hey chris lippe here do you think you sound too nasal does someone you know say you sound too
nasal ha well i've done another video on this it's been a while and i thought it was necessary to do
another one with some more illustrations about how incredibly dangerous it is to react to the comment
you sound too nasal or i sound too nasal to react to that with your voice
because oftentimes we do things with our voice unconsciously that starts to trap our singing
as a reaction and how incredibly powerful true developed nasal resonance can be
everybody hurts
don't throw your hands
oh
if you feel like
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an invitation to my course discover your voice there's a lot to explore it's a hand-holding
journey that i'd look forward to starting with you a lot of times the term too nasal doesn't actually
mean two through your nose people have taken that term and when they don't like something
about a voice they immediately default a lot of people do this not everybody but a lot of people
immediately default to oh he sounds too nasal or she sounds really nasal you you sound too nasal
there and it doesn't sound right when really what a lot of times is the case is they're not being
nasal enough or you're not being nasal enough a better way to say this or think about this
might be that you don't have a full understanding about how being nasal or not nasal feels and can
work for you in your singing let me give you an example i'm going to say the word friend friend
let's examine what happens what has to happen for us to say that word correctly
if i start and i and i plug my nose i cut off the nasal energy i so i don't let any air come through
my nose when i get to that end it's not going to work right fred fred right there has to be nasal
movement there to say that word friend has to be there but if i examine that word even more fred
i can cut off nasal energy on air right fresh nose is plugged friend
friend and then i can switch the nasal around right i can cut it off friend and then put
the the energy through my nose but what's happening is i'm creating a divide friend friend
there's a challenge there to make it sound natural when we're moving our resonance around
that's really what the problem is when someone says you sound too nasal or you
might think you sound too nasal we are not moving our resonance around well or musically
i'm going to continue to explore that word friend friend i'm going to sing it now friend
friend fruit
you can tell i'm cutting off my nasal passage what if i intentionally put nasality in the air friend
friend friend versus friend
friend it's not that either one is right or wrong but there's lots of tonal possibilities there
with that simple word on that simple note that can bring out different qualities of your voice
i personally prefer with that note and that word to leave my nasal resonance open friend
not completely shut off friend
and then let the sound go through my nose let's change the note friend
friends i bring it into my nose as i close it or i can keep it in my nose at the beginning friend
friend fall
hear the power the brightness and the presence that having an
intentional nasal resonance as part of your sound creates fall fall
not bad but listen to the color with intentional nasality
blending the two approaches so the first one i did was nasal focus the other one was not
notice how i'm bringing it in and out again this is about experimentation and being able to control
and direct depending on preference rather than singing unconsciously to nasal or not nasal enough
a lot of times what happens when people get this insult is they will they will intentionally do a
good job of shutting off all nasality and then their voice ends up sounding actually more thin
less overtones come out and and then they actually start working against themselves if they record
themselves and they go oh my voice sounds thin now well it's because you're not taking full advantage
of the resonance that you have available to you because you're scared of sounding and implementing
nasality using single words and choosing consonant breaks to adjust your nasal resonance
is a great thing to do like we've been doing but like i just demonstrated over one note without
a consonant break or a sibilant break you can experiment as well and discover ways that you can
make things flow in a more creative and vibrant way for example
that's more interesting than
there's a sheen there and there's balance that you can play with let's go through parts of my
performance over everybody hurts and discuss the different intentional resonance placement between
full nasality intentional nasality and backing it off and being more of a
forward bright belt here's the track soloed out for fun cause everybody hurts
okay
is intentionally not nasal every but then e has a nice balance of intent like i feel it in my nose
even listening to it i feel it cause everybody and you hear that air above it that's coming
from the nasality every that swallowed too much i can bring that vowel forward without being nasal
every but it doesn't quite have the same warmth to it every there it is
i'm exaggerating it there but listen in the track listen in the context everybody hurts
her balance not cut off completely everybody hurts there it is
feeling that because there's that m i have to be nasally present there
really lean into that and feel the sensation friends
work on that tone it's interesting how many overtones you can bring out
by focusing and leaning into that
even though sound's not coming through my mouth changing the position of my mouth and face
creates subtle resonance changes as i lean into that nasality everybody
notice how i progressively got more nasal as i went down
very belty
did you hear the sheen change
right there hands you can even see it in the waveform here it goes down a little bit as
i come down in intensity
no
not no
and a balance between those two
ah listen to that change as much nasality
and bringing it forward forward and more nasal at the same time
oh no no you're not alone
not alone putting that nasality before i hit the n makes that n feel more subtle you're not alone
if i didn't if i was cutting off the nasality before the n
it would sound more like this not alone not alone
to me that that doesn't have the same sheen or interest and you know i there's some other things
going on with this track there's delay on there because everybody hurts to comfort in your friends
here's it raw everybody hurts
you can really hear it even more so without the effects on there that than subtle nasal resonance
shifts so embrace nasality experiment with it lean into it and see what kind of overtones
and richness you can variety you can infuse into your singing
and the next time someone says you sound too nasal chuckle and think about the possibilities
again if you'd like to go deeper with me as your vocal coach click that link below
and request an invitation to my course discover your voice and make sure that you've liked and
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