What Are Most Singers Missing | Ken Tamplin Vocal Academy

Hey everybody welcome back again to Ken Tamplin Vocal Academy where the proof is in the singing. I’m doing a whole series on you ask and I answer Q&A and you can send me
messages on my youtube videos, my.. to my facebook page, you can email us whatever
but I’m gonna go ahead and get started here and the next one is what are singers missing.
Wow that’s a big question. What are singers missing. Kind of reminds
me of what do you call a singer that doesn’t have a girlfriend. Homeless.
That’s one thing they’re missing. No okay seriously folks um you know
this is gonna be kind of a tacky thing to say but I really have to say it ok
so bear with me but I’m just being honest here and wearing my heart out on
my sleeve. Most of the people that do really well with my singing course
believe it or not are actual instrumentalists and and let me explain
why. Yes of course singers do well. The ones that want to work at it but
instrumentalists really understand what it takes to get good at an instrument
and let’s not forget that our voice is an instrument. So I think what singers
are missing is they don’t treat their voice like an instrument and they don’t
work out their voice like they should like an instrument and spend the quality
time and dedication and get good quality information to take good care of their
instrument. Whereas a lot of instrumentalists understand gosh I
have to practice 1 2 3 4 hours a day on guitar, or piano,
or drums, or bass or whatever that is to get really good. So most instrumentalists realize realize that man if I want to get good at something, it’s going
to require quality information and a dedicated practice time. So I’d say
that’s probably one of the first things they’re missing. The second thing I think
they’re missing is that the voice is unique in in with result right just
washed my tongue and I can’t do a thing with it. They’re really unique in that
the voice is very sensitive and fragile and it’s not like other instruments. So
let’s say you play bass or guitar for example you know you get a callus on
your finger and that’s a good thing because it means you
can play longer, you get a callus on your vocal folds and you know it’s surgery or
you’re gonna have to go through a lot of rehabilitation. So within the the fragile
part of this or the being really sensitive part, they need to know how to
take good care of their vocal folds from a nutrition standpoint, from a warming up
or working out correctly standpoint and I cover all of this in my singing course
but that’s another thing that they’re definitely missing. The other thing I
think that singers are missing is being realistic with themselves about you know
where they’re headed with their voice. A lot of people you know will just go I
want to be this other outrageous singer over here and they don’t recognize that
there’s a whole series and stages in between. So let me give you an example of
this. I get all the time you know I’ve never sung before but I want to sound
like Ariana Grande or I want to sound like you know with some great singer, it
could be a rock guy, it could be a pop girl guy whatever and they’ve never sung
and it’s like well okay so let’s be realistic you know. If you think of this
like being an athlete like we said and I know this keeps centering around
disciplines and working out correctly but if you think about being a good
athlete well these.. you’re all talking about athletes at the top of their field.
Singers, athletes at the top of their field. How long did it take them to get
there and what steps did they take to do that. So so there’s some unrealistic
expectations that’s why I said instrumentalists do really well. What
else are singers missing. Okay seniors are missing the fundamentals of great
singing. So oftentimes they just want to open up their mouth and they want
greatness to come out. Well again as we’ve covered before and I’m gonna cover
this again and I’m gonna just keep hammering this home as much as I need to
piledrive it if I have to. Is we have to understand that the voice requires an
engine and the engine is your abdomen basically okay. So you have to understand
the strength that controls the ease in the throat and the power and the range
and the tone and the vibrato and all those things we love melisma, the vocal
riffs and licks and all that stuff. That it comes from strength from the abdomen.
Not just this huffing and puffing of air from the lung and then once we
understand that it’s this strength from the abdomen, it’s this response this
relaxation response of relaxing the upper torso, the neck, the chest and the
throat and then building out good, open throat technique
and I know I’ve said this before but it’s worth saying again is developing
this good, open throat technique so that the muscle memory in the throat can
stay open so you don’t feel like you’re choking or pinching on notes that you
sing or gagging on your vowels so to speak and then practicing correctly you
know. It’s not practice that makes perfect I’ve said this before too, it’s
perfect practice that makes perfect. So really understanding the mechanisms,
mechanisms of that. The other thing too that I think singers are missing is your
voice has a biological clock and we’ve discussed this before and it’s kind of
like waking up you know there’s morning people and there’s night people right. I
actually happen to be a morning person though I’m a musician and I had to train
myself to you know want to wake up at night and perform at night and it’s just
the nature of the beast. So think of it kind of like jetlag for the voice right.
So we have to and want to condition our voice to warm up at the same times that
we plan on singing. So that’s really important too so that the voice gets
used to singing. So you’re gonna say gosh sometimes you know in the mornings I
can’t sing anything but man come four or five o’clock I sing great. Well because
your voice is used to or wants to be warmed up at that time and that’s really
important. So anyway there’s there’s a lot of things again I have a singing
course it’s called How to Sing Better Than Anyone Else but you can check that
out or get a lot of the free tutorials I already have on YouTube and those will
really help you a lot but one more thing is again guys I cannot stress this
enough or emphasize this enough, the voice is a very sensitive muscle or
group of muscles actually and it can do pretty much anything an athlete wants it
to do okay within reason and within reasonable expectations but it has to
be done sequentially and correctly and what do I mean by sequentially. Well what
I mean is most singers and I’m gonna close with this, think that oh I want to
learn about vibrato can you teach me vibrato. Well vibrato isn’t just about going (sings) and this sine wave of movement right. Vibrato is the final resting place of a whole tone that relaxes into a
state of oscillation. It’s fancy words right because it is strongly or well
supported from the abdomen. So I can’t teach you how you do vibrato correctly
if you haven’t gone back to the building blocks, the very foundation of great
singing. So what a lot of singers want to do is I want to learn about Distortion.
I want to learn how to distort my voice today. Okay let’s break that down. Oh I
want to I want to become you know at this vocal athlete that does these crazy
tricks. So you know you think of an extreme sport could be mountain biking,
it could be surfing, it could be paragliding. I don’t care what it is
but I want to do this extreme sport. I want to distort my voice and get grit and
growl and this and that but I haven’t developed all of the tools up and till then and
all of the balance and everything else I need in order to do that. So what most
singers want to do is pick and choose the things that they want to do about
their voice, forgetting that there’s this whole foundation that needs to be built
in sequence or sequentially, to give them what they want in the end. I like to
think of it like I said as a house. We’re building a house so we have to build a
foundation first and then we add on the rooms of things that we like we blues
licks or melisma, licks and runs, vibrato, grit, distortion, holding long
notes. If you feel like you can’t hold a long whole tone and all these different
things. We can’t just pick and choose these things, they have to happen again
sequentially okay. Hopefully this information was helpful
and until next time God bless and peace out Hey guys if you like what you heard
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peace out.

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