic
and what she's doing what some may perceive as tension visually is not competing with her
ability to deliver there's a there's a very fine line there with our own vocal performance as well
just some things just make
just makes all this time I'm Into You beautiful
eyes but I'm into gotta hear that again since in one of those is you and I what's up you and I
very theatrical there right it's in one of those is
just make sense and even after all this time
I'm Into You I love how she transitions into head voice there I'm in chest a Man Too [Music]
that's really really a good use of resonance and register transfer right she's actually going
lower as she gets quieter and goes into head voice an artistic meticulous choice
baby baby
here how she used that sigh at the very that it's like a squeaky sigh
on that in hint to you to further the intensity and vulnerability
baby
also she's lengthening and opening those vowels up not into you but
and to you which furthers this Larger than Life resonance as you open vowels
into you they both sound okay the open sounds way better especially for the climax in this song baby
yeah the butterfly fly but I'm into and baby even on the worst night physical articulation
right there let them wonder how we got God's far cause I don't really need to wander at all yeah
okay one more thing I have to point out on that that High Point listen to how she closes the vowel
closes you at the very end to bring us back to like this is addiction thing we can open
and lengthen to get the intensity out but then we close it at the very end to bring us back to what
the word actually is that is huge huge huge we don't just want a bunch of because just sounds
like stupid shouting it's the articulation and the Nuance it really makes this work
there's just some things just make sense and even after all this time
I'm Into You baby not a day goes by that I'm not
yo right at the very end there hey yeah I should be over all the butterflies but I'm into
hey baby even on the worst nights how are you too let them wonder how we got this far cause I don't
really need to wander at all after all this time I'm still into you I'm Still Into You how still
into you what a fantastic performance and how fun it is to hear and see it in this raw form
just taking a few things away the way she uses size and squeaks to abandon into free
and Powerful parts of her voice massively awesome also the way she uses her face to create sound
and resonance variation and intensity along with rhythm right really spitting out those
words and making it borderline when we first start doing this stuff it can be goofy but
if we experiment with stuff like that in our own voice we're gonna get we're gonna get a
lot more intensity out of our voice just by the way we're creating opportunities
for rhythmic percussive engagement with our diction and then finally another thing that
goes along with diction but also resonance is the way that she would open vowels lengthen
tically so that she gets the the perfect balance of power and expressiveness
loudness and beltiness out of a certain note but also is able to bring us back to what's
actually being said again if you'd like more help with your own voice and dialing
some of this stuff in in a non-threatening freeing way click the link below and join my
free course and stay tuned for more Haley Williams on this channel coming up soon