April 25, 2025 • 2730 mins
We’re back with another Vocal Evaluation episode—and this one is going global.
I’m evaluating submissions from singers around the world performing in Spanish, Hungarian, and Italian. We’ll talk about common habits like facial tension, “boring face,” emotional disconnect, and how to improve clarity and power—even when you don’t speak the language you’re singing in.
If you’ve ever struggled to balance emotion, technique, and expression in a foreign-language song—or you’re just curious how to grow as a singer no matter where you’re from—this episode is full of gems.
🎧 Grab a tea and join me as we listen, learn, and level up—together.
👉 Want to make practicing easier? Grab our FREE warm up track here: https://lessons.voxtapestudios.com/free-warm-up-track
👉 Want to know exactly 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 little sense.
(00:01):
Show me.
That led to a morning.
Okay.
So I here you've got those notes.
You're working harder than you have to
to get to these notes.
I can see it in your eyebrows.
I can see the worry creeping in
in your eyebrows. Relax.
Those beautiful eyebrows.
(00:26):
Hey, VoxStar and welcome
to From Singer To Artist.
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
(00:47):
or just develop your voice for fun.
My team and I are here to help.
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.
it's time to do some more
vocal evaluations.
And I am super excited
because today's
theme for our vocal
evaluations is songs of the world.
(01:08):
Meaning we're going to look at songs
in different languages,
not in English today, but rather in
Spanish, in Hungarian and in Italian.
So I am super excited to give this,
you know, give this a shot,
see what it sounds like.
I do not speak any of these languages,
(01:30):
but that doesn't matter.
And so I'm.
Yeah, I'm excited to have a listen
and see what we've got here.
so without further ado,
I would say let's dig right in.
First up we have Robin.
Robin is going to be singing in Spanish.
Robin.
It was actually a student
with us here at Vox Tape.
A little while ago
I would say maybe,
(01:51):
maybe already almost a year ago now.
But she is still a part of our community,
and we love having her.
But let's have a look at her song called
ecosphere.
More by Jesse Joy.
Or maybe not
how you say
Jesse Joy, but maybe try, try.
And over here,
what she mentioned
(02:12):
that she is working on is
I often get lost
in the emotion of the song
and begin to lose power.
Although in this clip
I try to sing with a boring face,
but overdid it
and did not transmit any emotion
in some parts.
I love that you're
bringing up the boring face,
because boring face is
one of my favorite things ever.
(02:33):
A lot of times when we sing,
our face loves to just kind of go wild.
Our eyebrows are all over the place.
The mouth shape is all crazy.
And, you know, it's
because we're trying so hard.
And a lot of times
that makes actually
singing harder than it has to be.
And obviously we want to use our face
for expressing ourselves,
(02:55):
like you were talking about here.
And so, you know, singing
with a boring face on stage
might not necessarily be
the thing that we want to do.
But when it comes to practicing,
it's really great to release
any sort of facial muscles
so that we're not relying on that
to sing certain notes.
But anyways, let's have a
(03:17):
listen to this clip
and a look at this clip as well.
If you're watching, the video of this
so that we can see,
you know, what's going on with
not just your face,
but with your whole voice.
All right, let's let's,
it's still open in the letter.
So now the scene work.
So you know what I think?
(03:39):
Fun.
Well, it's, specifically
for me goes the for the solo.
This little hole that the,
does not move the spot of.
Okay. Right.
We're going to
we're going to have it there
before we get into
what I assume is the chorus.
(04:01):
So far, I think this is really great.
I like, had
you not said
anything about boring face,
I would not, mentioned
anything about it.
I'd be like, yeah, you look really bored.
Like,
you look like you were actively
using the boring face.
It would not have crossed my mind at all.
And,
(04:22):
until I find that interesting
that you brought it up.
But, I love everything
I'm hearing so far.
You feel it
sounds like you feel
really comfortable in this lower
part of the song, in this verse.
And so I want to go again
from the beginning
and dissect it a
little bit more in detail.
Is still bending the letter.
So now that seems like it comes,
(04:44):
you know, okay.
Right there
when you're breathing in your it's
a little bit of a shallow breath.
It's a little up here in your shoulders.
Focus more on getting that breath
a little bit lower right.
So one way you can practice
that is pushing
your your hands on your ribs,
not your waist,
but a little bit higher up on your ribs.
(05:05):
And and then breathe into your hands
like, push your hands away
from the center of your body, like,
push them out.
That can help you
just get that breath a little bit lower
so it doesn't feel quite so shallow.
Not that shallow breaths are always bad.
They can sometimes
be just as useful
as a deeper, lower breath,
(05:27):
but it does look like you're talking
a little a little up here.
And your shoulders,
you also tend to look a little sideways
when you sing sometimes as well.
So again, I just want to make sure
that that doesn't come
from any sort of tension,
any sort of bad habits
that you've picked up.
But rather because of expression.
So think fun.
