STOP Breathing This Way! (its making you sound flat)
Summary
TLDRThis video script delves into the art of vocal dynamics and breath control in singing. It critiques the overuse of compression in modern music production, which masks the natural ebb and flow of a singer's breath. The transcript contrasts performances by AD and Ariana Grande, highlighting the importance of dynamic breath support for expressive singing. It also introduces a simple exercise to help singers understand and practice the right breathing techniques for better vocal control and tone.
Takeaways
- đïž The importance of proper breathing in singing is often masked by heavy production and compression in modern music, which can mislead students about the dynamics of a singer's voice.
- đ Listening to live and less produced performances can reveal more about a singer's vocal dynamics and breathing techniques, providing a better learning opportunity.
- đ The perception of a singer's breath control can be skewed by the consistency of their voice in heavily produced music, which does not reflect the actual dynamic breathing required.
- đ Both AD and Ariana Grande are excellent at using their breath support, but live performances, especially of AD, can be more instructive for learning about breath control.
- đ¶ Dynamics in singing involve varying breath pressure and not maintaining a constant level of breath support throughout a song.
- đȘ Engaging the abs in the same way throughout a song can lead to fatigue; instead, the engagement should be dynamic and responsive.
- đ” Breathing support and vocal placement are interconnected, and understanding both is crucial for effective singing.
- đđ Inhaling air can be done through the nose, mouth, or both, but the focus should be on the exhale and providing resistance with the lips.
- đš Exhaling with dynamic resistance helps to understand how to control airflow for singing, with the engagement of the breath muscles intensifying as airflow increases.
- đŒ Practicing with sibilant sounds like 's' or 'f' can help train the breath control needed for singing, by providing back pressure and dynamic airflow.
- đ€ Singers like Michael Jackson demonstrate an understanding of breath control even at a young age, using dynamics to convey emotion and power in their singing.
- đ Joining a free course can provide further guidance on understanding and practicing breath support and vocal dynamics.
Q & A
What is the main issue with the production of the singer's performance mentioned in the script?
-The main issue is that the production uses heavy compression and mixing, which obscures the natural dynamics of the singer's voice, including the variations in volume, airflow, and breathing support.
How does the script suggest we should listen to a singer's performance to understand their breathing technique?
-The script suggests listening to a performance from about 10 years earlier or a live performance that is not heavily produced or mixed, to hear more dynamics and understand how the singer uses their breath.
What is the difference between the breathing technique used by the singer in the older performance versus the newer one?
-In the older performance, the singer exhibits more vocal dynamics, being loud, intense, vibrant, and agile, as well as soft and calming in certain sections. This contrasts with the newer performance, which sounds more consistent and less dynamic due to heavy production.
Why is it important for singers to understand and practice dynamic breathing?
-Dynamic breathing is important because it allows singers to vary their breath pressure and support in response to the music, creating a more expressive and engaging performance.
What is the relationship between breathing support and vocal placement in singing?
-Breathing support and vocal placement are closely related; understanding and practicing dynamic breathing helps in achieving proper vocal placement and vice versa.
What does the script suggest as a method to train proper breathing for singing?
-The script suggests an exercise where one breathes in naturally, holds the breath without locking it, and then exhales with dynamic resistance through the lips, focusing on the engagement of the downward poop muscle level.
How does the script describe the engagement of the downward poop muscle during the breathing exercise?
-The script describes the engagement as a dynamic process where the intensity of the engagement increases with the intensity of the airflow, simulating the interaction between breath pressure and vocal sound.
What is the purpose of the exercise involving the 's' and 'f' sounds in the script?
-The purpose of the exercise is to help singers understand how to create dynamic back pressure with their vocal tract while maintaining a consistent airflow, which is crucial for achieving a great vocal tone.
How does the script differentiate between tension and intensity in the context of singing?
-The script differentiates by stating that intensity refers to the dynamic engagement of the muscles during singing, while tension implies a static and potentially harmful muscular strain.
What is the significance of the script's mention of Michael Jackson's performance at age 14?
-The mention of Michael Jackson's performance is to illustrate that even at a young age, he understood the concept of dynamic breathing and how to use his breath to create vocal dynamics, which is a testament to the importance of this technique.
How can singers apply the concepts discussed in the script to their own practice?
-Singers can apply these concepts by practicing the breathing exercises provided, focusing on dynamic breath support, and applying these techniques to simple lines from their favorite songs to develop a better understanding of their own vocal dynamics.
Outlines
đ€ The Impact of Production on Vocal Dynamics
This paragraph discusses the influence of music production on the perception of a singer's breathing technique. It points out that heavy compression and mixing can mask the natural dynamics of a voice, leading to a misconception about consistent breath pressure. The speaker encourages students to listen to less-produced performances to better understand the actual use of breath and dynamics in singing. The paragraph also compares the breathing techniques of two singers, emphasizing the importance of dynamic, responsive breathing rather than static support.
