hey chris liepe here with jeff tate queensreich queen of the reich
these guys were big in the late 80s but jeff is still alive well and touring and i hear has
an incredible voice still i have to confess i have never gotten in to jeff tate or queensreich
i got my legs my singing interests really started growing in the mid 90s just by
nature of what age i am yeah there are some 80s singers that really um
really influenced me and continued to influence me uh but for some reason
i just i never got into queens reich so i have not seen this i have listened to
very very little queens reich jeff tate um and no none active listening ever so this is
going to be fun for me since jeff is still highly active and a fantastic singer it'll be fun to do
some jeff tate evolutionary type videos and see how his voice has changed but
respect these guys and a lot of the guys from the 80s were able to have these really
long healthy careers even though they sang challenging high mixed voice stuff so without
any more talking let's get into this if you'd like more help with your own voice you'd like me to be
your vocal coach click the link below and join my free course i'll help you discover
things like mixed voice things like expanding your range proper support all right let's go
away
is
wow what an amazing tone especially live if i were to put his own vocal posture what i perceive it to
be in my own voice it would not simply be shouty there's a little bit of a steve perry parallel
to how he sounds there's almost this hoarse raspy but yet confident and full sound it's not
it's not just that but it's also not like
certainly not that because that's a little bit
more strained but when i try to rasp my voice in that range yeah
i don't know if i can quite get there but another hint that he gives listen to this sound here
here he falls off that note it's very direct at the beginning hey
and then he vibratos out of it and he he lets himself very subtly get into his head voice
this is very common from these types of of singers they access vibrato by teetering on
chest voice head voice not all the time but it allows them to
kind of keep tabs on not pushing too much so they can be pure and
they can be pure and powerful but not overdo it
don't underestimate the crow and how he dynamically changes his tone around there
it's the ending of your precious life right i'm exaggerating it but these singers do a
really good job of not just staying static it's not just it's the ending of this precious life
it's not just that it's so much more interesting it's the ending of this precious life i realized i
wasn't as true to pitch in that last example but moving that resonance around can actually help
save your voice a little bit because you're not always doing just one thing you don't just have
one tone your tone is really dynamic and he sounds like he's really good at that listen for that then
that's a thinner not head voice but it's it's placed more like a yawn
the ending of this precious precious life press is alive and then we are we grow a nasal
that note really really interesting when you when you really start listening
now he's masking his transition into head voice very very well be long so the queen of the right
i have a very well supported head voice there as he does but by leaning into those lower notes
it'd be long
i'm going to get rid of the consonants all together and i'm just going to focus on
transferring to different resonances and vocal registers i'm going to lean in to that
let my voice kind of do what it does but really lean in and then i'm going to try to
transition to a well-supported head voice and join those two phrases together this
allows me to mask the fact that i'm thinner on that higher note
there's really interesting things we can experiment with our voice if we
mask thinner notes thinner higher notes with thicker chestier notes
that's what he's doing here and lots of vocalists do that especially live
it's very normal we just don't think about it because their presentation is so slick
you you're fading away
all your lies
the last thing you'll see you'll see
again notice all the different ways he's resonating and placing
notes singers from this era were extremely good at that not you see
and then it's almost this exaggerated at wine we go from really you know who bare-chested oh guys
sort of i don't know gonna be trampled guy but because they're they're fused together
bear chested you know guy like this and hey
because they're being explored within the same phrase you have this wonderful combination
of vulnerability and authority in the same delivery that's what makes this stuff so awesome
i kind of miss guitar solos
so
especially dueling guitar solos
is
this is way more than just having a really good range it's about being very expressive and dynamic
with the way that you place notes and the way that you feel and experience notes if you're not
experiencing your singing you're not singing you're droning on and this isn't a wonderful
example of experiencing a voice the effects of that experience and then that experience just
floating or becoming part of the energy in the room it's incredible
is
his mouth i want to touch on his vibrato again there because it sounds so powerful and it is hey
if you want to start developing that kind of vibrato he's very good at masking it but
if we can create this this sense of almost cracking at the very end of the phrase it
will help us feel out vibrato we can't be really heavy voiced and vibratory at
the same time without it sounding like this hey which just sounds forced right
but if i intentionally get into that note swell into the note and then
back off a little bit to the point of feeling out where my voice might crack yeah
hear that little cyan head voice at the end there because i was able to
to back off while and moderate my airflow not just go into it my voice feels lighter and bouncier and
as i approach that awkward break if i can exist right before it vibrato tends to show up a huge
question out there is how do i develop a natural sounding vibrato this is how and i go through
these type of exploratory sensations a lot more in my course but experiment with that a little bit
don't be afraid to crack if you're afraid of your voice cracking you won't be able to dial this
in
me sleep
it doesn't sound like he's pulling his chest voice up very high i know i've said a couple times that
he's accessing head voice up there there's aspects of head voice that i heard earlier for sure here
it sounds a bit chestier up there it still sounds like a thick or a thinner mixed voice up there
that is a mixed voice and it's thinner than just trying to pull my chest up some vocalists are
really good at pulling their chest up into those those notes and they sound really beefy up in
those higher notes if i try to do that i end up straining we need to think thin and clean think
head voice first and then ease into this and i've talked about this on the channel before
the dying cat sensation i'm getting really high there row head voice row row row dying cat
be really clean with it let your voice inch up into that pitch with this sort of balance
and then ground it in chestier notes you're masking the fact that you're
thinner by grounding it and chest to your nose like we talked about earlier
what an amazing performance from an amazing vocalist i'm very impressed
it was fun to experiment with some of the things that i felt like he was doing uh in
in that song what's important to remember when we're analyzing vocals and and
reacting to stuff is it when we're listening to stuff like this and trying things with our own
voice it's not about sounding like this person it's about learning things about our own voice
it's also not about being right there are observations that i made that could be wrong and
that's okay as long as i'm drawing inspiration from it
and finding out what my voice does and not hurting myself it's beneficial thanks for suggesting
more 80s era singers i hope to do more and we'll see you for more