How To Sing Like A PRO Open Throat Technique Tutorial Ken Tamplin Vocal Academy
How to sing like a Pro. Hey guys, my name is Ken Tamplin, and welcometo Ken Tamplin Vocal Academy, where the proof is in the singing. Now, in order for me to be able to teach youhow to sing like a Pro, I'd better have achieved professional status myself, and Ialso better show you that I have students that have gone from amateur status to professionalstatus. Now let's be clear on something. Most professionals themselves don't singwell from a technical standpoint.
So just to sing like a Pro doesn't meanyour singing properly or great, but I have to point out that no matter where you getyour information, think about this: the person giving that information, have they achieveda high level of professional statusé And do they demonstrate students that haveprofessional statusé We have over 300 tutorials on my channel, withthe plethora, which means a lot, of students on my channel, many of which have achievedawesome professional status. Now just quickly go to Sara Loera, check outGabriela Guncikova, 10 second songs' Anthony Vincent, Mark Hudson from Dragon Force, Icould go on and on and on with a lot of the
students that have applied my course and achievedprofessional status. Now what does it mean to become professionaland how do we do ité Well it has to do with strength training andthe way we think about the voice and the way we strength train in order to build enoughprofessionalâ€“ism in what it is that we're doing to be able to sing strong with confidencenight after night with consistency. So I have a singing course called How To SingBetter Than Anyone Else, you can check it out on Ken Tamplin Vocal Academy dot com,and I walk you through, stepbystep what it's going to take to help you become aprofessional singer.
Now, to be a professional singer, there'slots involved in this and it's not just only the physical or musical side, there'sa psychological side to this, but I want to show you a few things that you can do thatwill be really, really awesome. Okayé We're just going to run through a coupleof warmup exercises that will help you understand how to clean up the voice. Now, check out my tutorial on diaphragmatic support,check out my tutorial on open throat technique, it's the precursor of what you're goingto need to do, what we are about to do here
at this level. We're going to sing an AA vowel, and theAA vowel scale is going to go like this. Layâ€¦ Ahhhâ€¦ So AA and Ah, and we're going to actuallyslowly go through this to start to strength train the voice, here we go. Ladies, you'll do this up the octaveâ€¦ Layâ€¦
Ahâ€¦ Do this with us in octavesâ€¦ Layâ€¦ Ahâ€¦ Now, going between vowels, AA and Ah helpresiliency and the ability to relax the cords and to, with freedom, be able to go up anddown a scale without feeling tension in the throat, because we want to build strengthfor the sound. Layâ€¦
Building Pharyngeal Resonance Vocal Training on Building Pharyngeal Resonance
Hi. My name is Aaron from Superior SingingMethod and in this tutorial, I want to talk about building pharyngeal resonance. OK, building pharyngeal resonance. At theend of this tutorial, I want to give you my best technique for building pharyngeal resonance,best kind of exercise and technique to be able to begin to build that and get into that.But let's just talk a little bit about what it is and what the pharynx and for what whereall that kind of comes from and having the knowledge will help you to be able to workthe exercise and to really get the most benefit out of it.
So what is resonanceé Let's just talk aboutthat. Resonance is a deep, full, reverberating sound. It's basically exactly what you wantwith your singing. It's what everybody wants with their singing. You want this deep, full,kind of resonant, just this resonant I'm using a reverberating kind of like sound that isjust big and full as it comes out of these powerful singers. That's what you want. Youwant this full, resonant, reverberating type of sound. Now there's a myth that volume brings resonanceor that you have to have a lot of volume and push a lot of air through your vocal cordsin order to get a big sound and a full resonant
sound, but that's actually not true. In fact, too much volume will just make youthe air blow through your vocal cords and flip into falsetto and that's how you crackand all those cracks and breaks especially in your higher range. Now adding some weight to a good techniquetype of sound is good and that will allow you a bigger sound. But resonance, the thingabout resonance is that it reverberates and bounces off your resonators in such a waythat it just comes out big and full without you having to force it out or try and makeall this volume come out.
