May 16, 2025 • 57 mins
In this Studio Sessions episode, we’re joined by singer Danielle for a real-time voice lesson focused on one of the most common challenges singers face: pitch. You’ll hear how we explore multiple ways to approach pitch correction—from physical tension and breath support to mental focus and emotional connection.
Whether you’ve struggled with staying in tune or just want to get more consistent, this session will show you the practical, supportive process behind great pitch work—without shame, stress, or judgment.
📍Mentioned Resource: follow Danielle @daniellemichael90
👉 Want to make practicing easier? Grab our FREE warm up track here: https://lessons.voxtapestudios.com/free-warm-up-track
👉 Don’t know what your voice needs to improve? Get a vocal evaluation from our professional coaches here: https://lessons.voxtapestudios.com/vocal-evaluation
👉 Book a 1:1 session with Coach Lara: https://lessons.voxtapestudios.com/trial-lesson
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
the fields of grown over.
Now here.
Since they've seen a plant,
everything needs to be just 5% higher.
Okay?
you can do a slight shaking your head
while you're singing right
just to make sure
these muscles here in your neck
and your shoulders are not starting
to get a little crappy.
(00:20):
The fields of grown over now.
Years since they've seen a plow.
Yeah. That was beautiful.
You nailed that.
Hey, VoxStar and welcome
to From Singer To Artist.
(00:41):
I'm Lara
Chapman, award winning
singer and songwriter
turned viral vocal coach
and the host of this show
at VoxTape Studios.
We help singers
from all over the world
level up their voices
by teaching them
the three fundamental skills
all singers need
technique, awareness and artistry.
Whether you're looking to go pro
or just develop your voice for fun
my team and I are here to help.
(01:03):
Check the link in the description
to book your first session, or grab
some of our other resources.
All righty.
Are you ready? Let's get started.
one lesson.
Usually, we don't do in-person stuff.
Usually we only teach online over zoom.
(01:23):
But I was like, let's make this special.
Let's make it happen in person.
So I reached out to my community
in my city and see who out
there wants to do a session.
And Danielle, Michael reached out.
Welcome. Thank you.
Thank you so much for being here
and for doing a session with me.
The first one,
the first ever to do an in-person
(01:44):
coaching session for this,
the sake for this podcast, for the show.
But actually, we know each other.
We go way back.
We met in 2019.
This was previous shape.
This was pre-COVID.
Yeah.
Pre VoxTape pre Covid.
And you reached out to me
to do a couple lessons. Yeah.
And oh my gosh
(02:05):
that was like six years ago now.
We did about
I want to say
like maybe ten sessions or so together
and and then you know we all
we both went and did our own thing.
And now you're back.
And I'm so excited that you're excited.
How are you doing? Good.
I'm doing great. Yeah.
Yeah. A little nervous, a little nervous.
That's okay.
(02:25):
So excited though.
Yes. I'm so glad to be back.
I just I really enjoy your coaching.
And VoxTape
Studios is really grown,
so I'm really proud of you. Thank you.
Thank you, I appreciate it.
Yeah.
Back then, it was just Lara Chapman.
Music.
And now it's what say.
So it's a it's a little different.
So thank you for your kind words
I appreciate that.
(02:46):
And I just got a little sneak
peek of when you were,
you know, practicing with the song
just to make sure
we got our levels right.
And I was like,
oh my God, you've grown so much. Yeah.
So usually what we see with people
like when they stop their voice lessons,
they just kind of
go back to their old life
and they kind of stop practicing
and then they, you know, regress.
Is that a word?
Yeah.
(03:06):
Like, they can kind of, like,
go backwards.
With their skill set again.
And, and then they get frustrated.
I have had that in my own journey
as well, where,
you know, I took a little bit of a break.
I was just mostly
on, like, focusing on teaching
and not my own voice.
And then I, you know, I started like,
like showing things like,
be like, hey, like, try it this way.
(03:27):
And I'm like,
oh my God,
I can't demonstrate this anymore.
I need to practice my own
singing again, too.
So you know, when you're not on it,
you really lose that progress again,
but not you.
You've been working hard.
So tell me,
what have you been up to since 2019?
I have just really been watching
you online.
You do a lot of free coaching on there,
(03:48):
so I take advantage of that for sure.
And I definitely practice a lot daily.
It's a daily thing in my house.
So yeah, my kids and everybody,
I mean, we all just
we love to sing and play and it's just
it never stops.
If you stop, like you said,
then your voice just goes backwards.
So because it's a muscle.
(04:09):
Yeah. Right.
And it's like
if you stop working out that six pack
that you worked so hard for, goodbye.
It's like
it's the same thing for the voice.
And I saw that you were posting
clips on social media,
which is something
I also didn't do before you.
I think a coach is very important
because you give, people encouragement
(04:31):
and people need that,
you know what I mean? To keep going.
And I don't know, it's just,
I don't know,
you just really have helped me a lot.
Even not being here
really still has stuck with me.
Everything you've taught me
and the free stuff
you put out there,
I mean,
if people are really investing in that,
then they can really, you know,
(04:52):
make something of it. So yeah. Yeah.
That's awesome.
Well, I'm very proud of you
that you kept going and, you know,
push through
posting those clips,
building a little bit of a following.
It's just so exciting for me
to see, you know,
that people are like
following their dreams.
And,
it was a little part
of that in the beginning.
So have a big part of that.
You don't even know the credits.
(05:12):
All yours.
Also.
Well, we were
we're going to work on a song today.
And usually
what I like to do in lessons,
especially when I don't know a voice,
is I skip warmups and exercises.
I ask the student to warm up before,
and I give them,
like a little video
that they can practice along to
so that they feel warmed up.
(05:32):
But then I don't do
any exercises at first
because I don't know their voice.
I don't know what they need,
so I don't know what exercises
to give them.
So what I was thinking for today, yes,
I do know your voice,
but it's been a hot minute.
I would love to just jump
right into your song.
You picked Strawberry Wine by
Diana Carter.
(05:53):
Exactly.
And, I want to jump right into the song,
and then we'll see what happens.
If we want to do some exercise is
or only direct application.
Whatever. We'll see.
Okay. Sounds good. Yeah, I love it.
So we have a karaoke track here
for strawberry wine.
I'm just going to go
(06:23):
It.
Appears.
(07:08):
To.
(07:42):
What's coming?
One.
Yes.
Okay. Talk to me. How did it feel?
It was great.
It felt good.
Yeah, yeah, a little on the,
You know, it was a little struggle,
I noticed.
I actually thought you nailed that part.
You did?
Okay, Like that.
(08:03):
The hut.
Yeah. Yeah, yeah, yeah.
I thought you did a really,
really great job with that.
I was, impressed
that, you know,
you switched up into that
lighter head voice.
Obviously,
I think it wasn't belted or very mixy.
It was
kind of a pure head voice up there,
but it gives you a nice contrast, right?
Okay.
A lot of times we singers were like,
how can I make it more powerful,
(08:24):
you know,
how can I give more of my voice?
That's kind of what we obsess over,
at least most of us.
Not all of us. Right?
Billie
Eilish is not one of those people, but
a lot of singers are like,
how can I make it more powerful?
And I'm like,
yeah, that's definitely,
you know,
something we want to work on
so that we can have the power
if we want to,
but if then everything is like
Straw Berry one, but,
(08:46):
and everything is like super powerful.
It's like,
oh, now it's boring to listen to, right?
Right.
So if we have that contrast, we going up.
Oh.
Going up into that head voice up there,
I actually think it's really beautiful.
And you go right up on that note. Okay.
But if it feels tight
and then we need to address it
and we need to work on that.
So did it feel tight
(09:06):
or just a little bit.
Not too much,
but just a little bit
So one of the big things
that we worked on in 2019 was pitch
right, like making sure that all
the notes are right there
and you've come so, so, so far
with pitch.
Now you're just going slightly off
(09:28):
when there's tension.
So it's not really a hearing
thing anymore.
It's a tension thing
now for you where it's like,
oh we're kind of
getting like a little stuck here.
And then you're going
a little under a little below the note.
And so
we don't necessarily
need to focus on pitch.
We need to focus on releasing
a little bit of that tension. Right.
And you actually said before like
(09:49):
oh I feel
that you want to work
on releasing tension.
So I love that
you're already aware of that. Yeah.
Because the first step
to getting better to improving
is being aware
of what it is that you need.
So you're already there, I love it.
Let's go again.
Honestly, like, the beginning is so good,
we don't need to.
(10:10):
Do you have any questions about the verse
you feeling good about the verse?
I think it's good. Yeah.
Yeah, I feel pretty good.
I think you nailed it. Yeah.
And you're like all the style isms that,
that you're using, are like really genre
appropriate, like for country, like it's,
it just really fits.
You know,
I don't I don't want to touch it.
I don't want to make it
overly complicated,
you know,
(10:31):
especially because we're only
in the first verse, right? We
To.
(10:54):
there you are right on.
Like this is.
It sounds to me. Great.
How does it feel?
It feels good.
It feels good.
Yeah, I love it.
Dada?
Yeah.
That note up there, it's like, right
in most of us girls break, right?
(11:15):
It seems like, no time to sing.
So you have beautiful control up there.
So.
Well done.
last.
How's that last feeling?
I don't know,
should I go higher or did it?
(11:36):
I don't know,
I feel like maybe I should go higher
on that last part.
Higher in pitch? Yes.
I mean that's what the melody is too.
So like
we don't
necessarily need to change it,
at least not in the first verse.
Pre-Chorus. Right.
Like I usually
I usually try and keep it pretty chill.
Like
even when you're singing, cover it,
because at the end of the day,
you don't want to make
it sound exactly
(11:57):
like what the original singer is doing,
because then it's like,
why would I listen to your version
when I can just listen
to the original version? Right.
So it's nice to switch up some things
and make it your own.
But usually when it comes to melody
changes or rhythm
changes, things like that.
I like to keep it
pretty much the same in the first,
part of the song
(12:18):
before I go wild and change things.
But that's my personal preference.
Yeah.
If you're like, actually,
I want to change that note.
We can do. I think it's necessary.
No, because it's already the highest note
we've heard up until this point.
If you make it higher,
then sure it's going to be even higher,
but it's not necessary.
Not necessary because it's
(12:39):
we haven't heard that note the last rest.
We haven't heard a note that high up
until this point yet,
so we don't need to make it higher.
Does that make sense? Yeah, yeah.
Then it drops back down
into like extra berry one.
So yeah I feel like it would.
Exactly. Exactly.
Because you know, otherwise
we go like 2 to 3 and then it, it
(13:01):
right back down there.
It's like oh that what happened.
So I don't necessarily
think it's necessary.
