hey Chris Liepe here have you ever recorded yourself and listened back and then went ah
I'm so cringy in this video I want to discuss why you're particularly high notes sound cringy and
bother you and other people's other vocalists don't I'm going to Define cringe as anything
that is difficult to listen back to or watch it makes you uncomfortable ah that word uncomfortable
if you are uncomfortable while you're trying to sing particularly high notes
you are going to have the effect of making other people uncomfortable when they are listening or
watching you if you are comfortable in your own skin while you're delivering
whatever vocalization you're delivering even if it's not that high even if it's not perfect
you will not be cringy but none of this is gonna work or mean much to you as a vocalist
if you haven't dialed in the proper support technique if you'd like help dialing that in
in a very specific way that is freeing and easy to do click the link below and join my
free voice course what do all of these vocalists have in common in what they are singing [Music]
sample number two from the guy who sang this [Music]
oh
I've been talking with Andy recently one of the most amazing vocalists ever and you
should expect to see him on the channel quite soon listen to him deliver these high notes
[Applause]
I can't change
okay bear with me two more
[Music]
[ __ ]
okay last one what do all of these singers have in common
well they all sing high well in their own ways it's not really what I'm going for though these
singers although vastly different in their approach tone and style are all comfortable
they are all confident and they are all putting texture character Dynamics and expression before
trying to hit certain notes this is how you avoid the cringe Factor when you're trying to sing high
and really when you're trying to sing at all stop going for the notes stop saying I just gotta get
up to that C5 and then I'll be happy you might hit the C5 for a little bit but then you're going to
burn out you're not going to be able to apply it in a way that is Artistic and sustainable
unless you take the approach that I'm sharing in this video why is it that we
don't cringe when Jack Black gets up to those ah notes it's because it fits the
context of what he's doing he's comfortable he's performing it's not about the notes
why is it that we love The Sweet Sound of Ren's falsetto it's not because he's hitting certain
notes it's because of the vibe he's creating Stephen Tyler in that live performance of Dream
On didn't get to some of those notes right away but it still sounded amazing why because of Steven
Tyler no because Stephen Tyler is more about the performance and the connection through music than
he is about making sure he's Pitch Perfect and why can Andy sizek be so demonic and Angelic and
hit these crazy high notes so well right after screaming a bunch it's not because he's trying
to hit the notes he's not sitting there with a piano going oh yeah I hit him he's not doing
that I can tell you from personal conversations I've had with Andy that he got his range not by
trying to expand it not by having that as a goal but by pursuing character and Dynamics
in everything that he sings here's the exercise that's going to completely change the way you
look at singing higher and expanding your range I call it the big and small high and low exercise in
order to properly do this you need to completely forget about what notes you might be hitting we
are going to pursue tonal variance Timbre changes and infusing all sorts of goofy ridiculous sounds
that help us bring tons of character out in our voice it's another thing that all of these singers
that we played have in common they have their own unique distinct characters that if you're really
thinking about it are as far away from normal speech normal conversational sounds as possible
they are in a completely other world when it comes to character so here's the exercise we're going
to use the phrase I'm a crazy bear over and over again and we're going to start by being as small
and as high as we possibly can don't worry about what techniques you're using just act a little bit
what if you can't find my your falsetto or your head voice just experiment don't worry about it
do whatever comes naturally and comfortably remember these people are comfortable first
I'm a crazy bear a crazy bear how can this crazy bear be emotive in different ways get the crazy
but the crazy bear is small not powerful not large small and he's high now what if he's small and low
I'm a crazy bear I'm a crazy bear I'm a crazy bear I'm a crazy bear anything goes but notice
how different those two crazy bears are I'm a crazy bear contrast based on character and
it's comfortable now the crazy bear is going to be big he's going to be big low
I am a crazy bear oh I'm a crazy bear I'm a crazy bear then he's going to be powerful High big high
probably not gonna be as high because it's not going to be comfortable
as he was when he was small
I'm a crazy bear I'm a crazy
but you might be saying Chris you're using all these techniques that you've practiced and
honed to make these sounds even though you're not going for notes and you would be right partially
but just like all of these singers I didn't dial in these techniques in these sounds by
trying to dial in these techniques and sounds directly I got there by
stretching the limits of my comfortable Voice by being different characters by starting out
seeing what my voice could do what kinds of sounds and Dynamics I could bring out
of my voice completely disregarding pitch What notes I was singing that was and continues to
be the way that I continue to expand my range and can draw so many different sounds out of
my voice okay so here it is we have small high small low we have big low and big high
crazy
Bible crazy I'm a crazy bear I'm gonna spend some time up there I'm a crazy bear
I'm a crazy bear I'm a crazy bear I'm gonna spend some time down there I'm a crazy bear
I'm a crazy bear I'm
but I gotta be small I think I wasn't this small this guy's smaller smaller okay now I'm big I'm a
crazy bear oh I'm a crazy bear I'm gonna spend some time down there oh I'm a crazy bear am I
comfortable yeah I'm super comfortable I'm a crazy bear oh I'm a crazy bear I'm gonna spend
some time down there yeah I'm a crazy crazier I'm a crazy [ __ ] I'm gonna spend some time up there
I'm a crazy bear I'm a cry is it bad I'm gonna spend some time
what's up now you might be saying this is a stupid exercise what does
this have to do with singing It's not singing it sounds terrible yes
but that is why it is so powerful I'm not concerned about sounding good I'm not concerned
about achieving anything I'm only concerned with experiencing variances in all of the things we
talked about before tone Dynamics uh power bigness smallness all of these things I'm being crazy and
I am comfortable being crazy this is what it takes you must break out of the shell of trying
to achieve through goodness things you want to achieve with your voice and this is most seen
when we try to sing high because we can crutch our way or or you know limp our way into singing High
that's when you get cringy that's when you are unconfidently oh I hope I can hit that note no
we've got to take this approach when was the last time you isolated yourself and God has animated
as I just demonstrated with your voice with your gestures with your Expressions what I'm doing here
is a lot closer to what you saw all four of these artists doing than if I was trying to
follow right along with them singing note for note just to hit the notes we say Well when will I be
able to actually start hitting the notes I want to hit ah stop asking that question for a while
and do this exercise for a while and you will find the answer you will stumble into that answer but
you have to stop asking that question of when can I sing hi trust me do this exercise take
my free course so that you can support yourself well enough to do what I'm doing and to do what
you will be able to do all your questions will come in time with patience non-judgment and a
willingness to take a different path to the freedom you so desire we'll see you for more