Well,
(05:49):
I love this song specifically for me.
Hose. That's it.
It holds.
So right there, you're kind of pushing
that jaw forward a little bit.
Ho ho.
So you had a little bit of a jaw
thrust going on,
pushing that jaw forward slightly.
It holds it hose.
(06:09):
I don't know what that word is.
I don't know if that is a word or it.
I'm just
breaking to, like, a word
and just a small part,
I don't know, but,
just something to be mindful
when you're, you know,
making these sounds there
that your jaw
that you're not thrusting,
that you're not pushing that jaw forward
more than you have to
because this is in a comfortable
(06:30):
range of your voice.
So I don't think you have
to do any sort of,
any sort of jaw thrust at all here.
Yeah. Ho ho.
Get the job.
It's easy to get
the job done with your lips
rather than with your jaw here.
In this case, just shake
your lips and also breath.
Let's say that, then another.
(06:50):
And,
you're kind of like tilting their
head to one side
with your shoulder up,
creating a little bit of tension
in your neck.
It doesn't hold you back at all
here when you're down
in these lower notes,
just want to point it out
so that you are aware of what it is
you're doing.
Right.
But, this could potentially
(07:12):
I'm just moving it back here
a little bit,
like backing up
the track here a little bit,
but this could potentially
be something that
is going to hold you back in the future
or like
in a different range of your voice.
Maybe not, but maybe it's
for this little, this little hole.
The air is,
(07:35):
All right.
The beard.
So up here, I can see it on your face.
How you're starting
to get a little scared
because, you know,
the high notes are coming.
So instead of going,
and you kind of like, holding back,
like you mentioned,
you're losing a little bit of that power
instead of making yourself
(07:55):
smaller to get up to these notes.
Well, one little trick
that I like to use
is just pushing my elbows out
because it helps me feel larger
on the inside, really helps
me feel like I am
expanding on the inside.
To,
to
(08:17):
a lot of times
we also talk about placement.
When we when we talk about singing,
I know Coach Emily from our team.
She actually doesn't like to
talk about placement because
that's just not really her thing.
And she's like,
what does that even mean?
But some people like talking,
talking about placement.
It just really kind
of depends on the student
that we have in front of us.
(08:38):
But sometimes
when we are talking about placement,
we talk about
like bringing the sound more forward.
Right?
So it's not stuck back here.
I sometimes find it actually helpful
to place the sound
a little bit further back
so that I can feel more space
opening up back here,
and not so much in
(08:59):
in the front of my mouth.
That's just a tendency that I have.
And depending on the person
that I'm working with,
if they're the same or like,
they'll actually like create
a little bit more space back here.
Don't feel like you have
to place the sound
so forward all the time.
And for others,
if you complete opposite,
they need to place it more forward
in order to get the sound out
the way they want to.
So just play around with that.
(09:21):
For me, I'm just like, thinking like,
open up back here.
Almost like lifting that soft palate,
placing it a little bit further back.
Do not lose the fullness in my in
my sound.
So that's something you can try.
Here is the start of okay, here
the start.
This is actually not easy to sing.
You're beautifully opening.
(09:44):
Opening your mouth.
Shut up the side.
I don't know
if that's a word that you're saying.
I'm sorry if I'm butchering it,
So I recommend this.
First, drop the lyrics completely
and just do it on da da da or la la la la
la la la la
and see how that's coming out.
If that's coming out exactly
the way you want. Awesome.
(10:04):
Bring the lyrics back in.
If not yet,
figure out
where that tension is coming from.
I think you're losing power
because you don't fully believe
that you can hit those notes
more powerfully.
So I'd love for you to just go for it
and be like,
I'm just going to belt out these notes.
It's like crack on the note.
So be it.
I'm just going to try my best
and see what happens.
And I think
(10:24):
you're going to surprise yourself
a little bit up there.
Because you're already
beautifully opening.
You're opening your mouth.
So you've got that going, for
you already. It's just more your mindset.
That's holding you back.
Now, if this doesn't feel good,
la la la la la la la la la la
(10:45):
la up there on that note,
I'm like,
oh, I need to make a couple
little tweaks to it.
So, you know, figure out is in your Dodge
or in your tongue. Is it in your neck?
What exactly is holding
you back from nailing
that note in a more powerful,
in a more powerful belt?
But again, for you, it's
mostly a mental thing.
You got those notes on the nose.
It's the same thing there, the ground.
(11:07):
So they're, on this palabras.
I know that word palabras.
Does that mean, like, words
or something like that?
Anyways,
I feel like I've heard that word before.
It doesn't matter.
There.
You're stopping
your energy
before the word is done.
So on for LA.
(11:29):
That's great.
And when you get to brush the brush,
you're already kind of done with it.
I don't know if that's
because you were running
out of breath or,
you know,
if in your mind
you're already on the next phrase
or whatever.
Just make sure that you're
sustaining yourself
all the way
through the end
of the phrase energetically
and with your breath as well.
