Improve your vocal tone — Singing Demystified

Summary

In 'Singing, Demystified,' Cornelius from Voice Studio East dispels the myth of innate vocal tone, outlining a three-step approach to vocal improvement. First, strip away bad habits for a blank slate; then, strengthen the voice for richness and brilliance. Lastly, develop musicality through expression and phrasing. Techniques include speaking on pitch, twang exercises, and focusing on dynamics for a compelling performance, ultimately transforming a plain tone into a captivating instrument.

Takeaways

• 🎶 Vocal tone is not fixed; it can be improved through practice and technique.
• 📝 The three main steps to improving vocal tone are establishing a blank slate, strengthening the voice, and developing musicality.
• 💡 Singing as you speak helps to strip away personal technique problems and achieve a natural tone.
• 🔊 Strengthening the voice involves practicing legato, maintaining clarity, and increasing volume for richness and brilliance.
• 🗣️ Addressing common vocal issues like nasality, tension, and hypophonia is crucial for a better tone.
• 👄 Exercises like tongue protrusion and using plosives can help to eliminate nasality and improve tone clarity.
• 😁 Incorporating mirth, or joyful laughter, into singing can make the performance more animated and lively.
• 🎯 Focusing on a point while singing can help maintain vocal clarity and direction throughout a phrase.
• 💪 Conviction in singing means going for it with confidence and assertiveness, which can enhance the performance.
• 🎭 Developing musicality involves adding drama and dynamics to shape musical phrases and make singing more engaging.
• 🔄 A mature singing technique is essential, even for those who prefer high-pitched pop songs, as it provides a strong technical foundation.

Q & A

What is the common misconception about vocal tone among aspiring singers?

The common misconception is that vocal tone is innate and unchangeable, with some people being naturally gifted with a brilliant tone and others being unlucky with a plain one.

What are the three steps to improving vocal tone as outlined in the script?

The three steps are: 1) Establish a blank slate by removing personal technique problems that affect tone, 2) Strengthen the voice to make the tone richer, and 3) Develop musicality to make performances compelling.

Why is it suggested to sing as you speak when trying to establish a blank slate for vocal tone?

Singing as you speak helps to strip away the unnatural singing voice and allows the singer to access their normal speaking voice, which is a more direct and simple quality.

What is the purpose of speaking the lyrics out loud without melody at first?

Speaking the lyrics out loud helps to make the singing process seem more like speech, which can help the singer access their natural speaking voice and avoid technical issues that may affect tone.

How can one address a nasal sound in their singing voice?

To address nasality, one can pinch their nose for kinesthetic feedback and practice speaking phrases without nasal consonants, ensuring the sound does not enter the nasal cavity.

What is a simple exercise to help remove nasality from the singing voice?

One can try humming with the tongue sticking out and then slowly retracting it to an NG position, aiming to maintain a buzzing quality while transitioning to a vowel sound.

How can a tense voice be addressed in the process of improving vocal tone?

A tense voice can be addressed by ensuring proper breath support, practicing relaxed slow breathing, and gradually decreasing the volume of the speaking voice to relieve tension.

What is the purpose of practicing speaking with a loud, bright twangy sound?

Practicing with a loud, bright twangy sound helps to open up the mouth and throat, counteracting a quiet, husky, or dull voice, and promoting a more vibrant tone.

What is the significance of maintaining a clear tone until the end of each phrase when singing legato?

Maintaining a clear tone until the end of each phrase helps to grow the voice and adds richness and continuity to the singing, preventing the tone from trailing off into a mumble.

How can increasing the volume of the voice contribute to a richer tone with more brilliance?

Increasing the volume helps to bring out the high treble frequencies, which contribute to the brilliance of the tone, making the voice pop and stand out more to the listeners.

What is the role of 'mirth' in the context of singing as described in the script?

Mirth, associated with laughter, is used to brighten up the face and singing instantly, making it more animated and lively, which is particularly useful for joyous songs.

What is the importance of 'focus' when singing a musical phrase?

Focus helps to keep the gaze and voice directed, preventing the eyes from wandering aimlessly and ensuring the voice remains clear and insistent throughout the phrase.

What does the script suggest as a method to strengthen the tone and make it richer?

The script suggests a three-part cue consisting of mirth, focus, and conviction, which helps to add assertiveness and a sense of going all out in the singing performance.