I thought you nailed the note the last.
How did it feel?
I felt great, felt great. Yeah. Love it.
I like how you're dropping off the
no less, right? Less.
It's just important
that when we're dropping off
a note like that,
(13:21):
that when we're starting the note, it's
right in the center. It's right up there.
Okay, pitch is not everything.
It's not something we need to obsess over
because it's something that's so easy,
easily fixable.
But at the end of the day,
we need to make sure
that we're kind of there,
because otherwise you can't sing
live, right?
That's, like, not the goal, either.
So I thought you did a really great job.
Just make sure that you're really going
(13:42):
to last all the way up.
You can even lift here.
Okay, a little bit.
Slight leg.
Just think a little of a smile.
Like last.
(14:09):
like that?
So everything.
Everything. Everything.
You nailed it.
You nailed it.
So I'm just pointing out the great things
that you're doing.
Okay?
There's not a lot there
where I'm like you.
We need to work on that.
So that was really great.
Same thing here. Contrast. Right.
So every everything
everything and everything okay.
(14:32):
Right.
Like you're pulling back on that
top note.
I don't know
if you're doing it on purpose or not.
Yeah.
What's kind of what the artist says okay.
Well there you go.
Yeah it's great.
Again it gives you that contrast.
And also
it makes sure that you're not working
harder than you have to.
Because again, we're
just in the beginning of the song. Right.
We don't need to go
everything and like be really loud
(14:53):
and belter or anything like that.
You're really easing into it.
So you did a great job.
That's all I'm trying to say.
I'm trying to relax all the tension
because I feel like that's kind
of what you have to do
in this type of song, for sure.
100%, 100%.
This ain't Demi Lovato
belting, belting, belting, right?
This is more like laid cool country.
Yeah, right. Yeah.
(15:14):
So we don't need to be working
so hard, right?
And by the way, now that we're
like going through it section by section,
your pitch has already fixed itself.
Okay. So that might be nerves.
It might be
I'm continuing releasing my tension
might be a combination of both okay.
But we're already seeing improvements
there without actually doing anything.
So yay
(15:58):
My first taste of love.
Is that how it goes?
Yeah. Okay.
Right there.
When you make sure
when getting a little, little pitchy,
a little under.
So, that first, first taste.
Can you just go la la la la la la.
Great.
We're going to start that
(16:18):
just a little bit lower
to help you ease into it. Okay.
And la la la la la la
la la la
la la la la la la.
Okay, great.
So what I'm hearing
you do the second and the third notes
you're nailing every time.
(16:39):
The first note is always slightly under.
So that tells me it takes you a minute
to figure out where you where you are,
and then you're good to go.
So I really want you
to focus on that first note
so that we're hitting the note
straight out of the gate. Right.
So we don't have to, like,
find our way into it.
But integrate.
So here are the notes in your head right
(17:02):
before you sing it.
You're hearing it.
La la la la.
Okay, so let me tap
la la la.
Good.
La la la
la la la good.
La la la la la la.
(17:26):
We're actually higher than we have to be.
So you're doing great.
You're doing great.
This is something I love doing.
Like actually going higher
than where you have to be in the song.
So you feel a little bit more like, oh,
I can do this.
Like, my range is bigger than what
I have to do in the song.
I can totally do this.
So I'm going to go back down a little bit
one more time and work our way up
and, you know, go
(17:47):
let your voice
just do whatever it needs to do.
If you crack, if you crack,
if you switch more into a head voice,
you switch more into a head voice.
Just let it come out.
La la la
la la la
la la la
la la la la la la.
(18:10):
Yeah
la la la la
la la la la la.
Girl, you're killing it.
Are you kidding me?
That was so good.
So silly. Oh.
So okay. Did you.
What did you feel in your throat?
(18:30):
Nothing.
I didn't, it felt really good.
I was focused more on pushing from here.
And letting this go then.
Is that make sense. Yeah.
Yeah. Like letting it flow out.
Yeah. That's kind of help me.
Okay. And that.
Yeah I love the word flow.
Right. Because it's singing.
It should feel flowy.
Yeah.
You use the word push.
(18:51):
You're pushing more from down here.
Meaning you know, your stomach,
you're making it more tight, I guess.
Okay. Feeling like the air you know.
So you know when I use words like pushing
and tight
I personally always need to be careful
with those words.
And I also try
and not use those words with students.
But if you're using it and that helps you
(19:12):
I will go and match your language okay.
But usually I wouldn't use that word
because pushing and tight can sometimes.
Right, right.
You know, go back into your throat
and then we're pushing
and feeling tight in the throat.
And we don't want that. Right.
But if that language helps you,
I love it.
Let's use it okay. Okay.
there was like no break, no cracking.
You just beautifully
transitioned into a mix.
And I was very impressed.
(19:33):
I don't think I can do it that well.
So sorry you killed that.
That was.
I'm so proud.
I'm going to cry. Okay.
Thank you.
So good, so good.
Because it's a little bit higher,
and I want to see, you know.
How are you feeling
if you're doing that in your voice, too?
I just want to see.
Can we make that happen? I know we can.
You trust yourself? You cannot.
Because we just went way
higher than that.
So, we definitely can do that.
(19:56):
But then if you want to.
So now I feel like you're
making me feel like I make this my own
without even realizing it, because.
There you go.
Perfect. I didn't even think about that.
Yeah, there you go. That's awesome.
So first taste of love is kind of
what she's doing.
Okay, so let's just try that,
see what's happening.
(20:16):
This is the first no.
Yes.
First taste of love.
Great.
That's it.
Okay. That's exactly right. Now
because we're a little bit higher
and we can increase the energy
a little bit here.
Okay.
Can you just give me
a little bit more on that.
You first taste of love.
(20:39):
First taste of love.
Great. How's that feeling? Feels good.
Feels good.
Try one more time.
Just get used to it first.
Taste of love. Right.
Just to make sure that we get
that very first note. Right.
So kind of what we were doing
with that lalala
making sure that that first note is right
there.
First taste of love,
(21:02):
first taste of love.
Yeah.
You're doing that
first taste of love okay.
Yeah. So that that first note. Right.
That's just a little bit of a theme
that I'm seeing for you. Okay.
So when you
when you go home and practice,
you do your own thing.
Always pay attention
to the first note in every phrase.
Okay? Okay.
(21:22):
And because you got there's
just that first note.
You're doing it here as well.
But just,
you know, when you're like
you're getting the note right.
That's what I'm trying to say.
But yeah,
just when you're practicing something
to think about that first note.
Okay. Perfect. One more time.
First taste of love.
(21:42):
Can you do almost the same?
Sorry.
First taste of love.
Okay.
Do you feel how you kind of like, fresh,
like scooping up into the no first taste?
Okay, great.
So to practice that, let's try it on.
GA GA GA GA
GA GA GA GA.
(22:04):
Okay. Already better. One more time.
GA GA GA GA GA.
Relax your friend.
Actually, shake your head
side to side while you're doing it. Okay?
GA GA GA GA.
Okay, that's what I'm talking about.
So why the good sound?
The good sound gets you a little bit
(22:24):
more closure in your vocal folds.
So we're getting just
a little bit more power.
But for the, accuracy, right.
When we're doing
that, it's
so much easier to to scoop versus
the guh.
It's a
more like an attack kind of onset GA GA
because you can't linger
on the good sound.
(22:45):
You can linger on for, but not on.
Right? Doesn't work.
Right.
So, that's why I wanted to try
something like go.
You can also go.
PA pa pa pa pa like a pull sound.
Whatever works for you
is something
where you can't linger on it, right?
To practice your attacks.
Okay, so now the word is not ghost
(23:08):
taste of love.
It's first taste.
So let's try
that one more time on that fur.
But really far, far, far.
Yes.
First taste of love.
There it is.
Yeah.
Now I just see it getting a little tense
up here. Okay.
It doesn't necessarily translate
into your sound just yet, which is good.
(23:29):
It's a good sign,
but it it might just mostly be
mental tension.
I'm like I'm not really sure
what I'm doing.
And it kind of translates into, this.
Right.
Like shoulders up a little bit
just to shake your head.
That's usually it works really well.
One more time, say,
while shaking your head first.
First. So good.
(23:51):
First. Taste the whole thing.
First taste of love.
Great.
Now let's practice
the transition into it.
Right.
Because it's one thing to isolated.
It's another thing to do it in
context, right? Right.
Now that we can do it in an isolated way,
let's see if we can put it back
(24:11):
into the song, back into context,
unless there's something else
you wanted to work on in that phrase.
No feeling good about it. Yeah.
All righty.
(24:39):
You were very close.
Let's just practice it
one more time here.
So everything.
That's a pretty big jump size.
Everything.
And the first
right thing, my first taste, the
my kind of can live anywhere
(24:59):
between here and here, right?
Like, that's a really bad thing to say.
I'm sorry, but, like, you know, sometimes
it's it's almost more spoken.
That word
my is almost more spoken than sung,
so it doesn't really have a note,
you know,
sheet music,
you know,
when the notes are written out,
sometimes instead of it
being like a circular note
(25:20):
and it's like filled out,
it's an X and has a stem on it.
Have you ever seen that?
Yeah, that means it's spoken, right?
Like the notes
doesn't have a note, right? Right.
You're just writing it for the rhythm
and for the word
but not necessarily for the pitch. Right.
So that's kind of what's happening here.
So everything my first, my first.
(25:42):
So that would be my first.
That's a bigger jump.
You can also go my first taste
and then it's all the way up here.
So close.
Be anywhere in the middle.
It doesn't really matter
if you're speaking it right.
Kind of like my first.
My first taste of love.
I'm kind of speaking the note,
not really singing it.
(26:04):
The important part is the first.
Okay. Right.
That we know we're going from bar to bar.
Actually, let's just try that thing
for first thing first.
There you go. One more time. Thing.
First thing first.
(26:25):
Yeah. Really?
Hear that?
That thing, that note down here before
you sing it.
Thing first.
A little lower thing.
Same thing.
A little lower thing.
There it is.
Thing for third thing.
(26:48):
Thing first okay.
Is to
no no no no, you do that.
So. Yes.
So, you're doing it
in the context, right.
So everything
my face let's let's actually try that.
So, from there. So,
(27:10):
so so everything
my first taste of love.
There it is.
Let's do that one more time. From salsa.
So everything.
My first taste of love.
That's it. Okay. That's it.
I see what you're saying.
So get closer with the my.
(27:30):
I can nail that first one.
Almost. Yes.
Instead of the my being such a low.
Yes. Gotcha.
Yes.
The bigger the jump, the harder
it is to get it. Got it. Okay.
But you didn't love it.
Let's try with the music one more
(28:02):
Nailed it, nailed it.