(11:50):
If it is because
you're running out of breath,
make sure that you're
just taking a really good breath.
Right before you start that phrase,
because it's not a long phrase.
You so got that.
You just need to remember
to take a good enough breath.
Okay, so you know where to go.
So you can the individual slow.
Oh is going to get higher there.
(12:12):
So that whole part there, in the middle,
it's the same thing there.
You have the power in your voice.
You just don't fully believe that you do.
And you might be a little bit
scared of what could happen
if it doesn't come out
exactly the way you want it to.
So don't hold back. Don't hold back.
You got this.
I do want to hear that hanging out there.
It y'all.
So I thought more clear though.
(12:34):
So I love that title.
And,
the beautiful melody.
The, when we get up to that super line.
I don't know what that is.
I don't have perfect pitch.
But when you get up there,
if you're making it more belting
in these other notes,
and then you get all the way up there
and you're like, okay,
that is definitely out of my range.
(12:56):
You could go into a softer
light and,
something like that on purpose
because it
it builds a dynamic range, right?
A lot of times
singers are doing this and we're like,
oh my God, that sounds amazing.
And they're doing it because otherwise
it would be way too difficult for
for them to sing.
And us as the audience,
we don't know that we
love what they did anyways.
(13:18):
So it's
nice little
things that we can do
to kind of like cheat our way
through the song.
But yeah, that's
definitely something
you can do that in and up,
because if you go down Da under,
that might be a little difficult,
but you can play around with it.
You have the power,
I know to play the styles
(13:39):
trickles down more.
Oh,
There,
it doesn't have to be
this powerful either.
I actually kind of
like pulling back there
and making that a little bit softer,
like you're doing it.
Just make sure that
when you're going up in pitch,
that you're not going into your note.
(14:01):
Oh.
Oh.
It's just a little stuck up here
in your nasal cavity, like slightly.
Okay.
Like it's
not anything crazy at all by any means.
It's just a little stuck.
So keep the energy in the
holding forward rather than up into,
you know, a more,
(14:23):
you can even close your nose.
And then you can feel it
any vibrations in your nose.
And that would mean
there is some nasal resonance
happening there.
If there's no vibrations
and you're completely out of your nose.
Not that you need to get
completely out of your nose,
(14:43):
but we just want to make sure
that, you know,
you're not
sending too much sound of
into that, up into the nose, Zemo.
Oh, so I think there are more, there.
What I think could be
cool is building that dynamic range
(15:04):
that a more,
something like that,
or a more,
keeping that
second or that third note soft as well.
But just,
you know, that
high note
pulling back on that note
and even making it a little bit
breathy on purpose,
it's just going to help
(15:24):
you build that dynamic range.
I think that could be really cool.
I know is a vocal
must see this outside of the coast.
And,
yeah, that was very nice.
Oh my gosh,
I like hearing you sing in Spanish.
I don't think I've ever heard
you sing in Spanish. So.
Yeah.
Robin, that was really good.
(15:46):
With the, with the high notes, like,
I think everything you're doing
sounds really great.
I know you've got more power up there.
It's just a matter of.
Do you
trust yourself
and you just want to go for it?
That's really all it comes down to.
And just like, yeah, voice take over.
Try it, give it a shot.
(16:07):
See what happens,
and then you can slowly,
build up
the confidence essentially, for you to,
to do these higher notes
with a little bit more power, regularly.
And you definitely got those notes and,
yeah,
building that dynamic range
is going to be is going to be super cool.
For, for your
(16:28):
for your song here
and for your singing in general. Right.
Like building a dynamic
range is super important,
like playing around
with different tones
and embellishments
and, different volume as well.
That's going to be,
they're going to be really cool
and take this performance
to the next level. So one more time.
Bravo, bravo, bravo, bravo and well done.
Well done.
(16:48):
Okay.
Next up, we have Nicklin from Hungary.
She's singing in Hungarian,
and the clown is a greenroom member.
Here with us at Blockchain Studios.
And, she's actually two our exercises
and and things like that.
And I always love
when she's posting
videos of herself
(17:08):
singing and sharing her music with us.
She is like a metal singer, too,
which is super fun and super cool.
So she's going to be singing
I have no idea how to pronounce this mix
to get.
I don't know
if that is correct or not,
but we can pretend,
(17:31):
she says that she is working on singing
without tension belts and mixed voice.
All righty,
let's have a look here at the song.
And, well, there you go.
There's another.
Yeah.
We'll back up and get this show up.
No. Oh, yeah.
Oh, God.
Yes.
(17:52):
That the appeal of.
Well, Oh, yeah.
Yeah. That good? Well, they got us. Yeah.
We want good.
I want to do that. Okay.
Oh, hey, that was cool of a shot at it.
And with that, I believe that is
the man is an engineer.
(18:13):
All right,
I'm going to pause right there.
Holy moly.