How can a singer develop musicality in their performance according to the script?

Developing musicality involves being highly animated, adding drama to phrasing, and manipulating dynamics, emphasis, and articulation to shape a musical phrase effectively.

What is the script's stance on following current music fashions in singing?

The script advises against strictly following current music fashions, emphasizing the importance of developing a strong technical foundation and a mature sound that can adapt to changing tastes over time.

Outlines

00:00

🎙️ Vocal Tone Development Basics

Cornelius from Voice Studio East introduces the concept of vocal tone development, addressing common misconceptions that tone is fixed. He outlines a three-step process to improve vocal tone: establishing a blank slate by eliminating bad singing habits, strengthening the voice to achieve a rich and intriguing tone, and developing musicality to make performances compelling. He emphasizes the importance of singing as one speaks to strip away unnatural singing voices and encourages the use of exercises to overcome technical problems like nasality.

05:02

🗣️ Addressing Vocal Inhibitions and Disorders

This paragraph delves into techniques for dealing with inhibited speaking voices and various vocal disorders. Cornelius suggests exercises like exaggerating issues to understand them better, using specific vowels to maintain buzzing quality, and incorporating plosives to eliminate nasality. He also discusses methods for addressing tense voices, hypophonia, and the importance of posture and breathing in achieving a relaxed and open vocal tone.

10:03

🔊 Enhancing Vocal Tone and Strength

Cornelius provides strategies for making the vocal tone less boring by strengthening it. He recommends practicing legato singing, maintaining clear and insistent tones, and gradually increasing volume to add brilliance. The paragraph also covers the importance of high treble frequencies for a popping voice and suggests exercises to brighten up the sound, including using bright vowels and focusing on glossal onsets for a direct and speech-like quality.

15:05

🎶 The Importance of Maturity in Singing

In this paragraph, Cornelius discusses the pitfalls of trying to maintain a perpetually youthful singing style, cautioning against the pressures of current fashions and the 'pizza pan' syndrome. He encourages developing a mature sound to avoid the fear of aging and emphasizes the importance of a strong technical foundation in singing, regardless of the preferred music genre.

20:07

🌟 Adding Musicality and Expression to Singing

Cornelius concludes the script by focusing on musicality, suggesting ways to make singing more animated and expressive. He introduces a three-step method involving mirth, focus, and conviction to enhance performance. The paragraph also touches on the concept of phrasing in music, explaining its importance beyond mere articulation and advocating for a dramatic approach to create engaging and connected musical performances.

Keywords

💡Vocal Tone

Vocal tone refers to the unique quality and characteristics of a person's voice. In the context of the video, it is the focus of improvement for aspiring singers. The script discusses how the tone is not fixed and can be developed through specific techniques, emphasizing its importance for a compelling singing performance.

💡Blank Slate

A 'blank slate' in the video script symbolizes starting with a neutral vocal state, free from personal technique issues that could affect the tone. It is the first step in developing a better vocal tone, where singers are encouraged to sing as they speak to achieve a natural and unforced vocal quality.

💡Strengthening Voice

Strengthening the voice is about enhancing the power and richness of one's vocal tone. The script suggests exercises like practicing with a twangy sound and glossal onsets to build vocal strength, which is essential for achieving a brilliant and intriguing tone suitable for solo singing.

💡Musicality

Musicality encompasses the expressiveness and emotional depth a singer brings to a performance. The script highlights the importance of developing musicality to make singing performances compelling, suggesting that it is as crucial as having a good vocal tone.

💡Speaking Voice

The speaking voice is the natural voice one uses in everyday conversation. The script advises singers to start singing exercises by speaking the lyrics out loud to access their normal speaking voice, which helps in establishing a blank slate for vocal development.

💡Singing Voice

The singing voice is the voice used for musical performance, which can be distinct from one's speaking voice. The script discusses the common distinction made by beginner singers between their speaking and singing voices and how to bridge this gap to achieve a more natural singing tone.

💡Legato

Legato is a musical term indicating a smooth and connected style of singing where notes flow into one another without separation. The script mentions practicing legato to maintain a clear and insistent tone throughout each phrase, contributing to vocal strength and richness.

💡Twang

Twang refers to a resonant, nasal, or bright quality in the voice. In the script, practicing with a twangy sound is suggested as a method to open up the voice and add a bright, energetic edge to the vocal tone.

