hey chris liepe here with how to add notes to your range and how to do so without introducing
tension or always feel like you're reaching for those notes
this technique that i'm going to share with you is especially useful for songs where you
feel like they're constantly slightly out of your range or slightly out of your reach
and every time you speak her name does she
know how you told me you hold me until you die till you die
i don't know before we go any further if you like what you hear and see and want to do some of this
stuff with your own voice but you haven't quite developed the fundamentals necessary in terms of
support and other basic vocal techniques click the link below and join my free voice course
and i'll help you dial in the fundamentals the foundation so that you can do some of this stuff
more easily and keep your voice safe as well also please like and subscribe to the channel
and turn those notifications on all right well there's two types of singing high
right there's the kind of singing high where you're in a normal sort of thing and then you
throw your voice up real quick and hit a note then there's the other more frustrating oftentimes way
of singing high where you're you feel like you're pegged up there in an uncomfortable area of your
range but you want it to be comfortable in fact you don't just want to be comfortable
you want it to be really awesome and you want to lean into it but it's high here's an exercise
that i picked up from listening to my dog and internalize this sound and it really does help you
exist in an area of your voice that you previously thought was off limits
and i mean consistently exist up here now you know if you've watched some of my other videos that
i've gathered a lot of inspiration from the dying cat sound like wow
this is sort of related we're going to call this the
dog yipping sound it unlocks some different things than dying cat
yep yep let's unpack why this is useful and why it's different than some of the other things
first of all this yip yep
we're using this e sound which if we follow that up places our voice a lot differently than
yep
places our voice in a more forward sort of belty way even as we go up in pitch
second of all we have this connection to our chest if we're doing it right yep
yep and then we're cutting off the sound right as we transition up
it's very easy to do this maybe the wrong way no there's two wrong ways
notice the break or the other way yep yep where we're following it up with our chest and neck
we want to go in between those two where we feel the transition but we don't hear the transition
yep yep yep there it is yep yep yep and you can see in my yep yep yeah yep yep yep yep yep yep
yep yep yep okay so we have to ride that sensation up yep yep and then realize that as we do this yip
over this it feels right in the front of our face we are thinning out in a unique way
now i don't really even know what's going on anatomically when we're doing yep this sound
and i don't really care what i know is that when i get this sensation of my voice thinning
out as i go high on that challenging sound it is as opposed to ah or oh something super open
my voice exists in a very clean and powerful way yep yep yep yep now if i can get that sensation
cut it off and then get back into it yep yep yep yeah yep and then gradually start to lengthen it
as i feel it out yep yep yep yep yep yep yep yep yep yep yep yep yeah there's all
sorts of ways that you have to sort of balance it right because we don't want
we don't want that to happen but let me take you through the transition here and then we'll
relate it back to the little sample that i did at the beginning of the alanis morissette song
so what i'm going to do is i'm going to go up to that note
it's not really a note and then i'm going to try to harness that sensation
i'm going to come back down like that
i'm going gonna play around with it in different areas of my voice
if you listen to a dog you hear this kind of thing happen when they yip
my dog has this like i got hurt and i'm whining but i'm not really hurt kind of yip
and it it does this it it it goes up into this otherworldly sort of pitch and then yeah yep
yep okay now we're going to close the gap between the duh and then the up yep
and then we get to this like again forward not
it's different
explore the extremes around it so that you can dial it in in a way that's more usable
yep there it is not or if it's eep yep yep
okay let's see if we can hear some yips in different flavors in alanis more set cover
hear how thin it gets up there i'm masking it with some other very chesty
river marimba remember remember yep yep remind even
and then i'm grounding it in other more comfortable chesty notes
so i'm kind of masking the fact that i'm existing up there this massively saves your voice because
you're not going to remind you you're going to remind you true i'm exaggerating that a little
bit but it's that it's that yip and thin up to remind you remind yep yep and sometimes
i i break a little bit too much as i'm dialing in but that's okay you totally hear that thin
note up there shrouded with other more comfortable notes but it's it's that
grounding in chest and working back up and being thin and light around that this yip unlocks that
again there may really got that one there but right here
yep yep yep yep deny right there deny me and then let your voice get back down to that because that
that uh that b note is that just out of reach of chest especially when you're all in these
these similar notes but by consciously going yeah thinking like that you can get those higher notes
crosses of the cross yep yep on the cross of the cross bear yep yep of the cross it's i broke
that time but there's if you mask that that break and realize how thin it can be and you
surround it with other notes i know i'm kind of overstating that but that really is what helps you
if you listen to cross it almost sounds like that's head voice
i'm exercising that even more and there's some really high notes in there but it also helps me
ground in that last note because i'm thinning it out saving energy yeah yeah yeah yeah i don't know
and even on
one of the biggest misconceptions of singing high powerfully is that we have to be powerful
throughout and all the time but this method of vocal budgeting where we're intentionally thinning
out and getting that sensation of thinning out but joining it to other thicker areas of our
voice and then joining it back in this is what's going to help you add usable notes to your range
especially with those songs that are you know you're not just going all the way up
and then back down give this a try learn how to yip and see what happens again if
you'd like more help with your voice click the link below and join my free voice course
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