What language?
That sounds so cool.
There's a lot of consonants
happening here.
And
I don't think
I've ever heard the language,
or at least not in songs.
So this is like, whoa, what's happening?
But it's super cool.
Obviously this is a little
like an aggressive song, but up, up up up
up up up up up up up up up up up.
(18:35):
Like it's, you know, it's really quiet.
There's a
a a little bit of a drive
behind it and a lot of rhythm.
So, so far, honestly.
Really great.
I'm going to give you
some recommendations for some
vowel adjustments.
You got to let
me know, though,
if that is even a possibility, because,
sometimes when we change vowels
(18:56):
in certain languages,
they mean something else.
And I don't know if that's the case,
in your language here as well or not,
but, let's have a look here.
Oh, before I go into it,
just one thing in general.
You know, when we sing
rock and metal music,
it gets difficult
for us to pace ourselves.
(19:18):
And, you know,
especially when you have, like,
all this music, these distorted guitars
and everything behind us.
It's like,
I need to give it my everything.
And already
be really loud
and and work really hard
to get the notes out.
And it's like, okay, hold on,
but we can pace yourself a little bit.
So I my first recommendation
would be start with 20% less
(19:40):
so that we can build a little bit
more of a dynamic range.
Now, I have no idea
if this is the beginning of the song
or not.
So, you know,
take this, tip however you'd like,
but pacing yourself
is something that's incredibly important.
No matter the genre that we're singing,
no matter,
the song that we're singing, anything,
that or the language
(20:01):
that we're singing in,
we do need to pay for ourselves.
And.
Yeah, I will get up and get this show up.
Your.
Oh, yeah.
Oh, God. Yes.
The,
Can you get can you get a little lazier,
(20:22):
but up up up up up up and down
that, but up and just a little.
Yeah, a little lazier in your face.
Like in your in your mouth
and your mouth shapes.
Again,
this is
kind of goes back to pacing yourself and,
(20:42):
you know, just not working
harder than we have to
to get the words out.
I know there's a lot of words
that need to come out.
But I think you might be able
to get away
with, like,
5 or 10% less work in your mouth,
and then make that, a little darker.
(21:04):
So it's not quite so,
you hear the difference there?
It's a very slight difference.
Just as a recommendation.
Maybe you hate that and you're like, nah,
I actually like it. Right?
If you like it. Right. Great.
Go for it. As long as I feel love.
I had to pull the plug.
Nah nah nah nah.
(21:25):
So a, it
sounds like you're working really hard
to get these lower notes out there.
Like, down. They're out.
Nah nah nah
nah,
don't work
quite that hard on these low notes.
More like when you're getting to
da da da da da da da da.
Nuh There
you can give me a little bit more.
But in these really low notes,
(21:45):
I know it's hard to not work
hard down there
because the lower notes
are always quieter than the higher notes.
And so we're like,
I want to be able that,
like I want to make sure
that other people can hear me.
So I need to work
hard to get the notes out.
But we're only always going to be
singing with a microphone,
at least in this case here for sure.
So yeah,
(22:05):
a little less work in those low notes.
And I think they're going to come out
just a little bit more easily.
But, you know, they got us really good.
So that
you mentioned that you're
working on releasing tension. Right.
So, that is just my tongue
(22:28):
kind of getting a little tight back here
if I'm going more to the, sound.
So if you can just,
hear the difference there
playing around with that,
that might help you release
a little bit of tension in your tongue
and make the notes come out more easily.
But this is really high level stuff.
But I like everything you're doing.
(22:50):
Want to do that as well.
Hey, that was cool of a shot.
Okay.
Did you hear how that one was different?
That was,
but that one was a little less bright,
which is
exactly what I was talking about.
And the other two here.
So there.
You're already going into that direction.
So, you know, maybe explore
a little bit more of that
if it feels right.
(23:11):
And it definitely is better.
I think that it
the magazine industry shine
through.
You
know that.
Okay. Okay.
Nice little growl.
Oh wow.
I am not a metal singer.
I do not teach you metal techniques.
I can teach you distortion.
(23:33):
Like distortion in the sense of,
like, rock singing.
But that was nice.
I love and I love the arms
like the hands of the two.
Very cool.
Yeah. Okay. Okay, okay.
I want to point this out to everybody.
Did you see how me clone
was pushing her tongue out there?
A little bit more mistakes and.
Yeah,
(23:55):
getting that tongue out of the way.
So when I'm doing this,
and I like,
like putting it into my own voice
and feeling it and see.
Okay, what am I experiencing
when I'm, you know,
pushing my tongue out versus
when I'm not pushing my tongue out
so I can put it into words
a little bit more easily. But here,
(24:19):
it obviously changes
your tone a little bit.
And so in general,
you have quite a bit of those,
those kinds of sounds,
compared to like a,
so that's mostly your tongue position.
So I there is not a right
or a wrong way to do this here.
These are just different options.