💡Glossal Onset

Glossal onset is the initiation of a sound using the tongue, as in the 'g' or 'd' sounds. The script uses 'glossal onset' in the context of exercises to help singers develop a clear and direct vocal quality, contributing to the removal of nasality and hypophonia.

💡Hypophonia

Hypophonia is characterized by a quiet, husky, or dull voice, often with dark vowels. The script discusses hypophonia as a voice problem that singers need to address by practicing with a bright, loud sound to counteract the weak and breathy tone.

💡Mirth

Mirth, in the script, is used to describe a joyful expression, especially related to laughter. It is suggested as a method to animate the face and voice, making singing more lively and expressive, which is an important aspect of musicality.

💡Phrasing

Phrasing in music refers to the way a singer shapes a musical idea within a phrase, using dynamics, emphasis, and articulation. The script explains that good phrasing involves drama and should not be limited to individual phrases but should consider the overall musical narrative.

💡Conviction

Conviction in singing is the sense of confidence and assertiveness a singer projects. The script describes it as singing with the whole body and mind, which contributes to a powerful and engaging vocal performance.

💡Nasality

Nasality is the quality of sound being produced predominantly through the nasal passages, which can detract from the clarity of the tone. The script provides techniques to remove nasality, such as pinching the nose and practicing speech without nasal consonants.

Highlights

Vocal tone is not innate and immutable; it can be developed and improved.

Three steps to improving vocal tone: establishing a blank slate, strengthening the voice, and developing musicality.

Begin by singing as you speak to strip away personal technique problems.

Speak the lyrics out loud boldly to access your normal speaking voice.

Address inhibited speaking voices by treating them like speech disorders.

Use exercises like exaggerating involuntary sounds to familiarize and correct them.

Practice speaking with a twangy sound to correct a quiet, husky, or dull voice.

Gutle onset exercises can help brighten the sound and correct dark vowels.

Pinching the nose can provide kinesthetic feedback for nasality correction.

Relaxation techniques and proper breathing can alleviate a tense voice.

Increasing volume gradually enriches the voice with more brilliance and high treble frequencies.

Opening up the voice by practicing with legato and clear tone aids in voice growth.

Bringing the larynx down provides depth and groundedness to the vocal tone.

Learn to sing with maturity to avoid the fear of aging in the music industry.

A three-step method (Mirth, Focus, Conviction) to strengthen and enliven the singing voice.

Mirth adds warmth and animation to singing, making it more engaging.

Focus on a point while singing to maintain vocal direction and clarity.

Conviction in singing involves confidence and assertiveness in performance.

Develop musicality by adding drama and dynamics to shape musical phrases.

Phrasing should be thought of in terms of drama, not just smooth contours.

Animating the face and adding movement can make singing more energetic and alive.

Understanding and applying the principle of drama across different music genres enhances performance.

Transcripts

[Music]

