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 and next up is Lzzy Hale from Halestorm. Before
we get started if you don't mind ,please like and subscribe to my channel that would be
awesome. 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 and you
can find it right here at Ken Tamplin Vocal Academy.com again where the proof is in the singing. Now
I'm quoting a lot from this Einstein quote and I want to really drive this home. Einstein
said that demonstration isn't a way to teach, it's the only way to teach. So here at Ken
Tamplin Vocal Academy I go out of my way to show you guys how to get into all these different
styles with my own voice and my students voices because it's the only way you're really going
to learn how to do this stuff. It's not a tip, it's not just me talking about it, it's actual
demonstration. So Einstein said it best when he said demonstration isn't just simply a
way to teach, it's the only way to teach. With that said we're going to fire this up, this
is Lzzy Hale and a couple things before we get into this. I picked a few different
smatherings of Lzzy. Lzzy's known for kind of being on 11 all the time but she did sing
some ballad stuff so we chose one of her songs that's on 11 and then a couple other ballad
pieces that has some diversity to it too. So I'm gonna use Kati as my example though I
did some with Xiomara. I did you know, I've done some other Lzzy Hale stuff but I'm
gonna focus on Kati right now because we really worked hard on this and let's just
start. So this is "Love Bites" here we go.
Now when i first started with Kati, Kati didn't have anywhere near this power, she didn't have
anywhere as near this endurance, she didn't have anywhere near the distorted, distortion
qualities, none of that. She is just a raw talent you know that came and we worked, she
worked, we worked really hard on getting to this level and she's actually beyond this
level now, this was a while back here. Probably eight, nine months ago and she's increased
in her talent a lot since then and works very, very hard every day man she does a couple
hours a day of singing at least sometimes, but I want to point out a few things. The first
thing is is that what Lzzy does is Lzzy does a lot of quick stabs you know
(sings) right. So she's constantly
(sings) you know so you're going to want to have this really quick stab in the diaphragm to come
in and out and be able to control the diaphragm and keep that diaphragm from getting bound
up. So I, I cover all this in my singing course. We work up different ways to control the diaphragm.
Some of them are quick stab phrase ways like this where you can relax and release
kind of like an accordion go (sounds) with an accordion right kind of that that sort of vibe. Then
if we got a song, another song that's maybe a little more legato, a bit of free-flowing,
it's kind of more like this you know whatever and then on really big ballad things it's big,
long whole breaths and really slow releases like this to come in and out. So there's different
types of diaphragmatic breathing within singing though it's all from the same area, there's
different ways to we need to engage the diaphragm for different speed and different
quick hits of the breath or longer whole phrases for the breath and so forth. In this case it's
very staccato, very quick and if you see. Now another thing too, I want you to really
focus and if you have to rewind this go back and rewind this, look at her throat. He's
like oh of course no I really mean it guys don't don't perv on it. I mean really look
at her throat and you're gonna see good, open throat technique. It took us a while to get
this but you'll notice this with all of my singers how you can literally see down the
back of their throat, that's no accident folks. That's called open throat technique it's what
I teach. Now there's a lot of components yes this, the tongue drops to the base of the jaw
then when you get really good at it you can concave the tongue to the to the base of the
jaw and when you get really really good at it you can have the tongue actually protrude
out of the back of the throat creating maximum space and actually creating vowel sounds for
you so that you're not over, over shaping the vocal track. I've had a lot of people sort
of make fun of my tongue, oh you got lizard tongue. Well what you don't know is it's a
very, very advanced technique for open throat technique. So some people use it like Adam
Lambert, you'll see Whitney Houston using it. People that really understand this technique
you're going to see that tongue kinda pull away from the back of the throat and actually shape
vowel sounds and also even create glottal stops which are guh, hum buh, you know all the things
that shoot air up into the nose, in order to keep that from happening to maintain open
throat technique so that the throat doesn't regurgitate and spasm and close down, you can
actually keep the throat open so that when you're singing these fast phrases like this,
you're not reseeding or resetting the, the ah vowel over and over again (sings) right.
So it's always open so you're not (sings) you know always having to reseat and reopen up the throat because
it's very arduous in the throat to do that. So pay special attention to her throat and
watch some of the technique goes by because that's what we're here for. Now Lzzy has her
own style. She doesn't use quite the same open throat technique that we do and Lzzy because
I've heard good days and bad days with Lzzy not saying that we don't all have bad days and
some you know great days too, not dissing Lzzy whatsoever but some of her sound could be
pretty dangerous. I've heard some stuff she's done live whatnot and I know she's had some
vocal trouble so I hope that she can really just slow down a little bit and spend some
time really understanding this. I know Jeff something, I forget her, the coach she'd taken
from before, I'm not sure if she's still taking from him or not but you know she just really
needs to understand how to control and not have to always feel like she's on 11 all the
time and really control this open throat technique. So here we go, let's continue.