(24:41):
So when you're practicing the client,
I would definitely recommend
paying attention
to what your tongue is doing
and then recording yourself
and seeing like, okay,
if I'm doing this with my tongue,
if I'm pushing it more forward,
it changes the tone this way,
if I'm doing,
you know,
keeping my tongue a little bit lower,
whatever, it changes the tone that way.
So just playing around
(25:02):
with the position of your tongue
to see how it affects
the sound of your voice
and then go with whatever feels
and sounds the best.
So yeah,
just playing around with it
and having fun with it,
the melody and motion.
Yeah.
But ever you know, it's it's interesting
(25:22):
because with low notes,
I usually tell people like,
bring it more forward, right.
Make it more.
My favorite exercise for
this is the dooby doo doo doo doo
dooby dooby doo to get these notes.
These low notes, out a little bit
more easily,
and it doesn't feel like they're stuck
in your throat. We just.
Yeah.
Yeah, I feel like with
with you
(25:43):
here, in this case,
it's almost like,
actually, can we tone down the brightness
just a little bit?
But that just comes down to preference.
Whichever one you like more.
Let's see that.
Go back.
All right.
Yeah.
And here your turn again.
Yeah.
This is not a good thing or a bad thing.
It's just something I wanted
(26:04):
to point out.
In general,
you're working so much with your
with your mouth,
with your with your lips
and your jaw and everything.
And I love how you know, it's
the words are really coming out
crystal clear.
I'm just wondering
if we have to work like that much
or if it can be just a little easier.
Roasted baguette?
(26:26):
No. But, Oh, I love.
Oh, no, I love that cry there.
Oh, cabbage.
That was great.
Baguette. Oh my God.
Hey, hey,
I'm pushing your jaw forward here.
Hey.
Don't know if you need to do that.
(26:47):
Oh, no.
You've got some really nice cries
here in this in the song.
I like it here.
Oh my gosh,
if you don't know what the Christ.
That's kind of, compared to just.
Here's the difference there.
So I love all these cries.
It sounds awesome.
And I it never really never.
(27:09):
It never, never, never, never let,
If you hold on,
I want to see one more time
what you're doing here
had never really had any.
Yeah,
yeah.
(27:29):
No, you're actually,
you're
you're doing a good job with those.
I like it said they
did. Yeah.
Love that that started there.
And I love the smile at the end too.
Oh my gosh my god yes I love this.
You're just such a badass chick.
You're way too cool for me.
But I love it.
(27:50):
I think you did a fantastic job
with this.
The two biggest things
that I'm hearing for you is,
first of all, is this how much effort
you're putting into it?
As far as you know,
volume goes
and your your mouth shape and all that.
I think you can get by
with just 5 to 10% less.
(28:10):
It's not necessarily
going to change the sound of your voice
or just like the end result.
It's just going to take 5
to 10% less effort
to create exactly the same result.
Okay.
So yeah, play around with that.
And then the other thing is,
you know like the the tongue
just being mindful of your tongue.
(28:31):
Like do we want that more or
like it's a tongue more forward.
Is it more back.
Like playing around with that to see
how does it affect your sound
and what do you want to do with it?
How do you like it the most
and how does it feel the best as well.
But.
Well, what, wild song, I love it.
Thank you so much for me time
(28:52):
bro on the club.
Thank you for sharing.
In case you didn't know,
you can get your very own
vocal evaluation as well.
I'll include the link
in the description too,
so that you can get your own,
vocal evaluation.
Don't worry,
you get to let us know
if we can share your evaluation
with everybody here on this show or not.
(29:13):
We also do private evaluations,
so don't worry about that
if you don't want anybody else to do.
We got you covered.
You can still get your own evaluation.
All right, let's do one more.
We've got Francesco from Italy,
la Cura by Franco about Giotto.
But yeah, maybe.
(29:35):
Franco.
Francesco, Francesco is working on.
My voice is unmusical, poor in harmony.
I am out of tune and some notes.
There is little emotion in the execution.
usually just
without listening to this first,
just hearing that
usually that would mean
(29:55):
that we need to work
on, skill number two, which is dynamics.
Right.
So we need to work
on, on dynamic singing, which is volume
and tone and embellishments
and that automatically like if we if we
if we are a little bit more playful
with the dynamics of the,
the tones
(30:15):
and the embellishments that we are using
pretty automatically and quickly,
we can sound a lot more musical,
a lot more natural when we are singing.
But let's have a listen and see what's
actually happening.
The potential,
the power of the label country and
(30:36):
they talk by name, ticket, dog country.
And I bet a lot of the.
The land use states it's
a dying gong need the total them
by to give birth
to an not
to the normal mentality that I is.
So let go
(30:56):
we're going to
we're going to stop right there.
Before we
before we keep going
and look at it in more detail,
I, I'm going to have to say
I don't really agree.
I don't think that you sound
unmusical or unemotional or at all.