welcome to singing

demystified I am Cornelius of voice

Studio East and I am here today to talk

about vocal

tone many aspiring singers complain that

their vocal tone is plain and

uninteresting or Express concerns about

whether they have a good enough tone for

singing These concerns stem from an

implicit assumption that the tone of

your voice is innate and immutable and

that while some people are blessed with

a dazzlingly brilliant tone others are

just unlucky but this is not the case as

we shall

see there are three aspects to

developing a better vocal tone firstly

you will need to establish something

resembling a blank slate that is strip

away any personal technique problems

that result in an unpleasant

tone once this is done you can move on

to the second phase which consists of

making the resultant tone richer by

strengthening your voice once this has

been done you should have a tone that is

sufficiently brilliant and intriguing to

be suitable for solo singing But to

really make your performances compelling

it will also be necessary to develop

your

musicality so to summarize here are the

three steps to improving your vocal tone

first establish a blank slate secondly

strengthen your voice and thirdly

develop your

musicality we will proceed to explore

these one at a

time very frequently a beginner singer

will make a distinction between his

speaking voice and his singing voice but

when it comes to establishing a blank

slate the classic instruction is to sing

as you speak meaning do not try to use

your singing voice don't give your voice

some sort of mellowed rounded tone that

you might associate with singing instead

let it have a simple and direct quality

like your speaking voice to accomplish

this when working on a song it can be

helpful to set aside the melody at first

and just speak the lyrics out loud

trying to be as bold and uninhibited as

possible then you can try speaking the

lyrics on Pitch which is to say that you

can just cut off sustained notes or let

them Trail off or droop downwards and

set aside any concern about Legato

phrasing

Etc this is basically a little

psychological shake to make it seem more

like speech than singing and thus help

you access your your normal speaking

voice once you've got the hang of this

you can add the sustains back in but

still keep it very speech-like and plain

so to speak in other words it should

sound something like this and At Last I

See the Light and it's like the fog Has

Lifted obviously this is not a polished

sound but it is at least reasonably

efficient

which is a very good start unfortunately

the method just described is not

foolproof because the time we live in is

so abnormally Rife with anxiety and

Neurosis that a lot of people have

profoundly inhibited speaking voices

with all sorts of technical

problems in such a case this first phase

of the process becomes similar to speech

therapy in that it aims to cure what

amounts to speech disorders or

subclinical versions of these

for example if you have any

involuntary or saly this would be the

time to get rid of it one way to do so

is to deliberately exaggerate it just to

familiarize yourself with the associated

Sensations and really get to know what

it is you are trying to

avoid in the case of canoodle you can

also try sticking out your tongue and

humming then slowly retract your tongue

to an NG position like

this hopefully you will perceive a

strong buzzing quality in the sound you

can then open up to a vowel while trying

to maintain that buzzing quality this

can be done with any vowel but I prefer

front vowels as they make it easier to

maintain the buzzing quality in

particular I like the vowel I as in

nitpicking but if your native language

does not have this vowel I recommend

using an a

[Music]