Now I want to back this up one time here because I want you to pay special attention to her
her abdominal cavity and her chest cavity and the way her her shoulders are. Now it to
some it might look like she's huffing from the chest, she's not. She's using really good
diaphragmatic support, very staccato, stab phrase, diaphragmatic support so watch (sings)
you know so in between each, each phrase she's taking this really quick breath and
then she's compressing the air, she's not using up all the air she's compressing it
just enough for what she needs to get these stab phrase, powerful stab phrases out. So check
it out one more time. Check this out.
Now as gnarly as that sounded she's actually using some false vocal folds and that's different
than what Lzzy does. She go (sings) it's like (sings) you know
she's kind of like using some false fry in there, in order to be able to get that sound,
rather than a blood curdling scream that can really hurt your vocal folds themselves. So
you guys I'll put this in the description you can check it out but let's move on
and again I wanted to do a couple things. Now she, Lzzy did a version of Heart's
"All I Want To Do Is Make Love To You" so wait before I do that one I want to do, I want to
change this up a bit sorry. I want to do "Here's To Us" because this is a Halestorm song so
and then I'll get to the cover song here in a minute so. Here we go.
This is more laid-back Lzzy which you know it's unusual for her.
Okay.
Now the reason I wanted to do this first is this was about not quite a year before the
next clip I'm going to show you which was just recently, and the reason I want to bring
this up is with the KTVA method, again I cover all this in my singing course, over time we
build harmonic resonance to the voice. We build a big, warm sound. There's something in, in an
opera, in old bel canto opera or appaggio. It's called chiaroscuro and what it means is
is that there's this big, round warmth with a crystal clear brightness in the center. So
here, she's a little more myopic or short on the sound, I don't wanna say short, myopic but
narrow is a better way to say it, more narrow in the sound. So even in her lower register
it's not as warm and as beautiful as in just a few months later of training. This didn't
take that long to do. I mean Kati's only been working with me I think three years now and that
may sound like a long time to you but from where we started to where we are now at the
top of world-class singing, you know hey man it's, it's application, it's correct information
and it's really getting down and dirty and and doing the stuff daily so, but anyway I
bring this up because I want you to listen again to the next verse and then when I migrate
on to the next tune when we do the Heart tune I want you to hear the difference of the roundness
and the warmth in the sound, and by the way we were, we were kind of more focusing on belting
and distortion and stuff back then and not so much overall vocal tone, but now we're kind
of getting the whole package of being able to sing like Ann Wilson one minute and then
you know doing The Outfield like a guy song the next and you know Lzzy Hale the next
and, and all these different tones and textures and styles and that's precisely what we cover
in our course. So it's not just about singing rock at all, it's about being able to sing
in all these different styles and incorporating those styles into your own unique style okay.
So listen closely again..
Okay so you hear the
(sings)
right it's real small and pointed in the sound. Now we wanted that
for this song because it's kind of more on the Lzzy side of the belting side but
I want you to take a listen now to this. Check this out.
Hear the difference in the warmth.
(sings) There's all this warmth, there's all this velvety texture around it but she doesn't lose the brightness of the sound,
the punch of the sound, that real crystal clear, good quality, golden
throat tone is still there, it's now being surrounded by all this harmonic resonance
that's coming in, from doing diligence and doing her vocals every day and building good
tone. It's just like having a hot bod as a voice right. So we're building the hot bod
as a voice precisely. So check this out.
Hear that.
Okay.
I'm, I let it play for a minute so you guys could see what I'm talking about. Now we still have
a little ways to go. We still want to get a lot more harmonic resonance to this, we want
a bigger sound so I point this out because I worked with Gabriela Guncikova a lot on
this over time and she developed this big,gorgeous, warm, round sound. So she's got this (sings).
You know this big, round sound but it's like (sounds) like this earthquake shaking when her vibrato
kicks in and you've got the brightness chiaroscuro. You've got the brightness in the center
and this, this hurricane of round, warm tone coming in from behind, and the interesting
thing is it's very tubular, it's not where it gets out of control and so big that it's
not sustainable or it's not controllable, we control that through the specific vowels that
we sing so we actually compress the vowels as we go up and it still maintains this roundness
of the voice. That's why when you hear my singers go up top, they don't sound real shrill and
pinched and squeeze sounding, they sound real open like a roaring lion and then they still
have that, you know that punch in the upper register as well so. Anyway gang this is
what we do here at KTVA. If you like what you heard, again like and subscribe. I'm doing a
lot of this by request so put your requests into where you want me to do a takedown
of your favorite singer and How To Sing Like so and so and check out my next video.