Are there other things that we can do to,
(31:16):
you know, make it more, more dynamic?
Yes, of course I
we can
look at some things here together, but I
really
do not
feel like you sound unmusical at all
with, Italian songs
from my limited experience
with Italian songs.
I lived in Switzerland,
and we vacationed a lot in Italy
(31:38):
because it's right there.
We even went to a Zucchero concert
as well, which I loved him.
He was so fun.
But, he's an Italian singer.
I love Andrea Bocelli.
He's also Italian, and he's fantastic.
I saw him last summer in Italy.
It was so good.
Anyways, I'm topic in Italian songs.
(32:01):
It's.
We hear like a lot of consonants
and, like a, like, really clear
enunciation of the words is very, very,
very typical in Italian songs.
And I feel like you're
doing such a great job at that,
and you actually are already
(32:22):
showing us a couple different tones
in your voice,
which is why I'm saying, like,
I don't think you don't sound musical.
Well,
I don't think you don't sound musical.
I think you do some musical.
Yeah. There you go.
Just making sure
I'm saying the right things.
But let's go again.
From the beginning to the time.
People.
Digital. All right.
(32:43):
Digital already down here.
Like, we're starting
pretty low in your range.
And I think you did
a great job down here.
I would almost say that you can.
And, maybe. Maybe not.
I don't know,
you'd have to play around with this, but
5% less equal to zero.
And so that's total right.
(33:04):
Just people digital
almost like little husky people.
Digital keyboard digital digital.
Do you put that at all.
You know,
just like doing less down there
on that first phrase.
To, you know,
start out the song
with the power of the label country
(33:24):
and see the country.
Yeah, I'm saying
I'm surfing this all wrong, but,
you know, like your,
your enunciation is so
crystal clear and so perfect.
Like, I love that it's not so good.
They talk by name,
ticket, dog and country.
And I bet a lot of them, and the
(33:45):
the right.
You're giving me that,
that release there at the end
and so the and the
and that those little details is why
I'm saying
I do feel like you sound musical,
because it's in those little details
that make it sound musical and natural.
And so, you know,
you're already doing it.
(34:06):
I do want to go back here
to this other part real quick.
They tour by name, ticket dog country
and I.
But yeah, go on today.
Line up there.
So you're going a little wide
on country rock, right?
Right.
It's quite wide going today. Right.
Country. Right.
(34:26):
If we can go a little bit longer
rather than. Why gone.
Hey.
Yeah, a little longer rather than wide,
cuz that helps a lot of the the, I love
the lean.
You said, he got me the hell to to.
Yeah.
Same thing
that, that, thought you're going very.
(34:48):
Why the devil?
For a little more,
a little lazier in your mouth
shape, a little longer rather than wide
and just usually takes a little bit
less effort to get the hell out.
But if I mean to give birth to an up
to the normal mentality that I is,
get it?
(35:11):
Yeah, I love I love the breath releases.
Give me all those press releases.
They're magical, I love them.
Don't let me at all
thy glory in thy place.
But see, you more in the little sense.
Show me.
That led to a morning.
Okay.
So I here you've got those notes.
You're working harder than you have to
(35:32):
to get to these notes.
I can see it in your eyebrows.
I can see the worry creeping in
in your eyebrows. Relax.
Those beautiful eyebrows.
So a couple things you can do.
Just bringing awareness
would be holding your forehead
with your hand,
to, you know, bring awareness to,
you know, the eyebrows and, like,
(35:54):
you're working harder than you have to
to get those notes.
And the biggest thing
would just be giving me 5 to 5
to 10% less volume
up here on these notes.
It sounds great.
I just think you can get away
with a little bit less effort,
which seems to be a theme today,
to burn it.
All right?
(36:14):
Right.
You were going to come in
a little bit early
and you built up all this
pressure on suit, right?
Obviously that can happen.
Sometimes we're like, oh, hold on.
I came in a little bit early
and then we're holding on to it.
Ideally,
we don't want to do that
because it can build up
quite a bit of pressure.
What I usually say is only start
breathing in right before your notes,
(36:36):
because what we don't want to happen
is breathing in
and then holding your breath
with full lungs
and then starting to sing,
because that builds up a lot of pressure.
Like I said here with this,
before you start singing as well.
So we don't want to go
that up, but more
to do that. Right.
I'm inhaling
(36:57):
and immediately starting
and I'm not holding on to
any sort of breath.
Let so do this one more time
to burn at all.
Let go 90 gravitationally.
I gotta listen to this again,
because your R's here are so juicy in
(37:18):
full band and all that core 90 gravity
corrente like, yeah, it's so good,
I love it.
It's your gnarly little spot
for the new champion mom 14.
They got it all right back Yadi.
We're going there.
I think Yadi a little longer
(37:40):
a little lazier.
Okay.
Okay okay okay okay.
So, this is interesting.