Did you feel that? Yeah. It felt good.
That was good.
That was good.
In your throat. Feeling good? Yeah. Yeah.
Awesome. Awesome, awesome.
How did you feel about that?
Whatever.
Yeah, that felt good. To the.
Oh, bittersweet.
Yeah, it felt good this time.
Yeah, it was really, really, really good.
you tend to pull back on top
(28:23):
notes a lot,
which here in the first course is great.
When we get to the second chorus,
maybe we want a little bit more umph,
but for here,
I think this is really great
and it sounds beautiful.
How do you feel about it?
Good. Yeah, yeah, yeah.
Let's keep going baby.
Let's keep going.
What's coming?
(28:44):
One.
(29:09):
When he had to go.
He had
had is a weird word to sing sometimes.
We're not quite sure where to place it.
Can you try one more time?
He had to go.
He had to go.
Oh, you're higher
now than you were before.
When he had to go.
(29:31):
So one more time
when he had had just that part.
When he had.
Yeah. Great. That's great.
I think you can give me, like, 10% more.
Okay.
When he had a girl.
Great.
So when you're thinking,
when I'm telling you, give me 10% more
what is going on in your head?
How does that translate for you?
(29:52):
Just a little bit more, but not too much.
A little bit more. From where?
Here. From there.
Okay.
Like put like I there.
There's that word again. Push.
But it works for you.
Yeah.
If it works for you it's fine with me.
Right. Okay.
Can we, instead of thinking a little bit
more push from down here
because now you ended up
(30:13):
going a little over the notes.
Okay, a little sharp. Right.
So that's usually something that we see.
Like when we push a little
more we go up and pitch.
Right. I'm like we don't need more pitch.
Like higher pitch.
We don't need to change the pitch.
We need just a little bit more,
intensity on the
note that we are on before, right?
We don't want to change the note.
(30:34):
We just want to change the way
we sing the note.
Okay. Right.
So maybe instead of push,
think a little bit more chest voice.
Okay.
Let's see what how that
what that does in your song.
When he had to go.
(30:56):
One more time when he had
when he had to go.
Yeah okay.
Go go go.
Good good good.
How comfortable do you feel in
your chest?
Was pretty comfortable.
Pretty comfortable okay. Go.
Hello? Over here.
Oh, Go.
(31:18):
Go lower.
Go you go.
Girl, you're up here.
It's go.
Go. There it is.
Yeah.
So, okay,
this is great for me to see
when you're singing in your chest voice.
Like when you're lower in your range
down here in your chest voice.
And I'm asking you
to give me a little bit more.
You then start going sharp
(31:40):
because you're you're pushing too much.
So what?
Instead, we need to focus on
is thickening your chest voice
a little bit,
just adding a little bit
more power, down there.
So can you
imitate Santa
Claus for me on this exercise?
Ho ho ho ho ho
ho ho ho ho ho!
(32:00):
Give me your biggest.
Big.
I don't know what other word to use.
Give me your biggest
Santa Claus iest Santa Claus.
Ho ho ho ho ho ho.
Yeah!
That's it.
Let's go down, girl.
Oh!
Oh or
(32:24):
oh, there it is.
Oh, right.
We keep going down.
Ho ho ho ho ho!
We're doing it!
Oh ho ho ho ho
ho ho ho ho ho!
Good.
Ho ho ho ho ho!
One more.
(32:44):
Ho ho ho ho ho ho!
Right.
So we're way lower than what
we have to do in the song.
How did that feel? Pretty low.
I'm pretty low.
Yeah, I mean, I was it was manageable.
I felt like I could do it
if I had to go lower.
Not that low, but lower. Yeah.
I think you can even go that low.
Really.
So I would love to challenge you
(33:05):
to explore that area of your voice
a little bit more.
Okay.
Your head
and you're
like your head voice in your mix
voice are really,
really nice and really solid
when it comes to the lower notes.
We're losing a little bit of that power.
Okay.
So when I,
when I describe
chest voice and head voice,
I usually say that the chest voice
is the source of power
(33:26):
and the head voice
is the source of flexibility.
So you have the flexibility, right?
Because like you're not cracking
when you're going up in pitch.
Like I was really impressed with that.
Not my strength at all.
You're killing it, right?
That's your sweet spot.
So you're killing that,
in your chest voice.
We're losing a little bit of the power.
So if we wanted to sing the chorus
even up there, extra strong there.
(33:48):
Wine with more power like that,
maybe that's not the right song for it,
but in case we wanted to. Right.
We need to work on the chest voice
and that source of power
a little bit more in order to do
that, right? Right.
Do you ever get frustrated or, like,
think like,
I wish I had more power
in a certain part of your voice
(34:09):
or not really.
Yeah, really.
Probably the lower end.
Probably lower.
Okay.
Yeah. Well maybe both.
Sometimes my head voice,
you know what I mean.
When you go real high
and sometimes when you go real low.
But I feel like
I'm more comfortable mid-way.
Yes. You know. Yeah. Self.
Yeah.
So yeah I agree
I would probably need
to work on the low end
and probably the higher end.
Yeah.
(34:29):
So working on like working out
your chest voice in the lower
end is also going to help you
add more power to the high end too.
Right.
Because it's your source of power
for everything.
And your head voice
is the source of flexibility
for everything. Right.
So when, when I'm working with a singer
who's really stiff,
then we would want to
mostly work on head voice.
Their chest voice
is probably really solid
(34:50):
and have a big belting voice,
but it's stiff, right? To me.
I'm very stiff.
I'm very stiff,
so I have to work on my head voice a lot.
For you, it's the opposite.
Okay, right.
You're more of what
I would call a songbird singer.
Somebody who's more,
you know,
agile, flexible
in that middle range,
in the higher range.
And we could work on just a little bit
(35:11):
more power.
Okay, so that's Santa Claus.
Ho ho ho is going to be really great
for you.
Just, you know, going to that extreme.
Well it's not
how are you going to sing extra warm.
Like you're not going to sing like that.
But it's, it helps
you just work out these muscles
and explore an extreme
outside of what you're trying to do.
It's called overcorrection.
(35:32):
We go from two lines to two bold
so we can go somewhere in the middle.
Eventually
you just get to the middle part
faster that way. Okay.
So that's going to be
a great exercise for you.
So that when we're singing,
when he had to go now
or already don't
remember how that phrase goes,
so that we're not feeling like
and I'm kind of like losing that go
(35:54):
like the notes down there
because they're well within your range.
You just need to trust yourself
that it's there. Okay.
So we need to figure out
how can we get the power without you then
going sharp okay. Right.
So I want you to think create more space
in the back of your mouth.
Like a kind of like back here, right
when you're doing.
Oh, where do you
(36:15):
feel that in your mouth?
Probably more in the front.
Try it.
Ho ho ho. Really big Santa Claus.
Oh, okay.
What changed between the.
Ho ho ho ho ho ho. Here.
You're feeling it down here. Yeah.
Okay. Awesome. Oh, yeah. Yeah. For sure.
Okay, okay.
So try and memorize
that feeling for the goal part
(36:35):
as well
in the song
and see if we can get that there okay.
When he had to go.
okay I found that that was good.
That was really good.
Yeah
I felt it I felt the difference okay.
Good good good good.
Yeah. That's great.
So just
working out your chest voice in general
(36:56):
is going to be really,
really, really great for you.
For the low notes
and just overall adding
just a little bit more umph okay.
Into your to your voice. Love
To.
We're building here right.
And like
we're, we're
(37:16):
we're working a little bit harder.
Which is a good thing, right?
We just need to make sure
that we're not going sharp now.
Right where
we're not going
a little bit above the note.
So that's kind of
what we were talking about
with a girl as well here.
So how can we get the intensity
without raising the pitch?
Okay.
So
(37:36):
focus on space, right.
Whether it's space,
like whether it's creating
space up here in your mouth
or it's creating space
down here in your ribs,
wherever feels best for you.
But focus on more space,
just creating space inside
so that we can create
that space for resonance
so we can increase the intensity rather
than increasing breast flow,
(37:58):
because that's
what's going to make you go sharp.
Okay.
And I think that's my main
focus is breath.
How okay holding it.
You know what I mean.
Not just holding it
but like making sure
I have enough in there. Storage, storage.
You know how I put it.
Like okay,
I always have to have some in there
and then you just kind of
build on that too. So.
Maybe that's why
(38:19):
I think that's
what's making you go sharp.
let's change it.
Okay.
Let's just see what happens.
Obviously
you still need to breathe, right?
Because otherwise, without breath,
there's no sound.
You still need to breathe.
But this time,
instead of focusing on your breath,
focus on creating space.
Just like,
oh, almost like a tunnel, right?
Like you're creating a tunnel
for your sound to travel through.
(38:39):
Got it. Right. Okay, let's just see what
To.
(39:06):
Stop!
And Okay.
How was
the first half of that pre-chorus?
I mean, it felt good and felt more flowy.
Okay. Like I had more space.
Yeah, sure.
But I don't know.
What did you think?
I like the first half of it.
Your pitch was about much, much,
much better.
And we increased the intensity, right.
So that's what we want
because we're in the second
(39:26):
pre-chorus here.
We want to build up that intensity
because otherwise everything
is going to kind of start
sounding the same, which you didn't do.
You increase the intensity.
So you did a really great job with that.
Then when it started
getting a little bit higher
in the second half of the pre-chorus,
we maybe need to focus down here
in your breathing part again,
because now you're kind of going
slightly under,
(39:47):
which means we just need a little bit
more quote unquote support.
Right? Okay.
A little bit more flow,
a little bit more breaths up there. Okay.
So in the first half,
in the lower notes,
we want to focus on space
for the intensity
in the second half, in the higher notes
we want to focus on
a little bit more flow a little
bit more breath okay okay
(40:08):
to go.
To.
(40:33):
Stop!
And 117.
Hello, power.
How was that?
Not so good.
Yeah,
I felt like it
gave me more power towards the end.
What do you think? Lots more power.
Lots more power.
Love that. Or good, I liked it.
I thought it was great.
Yeah,
but at the end of the day,
it needs to be what you want it to be.
(40:55):
Okay, right?
It wasn't too much for me.
It didn't feel too much good, good.
It didn't sound like it was okay, good.
So yeah, I thought that was really great
because again, like,
we're hold
on, we're here two, two minute and 50,
15 seconds into the song,
we can roll out, right.
We're allowed to give it
give it a little bit more so
because especially
because the chorus is lower. Right.
(41:16):
Because then we're going
like shrubbery y
and like we're it's
almost like an hour chill and again.
Yeah.
And not like, like sharp.
Are you up?
We're not going up.
We're, Right.