So that's what's so important about the pharyngealresonance because your two primary resonators, you have your chest and your head. So thoseare your two registers, so your chest register and your head register. But they're also yourtwo primary resonators as well. But the third resonator is your pharynx. Your pharynx isthat's where pharyngeal comes from. You may already know that but your pharynx is in theback of your throat, up and down on the back of your throat, your pharynx. You got yournasal pharynx. You got your oral pharynx and so on and so forth. So that's your pharynxback there and what happens is the sound as it comes up and you use that pharyngeal resonator,it bounces off the walls of your pharynx and
creates a bigger sound as it comes out ofyour mouth. Now you don't want to just sing with justthat pharyngeal sound. You want a blend, a good blend of your chest voice, your headvoice and your pharynx to get one big kind of one big sound, one big mixed sound andthe pharynx itself is one of the primary ways to establish a good, mixed voice, a good blended,full blended voice. So I want to give you the technique to helpyou get to that pharynx, that pharyngeal kind of sound and where it is and how you can useit. The NG sound, that ng. So that kind of brassy it's kind of a little bit of an annoying,whiny, kind of brassy, kind of sound. You're
obviously not going to sing like that. Infact you literally cannot sing like that because the ng consonant makes all the sound comeout of your nose but that sound is what you can add into your chest voice and your headvoice to get a good, good pharyngeal resonance and get a good sound coming out of your mouth. The nose, the sound coming out of your noseand that uh, that brassy sound, it's obviously not the sound, the only sound that you want.But there's an old Italian adage and some of the greatest singers were like Italianopera singers and all that and there's an old Italian adage that says, Don't sing throughyour nose but put some nose in your singing.
Ep 15 Pop vs Classical Voice Lessons To The World
Hi everybody. My name is Justin Stoney andI'm the founder of New York Vocal Coaching here in New York City. Welcome to Episode 15 of Voice Lessonsto the World, the show where we want to answer your questions about singing fromall over the world. I'll give you a chance to ask questionslater. But our question for the week comes from Bulacan, Philippines and Coach Fatrick Sta. Ana (He's the founder of quot;Popstagequot; and heasked me to give the website, so it's
right here. Popstage it looks like these guys aredoing some great things.) But Coach Fatrick asks, quot;Dear Justin, What is the difference between popsinging and classical singingéquot; That's an awesome question Fatrick and I knowthat lots of you want to do multiple styles and i really encourage that. Ireally encourage you to not just get locked into one, but give your vocalcords variety. Do a lot of different things. So today we're going to talkabout the differences between pop and
classical. The very first one is simplyvolume. Classical singing is just louder than pop singing. And now that doesn'tmean to be loud. But when you're singing classically you don't use a microphoneand when you sing with pop you do use a microphone. And so you want to know thatas, as you're developing your voice, that when you're going to sing with theelements of classical, part of the purpose is to project the voice and beable to sing without a mic and to be able to sing over an orchestra and in alarge hall. With pop singing we purposefully do not want the voice to beso big because the mic's going to be
very close. If you sing too big, you're probably not going to have theagility and the dexterity and the lightness that we need. So classicalsingers be sure that you're singing as they say, quot;on the body,quot; with a lot ofconnection to the body, with a lot of great breath support, a lot of physicalenergy and a voice that can carry. We never want to push, we never want tobe loud, but we want to set up mechanics that will cause good healthy projection.We'll talk about one of those in a second. Pop singers purposefully do not makeyour voice so loud.
If you're singing pop loudly like I say,you're probably going to prevent the growth that we want as far as agilityand lightness and dexterity that we need for pop singing.So that's the first difference. Now one of those mechanical differences withvocal technique, is the larynx. And we've talked about this in the past. But we'lldo it again. Classical singers sing with a lowerlarynx. Pop singers sing with a higher larynx. There's gradations of laryngealcoordination that you can do. But I'd like to take a song here that could bein a pop setting or a classical setting,
America the Beautiful, and just show youwhat these larynxes sound like. So if I have. a little bit of a lower larynx, I have, quot;Ohbeautiful for spacious skies, for amber waves of grain.quot; And if I lift up mylarynx and get a little bit of a lighter place with it, quot;Oh beautiful for spacious skies, foramber waves of grain.quot; And I get a little bit more into apop sound. So part of the thing that allows for more projection is that lowerlarynx. With a lower deeper sound, I can