I feel like
I rarely talk about this in lessons,
but in these vocal evaluations,
I feel like I'm talking about it
all the time, which is interesting.
But keeping that energy
all the way through the end of the note,
(38:02):
if you're like, oh, I'm
going to run out before,
you know,
like I'm going to run out of breath
before I can actually like,
you know, finish the notes or whatever.
Just finish the note
a little bit earlier.
It's much better to cut the notes short
than to just kind of like
fade out there at the end.
So keep that energy
and keep that breath flow
going for as long as you can,
and then end the note,
(38:23):
even if it means you have to
end the note a little early.
Here, there, there.
You had
a little bit of a crack
there at the end because,
you know, your energy
and your breath stopped flowing,
and then you were still
holding on to the note.
So again,
it's better to cut the notes
a little short,
and,
(38:43):
and support it
all the way through to the end
and very right now
to minor thing.
Now do the lamb.
Let it we're going a little flat there.
To the lamb did it
because you're going very wobbly.
(39:04):
Yeah. Right.
Until you kind of like trying
to push that note up.
It's also very possible
because you're going to, like, let,
that usually translates into your neck
like a tension in your neck.
So let me let it.
You can hold like you're at your face
a little bit like this.
Like just the palms of your hands
on your face, on your cheeks
(39:26):
so that you're not going this wide,
but more, down that it,
it feels a lot better.
And just shake your head
loose a little bit,
so that, you know,
those neck
muscles are not engaging on you,
and then you can get
all the way up to that now,
rather than being slightly under
(39:47):
for kissing
it especially.
It's.
So it's,
I like how you sing,
especially, because, like,
you're giving us a little bit of breath.
And again, that's what I'm saying.
Like, you got plenty of dynamics already,
which to me
doesn't make it sound boring or unmusical
(40:07):
or anything like this.
Your other of a.
Yeah.
I got a very confident Tennessee
coming up. Tennessee?
Did you just say Tennessee?
Well, state here in the United States
and you're Italian song to kiss?
(40:29):
No.
No, if you're if you, give it to me,
you will. And should be all good.
I mean, for me, some old Molly.
Okay.
So, Mo was also slightly under slightly.
Just a little bit, because we're
we got a little bit heavy there. My,
(40:54):
small mouth,
a little bit out of the mouth.
So that's a theme for you.
Instead of going wide,
going a little bit more long instead.
Right.
It's more a long face
rather than a wide mouth shape.
So, keep that note
a little bit lighter
and a little bit longer.
More,
(41:17):
and so when you're
switching up into that
falsetto or the head voice,
we still have
a, contrast there, right?
Because we're going from translation.
That was muddy and not,
but it's not the modern
is that the more memory
is not so heavy,
so that we're not going
(41:37):
slightly under right.
I want to hear that
last note one more time.
Lee.
Okay.
Muddy.
Yeah.
So when we're singing
more in a head voice there
in a more breathy voice,
we run out of breath more quickly.
(41:58):
So what you could do here
is that is an issue, muddy,
and just end there and not do the,
at the end.
Or you can go muddy back into more of a,
just your sound
so that you're not using quite
(42:18):
as much breath to get those notes out.
But again,
we feel like we're running out of breath.
We want to end the note
before we get to that point
so we can support it all the way through.
But I do love
how you're switching up into that head
voice there.
That gives, again, more dynamic range.
See, Francesco, you're already doing it.
(42:40):
You're already doing it.
Give it up for Francesco.
Yay!
I thought that was great.
I like yes,
there are things that we can do
to make it sound
more, quote unquote musical.
More natural.
Like add more layers to it.
Yes,
but I don't think we need to overdo it,
(43:02):
because sometimes
if we start doing too much,
then it's,
you know, it
almost takes away
from the vocal performance.
I kind of compare this like,
you know, the cake analogy.
If you've ever heard me talk about cake,
the dynamics is the
frosting on your cake.
And there's absolutely such a thing
as too much frosting on your cake.
And we don't want that to happen right?
(43:23):
We don't want to have too
much frosting on our cake. So
it's the same with dynamics.
We can absolutely overdo it.
And then it's like, well, hold on now
it's taking away from our cake.
Right now
it's taking away from our performance
because there's so much going on.
I think this was this was really solid
and really great for you.
The biggest thing is just elongate
(43:44):
your mouth shape, don't go too wide.
And in some of the parts work
5 to 10% less
and you want it,
which seems to be a theme today.
Working 5 to 10% less.
I think this is something
that we can all work on, is working
just a little bit less.
(44:05):
And it's the same thing for me
when I'm singing,
I tend to work harder than I have to
to get the notes out.
And I think a lot of us are this way.
So that's it for today.
Apparently working a little bit less
and still get that same great sound,
but it takes just a little bit less.
That's what it comes down to, right?
In singing, we want to
(44:26):
we want to optimize, right.
We want to optimize for
amazing sound
with the least amount of effort.
