hey chris liepe here with how to sing scream
what exactly is sing screaming well one of the best examples and one of the easiest to hear
is a note like chris cornell's cochise that really long scream he does
and another great example and slightly different of this technique
is by a guy who i've personally worked with spencer sotelo from the band periphery
and
that's a challenging line that is one of the hardest styles of singing it's a
delicate balance between singing with distortion which i've talked about a lot on this channel
and full out false chord engagement where you have no note at all which i've also talked about quite
a bit but it's a blend of the two you can hear both with the chris cornell scream and in the die
section of the of crush the periphery song there's definite pitch so we're gonna use both of these
as a way to help train this scream sing approach into your voice and if you'd like to go deeper
with these approaches i've done a full course with periphery's spencer sotelo and i've done a free
warm-ups course with spencer as well click the links below and check those out if you want to go
way deeper with your own screaming sing screaming aggressive vocals
and recording in production with that cochise note we've got a b that's the fundamental pitch
you can sing that in head voice you can sing it in mix which i've also talked about on the channel or
you can lower it and sing it in a regular chest note if you can't hit that note that's okay
but i'm going to stick with the b and i'm going to do it light and free fang you don't feel a thing
then i'm going to add compression lifting something heavy this is going to mean i can
sing with distortion
like that and i'm just doing it over that b
that's cool sounding but it's not that screamy you know sound right you don't feel a thing
that actually sounds very cornellian also but it's not what he's doing there we have to then
after adding the compression we have to let our voice fall apart so we're combining
two techniques that i've talked about a lot on the channel
compress it keep that compression going as we let our voice crack this is why it's
important that we choose a note when we're working this in that is on the
edge the upper edge of our chest voice so it's easy to find our vocal break
now we have to keep that compression going
ah you hear how i've lost the pitch a little bit but you hear how i've got that real gruff sound
that's the false chord engagement in a in a more uh concentrated way and that vocal break is
allowing air to pass through in my false chords to catch them catch the sound or the the air
so that uh i have that more brash sound so your false chords are bearing the brunt of the of the
airflow there instead of your regular chords and it's finding this balance between holding
back air with your false chords and then letting your primary chords temporarily disengage through
that vocal break so you can find that sweet spot you don't feel a thing you don't feel a thing
you still hear the note right yeah let me slow it down for you you don't feel a face
now i've dialed that particular uh area of my voice in and blended those two and you
can hear the pitch you can hear the extreme false chord engagement there
this is a scene screaming now sometimes we don't hear this right away when we're
listening to a scream and this is the case with the the spencer thing
is what he's doing it's it's a little higher it's there part of what makes these screams even though
they're not focused on the pitch so engaging is that they are sung screams there's notes in them
if it's just a completely removed note there isn't this tonality that gives the voice
true character and if you listen to this again
use the singing with distortion at the beginning here and then let it fall apart we are the body
then in the mind make that a target note but but work on the compression
and the cracking at the same time then we're going to start with this pitch level thing too
we are the body and the mind go there first compressed high note then
there it is you hear how the note is taking a huge back seat but it's there and it creates this
wonderful musical scream there is sing screaming so here are the steps again find
a note it can be one of these notes that we've been talking about add compression
lift something heavy and then while you're still compressing and putting this support in
and if you don't understand how to use your support right you're not going to be able to
do this i've got a free course that explains how to dial your support and i've left that in the
link description below as well but if we've got hey
as i continue to compress that note remains
let yourself crack and dial it in as you're feeling this out hey
this is a note and it doesn't hurt at all see i'm able to bring the pitch up there
i've got that coordination balance and i can do a lot of that once i find that balance between
compression and letting your letting your voice fall apart around your vocal break engaging
your false chords in a slightly different way let me demonstrate a little bit more hey hey
compress compress the compression actually helps you dial this in quicker hey
yay really a neat sing scream texture i'm going to loosely work over the instrumental
of the periphery song crush with that line here a bit more and you can you you
heard spencer coaching me through it at the beginning i've since gotten better with it
what a phenomenal song and vocalist again if you'd like to check out more of the work that we've done
together i have a free course with that that i've done with spencer and i have a big full-blown
recording production singing screaming course all that information is left in the description below
thanks so much for watching work some of these things into your voice and
leave some comments let me know how they're helping you see for more