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. Next up John Fogerty from Creedence Clearwater Revival. Now if you don't mind,
please like and subscribe to my channel. That'd be really cool. Hit the Bell so I
can keep new cool videos coming your way and I have a singing course it's called
How to Sing Better Than Anyone Else and you can find it right here at Ken
Tamplin Vocal Academy.com. Now I want to talk about John because
John is one of the original belters and there are a few people in that time, we
talked about Paul Rogers and some others. Fact when I think of early, early
belters, I think of Humble Pie, you know Steve Marriot, "30 Days In The Hole"
we've talked quite a bit about him but there's a few guys, Mark Farner, Grand
Funk, of course you know none other than Robert Plant and then excuse me, Steven
Tyler you know the original belters but John Fogerty like was the man, way back
in the day in the original belting. Now his actual music career didn't span that
long because he got in a big fight with his record company and he's went a lot
of years without making records, he still toured but he didn't make a lot of
records after you know the 70s and a couple of you know the album Revival and
some other stuff so but anyway I point that out because his music is not that
easy to sing he sings pretty high. He's got a great tone, great distortion we're
gonna talk more about that in a second. I chose this to "Unfortunate One" because
it's kind of, I think, again the, the quintessential example or the, the
biggest example I could use of where he really comes from as a singer so. He's
always kind of like at the top of his range, at the threshold of where he can sing
and I think that's where a lot of belters are at you know so they're like
always kind of hitting that A4 and just stabbing on it over and over again
and how would you love if you could get past that A4 to a B, into a C5 and
beyond, if you knew how to do it so. In John's case that isn't, I mean we're gonna
talk about how to sing like John Fogerty of course but I also want to discuss
that you know you don't have to be stuck only hitting those belting notes, you can
go beyond that and increase your range with the singing program that I have called
How To Sing Better Than Anyone Else. Let's get started by the way Einstein
said it best when he said demonstration isn't a way to teach, it's the only way
to teach so if you got other vocal coaches out there on the internet that
are claiming all, making all kinds of claims, just say hey you know that's cool
would you sing it for me, sing for me just so I can hear how you would do it
and then also please show me some students singing so I know that that you
can reduplicate that or replicate that so. Anyway let's do this, here we go.
So if you notice kinda everything (sings) right (sings) it's like
all this real kind of force throaty stuff right. Now if you notice, I'm gonna
back this up again, the reason I'm doing this is I want you to hear a safer
distortion (sings) where you open up the throat that rather than (sings)
right (sings). You can open up the throat to get a cleaner, rounder more
robust, beautiful sound first and then lean into the sound to add distortion. I
cover all that in my singing course so in fact I don't have to back it up,
I'll just play from here and.
Now I'm actually using believe it or not (sings) like some Dio technique in it where
I'm really opening up that throat but if you notice look closely at my video. I've
got a lot of mask in it (sings)
(sounds) I'm not getting (sounds), I'm not dropping low in the throat (sings)
so if you want to try to find the placement of it (sings), you gotta (sounds)
kind of like you're yawning into the sound in order to be able to get the
placement to be highe,r especially when you go to lean in it but like I said, now
all of this is just kind of pounding on one note over and over again and that's
kind of the coolness of the tune too and that was a lot of what Fogerty did he
did when he belted though you know, you know "Who'll Stop The Rain" and all these
other "Looking Out My Back Porch", all these amazing songs, "Proud Mary" whatever,
that he has a lot of different expansive range when he sings a ballad or when he
sings something that's a little more middle-of-the-road, instead of just
straight-up belting like this but I wanted to choose this song because
there's a lot of belters out there and again this I think represents a lot of
where he's coming from, John's coming from as a singer so.
Now, we talk a lot about contiguous phrase singing and that's the safest
kind of singing there is in order to be able to keep the throat open.
Unfortunately, in this case John doesn't sing like that, he slams all of his vowel
sounds and and what I do sometimes when I'm in a pinch is you know (sings) right. I'll throw
an H (sings) right. You'll hear me throw a quick H to get the throat to open rather
than slamming and shocking the vocal folds going whoa dude what happened,
whoa dude you're doing it again right because
you can only last so long when you do that so. I cover all this in my singing
course we have all these little tricks that you do in order to keep, to keep
that throat open to maintain good stamina, you know, good longevity in
doing something like this so. Anyway you know this song continues with the same
kind of belting but I wanted to showcase yet another belting tune by John because
this tune is also pretty tough and he does some fun screams in it too that I
like so here we go.
Now (sings) you know (sounds) you know you have to have a lot of
quick response in the diaphragm to be able to get into those really fast-paced
phrases in order to be able to sustain that so. Now a way that you could get
around that is you could actually take one big breath instead of using a lot of
small (sings) right and, and use contiguous
phrase singing to make people think they're hearing stab singing or
staccato phrase singing right but again it's just depending on how you get
caught in the throat if you're on a show and you got to make it through it.
I recommend the contiguous phrase singing one if you're behind a red light
in a video, you get to do it again if you make a mistake then you can you know
really kind of, I hate to admit this but again it's like an extreme sport where
we're stressing out the chords, we're stressing, slamming and do all kinds of
crazy stuff in the name of tone and the name of energy and the name of you know
all the crazy stuff we want to do. So you got to be judicious about how much you
do that. It can be done but you always have to come back and fix and correct
the voice and clean it up otherwise you're gonna really hurt yourself ok. Next.
See what I mean about the stabs like it's just constant stabbing on the same note over
and over again so listen, I'm gonna do the ends, end here.
And then I do one more scream at the end but you give it so it's like always being at the
threshold, always be at the top of your range just you know hitting that note
over and over again but understand that you can increase your range
if you don't lock the vocal folds or excuse me, the larynx down, to where it
can't allow freedom in the throat to open up and then go into higher pocket
range singing, by incorporating your mixed voice, on in to your head voice and back, to
be able to accommodate more than just this belting so. Anyway gang hopefully
this was helpful. I have a singing course How to Sing Better Than Anyone Else man
you can find it at Ken Tamplin Vocal Academy.com. Stop by my singing forums, I think
we have like 20,000 singers in there now all negotiating talking about how to get
to all these really cool places of singing in all kinds of different styles of
singing as well. So with that said, check out my next video.