We're coming back down.
So it's okay to build more
and then come back down
a little bit in the chorus. Yeah.
For this specific song,
usually the chorus is the big part here.
(41:39):
The chorus comes back down.
So definitely, Great.
I want to just practice that,
transition one more time
into like strong Bay one.
Just make sure you're
not going under, okay? Okay.
(42:05):
Stop!
And
strong berry wine all the way up there.
So, and, the tape is, like, strong,
so you don't have to go
as high as taste.
Right?
Taste is up here like strawberries,
(42:26):
so it's a little lower than taste,
but it's still quite high.
Okay. You're right.
It does go up there.
I remember
it does go up right there
because the chorus is right there. Yes.
Okay. Yes it is.
So, just to remember the taste
like strong berry.
(42:46):
You fine?
Yeah.
Can you try just that acapella?
Hold on the lyrics.
Just to.
Just to remember the taste
like strong Berry was great.
Just need to go up, like,
(43:06):
2% higher, like you're on the note.
You're
just not perfectly
in the center of the note.
Okay, just a smidge smidge higher.
You're very close.
One more time just to remember.
Remember the taste like shrubbery.
One.
There it is.
17. Okay. Yes, yes.
(43:29):
That's it, that's it.
Let's try one more time. Acapella.
Shake your head loose
just to make sure we're not
building up any tension.
Okay? Just.
Just to
remember the taste like straw.
Very white.
Yeah.
Like straw. Straw.
(43:51):
Singing with a smile.
Straw berry. Wow.
That's what I'm talking about.
Okay. That was beautiful.
Did you feel or hear difference at all?
I think I did.
I felt like it
went up a little bit when I smiled.
Yes yes yes. Yeah.
Like straw berry white.
Not your nail in it.
Every. Don't do that baby. Do that.
(44:13):
That's amazing.
Stop!
And 117.
(44:34):
Not too long.
In the
first place to line
Yeah, yeah.
You're, almost up there. Almost.
But I wanted to look at something
else, actually, saw everything.
(44:54):
That part there. Okay.
Do you know what a glottal onset is?
No. Okay.
It's a fancy term.
It's when you get the, sound.
So when I'm doing,
hear that,
sound at the beginning, right?
Or when I say
I compared to when I say me, me,
I don't have it. Right.
So glottal onsets
or glottal attacks
(45:15):
or glottal stops, the same thing.
They happen
when you're starting a word on a vowel.
Okay.
Vowel or I have that,
that clicking sound. Everything.
Everything is one of those.
There's three things you can do
to eliminate that glottal attack.
Okay?
One is start on vocal fry.
(45:36):
Everything. Everything.
One is start on the breath
before you start the sound.
Because this happens when you start sound
before you start breath.
Okay? Okay.
Basically what that means is
your vocal folds closed
before the breath comes through.
And so when the breath then comes,
they open and smack back together,
which gives you that,
sound
(45:57):
that's it's
quite harsh on the voice,
but we're using it in our day to day
language all the time, so it's okay
as long as we're not overdoing it. Okay.
Right there.
Right. You're hearing it again. So
start to the breath.
So almost like a heavy thing.
Okay.
Everything. Everything.
Yeah.
So that would be with the whole
(46:17):
everything.
Well, now, in this case,
the third way to eliminate
a glottal attack
is to take what comes before it
and just kind of like,
move it over to the everything.
So saw everything
rather than saw everything.
We're connecting it.
So everything right then.
(46:38):
So everything thing it's more legato.
Does that term mean anything to you.
More like flowing, more connected.
Yeah. Right.
We're connecting
what comes before the glottal attack
with the glottal attack
to eliminate the glottal attack. Okay.
So because
I don't think we need to do
so everything vocal fry either,
we could if we wanted to.
(46:59):
Vocal fry is not something
I heard you do at all.
Yeah. Here.
So I don't think that's like something
that kind of supernaturally
to you, right?
Doesn't mean we shouldn't do it.
If you want to explore it, we can.
Maybe not here
that would be one of the hardest parts
to do it. But.
So we don't need to do that.
We just need to take
the word saw and combine it, okay.
With everything.
So everything okay together?
(47:23):
So everything.
There you go. There you go.
So everything that's beautiful,
that's kind of all.
So why am I asking you to do that?
It makes it a little smoother.
And it makes sure
that you're not building tension. Right?
Like I said before,
when you're doing a harsh glottal onset,
your vocal folds are squeezed together.
(47:45):
Then the breath comes
so they open and smack back together.
So that can build up
a little bit of tension.
And I just want to make sure
that that's not the case.
So everything is just a little more
flowy.
Smooth okay.
Yeah, yeah.
And then
my first or my first face right.
(48:06):
Getting that
my a little bit
higher up there so that we can
get all the way up there.
And the next phrase
is going to be helpful.
Right.
Stop!
And 117.
Not too long.
(48:29):
In the
first place to line up.
The line.
Like some you.
(48:53):
Do.
everything needs to be
just 5% higher.
Okay?
To get all the way up there,
you can do a slight shaking your head
(49:13):
while you're singing right
then, and, and and,
just to make sure
these muscles here in your neck
and your shoulders are not starting
to get a little crappy.
Okay, okay.
And focus on that breath slow.
Okay.
Like some you.
(49:38):
Do.
Up in the cinch.
Up.
But.
(50:02):
That was beautiful.
You nailed that. How did I feel? Good.
I felt good when I was moving my head.
It was definitely less tension.
Good, good, good.
Movement is the enemy of tension, right?
So if you keep the muscles moving,
they can't tense up on you.
And, like,
almost like, locked into place.
So that was perfect. Loved that.
The shaking was amazing for you.
Just the smile in general as well.
(50:25):
Just helps you stay lifted.
I personally am actually really bad
with pitch
and a lot of people like me as a singer.
I struggle with pitch
all the time in my belt range
because of tension.
And so with you it's similar.
It's when these muscles
start getting tight
and tense
is when you
when it gets, gets a little bit pitchy.
(50:47):
Right.
And a lot of people are like
pitch is like so like
if you can't,
if you can't nail the pitch,
you're not a good singer.
I'm actually like,
pitch is so much harder
than people think it is.
Okay,
so don't let that get into your head.
Just focus on shake shake, shake, shake,
shake it loose.
Keeping that smile so you can say lifted.
Okay, okay.
And then in the lower notes
(51:08):
we almost need to do the opposite.
Right.
Like not lifted
because otherwise you're going sharp.
You're going too high. Right. Okay.
So there it's just more space
not more flow
here it's more flow
and a little bit more lift. Nice. Okay.
That was great.
And then the
yeah yeah that was great okay okay.
If I had that power there like
(51:29):
it's nice.
Thanks I love it You.
Now.
Snuck in 117.
What?
You love this.
So?
(51:52):
everything connects
to the song I agree,
I know there's so many things. Right?
But you got 117.
What?
You love this.
So?
First everything
line first.
(52:14):
My first taste of love.
There it is. Yes.
It's just a little bit
higher than you think it is.
Right?
Snuck in 117.
What?
You love this.
So?
(52:34):
First everything
line up.
And all you might
do
is like.
Anyway.
17.
repeats there.
Yeah.
Well I got just a five minute song.
(52:55):
She okay.
Great.
So the the first taste of love.
It's easy for you to hit these notes.
You just need to know that that's coming.
Right?
That, So everything my face.
You just need to mentally
prepare yourself for that
because I know you can do it. Yeah.
(53:17):
You just need to know it's coming
so it doesn't catch you off guard, right?
Right. Okay.
Do you have any questions
about that part?
Are you feeling good about.
Oh, I really agree with you 100%.
I just remind me to remember that part
and sell everything.
Yeah, exactly. Yeah.
And the saw
everything is really
not that big of a deal.
It just makes it a little bit more flowy.
I love it.
(53:37):
You sound so great. How are you feeling?
Good. Feels good.
Thank you so much.
Oh, you're so welcome.
So let's let's recap.
Well, what do we need to think about?
Ho ho ho for low
notes and power for sure. Right.
So with that
we want to create a lot of space,
not push for too much breath
or anything like that
because then we're going sharp, right?
We're going a little bit above.
(53:57):
Just focus on more space and more,
Santa Claus okay. All right.
So that's going to give you the power.
Then we have the.
So everything
eliminated in glottal attack there
if you want to.
It's not that big of a deal,
but that's gonna help
with just a little bit of that tension.
Then the first case,
just need to know that that's coming
first at top.
(54:17):
Now, because it's well within your range.
And talking about first note
just practicing the first notes
of phrases, right.
And exercises
whether it's la la la or ho ho ho ho
ho or whatever,
it is always really
focusing on that first note.
Hear it before you sing it,
(54:38):
slow it down right?
Like you don't have to go.
Ho ho ho ho ho ho ho ho ho ho ho ho ho.
You can slow it down right
like hear the note first
and then do the exercise
just to practice that like attack.
You know,
you're not scooping up into notes
or down to notes as well. Right?
(54:59):
So practicing that is going to be good.
Yeah.
Just move around.
Yes. And the tension.
Yep. The smile. Exactly.
The smile is going to help
you get all the way up there. Yes.
And the shake is going to help you
just make sure that those neck muscles
are not engaging too much.
And one more thing.
We haven't talked about your eyebrows
just like mine.
And just like,
(55:20):
almost all eyebrows out there for singers
at least
sometimes got a little bit
of this happening or this.
Yes, a little bit of.
I'm not sure.
Just, focus on relaxing those
those eyebrows is just another way
that your mental tension
translates into physical tension
through your eyebrows. Okay.
So if you practice
(55:42):
looking at looking
at yourself in a mirror,
you can see we need those eyebrows going
a little a little wild.
It's really not that bad.
Honestly, I've seen way worse.
I'm not any better than you
when it comes to eyebrows.
So, you know, just make sure
that those don't go wild, okay?
You can hold them with your hand
on your forehead just like that.
(56:03):
Or put a piece of tape on your forehead
that works as well
because it's just about awareness, right?
Like we can relax the eyebrows
when we're aware of it. Gotcha. Right.
Or look at yourself in the mirror
and just focus on not moving the muscles.
But that's a little harder
than holding it
or putting a piece of tape,
because then you can feel it, right?
Right. Versus just seeing it.
Okay, okay. Amazing.
(56:24):
Any questions?
No, I don't think so. Yeah.
This is a really great song for you
I love it.
It suits your voice well.
The style, the range.
This is a really great performance
song for you okay I love it.
Great song choice.
Awesome.
Give it up for Danielle.
(56:44):
Thank you.
Thank you for coming in.
If you need anything,
don't hesitate to reach out
and for you at home.
