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 Ronnie James Dio. Before we get started if you wouldn't mind, please
like and subscribe to my channel. Don't forget to ring the Bell so I can keep
new cool videos coming your way and I have a singing course, the course is
called How to Sing Better Than Anyone Else. You can find it right here at Ken
Tamplin Vocal Academy.com for those of you wanting to learn how to sing and how
to get into these amazing places, places from some of these amazing singers so
speaking of amazing singers Ronnie James Dio again. I haven't had a lot of huge
vocal influences in my life that would compare to like I said Lou Gramm, David
Coverdale, Ronnie James Dio, Paul Rodgers, you know there's a handful of guys in there, my
own cousin Sammy Hagar. There's a handful of guys in there that are just off the
charts like good luck ever, this kind of talent, seeing it's, the light of day on
planet earth again I mean that's how good this stuff is. Very high bar setting
stuff to have to go after. Now I want to make a point about something, I see a lot
of a lot advertising from a lot of vocal coaches, some guy claims to be you know
the most popular vocal coach on the Internet, another guy claims he's gonna
teach you how to do something in 30 days, another guy's gonna put an octave on
your range in thirty days, he's gonna guarantee it.
Guys this is smoke and mirror crap. Just simply ask these guys, awesome can you
sing for me. Can you please demonstrate that you're that awesome, why are you the
number one singing vocal coach on the internet, prove it.
Sing something with your own voice and show me your students singing so I can
believe that what you're telling me is true right. True for the singer and I
don't mean some ad that he pulls off of some some youtuber that's auto-tuned and
you know whatever and hey if that's the kind of sound you want, go for it, that
your thing but I'm saying this because you're getting legit information and I'm
physically demonstrating the stuff with my voice and my students voices so. With
that said Ronnie James Dio. I put together
a montage, a medley of Ronnie and I did it myself
and I had my student Gabriela do it as well and then I also did a version of "Neon
Knights" Black Sabbath and I had another one of my students do it and
it's kind of a bit of a surprise so I'll keep that up. I'll put all of these in
the description so you can hear the full versions of these but I want to just
kind of start out here and I'm gonna show you, we'll do it first and then
I'll talk about it after, like I always say. Here we go.
Alright now before you move on (sings) right I can just you know,
spit it out, just boom there I am, I'm gonna do it right and that's, that's important
because not a lot of people could just all the sudden, hey my name is Ken Tamplin
(sounds) right. So the reason is is cause I understand the technique of what he used
to get there so let's talk about Ronnie's technique this is really, really
cool stuff. Now he claims to have never had a vocal lesson, I believe that may be
true, I don't know but he also claims that his parents would play a lot of
Mario Lanza and my understanding is too they were very involved in Opera and
music as well. So he grew up around a very musical family. Turns out though
that he said he would walk around the house all day long, singing Mario Lanza.
Well he may not have had a vocal lesson in person from a teacher but Mario sure
showed him how to use open throat technique so I think that's pretty
interesting and I did a how to sing like Dio or not sorry how to sing like Dio,
excuse me a What Makes This Singer Great or something I forget but anyway
whatever Dio stuff that I've done, I'll put that in the description so you can
see the full versions of these songs and then vocal coach reactions I've done to
Dio and so forth but I bring that up because he also attributes his lung
capacity to playing the trumpet right and I believe that too cause trumpet's a
pretty difficult instrument to play. So he hit the right sort of you know
cauldron in the recipe, perfect storm so to speak of having Mario Lanza as an
operatic you know influence in his life early on and breath control from playing
trumpet, pretty cool right and it culminated into what we knew of as Dio.