đ Dynamic Breathing and Vocal Support
The second paragraph delves into the concept of dynamic breathing and how it contrasts with static, muscular engagement. It uses Michael Jackson's performance as an example to illustrate the natural ebb and flow of breath support in singing. The speaker introduces an exercise to help singers train their breath support dynamically, emphasizing the importance of engaging the diaphragm and using air efficiently. The exercise involves breathing in naturally, holding the breath, and then exhaling with resistance, focusing on a downward sensation without tensing the muscles.
đ¶ Applying Dynamic Breathing to Vocal Performance
In this paragraph, the speaker continues the discussion on dynamic breathing by applying it to vocal exercises and performance. The focus is on how to use breath pressure to create vocal dynamics and how to balance intensity with control. The paragraph provides a practical exercise using the 'F' sound to demonstrate how to adjust breath pressure and vocal tract resistance to achieve different vocal qualities. It also encourages singers to practice this concept with simple lines from songs and to join a free course for further exploration of vocal support and technique.
Mindmap
Keywords
đĄBreathing
đĄDynamics
đĄCompression
đĄSupport
đĄExhaled Breath
đĄVocal Dynamics
đĄHead Voice
đĄPlacement
đĄBack Pressure
đĄEngagement
đĄFree Course
Highlights
The importance of proper breathing in singing performance is emphasized, with the singer hiding proper breathing techniques.
The impact of production on the perception of a singer's dynamics and breathing, often skewing the listener's understanding.
A comparison between a highly produced performance and a more raw, live performance to illustrate the differences in vocal dynamics.
The significance of vocal dynamics in learning about breathing, with a live performance of ADo providing a clearer example.
The difference in breath pressure and support between live and produced performances of Ariana Grande.
The dynamic and responsive nature of breathing and exhaling in singing, as opposed to a static approach.
The connection between breathing support, placement, and the overall concept of support in singing.
An invitation to join a free course for further exploration of support and interaction with the voice.
The concept of downward-focused support and its role in dynamic breathing during singing.
The exercise involving breathing and providing resistance with the lips to understand dynamic exhalation.
The use of sibilant sounds to practice dynamic airflow and back pressure in singing.
The importance of maintaining a balance between breath pressure and vocal intensity in singing.
A demonstration of how to apply dynamic breathing to a phrase from a song, illustrating the arc of airflow.
The role of dynamic interaction between breath pressure and vocal sound in creating great singing.
The encouragement to revisit highly produced performances with a new understanding of vocal dynamics and breathing.
A final note on developing great vocal tone once the concepts of airflow and breath support are mastered.
Transcripts
here's a wonderful performance from an incredible singer that hides proper breathing from those who Â
are seeking it dream in the palm of my hands about you [Music] you now the problem here for Â
students of the voice really isn't in the performance and I'll highlight some things Â
in this performance that can help us quite a bit it's in how it's presented it's in the production Â
we hear a voice that is so plastered from compression and from the way it's mixed Â
right here that we don't hear the Dynamics of her voice happening our perception of how Dynamics and Â
volume and the associated airf flow breathing and support that goes with it is completely Â
skewed we're afraid to go big or get small or really anything in between because we hear a Â
consistency out of our favorite singers that really isn't there listen to this performance Â
about 10 years earlier and make note of how much more Dynamics you hear in the Â
same Melody it's also a live performance and it's not produced or highly [Music]
mixed you you
she's loud and intense and vibrant and agile but she's also very Lish and calming Â
in certain sections this performance sounds way more Dynamic but it's not it's more raw Â
and it helps us listen to her voice in a way more efficient way for us learning Â
about our breathing now you really can't miss the vocal Dynamics in this sample
does AD use her breathing better than Ariana Grande no they're both fantastic Â
at it however listening to Ado especially live is much more helpful when dialing in Â
how we are supposed to use our exhaled breath and how we're to support our voice in light Â
of what we just heard from Shadow let's go back to the first Ariana performance Â
that I showed you and let's break down what's happening from a Dynamics [Music]
perspective right there this is not about you boy there is not a constant level of Â
breath pressure about you boy no that sounds dumb listen to this
[Music] my here how she leans into you I'm lowering it and putting it in my own voice Â
but but listen about about you boy about you boy about you boy not about you boy well should Â
I maintain the same breath pressure all the time should my abs be engaged all the time in the same Â
way over a whole song man my abs will get really tired of that no they shouldn't be and what we're Â
going to continue to observe in these listening samples and then practice with my simple exercise Â
is that breathing exhaling getting rid of your air engaging your air is done dynamically and Â
responsively not statically now breathing support and placement all go completely hand in hand in Â
hand we're going to be focusing on the breathing component here but you must make sure you have the Â