If you are interested
in getting coaching from us
like we're doing here,
you can book a session
through the link in the description.
We'd love to help you out.
Myself and whole team of vocal coaches.
We got you covered baby.
But other than that, that's it for today.
(57:05):
Thank you again Danielle for joining me.
Was so great to see you again
and hear you again after six years.
Oh my gosh you're doing
great great great job.
Keep working hard
and I'm excited
to see where this is going to go.
All right.
Thank you. Any time. All right.
Talk to you soon. Bye.
the fields of grown over.
Now here.
Since they've seen a plant,
everything needs to be just 5% higher.
Okay?
you can do a slight shaking your head
while you're singing right
just to make sure
these muscles here in your neck
and your shoulders are not starting
to get a little crappy.
(00:20):
The fields of grown over now.
Years since they've seen a plow.
Yeah. That was beautiful.
You nailed that.
Hey, VoxStar and welcome
to From Singer To Artist.
(00:41):
I'm Lara
Chapman, award winning
singer and songwriter
turned viral vocal coach
and the host of this show
at VoxTape Studios.
We help singers
from all over the world
level up their voices
by teaching them
the three fundamental skills
all singers need
technique, awareness and artistry.
Whether you're looking to go pro
or just develop your voice for fun
my team and I are here to help.
(01:03):
Check the link in the description
to book your first session, or grab
some of our other resources.
All righty.
Are you ready? Let's get started.
one lesson.
Usually, we don't do in-person stuff.
Usually we only teach online over zoom.
(01:23):
But I was like, let's make this special.
Let's make it happen in person.
So I reached out to my community
in my city and see who out
there wants to do a session.
And Danielle, Michael reached out.
Welcome. Thank you.
Thank you so much for being here
and for doing a session with me.
The first one,
the first ever to do an in-person
(01:44):
coaching session for this,
the sake for this podcast, for the show.
But actually, we know each other.
We go way back.
We met in 2019.
This was previous shape.
This was pre-COVID.
Yeah.
Pre VoxTape pre Covid.
And you reached out to me
to do a couple lessons. Yeah.
And oh my gosh
(02:05):
that was like six years ago now.
We did about
I want to say
like maybe ten sessions or so together
and and then you know we all
we both went and did our own thing.
And now you're back.
And I'm so excited that you're excited.
How are you doing? Good.
I'm doing great. Yeah.
Yeah. A little nervous, a little nervous.
That's okay.
(02:25):
So excited though.
Yes. I'm so glad to be back.
I just I really enjoy your coaching.
And VoxTape
Studios is really grown,
so I'm really proud of you. Thank you.
Thank you, I appreciate it.
Yeah.
Back then, it was just Lara Chapman.
Music.
And now it's what say.
So it's a it's a little different.
So thank you for your kind words
I appreciate that.
(02:46):
And I just got a little sneak
peek of when you were,
you know, practicing with the song
just to make sure
we got our levels right.
And I was like,
oh my God, you've grown so much. Yeah.
So usually what we see with people
like when they stop their voice lessons,
they just kind of
go back to their old life
and they kind of stop practicing
and then they, you know, regress.
Is that a word?
Yeah.
(03:06):
Like, they can kind of, like,
go backwards.
With their skill set again.
And, and then they get frustrated.
I have had that in my own journey
as well, where,
you know, I took a little bit of a break.
I was just mostly
on, like, focusing on teaching
and not my own voice.
And then I, you know, I started like,
like showing things like,
be like, hey, like, try it this way.
(03:27):
And I'm like,
oh my God,
I can't demonstrate this anymore.
I need to practice my own
singing again, too.
So you know, when you're not on it,
you really lose that progress again,
but not you.
You've been working hard.
So tell me,
what have you been up to since 2019?
I have just really been watching
you online.
You do a lot of free coaching on there,
(03:48):
so I take advantage of that for sure.
And I definitely practice a lot daily.
It's a daily thing in my house.
So yeah, my kids and everybody,
I mean, we all just
we love to sing and play and it's just
it never stops.
If you stop, like you said,
then your voice just goes backwards.
So because it's a muscle.
(04:09):
Yeah. Right.
And it's like
if you stop working out that six pack
that you worked so hard for, goodbye.
It's like
it's the same thing for the voice.
And I saw that you were posting
clips on social media,
which is something
I also didn't do before you.
I think a coach is very important
because you give, people encouragement
(04:31):
and people need that,
you know what I mean? To keep going.
And I don't know, it's just,
I don't know,
you just really have helped me a lot.
Even not being here
really still has stuck with me.
Everything you've taught me
and the free stuff
you put out there,
I mean,
if people are really investing in that,
then they can really, you know,
(04:52):
make something of it. So yeah. Yeah.
That's awesome.
Well, I'm very proud of you
that you kept going and, you know,
push through
posting those clips,
building a little bit of a following.
It's just so exciting for me
to see, you know,
that people are like
following their dreams.
And,
it was a little part
of that in the beginning.
So have a big part of that.
You don't even know the credits.
(05:12):
All yours.
Also.
Well, we were
we're going to work on a song today.
And usually
what I like to do in lessons,
especially when I don't know a voice,
is I skip warmups and exercises.
I ask the student to warm up before,
and I give them,
like a little video
that they can practice along to
so that they feel warmed up.
(05:32):
But then I don't do
any exercises at first
because I don't know their voice.
I don't know what they need,
so I don't know what exercises
to give them.
So what I was thinking for today, yes,
I do know your voice,
but it's been a hot minute.
I would love to just jump
right into your song.
You picked Strawberry Wine by
Diana Carter.
(05:53):
Exactly.
And, I want to jump right into the song,
and then we'll see what happens.
If we want to do some exercise is
or only direct application.
Whatever. We'll see.
Okay. Sounds good. Yeah, I love it.
So we have a karaoke track here
for strawberry wine.
I'm just going to go
(06:23):
It.
Appears.
(07:08):
To.
(07:42):
What's coming?
One.
Yes.
Okay. Talk to me. How did it feel?
It was great.
It felt good.
Yeah, yeah, a little on the,
You know, it was a little struggle,
I noticed.
I actually thought you nailed that part.
You did?
Okay, Like that.
(08:03):
The hut.
Yeah. Yeah, yeah, yeah.
I thought you did a really,
really great job with that.
I was, impressed
that, you know,
you switched up into that
lighter head voice.
Obviously,
I think it wasn't belted or very mixy.
It was
kind of a pure head voice up there,
but it gives you a nice contrast, right?
Okay.
A lot of times we singers were like,
how can I make it more powerful,
(08:24):
you know,
how can I give more of my voice?
That's kind of what we obsess over,
at least most of us.
Not all of us. Right?
Billie
Eilish is not one of those people, but
a lot of singers are like,
how can I make it more powerful?
And I'm like,
yeah, that's definitely,
you know,
something we want to work on
so that we can have the power
if we want to,
but if then everything is like
Straw Berry one, but,
(08:46):
and everything is like super powerful.
It's like,
oh, now it's boring to listen to, right?
Right.
So if we have that contrast, we going up.
Oh.
Going up into that head voice up there,
I actually think it's really beautiful.
And you go right up on that note. Okay.
But if it feels tight
and then we need to address it
and we need to work on that.
So did it feel tight
(09:06):
or just a little bit.
Not too much,
but just a little bit
So one of the big things
that we worked on in 2019 was pitch
right, like making sure that all
the notes are right there
and you've come so, so, so far
with pitch.
Now you're just going slightly off
(09:28):
when there's tension.
So it's not really a hearing
thing anymore.
It's a tension thing
now for you where it's like,
oh we're kind of
getting like a little stuck here.
And then you're going
a little under a little below the note.
And so
we don't necessarily
need to focus on pitch.
We need to focus on releasing
a little bit of that tension. Right.
And you actually said before like
(09:49):
oh I feel
that you want to work
on releasing tension.
So I love that
you're already aware of that. Yeah.
Because the first step
to getting better to improving
is being aware
of what it is that you need.
So you're already there, I love it.
Let's go again.
Honestly, like, the beginning is so good,
we don't need to.
(10:10):
Do you have any questions about the verse
you feeling good about the verse?
I think it's good. Yeah.
Yeah, I feel pretty good.
I think you nailed it. Yeah.
And you're like all the style isms that,
that you're using, are like really genre
appropriate, like for country, like it's,
it just really fits.
You know,
I don't I don't want to touch it.
I don't want to make it
overly complicated,
you know,
(10:31):
especially because we're only
in the first verse, right? We
To.
(10:54):
there you are right on.
Like this is.
It sounds to me. Great.
How does it feel?
It feels good.
It feels good.
Yeah, I love it.
Dada?
Yeah.
That note up there, it's like, right
in most of us girls break, right?
(11:15):
It seems like, no time to sing.
So you have beautiful control up there.
So.
Well done.
last.
How's that last feeling?
I don't know,
should I go higher or did it?
(11:36):
I don't know,
I feel like maybe I should go higher
on that last part.
Higher in pitch? Yes.
I mean that's what the melody is too.
So like
we don't
necessarily need to change it,
at least not in the first verse.
Pre-Chorus. Right.
Like I usually
I usually try and keep it pretty chill.
Like
even when you're singing, cover it,
because at the end of the day,
you don't want to make
it sound exactly
(11:57):
like what the original singer is doing,
because then it's like,
why would I listen to your version
when I can just listen
to the original version? Right.
So it's nice to switch up some things
and make it your own.
But usually when it comes to melody
changes or rhythm
changes, things like that.
I like to keep it
pretty much the same in the first,
part of the song
(12:18):
before I go wild and change things.
But that's my personal preference.
Yeah.
If you're like, actually,
I want to change that note.
We can do. I think it's necessary.
No, because it's already the highest note
we've heard up until this point.
If you make it higher,
then sure it's going to be even higher,
but it's not necessary.
Not necessary because it's
(12:39):
we haven't heard that note the last rest.
We haven't heard a note that high up
until this point yet,
so we don't need to make it higher.
Does that make sense? Yeah, yeah.
Then it drops back down
into like extra berry one.
So yeah I feel like it would.
Exactly. Exactly.
Because you know, otherwise
we go like 2 to 3 and then it, it
(13:01):
right back down there.
It's like oh that what happened.
So I don't necessarily
think it's necessary.
I thought you nailed the note the last.
How did it feel?
I felt great, felt great. Yeah. Love it.
I like how you're dropping off the
no less, right? Less.
It's just important
that when we're dropping off
a note like that,
(13:21):
that when we're starting the note, it's
right in the center. It's right up there.
Okay, pitch is not everything.
It's not something we need to obsess over
because it's something that's so easy,
easily fixable.
But at the end of the day,
we need to make sure
that we're kind of there,
because otherwise you can't sing
live, right?