instead if this exercise makes your

vowel nasal you can insert a g just

before the vowel G is a posive consonant

meaning it works by forming a complete

seal somewhere in the vocal tract and

then bursting through it with a buildup

of pressure behind the

oclusion however if there is nality then

the sound will simply Route Around the

occlusion and you will not get a buildup

of pressure making it impossible to

produce the

pive therefore a clearly articulated

pive has a convenient side effect of

removing nality at least if the

occlusion is formed in the oral cavity

as is the case with with all the

plosives in

English so here is the same exercise as

before but with the G

added the exercise just described has

several benefits it removes both cudle

and nality and improves the clarity of

your tone but if you are looking

specifically to remove nality there are

easier faster methods the most

straightforward method is to Simply

pinch your nose for kinesthetic feedback

and practice speaking some phrases that

do not feature any nasal consonants all

the while making sure that the sound

does not enter your nasal cavity as you

speak by pinching the nose you will be

able to tell immediately if there is

nasality here is an

example Steve works at a very large

store there will be a large art play at

the state Gallery this

week it helps to speak loudly and

emphatically both examples are from a

set of 47 sentences without nasal

consonants which you can find Linked In

the

description having addressed two common

disorders of articulation we will

proceed to consider some disorders of

phonation firstly some people have a

really tense voice like this sort of

harsh

sounding fixing this problem can be

quite a lengthy and involved process but

fortunately most cases are less severe

than the demonstration I just gave in

this case start by making sure you are

inhaling enough air to sustain a

comfortably upright posture without

becoming

tense make sure you can hold this

position for at least a few seconds

without either having to expel the air

or having to close the glutes and tends

up it may also help to practice some

relaxed slow breathing to relieve

tension or brew a hot cup of tea or

whatever helps you

relax then try to decrease the volume of

your speaking voice until the tension is

gone like this starting from this really

tense speech I am decreasing the volume

of my speaking voice until it has this

soft relaxed character

don't hold back the voice though to

decrease the volume there should instead

be a sensation of relaxing and of

opening up while simultaneously relaxing

your

posture by now you have hopefully

relieve the tension but the result is a

tone that is too weak and has too much

air flow this brings us to the next

category of voice problem hypophonia and

all its variant characteriz ized by a

quiet husky or dull voice it often also

features very dark vowels with a sort of

Dopey sound stemming from the tongue

being too far

back the easiest way to fix this is to

practice speaking with a loud

obnoxiously bright twangy sound like

this notice though how much I am opening

my mouth when doing that I am not doing

the strangled held in quality that a lot

of people seem to associate with

twanging it should be big and

extroverted and feel paradoxically open

even though twang physiologically

involves narrowing the

fings you can then dial it back to

something that sounds a bit more normal

but be sure to keep at least some of

that biting Edge in there if you're not

having much luck with the method just

described you can try working with gutle

onset

that clicking sound that occurs in the

phrase

uhoh but since dark vowels increase the

likelihood of a husky or dull tone let

us brighten up the sound by using a

bright a vowel with the tongue sticking

out

slightly ah

ah make sure that your glossal onsets

are neither forceful nor restrained but

simple direct and speech-like in other

words the there is no need to make them

emphatic but neither should you be

careful with them we are not looking for

this a nor

this but simply this

ah try familiarizing yourself with this

quality of directness and incorporating

it into your singing Once you have got

the hang of the glossal onsets you

should be able to apply it to other

consonants as well especially voiced

plosives like G B and D eventually you

should be able to incorporate it

fluently into your speech and

singing by now you should have a tone

that is fairly normal if a bit boring to

make it less boring the first step is to

strengthen it here the twangy exercise

from before is a very helpful start as

are the glossal onsets but even beyond

that there are number of things we can

do to achieve still more richness in the

tone firstly practice singing with

Legato and in particular practice

keeping the tone clear and insistent

until the end of each phrase instead of

trailing off into a Mumble remember any

given section of a song contains several

phrases in succession so there is no

need to round off each phrase as if it

were the end of the song instead keep

the energy going so as to maintain a

certain continuity between the

phrases this combination of Legato and a

Clear Tone will allow you to start

really growing your voice to do this

make sure to enunciate clearly

especially the open vowels which require

sufficient jaw separation to prevent

them from getting held in so to speak

that is to say instead of this and At

Last I See the Light and it's like the F

Has

Lifted we are looking for this and At

Last I See the Light and it's like the

fog Has

Lifted it is worth noting that opening

up the voice like this can sometimes

make it AER but you can get the clarity

back by just singing a bit louder while

making sure your vowels don't become

overly dark and

throaty in fact gradually increasing the

volume is the next step in growing your

voice and making the tone richer with

more

Brilliance what makes a voice really pop

is the high trepel frequencies which are

associated with loudness of course that

does not mean we must never sing softly

but even soft breathy singing will get a

bit louder as you become more proficient

and this will go hand in hand with

increased treble content providing

Brilliance to the

sound so far we focus a lot on

brightness and Clarity but another

important aspect of developing your

vocal tone is to bring the larynx back

down a little providing some depth and a

sense of

groundedness since the larynx to a large

extent moves with the jaw the process of

opening up your voice will automatically

give you some more depth

beyond that it can help to think of

making your voice broader and warmer the

goal is to get from this and At Last I

See the Light and it's like the fog Has

Lifted to this and At Last I See the

Light and it's like the fog Has Lifted

now some of you may be thinking that you

only want to sing high-pitched pop

Center songs like Justin Bieber or

Charlie poth and so it may seem

unnecessary to learn this I advise you

in the strongest possible terms to learn

it anyway as it is a vital part of

having a strong technical foundation and

can help you get out of the squeezing

spirals described in the previous video

not to mention that your taste in music