global concept of support and an understanding of dynamic placement so that the breathing component Â
really sticks so right after you watch this video click the link below in my pinned comment or video Â
description and join my free course it serves as a perfect continuation of what I'm talking Â
about [Music] here about you boy there is more downward poop muscle level engagement over you Â
then boy the climax of that engagement is on you and when you're listening and just enjoying the Â
song You don't notice that because everything is so packed in she's not exaggerating the Â
technique enough for you to notice Beyond what's happening in the production back to
Ado sh hi Sher hi sh sh
right there especially cuz she's not going in and out of her head voice on that
third sh am I holding a constant static position with my downward Focus support absolutely not Â
yes there is a consistent engagement but it's more a mindfulness component and not a muscular Â
component listen to how Michael Jackson even at age 14 understands this concept Â
you feel you're not wanted anywhere if you ever look behind you feel you're not wanted
[Music] anywhere you might say well isn't he just getting louder as he's Â
getting higher no listen to the notes carefully you feel you're not wanted
anywhere listen to the difference between anywhere Â
and if anywhere if anywhere if this is not higher notes more support this is Â
not getting louder Just so you can hit higher notes you feel you're not wanted
anywhere if you ever look behind you feel you're not wanted
anywhere if then you ever look behind if you ever look behind then there's this Â
full belted Dynamic going but the notes are fairly close especially after he ramps up on Â
that line there's so much Dynamics and this has everything to do with how he is using his breath Â
you can tell a fantastic singer by how notes in similar ranges and we hear this from all Â
three of these singers notes in similar ranges can take on so many different characteristics Â
yes placement is a part of it yes register is a part of it but it begins with how your using Â
your breath let me show you the exercise that's going to help train how proper breathing should Â
feel so that you can start to approach this level of amazingness first we're not going Â
to sing at all we're simply going to breathe should I take in air through my nose should I Â
take in air through my mouth what about both my mouth and nose how should I take in don't think Â
about it just breathe just take air in then IÂ want you to hold your breath but not lock your
breath not like you're holding it back but like you're just full with your
lungs then we're going to Exhale and we're going to provide resistance with our lips Â
and we're going to do it dynamically we're going to go more intensely on our lips and Â
then we're going to be more relaxed on our lips but we're going to feel Â
F that exhale with our poop muscles having a downward focused sensation no we're not Â
going to be tensing here we're not going to be engaging these muscles we're going Â
to be engaging as low as possible like you're pushing something out your rear
end you end up holding back air providing resistance or back pressure with your Â
Li lips as you provide more air coming up as a result of the downward support
again what do you notice about the intensity down here as the air flow Â
gets more intense the engagement gets more intense yes why should it be any different Â
when you're singing It's not let's replace the blowing f with an S sound a sibilant
sound the more back pressure we have the louder and more intense things seem and in certain Â
parts of our body things are more intense but they're not tense the other observation I want Â
to make is that even when we are expelling air in the calm sections of this exercise Â
there is still air coming out there is still a consistency even in the midst of the inconsistency
again let's go to a different form of resistance let's go to an F
now let's do the same thing with a [Music] note I am intentionally providing more Breath by focusing Â
down by pushing harder down dynamically and then I'm also intentionally ever so slightly holding Â
back a portion of that intensity that comes from below if I wasn't it would sound like [Music]
this there's a moderation that's happening in my vocal tract that's similar but more Â
complex than the s or the F or the F and it's important that we understand that Â
because Great Sound is a product of both dyamic support and the reaction we have Â
to that Dynamic support that Dynamic airflow in terms of the back pressure that our vocal Â
tract is providing now let's do a phrase with this same mindset about you boy no no no no
no that's how we want to Arc this in terms of how the the breath pressure should
feel about you about you boy about you boy about you boy about you boy about you boy about you boy Â
I am fully experiencing The Arc of my airflow balancing over that line and it is creating Â
this Dynamic interaction with how my voice sounds there's all sorts of things happening and that's Â
what you hear crazy happening in Ado there's other things going on too that you hear quite a Â
bit in the older performance from Ariana Grande and now that you know what to listen for you'll Â
hear in the highly produced newer live version of daydreaming I encourage you to go back and listen Â
to that whole performance and see if you can find what I'm talking about in her voice it'll give Â
you a whole new appreciation for her approach try this exercise try it over over simple lines from Â
your favorite songs and if you'd like more help exploring support and interaction with your voice Â
make sure you click that link below in the pinned comment or video description and join my free Â
course and here's a video about developing great vocal tone once you have this airflow stuff down
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