That's, like, not the goal, either.
So I thought you did a really great job.
Just make sure that you're really going
(13:42):
to last all the way up.
You can even lift here.
Okay, a little bit.
Slight leg.
Just think a little of a smile.
Like last.
(14:09):
like that?
So everything.
Everything. Everything.
You nailed it.
You nailed it.
So I'm just pointing out the great things
that you're doing.
Okay?
There's not a lot there
where I'm like you.
We need to work on that.
So that was really great.
Same thing here. Contrast. Right.
So every everything
everything and everything okay.
(14:32):
Right.
Like you're pulling back on that
top note.
I don't know
if you're doing it on purpose or not.
Yeah.
What's kind of what the artist says okay.
Well there you go.
Yeah it's great.
Again it gives you that contrast.
And also
it makes sure that you're not working
harder than you have to.
Because again, we're
just in the beginning of the song. Right.
We don't need to go
everything and like be really loud
(14:53):
and belter or anything like that.
You're really easing into it.
So you did a great job.
That's all I'm trying to say.
I'm trying to relax all the tension
because I feel like that's kind
of what you have to do
in this type of song, for sure.
100%, 100%.
This ain't Demi Lovato
belting, belting, belting, right?
This is more like laid cool country.
Yeah, right. Yeah.
(15:14):
So we don't need to be working
so hard, right?
And by the way, now that we're
like going through it section by section,
your pitch has already fixed itself.
Okay. So that might be nerves.
It might be
I'm continuing releasing my tension
might be a combination of both okay.
But we're already seeing improvements
there without actually doing anything.
So yay
(15:58):
My first taste of love.
Is that how it goes?
Yeah. Okay.
Right there.
When you make sure
when getting a little, little pitchy,
a little under.
So, that first, first taste.
Can you just go la la la la la la.
Great.
We're going to start that
(16:18):
just a little bit lower
to help you ease into it. Okay.
And la la la la la la
la la la
la la la la la la.
Okay, great.
So what I'm hearing
you do the second and the third notes
you're nailing every time.
(16:39):
The first note is always slightly under.
So that tells me it takes you a minute
to figure out where you where you are,
and then you're good to go.
So I really want you
to focus on that first note
so that we're hitting the note
straight out of the gate. Right.
So we don't have to, like,
find our way into it.
But integrate.
So here are the notes in your head right
(17:02):
before you sing it.
You're hearing it.
La la la la.
Okay, so let me tap
la la la.
Good.
La la la
la la la good.
La la la la la la.
(17:26):
We're actually higher than we have to be.
So you're doing great.
You're doing great.
This is something I love doing.
Like actually going higher
than where you have to be in the song.
So you feel a little bit more like, oh,
I can do this.
Like, my range is bigger than what
I have to do in the song.
I can totally do this.
So I'm going to go back down a little bit
one more time and work our way up
and, you know, go
(17:47):
let your voice
just do whatever it needs to do.
If you crack, if you crack,
if you switch more into a head voice,
you switch more into a head voice.
Just let it come out.
La la la
la la la
la la la
la la la la la la.
(18:10):
Yeah
la la la la
la la la la la.
Girl, you're killing it.
Are you kidding me?
That was so good.
So silly. Oh.
So okay. Did you.
What did you feel in your throat?
(18:30):
Nothing.
I didn't, it felt really good.
I was focused more on pushing from here.
And letting this go then.
Is that make sense. Yeah.
Yeah. Like letting it flow out.
Yeah. That's kind of help me.
Okay. And that.
Yeah I love the word flow.
Right. Because it's singing.
It should feel flowy.
Yeah.
You use the word push.
(18:51):
You're pushing more from down here.
Meaning you know, your stomach,
you're making it more tight, I guess.
Okay. Feeling like the air you know.
So you know when I use words like pushing
and tight
I personally always need to be careful
with those words.
And I also try
and not use those words with students.
But if you're using it and that helps you
(19:12):
I will go and match your language okay.
But usually I wouldn't use that word
because pushing and tight can sometimes.
Right, right.
You know, go back into your throat
and then we're pushing
and feeling tight in the throat.
And we don't want that. Right.
But if that language helps you,
I love it.
Let's use it okay. Okay.
there was like no break, no cracking.
You just beautifully
transitioned into a mix.
And I was very impressed.
(19:33):
I don't think I can do it that well.
So sorry you killed that.
That was.
I'm so proud.
I'm going to cry. Okay.
Thank you.
So good, so good.
Because it's a little bit higher,
and I want to see, you know.
How are you feeling
if you're doing that in your voice, too?
I just want to see.
Can we make that happen? I know we can.
You trust yourself? You cannot.
Because we just went way
higher than that.
So, we definitely can do that.
(19:56):
But then if you want to.
So now I feel like you're
making me feel like I make this my own
without even realizing it, because.
There you go.
Perfect. I didn't even think about that.
Yeah, there you go. That's awesome.
So first taste of love is kind of
what she's doing.
Okay, so let's just try that,
see what's happening.
(20:16):
This is the first no.
Yes.
First taste of love.
Great.
That's it.
Okay. That's exactly right. Now
because we're a little bit higher
and we can increase the energy
a little bit here.
Okay.
Can you just give me
a little bit more on that.
You first taste of love.
(20:39):
First taste of love.
Great. How's that feeling? Feels good.
Feels good.
Try one more time.
Just get used to it first.
Taste of love. Right.
Just to make sure that we get
that very first note. Right.
So kind of what we were doing
with that lalala
making sure that that first note is right
there.
First taste of love,
(21:02):
first taste of love.
Yeah.
You're doing that
first taste of love okay.
Yeah. So that that first note. Right.
That's just a little bit of a theme
that I'm seeing for you. Okay.
So when you
when you go home and practice,
you do your own thing.
Always pay attention
to the first note in every phrase.
Okay? Okay.
(21:22):
And because you got there's
just that first note.
You're doing it here as well.
But just,
you know, when you're like
you're getting the note right.
That's what I'm trying to say.
But yeah,
just when you're practicing something
to think about that first note.
Okay. Perfect. One more time.
First taste of love.
(21:42):
Can you do almost the same?
Sorry.
First taste of love.
Okay.
Do you feel how you kind of like, fresh,
like scooping up into the no first taste?
Okay, great.
So to practice that, let's try it on.
GA GA GA GA
GA GA GA GA.
(22:04):
Okay. Already better. One more time.
GA GA GA GA GA.
Relax your friend.
Actually, shake your head
side to side while you're doing it. Okay?
GA GA GA GA.
Okay, that's what I'm talking about.
So why the good sound?
The good sound gets you a little bit
(22:24):
more closure in your vocal folds.
So we're getting just
a little bit more power.
But for the, accuracy, right.
When we're doing
that, it's
so much easier to to scoop versus
the guh.
It's a
more like an attack kind of onset GA GA
because you can't linger
on the good sound.
(22:45):
You can linger on for, but not on.
Right? Doesn't work.
Right.
So, that's why I wanted to try
something like go.
You can also go.
PA pa pa pa pa like a pull sound.
Whatever works for you
is something
where you can't linger on it, right?
To practice your attacks.
Okay, so now the word is not ghost
(23:08):
taste of love.
It's first taste.
So let's try
that one more time on that fur.
But really far, far, far.
Yes.
First taste of love.
There it is.
Yeah.
Now I just see it getting a little tense
up here. Okay.
It doesn't necessarily translate
into your sound just yet, which is good.
(23:29):
It's a good sign,
but it it might just mostly be
mental tension.
I'm like I'm not really sure
what I'm doing.
And it kind of translates into, this.
Right.
Like shoulders up a little bit
just to shake your head.
That's usually it works really well.
One more time, say,
while shaking your head first.
First. So good.
(23:51):
First. Taste the whole thing.
First taste of love.
Great.
Now let's practice
the transition into it.
Right.
Because it's one thing to isolated.
It's another thing to do it in
context, right? Right.
Now that we can do it in an isolated way,
let's see if we can put it back
(24:11):
into the song, back into context,
unless there's something else
you wanted to work on in that phrase.
No feeling good about it. Yeah.
All righty.
(24:39):
You were very close.
Let's just practice it
one more time here.
So everything.
That's a pretty big jump size.
Everything.
And the first
right thing, my first taste, the
my kind of can live anywhere
(24:59):
between here and here, right?
Like, that's a really bad thing to say.
I'm sorry, but, like, you know, sometimes
it's it's almost more spoken.
That word
my is almost more spoken than sung,
so it doesn't really have a note,
you know,
sheet music,
you know,
when the notes are written out,
sometimes instead of it
being like a circular note
(25:20):
and it's like filled out,
it's an X and has a stem on it.
Have you ever seen that?
Yeah, that means it's spoken, right?
Like the notes
doesn't have a note, right? Right.
You're just writing it for the rhythm
and for the word
but not necessarily for the pitch. Right.
So that's kind of what's happening here.
So everything my first, my first.
(25:42):
So that would be my first.
That's a bigger jump.
You can also go my first taste
and then it's all the way up here.
So close.
Be anywhere in the middle.
It doesn't really matter
if you're speaking it right.
Kind of like my first.
My first taste of love.
I'm kind of speaking the note,
not really singing it.
(26:04):
The important part is the first.
Okay. Right.
That we know we're going from bar to bar.
Actually, let's just try that thing
for first thing first.
There you go. One more time. Thing.
First thing first.
(26:25):
Yeah. Really?
Hear that?
That thing, that note down here before
you sing it.
Thing first.
A little lower thing.
Same thing.
A little lower thing.
There it is.
Thing for third thing.
(26:48):
Thing first okay.
Is to
no no no no, you do that.
So. Yes.
So, you're doing it
in the context, right.
So everything
my face let's let's actually try that.
So, from there. So,
(27:10):
so so everything
my first taste of love.
There it is.
Let's do that one more time. From salsa.
So everything.
My first taste of love.
That's it. Okay. That's it.
I see what you're saying.
So get closer with the my.
(27:30):
I can nail that first one.
Almost. Yes.
Instead of the my being such a low.
Yes. Gotcha.
Yes.
The bigger the jump, the harder
it is to get it. Got it. Okay.
But you didn't love it.
Let's try with the music one more
(28:02):
Nailed it, nailed it.
Did you feel that? Yeah. It felt good.
That was good.
That was good.
In your throat. Feeling good? Yeah. Yeah.
Awesome. Awesome, awesome.
How did you feel about that?
Whatever.
Yeah, that felt good. To the.
Oh, bittersweet.
Yeah, it felt good this time.
Yeah, it was really, really, really good.
you tend to pull back on top
(28:23):
notes a lot,
which here in the first course is great.