is is liable to change as you get older

and more experienced at singing and at

life in

general I encounter many aspiring

singers who insist on looking and

sounding as much like a teenager as

possible in no small part because that

seems to be in fashion at the moment but

Fashions change even this one will for

all that it might seem like an exception

a good thing too since this is really a

very disastrous fashion

but even if it were somehow permanent

your own youth is not and even in the

present music scene a 30-year-old who

still sings like a teenager will

register more as a PHA than as trendy

for this reason a great many aspiring

singers are terrified of Aging or even

just

maturing this is a manifestation of what

is becoming increasingly known as the

pizza pan

syndrome and it is something I plan to

make a full video about in the future

for now I will not Bel labor you with

admonitions against following the

fashions that currently beset our

culture for all that I consider the

present ones to be particularly

calamitous instead I will simply urge

you to look ahead and develop the

capacity to sing with a mature sound so

that the prospect of Aging will be less

likely to induce mortal Terror

now to really Hammer home the point

about strengthening your tone I will

give you a very straightforward

three-step method for convenience I have

come up with a memorable cue consisting

of three words corresponding to the

three steps here they are Mir Focus

conviction with conviction Mr laruso

mirth is basically a synonym for Joy but

with stronger connotations of laughter

if if you read old books you may

sometimes encounter the phrase a smile

without mirth meaning a cold or fake

smile accordingly we can make a smile

seem warmer and more genuine by adding

mirth the association with laughter is

apt because chuckling is a very

effective way to brighten up the face in

an instant you can try incorporating

that into a song phrase like this and at

last I see the light and it's like the

fog Has

Lifted it will immediately make your

singing come to life that is seem more

animated of course this quality is only

appropriate for joyous songs but even

for sad or angry songs there should

still be a hint of Mirth to breathe life

into your singing unless of course it is

meant to sound outright depressed or

dripping with

disgust the second part of the Triad was

Focus which is really just another way

of learning to sing all the way to the

end of a phrase instead of trailing off

into a Mumble namely keep your gaze

sharply focused on some point in front

of you as you sing the phrase you can

change Focus during the phrase if you

don't want to stare intently in a single

Direction but changing Focus does not

require you to let your eyes simply

wander

aimlessly since both the direction of

your gaze and the direction of your

voice are determined by your

psychological processes keeping the eyes

focused will usually also keep your

voice

focused the third part is conviction

this one is a bit more abstract than the

other two it consists of this intangible

sense of just going for it of not

hesitating in this respect you could

describe it as singing with confidence

but conviction is a bit stronger than

that as it connotes a certain

assertiveness that could be described

euphemistically as singing with your

whole body and with your whole soul or

mind if you

prefer by now if everything has gone

well you should have a brilliantly rich

tone with which to Dazzle your listeners

but your singing may still be boring for

a lack of

musicality musicality is really a whole

subject of its own and takes years to

develop but there are still a couple of

pointers I can give you firstly it helps

to be highly animated as you sing even

to the point of

hyperactivity especially when singing

high notes when we speak in an animated

manner the pitch will tend to be higher

since singing tends to be higher pitched

than speech it stands to reason that

doing it in a highly animated manner

will help it feel more real and

raw by adding mirth to the face you have

already taken a major step towards

making your singing more animated but

when it comes to really making the face

come to life it helps to think in terms

of adding movement rather than a static

conception of Mirth therefore articulate

energetically maybe throw in chuckle

here and a cheeky grin there Etc this

should help make your singing seem more

energetic and alive to The

Listener secondly there is the matter of

phrasing in online singing communities

the word phrasing is often used in

reference to singing words as opposed to

wordless

vocalizers but this is a misn Noma as

the word phrasing actually has a very

particular meaning in the context of

Music namely it refers to the

manipulation of Dynamics emphasis

articulation Etc to shape a musical

phrase when it comes to phrasing many

beginners and intermediate singers have

a bit of tunnel vision going on they

focus excessively on each individual

phrase giving it a smooth Contour by

gradually fading in the volume at the

start of the phrase and tapering it off

towards the end but bearing in mind my

earlier point that any given musical

section consists of several phrases in

succession it is clear that this tunnel

visioned approach will lead to a

disjointed result in fact it can easily

wind up sounding so bizarre that it will

entirely ruin an otherwise brilliant

performance so how should we actually

think about phrasing I can give you the

answer in one word drama this must be

understood rather broadly I am not

simply referring to drama in the sense

of how the term might be applied to

opera or musical theater it is also to

be found in rock pop gospel Jazz and

many other

genres for example a lot of rock songs

feature very aggressive onsets in the

chorus or make the downbeat very

emphatic a lot of jazz relies on

suspense through well-timed periods of

Silence often often ending phrases in a

somewhat abrupt manner to set up

expectations and then picking up from

there at the perfect moment here are a

few examples of how this principle of

drama can be found in various styles of

singing I see your

lips the sunburn

[Music]

kisses the sunburn h

I used to

hold some of them want to use

you some of them want to get used by you

some of them want to abuse

you some of them want to be AB

abused Jesus

Christ Den I your makeer

[Applause]

who

TR well me

W my

eyes now

you so to summarize what we have learned

about vocal tone firstly clear away any

personal technique problems to create a

blank slate in the form of a speech-like

quality

secondly strengthen your voice by

opening it up and adding warmth as you

grow the volume here you can make use of

the three-part queue mirth Focus

conviction finally develop some drama in

your

musicality and with that we've reached

the end of today's video if you have any

questions be sure to leave a comment

down below if you wish to get in touch

you can click the link in the

description to join my Discord server or

you can visit my website at voic Studio

east.com where you can also book lessons

with a 50% discount available on your

first booking stay tuned remember to

like And subscribe for more content and

as always thanks for

[Music]

watching and