So as I cover in my singing course, what we really want to do is we want to
maintain a full open sound in the back of the throat and I have all kinds of
video tutorials on this, if you just want to kind of check it out they're
obviously, they're not conclusive, they're just sound bites but I kind of give you
the roadmap and show you, take a pic snapshot of you know where you can go
with this stuff but anyway so we have this you know big round sound in the
throat (sings) right. It's just big and round but he's also
using a very advanced form of glottal compression. Now people are even saying oh I use
glottal compression I even heard one vocal coach say hyper glottal compression. I actually
made that term up, it's my own term. I coined the phrase myself and other
people are using it and then I have other people saying hey do you know how to
do hyper glottal compression. I'm like yeah I invented the term of course I do
but anyway the point is is that is, it's the way you compress, not just air at the
glottis but in the lung and in the base of the throat but how you can lean into
the cords themselves to create a desired over driven effect, distorted effect without
hurting your vocal folds. Now Dio was very melodramatic in the way he sang (sings) he had a
very, very again, he had a very Mario Lanza, very operatic, I can see him on the theater
you know doing, doing this you know right and which is cool but it's also the
drama of that in the voice is you notice, he, his, his upper register, he rarely ever
sang clean, he always sang distorted and dirty. Now that may have been a choice I
don't know. I know that his voice definitely got more distorted over the
years and you could hear that from his earlier stuff to his later stuff, it
definitely got a lot more distorted, could be good, could be bad like could be
good distortion where it's just great harmonic resonance and just sounding
rounder and fatter kind of like Aretha Franklin when her voice maturated
over time her early years, she didn't have anywhere as near the big
huskiness and the sound to her voice as she did later in life so but the point
though is is we want both, we want to be able to sing in a clean tone and a dirty
tone and a derivation or different derivatives, or percentages of that
thereof so, so as we're going through this, I teach all this in my course so he
had this incredible amount of support, if you guys want to know more about the, the
diaphragmatic support, check out my video on diaphragmatic support but Ronnie
certainly used it and then he used all these wonderful pockets in the
resonators inside his skull to get into these little pockets to where it didn't
sound like he was singing really throaty, it was very pitched, very high and
pointed and tubular in the way he sang so let's
continue.
(sings)
I'm way up in here I'm not going (sounds), I'm (sings) I'm way up in here guys, I'm putting all this stuff way up
into the mask and I'm hitting all these resonators up into my face. Now I have a series
of exercises that we do in my course to be able to give you the muscle memory
and the strength to get up into those places because you say Ken when I do
that I crack or Ken when I do that I can't sustain it for very long, I can
only do, yeah we all have to work at this guys. So what we do is we build up the
stamina to be able to pull this off and have the longevity and the ability to go
and do these kinds of things that seem almost superhuman. Well they're you know,
it's an extreme sport like I said so let's continue.
Again a medley right.
Now we've talked about contiguous phrase singing
(sings) right I'm not going dancing, in the night, I'm not stabbing at
the stuff like I did when we did the David Coverdale How to Sing Like David
Coverdale. He stabs more at his, his phrasing,
so does Lou Gramm, it's a style. It's a lot harder to do, especially if you're
gonna hang notes. So what's interesting is those guys don't
hang notes really that much because it's too difficult in the throat so the way
they would do is they just kind of stab it a little bit, kind of do the best they
could with it and hold it there as long as they could,
get out of it quickly, let the throat rest and then stab something else
whereas Ronnie actually has singing these big legato, big portamento,
big long, whole tones, whole phrases like this and that's because he knows how to
keep the throat open and not use too many consonants and not slam his vowel
sounds in the throat.
Okay so you get the point right and I mean and I do another, I do Shout also after
this, "Stand Up And Shout" so I'll put that in the description, you can see how I did.
Next up is Gabriela. So we just did the exact same medley with her voice and
this is where we ended up with it.
She did a great job.
We should have probably taken it up a full step for her but.
Pretty cool.
(sings) You hear that open throat, all of my students at Ken Tamplin Vocal Academy,
this is no accident folks, the reason her voice sounds so open and big and the
resonance is there, is because this is learned, it's a technique, it's something
we work at and it's not something you just wake up one morning doing, it's
something, it's a very specific sequence on how you get there. I want to continue
with this because I want to get to a couple more here.
See it's like Dio
Alright so and then we do "Stand Up And Shout", check this out.
So you get the point right. Okay now in the earlier days believe it or not man,
this is a pretty tough tune to do, a lot of people don't realize how tough this
is. I'm gonna show one of my students Sara Loera doing this and it's kind
of cool because Sara is more like a Stevie Nicks singer. I mean she's more
really on the lighter side of the coin but she wanted to take on something like
this. Now is it the same power and resonance as Gabriela now but she
hasn't worked it in that way yet but she can get it over time so as we do it, and I'm not, she
did a fantastic job, I'm not minimizing her efforts, I'm just saying that it's
something we work at. So check this out.
She's so cute.
She should have been, I hate to say this.
Sara, Sara should have been in The Runaways if you ask me because she's got
all The Runaways everything, she could have been Joan Jett, she could have been
Lita Ford, she could have been Cherie Currie whatever.
Now in fairness too, she has more of a Donna Summer approach so (sings)
she's kind of more in the front of the face whereas when I go to
do this, I did a version of this we both did versions just for fun. I did my version
of this and it sounds like this, here we go, but she did an awesome job.
Here we go.
I'll put this in the description, you guys can check out the whole songs,
they're really cool it's a lot of fun stuff and I don't want this video to go
too long but you get the point man, all this stuff is technique, all of it is a
total takedown of what these different singers are doing, how they get there and
I cover all of this in my singing course. Now I'm doing most of this by request
guys so if you have a request, please put it in the description and definitely
check out my next video.