When we get to the second chorus,
maybe we want a little bit more umph,
but for here,
I think this is really great
and it sounds beautiful.
How do you feel about it?
Good. Yeah, yeah, yeah.
Let's keep going baby.
Let's keep going.
What's coming?
(28:44):
One.
(29:09):
When he had to go.
He had
had is a weird word to sing sometimes.
We're not quite sure where to place it.
Can you try one more time?
He had to go.
He had to go.
Oh, you're higher
now than you were before.
When he had to go.
(29:31):
So one more time
when he had had just that part.
When he had.
Yeah. Great. That's great.
I think you can give me, like, 10% more.
Okay.
When he had a girl.
Great.
So when you're thinking,
when I'm telling you, give me 10% more
what is going on in your head?
How does that translate for you?
(29:52):
Just a little bit more, but not too much.
A little bit more. From where?
Here. From there.
Okay.
Like put like I there.
There's that word again. Push.
But it works for you.
Yeah.
If it works for you it's fine with me.
Right. Okay.
Can we, instead of thinking a little bit
more push from down here
because now you ended up
(30:13):
going a little over the notes.
Okay, a little sharp. Right.
So that's usually something that we see.
Like when we push a little
more we go up and pitch.
Right. I'm like we don't need more pitch.
Like higher pitch.
We don't need to change the pitch.
We need just a little bit more,
intensity on the
note that we are on before, right?
We don't want to change the note.
(30:34):
We just want to change the way
we sing the note.
Okay. Right.
So maybe instead of push,
think a little bit more chest voice.
Okay.
Let's see what how that
what that does in your song.
When he had to go.
(30:56):
One more time when he had
when he had to go.
Yeah okay.
Go go go.
Good good good.
How comfortable do you feel in
your chest?
Was pretty comfortable.
Pretty comfortable okay. Go.
Hello? Over here.
Oh, Go.
(31:18):
Go lower.
Go you go.
Girl, you're up here.
It's go.
Go. There it is.
Yeah.
So, okay,
this is great for me to see
when you're singing in your chest voice.
Like when you're lower in your range
down here in your chest voice.
And I'm asking you
to give me a little bit more.
You then start going sharp
(31:40):
because you're you're pushing too much.
So what?
Instead, we need to focus on
is thickening your chest voice
a little bit,
just adding a little bit
more power, down there.
So can you
imitate Santa
Claus for me on this exercise?
Ho ho ho ho ho
ho ho ho ho ho!
(32:00):
Give me your biggest.
Big.
I don't know what other word to use.
Give me your biggest
Santa Claus iest Santa Claus.
Ho ho ho ho ho ho.
Yeah!
That's it.
Let's go down, girl.
Oh!
Oh or
(32:24):
oh, there it is.
Oh, right.
We keep going down.
Ho ho ho ho ho!
We're doing it!
Oh ho ho ho ho
ho ho ho ho ho!
Good.
Ho ho ho ho ho!
One more.
(32:44):
Ho ho ho ho ho ho!
Right.
So we're way lower than what
we have to do in the song.
How did that feel? Pretty low.
I'm pretty low.
Yeah, I mean, I was it was manageable.
I felt like I could do it
if I had to go lower.
Not that low, but lower. Yeah.
I think you can even go that low.
Really.
So I would love to challenge you
(33:05):
to explore that area of your voice
a little bit more.
Okay.
Your head
and you're
like your head voice in your mix
voice are really,
really nice and really solid
when it comes to the lower notes.
We're losing a little bit of that power.
Okay.
So when I,
when I describe
chest voice and head voice,
I usually say that the chest voice
is the source of power
(33:26):
and the head voice
is the source of flexibility.
So you have the flexibility, right?
Because like you're not cracking
when you're going up in pitch.
Like I was really impressed with that.
Not my strength at all.
You're killing it, right?
That's your sweet spot.
So you're killing that,
in your chest voice.
We're losing a little bit of the power.
So if we wanted to sing the chorus
even up there, extra strong there.
(33:48):
Wine with more power like that,
maybe that's not the right song for it,
but in case we wanted to. Right.
We need to work on the chest voice
and that source of power
a little bit more in order to do
that, right? Right.
Do you ever get frustrated or, like,
think like,
I wish I had more power
in a certain part of your voice
(34:09):
or not really.
Yeah, really.
Probably the lower end.
Probably lower.
Okay.
Yeah. Well maybe both.
Sometimes my head voice,
you know what I mean.
When you go real high
and sometimes when you go real low.
But I feel like
I'm more comfortable mid-way.
Yes. You know. Yeah. Self.
Yeah.
So yeah I agree
I would probably need
to work on the low end
and probably the higher end.
Yeah.
(34:29):
So working on like working out
your chest voice in the lower
end is also going to help you
add more power to the high end too.
Right.
Because it's your source of power
for everything.
And your head voice
is the source of flexibility
for everything. Right.
So when, when I'm working with a singer
who's really stiff,
then we would want to
mostly work on head voice.
Their chest voice
is probably really solid
(34:50):
and have a big belting voice,
but it's stiff, right? To me.
I'm very stiff.
I'm very stiff,
so I have to work on my head voice a lot.
For you, it's the opposite.
Okay, right.
You're more of what
I would call a songbird singer.
Somebody who's more,
you know,
agile, flexible
in that middle range,
in the higher range.
And we could work on just a little bit
(35:11):
more power.
Okay, so that's Santa Claus.
Ho ho ho is going to be really great
for you.
Just, you know, going to that extreme.
Well it's not
how are you going to sing extra warm.
Like you're not going to sing like that.
But it's, it helps
you just work out these muscles
and explore an extreme
outside of what you're trying to do.
It's called overcorrection.
(35:32):
We go from two lines to two bold
so we can go somewhere in the middle.
Eventually
you just get to the middle part
faster that way. Okay.
So that's going to be
a great exercise for you.
So that when we're singing,
when he had to go now
or already don't
remember how that phrase goes,
so that we're not feeling like
and I'm kind of like losing that go
(35:54):
like the notes down there
because they're well within your range.
You just need to trust yourself
that it's there. Okay.
So we need to figure out
how can we get the power without you then
going sharp okay. Right.
So I want you to think create more space
in the back of your mouth.
Like a kind of like back here, right
when you're doing.
Oh, where do you
(36:15):
feel that in your mouth?
Probably more in the front.
Try it.
Ho ho ho. Really big Santa Claus.
Oh, okay.
What changed between the.
Ho ho ho ho ho ho. Here.
You're feeling it down here. Yeah.
Okay. Awesome. Oh, yeah. Yeah. For sure.
Okay, okay.
So try and memorize
that feeling for the goal part
(36:35):
as well
in the song
and see if we can get that there okay.
When he had to go.
okay I found that that was good.
That was really good.
Yeah
I felt it I felt the difference okay.
Good good good good.
Yeah. That's great.
So just
working out your chest voice in general
(36:56):
is going to be really,
really, really great for you.
For the low notes
and just overall adding
just a little bit more umph okay.
Into your to your voice. Love
To.
We're building here right.
And like
we're, we're
(37:16):
we're working a little bit harder.
Which is a good thing, right?
We just need to make sure
that we're not going sharp now.
Right where
we're not going
a little bit above the note.
So that's kind of
what we were talking about
with a girl as well here.
So how can we get the intensity
without raising the pitch?
Okay.
So
(37:36):
focus on space, right.
Whether it's space,
like whether it's creating
space up here in your mouth
or it's creating space
down here in your ribs,
wherever feels best for you.
But focus on more space,
just creating space inside
so that we can create
that space for resonance
so we can increase the intensity rather
than increasing breast flow,
(37:58):
because that's
what's going to make you go sharp.
Okay.
And I think that's my main
focus is breath.
How okay holding it.
You know what I mean.
Not just holding it
but like making sure
I have enough in there. Storage, storage.
You know how I put it.
Like okay,
I always have to have some in there
and then you just kind of
build on that too. So.
Maybe that's why
(38:19):
I think that's
what's making you go sharp.
let's change it.
Okay.
Let's just see what happens.
Obviously
you still need to breathe, right?
Because otherwise, without breath,
there's no sound.
You still need to breathe.
But this time,
instead of focusing on your breath,
focus on creating space.
Just like,
oh, almost like a tunnel, right?
Like you're creating a tunnel
for your sound to travel through.
(38:39):
Got it. Right. Okay, let's just see what
To.
(39:06):
Stop!
And Okay.
How was
the first half of that pre-chorus?
I mean, it felt good and felt more flowy.
Okay. Like I had more space.
Yeah, sure.
But I don't know.
What did you think?
I like the first half of it.
Your pitch was about much, much,
much better.
And we increased the intensity, right.
So that's what we want
because we're in the second
(39:26):
pre-chorus here.
We want to build up that intensity
because otherwise everything
is going to kind of start
sounding the same, which you didn't do.
You increase the intensity.
So you did a really great job with that.
Then when it started
getting a little bit higher
in the second half of the pre-chorus,
we maybe need to focus down here
in your breathing part again,
because now you're kind of going
slightly under,
(39:47):
which means we just need a little bit
more quote unquote support.
Right? Okay.
A little bit more flow,
a little bit more breaths up there. Okay.
So in the first half,
in the lower notes,
we want to focus on space
for the intensity
in the second half, in the higher notes
we want to focus on
a little bit more flow a little
bit more breath okay okay
(40:08):
to go.
To.
(40:33):
Stop!
And 117.
Hello, power.
How was that?
Not so good.
Yeah,
I felt like it
gave me more power towards the end.
What do you think? Lots more power.
Lots more power.
Love that. Or good, I liked it.
I thought it was great.
Yeah,
but at the end of the day,
it needs to be what you want it to be.
(40:55):
Okay, right?
It wasn't too much for me.
It didn't feel too much good, good.
It didn't sound like it was okay, good.
So yeah, I thought that was really great
because again, like,
we're hold
on, we're here two, two minute and 50,
15 seconds into the song,
we can roll out, right.
We're allowed to give it
give it a little bit more so
because especially
because the chorus is lower. Right.
(41:16):
Because then we're going
like shrubbery y
and like we're it's
almost like an hour chill and again.
Yeah.
And not like, like sharp.
Are you up?
We're not going up.
We're, Right.
We're coming back down.
So it's okay to build more
and then come back down
a little bit in the chorus. Yeah.
For this specific song,
usually the chorus is the big part here.
(41:39):
The chorus comes back down.
So definitely, Great.
I want to just practice that,
transition one more time
into like strong Bay one.
Just make sure you're
not going under, okay? Okay.
(42:05):
Stop!
And
strong berry wine all the way up there.
So, and, the tape is, like, strong,
so you don't have to go
as high as taste.
Right?
Taste is up here like strawberries,
(42:26):
so it's a little lower than taste,
but it's still quite high.
Okay. You're right.
It does go up there.
I remember
it does go up right there
because the chorus is right there. Yes.
Okay. Yes it is.
So, just to remember the taste
like strong berry.
(42:46):
You fine?
Yeah.
Can you try just that acapella?
Hold on the lyrics.
Just to.
Just to remember the taste
like strong Berry was great.
Just need to go up, like,
(43:06):
2% higher, like you're on the note.
You're
just not perfectly
in the center of the note.
Okay, just a smidge smidge higher.
You're very close.
One more time just to remember.
Remember the taste like shrubbery.
One.
There it is.
17. Okay. Yes, yes.
(43:29):
That's it, that's it.
Let's try one more time. Acapella.
Shake your head loose
just to make sure we're not
building up any tension.
Okay? Just.
Just to
remember the taste like straw.
Very white.
Yeah.
Like straw. Straw.
(43:51):
Singing with a smile.
Straw berry. Wow.
That's what I'm talking about.
Okay. That was beautiful.
Did you feel or hear difference at all?
I think I did.
I felt like it
went up a little bit when I smiled.
Yes yes yes. Yeah.
Like straw berry white.
Not your nail in it.
Every. Don't do that baby. Do that.
(44:13):
That's amazing.
Stop!
And 117.
(44:34):
Not too long.
In the
first place to line
Yeah, yeah.
You're, almost up there. Almost.
But I wanted to look at something
else, actually, saw everything.
(44:54):
That part there. Okay.
Do you know what a glottal onset is?
No. Okay.
It's a fancy term.
It's when you get the, sound.
So when I'm doing,
hear that,
sound at the beginning, right?
Or when I say
I compared to when I say me, me,
I don't have it. Right.
So glottal onsets
or glottal attacks
(45:15):
or glottal stops, the same thing.
They happen
when you're starting a word on a vowel.
Okay.
Vowel or I have that,
that clicking sound. Everything.
Everything is one of those.
There's three things you can do
to eliminate that glottal attack.
Okay?
One is start on vocal fry.
(45:36):
Everything. Everything.
One is start on the breath
before you start the sound.
Because this happens when you start sound
before you start breath.
Okay? Okay.
Basically what that means is
your vocal folds closed
before the breath comes through.
And so when the breath then comes,
they open and smack back together,
which gives you that,
sound
(45:57):
that's it's
quite harsh on the voice,
but we're using it in our day to day
language all the time, so it's okay
as long as we're not overdoing it. Okay.
Right there.
Right. You're hearing it again. So
start to the breath.
So almost like a heavy thing.
Okay.
Everything. Everything.
Yeah.
So that would be with the whole
(46:17):
everything.
Well, now, in this case,
the third way to eliminate
a glottal attack
is to take what comes before it
and just kind of like,
move it over to the everything.
So saw everything
rather than saw everything.
We're connecting it.
So everything right then.
(46:38):
So everything thing it's more legato.
Does that term mean anything to you.
More like flowing, more connected.
Yeah. Right.
We're connecting
what comes before the glottal attack
with the glottal attack
to eliminate the glottal attack. Okay.
So because
I don't think we need to do
so everything vocal fry either,
we could if we wanted to.
(46:59):
Vocal fry is not something
I heard you do at all.
Yeah. Here.
So I don't think that's like something
that kind of supernaturally
to you, right?
Doesn't mean we shouldn't do it.
If you want to explore it, we can.
Maybe not here
that would be one of the hardest parts
to do it. But.
So we don't need to do that.
We just need to take
the word saw and combine it, okay.
With everything.
So everything okay together?
(47:23):
So everything.
There you go. There you go.
So everything that's beautiful,
that's kind of all.
So why am I asking you to do that?
It makes it a little smoother.
And it makes sure
that you're not building tension. Right?
Like I said before,
when you're doing a harsh glottal onset,
your vocal folds are squeezed together.
(47:45):
Then the breath comes
so they open and smack back together.
So that can build up
a little bit of tension.
And I just want to make sure
that that's not the case.
So everything is just a little more
flowy.
Smooth okay.
Yeah, yeah.
And then
my first or my first face right.
(48:06):
Getting that
my a little bit
higher up there so that we can
get all the way up there.
And the next phrase
is going to be helpful.
Right.
Stop!
And 117.
Not too long.
(48:29):
In the
first place to line up.
The line.
Like some you.
(48:53):
Do.
everything needs to be
just 5% higher.
Okay?
To get all the way up there,
you can do a slight shaking your head
(49:13):
while you're singing right
then, and, and and,
just to make sure
these muscles here in your neck
and your shoulders are not starting
to get a little crappy.
Okay, okay.
And focus on that breath slow.
Okay.
Like some you.
(49:38):
Do.
Up in the cinch.
Up.
But.
(50:02):
That was beautiful.
You nailed that. How did I feel? Good.
I felt good when I was moving my head.
It was definitely less tension.
Good, good, good.
Movement is the enemy of tension, right?
So if you keep the muscles moving,
they can't tense up on you.
And, like,
almost like, locked into place.
So that was perfect. Loved that.
The shaking was amazing for you.
Just the smile in general as well.
(50:25):
Just helps you stay lifted.
I personally am actually really bad
with pitch
and a lot of people like me as a singer.
I struggle with pitch
all the time in my belt range
because of tension.
And so with you it's similar.
It's when these muscles
start getting tight
and tense
is when you
when it gets, gets a little bit pitchy.
(50:47):
Right.
And a lot of people are like
pitch is like so like
if you can't,
if you can't nail the pitch,
you're not a good singer.
I'm actually like,
pitch is so much harder
than people think it is.
Okay,
so don't let that get into your head.
Just focus on shake shake, shake, shake,
shake it loose.
Keeping that smile so you can say lifted.
Okay, okay.
And then in the lower notes
(51:08):
we almost need to do the opposite.
Right.
Like not lifted
because otherwise you're going sharp.
You're going too high. Right. Okay.
So there it's just more space
not more flow
here it's more flow
and a little bit more lift. Nice. Okay.
That was great.
And then the
yeah yeah that was great okay okay.
If I had that power there like
(51:29):
it's nice.
Thanks I love it You.
Now.
Snuck in 117.
What?
You love this.
So?
(51:52):
everything connects
to the song I agree,
I know there's so many things. Right?
But you got 117.
What?
You love this.
So?
First everything
line first.
(52:14):
My first taste of love.
There it is. Yes.
It's just a little bit
higher than you think it is.
Right?
Snuck in 117.
What?
You love this.
So?
(52:34):
First everything
line up.
And all you might
do
is like.
Anyway.
17.
repeats there.
Yeah.
Well I got just a five minute song.
(52:55):
She okay.
Great.
So the the first taste of love.
It's easy for you to hit these notes.
You just need to know that that's coming.
Right?
That, So everything my face.
You just need to mentally
prepare yourself for that
because I know you can do it. Yeah.
(53:17):
You just need to know it's coming
so it doesn't catch you off guard, right?
Right. Okay.
Do you have any questions
about that part?
Are you feeling good about.
Oh, I really agree with you 100%.
I just remind me to remember that part
and sell everything.
Yeah, exactly. Yeah.
And the saw
everything is really
not that big of a deal.
It just makes it a little bit more flowy.
I love it.
(53:37):
You sound so great. How are you feeling?
Good. Feels good.
Thank you so much.
Oh, you're so welcome.
So let's let's recap.
Well, what do we need to think about?
Ho ho ho for low
notes and power for sure. Right.
So with that
we want to create a lot of space,
not push for too much breath
or anything like that
because then we're going sharp, right?
We're going a little bit above.
(53:57):
Just focus on more space and more,
Santa Claus okay. All right.
So that's going to give you the power.
Then we have the.
So everything
eliminated in glottal attack there
if you want to.
It's not that big of a deal,
but that's gonna help
with just a little bit of that tension.
Then the first case,
just need to know that that's coming
first at top.
(54:17):
Now, because it's well within your range.
And talking about first note
just practicing the first notes
of phrases, right.
And exercises
whether it's la la la or ho ho ho ho
ho or whatever,
it is always really
focusing on that first note.
Hear it before you sing it,
(54:38):
slow it down right?
Like you don't have to go.
Ho ho ho ho ho ho ho ho ho ho ho ho ho.
You can slow it down right
like hear the note first
and then do the exercise
just to practice that like attack.
You know,
you're not scooping up into notes
or down to notes as well. Right?
(54:59):
So practicing that is going to be good.
Yeah.
Just move around.
Yes. And the tension.
Yep. The smile. Exactly.
The smile is going to help
you get all the way up there. Yes.
And the shake is going to help you
just make sure that those neck muscles
are not engaging too much.
And one more thing.
We haven't talked about your eyebrows
just like mine.
And just like,
(55:20):
almost all eyebrows out there for singers
at least
sometimes got a little bit
of this happening or this.
Yes, a little bit of.
I'm not sure.
Just, focus on relaxing those
those eyebrows is just another way
that your mental tension
translates into physical tension
through your eyebrows. Okay.
So if you practice
(55:42):
looking at looking
at yourself in a mirror,
you can see we need those eyebrows going
a little a little wild.
It's really not that bad.
Honestly, I've seen way worse.
I'm not any better than you
when it comes to eyebrows.
So, you know, just make sure
that those don't go wild, okay?
You can hold them with your hand
on your forehead just like that.
(56:03):
Or put a piece of tape on your forehead
that works as well
because it's just about awareness, right?
Like we can relax the eyebrows
when we're aware of it. Gotcha. Right.
Or look at yourself in the mirror
and just focus on not moving the muscles.
But that's a little harder
than holding it
or putting a piece of tape,
because then you can feel it, right?
Right. Versus just seeing it.
Okay, okay. Amazing.
(56:24):
Any questions?
No, I don't think so. Yeah.
This is a really great song for you
I love it.
It suits your voice well.
The style, the range.
This is a really great performance
song for you okay I love it.
Great song choice.
Awesome.
Give it up for Danielle.
(56:44):
Thank you.
Thank you for coming in.
If you need anything,
don't hesitate to reach out
and for you at home.
If you are interested
in getting coaching from us
like we're doing here,
you can book a session
through the link in the description.
We'd love to help you out.
Myself and whole team of vocal coaches.
We got you covered baby.
But other than that, that's it for today.
(57:05):
Thank you again Danielle for joining me.
Was so great to see you again
and hear you again after six years.
Oh my gosh you're doing
great great great job.
Keep working hard
and I'm excited
to see where this is going to go.
All right.
Thank you. Any time. All right.
Talk to you soon. Bye.
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