And a lot of times
that is decreasing the volume by 5 to 10%
and boom, you got it.
Same sound, amazing sound,
but just a little bit less of it.
All righty.
Well done Francesco.
Well done everybody.
Thank you for,
(44:47):
for sharing your videos with us,
for getting these evaluations again,
if you want to get your own evaluation,
even a private one,
just click the link, below.
When you get your evaluation,
you will
let us know
after where you are
submitting your video.
And you know, any questions and,
comments and remarks that you have,
that's where you'll be able
(45:07):
to let us know
whether we can use
it, here for our show or not.
Okay.
So please don't feel pressured
to, to say
yes if you want to keep
this more private.
And then only our vocal coaches here
at our subsidiaries
will be able to see your video
and not everything else.
Okay.
Anyways, thank you for listening
and for watching.
(45:28):
We'll catch you in the next one.
the little sense.
(00:01):
Show me.
That led to a morning.
Okay.
So I here you've got those notes.
You're working harder than you have to
to get to these notes.
I can see it in your eyebrows.
I can see the worry creeping in
in your eyebrows. Relax.
Those beautiful eyebrows.
(00:26):
Hey, VoxStar and welcome
to From Singer To Artist.
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
(00:47):
or just develop your voice for fun.
My team and I are here to help.
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.
it's time to do some more
vocal evaluations.
And I am super excited
because today's
theme for our vocal
evaluations is songs of the world.
(01:08):
Meaning we're going to look at songs
in different languages,
not in English today, but rather in
Spanish, in Hungarian and in Italian.
So I am super excited to give this,
you know, give this a shot,
see what it sounds like.
I do not speak any of these languages,
(01:30):
but that doesn't matter.
And so I'm.
Yeah, I'm excited to have a listen
and see what we've got here.
so without further ado,
I would say let's dig right in.
First up we have Robin.
Robin is going to be singing in Spanish.
Robin.
It was actually a student
with us here at Vox Tape.
A little while ago
I would say maybe,
(01:51):
maybe already almost a year ago now.
But she is still a part of our community,
and we love having her.
But let's have a look at her song called
ecosphere.
More by Jesse Joy.
Or maybe not
how you say
Jesse Joy, but maybe try, try.
And over here,
what she mentioned
(02:12):
that she is working on is
I often get lost
in the emotion of the song
and begin to lose power.
Although in this clip
I try to sing with a boring face,
but overdid it
and did not transmit any emotion
in some parts.
I love that you're
bringing up the boring face,
because boring face is
one of my favorite things ever.
(02:33):
A lot of times when we sing,
our face loves to just kind of go wild.
Our eyebrows are all over the place.
The mouth shape is all crazy.
And, you know, it's
because we're trying so hard.
And a lot of times
that makes actually
singing harder than it has to be.
And obviously we want to use our face
for expressing ourselves,
(02:55):
like you were talking about here.
And so, you know, singing
with a boring face on stage
might not necessarily be
the thing that we want to do.
But when it comes to practicing,
it's really great to release
any sort of facial muscles
so that we're not relying on that
to sing certain notes.
But anyways, let's have a
(03:17):
listen to this clip
and a look at this clip as well.
If you're watching, the video of this
so that we can see,
you know, what's going on with
not just your face,
but with your whole voice.
All right, let's let's,
it's still open in the letter.
So now the scene work.
So you know what I think?
(03:39):
Fun.
Well, it's, specifically
for me goes the for the solo.
This little hole that the,
does not move the spot of.
Okay. Right.
We're going to
we're going to have it there
before we get into
what I assume is the chorus.
(04:01):
So far, I think this is really great.
I like, had
you not said
anything about boring face,
I would not, mentioned
anything about it.
I'd be like, yeah, you look really bored.
Like,
you look like you were actively
using the boring face.
It would not have crossed my mind at all.
And,
(04:22):
until I find that interesting
that you brought it up.
But, I love everything
I'm hearing so far.
You feel it
sounds like you feel
really comfortable in this lower
part of the song, in this verse.
And so I want to go again
from the beginning
and dissect it a
little bit more in detail.
Is still bending the letter.
So now that seems like it comes,
(04:44):
you know, okay.
Right there
when you're breathing in your it's
a little bit of a shallow breath.
It's a little up here in your shoulders.
Focus more on getting that breath
a little bit lower right.
So one way you can practice
that is pushing
your your hands on your ribs,
not your waist,
but a little bit higher up on your ribs.
(05:05):
And and then breathe into your hands
like, push your hands away
from the center of your body, like,
push them out.
That can help you
just get that breath a little bit lower
so it doesn't feel quite so shallow.
Not that shallow breaths are always bad.
They can sometimes
be just as useful
as a deeper, lower breath,
(05:27):
but it does look like you're talking
a little a little up here.
And your shoulders,
you also tend to look a little sideways
when you sing sometimes as well.
So again, I just want to make sure
that that doesn't come
from any sort of tension,
any sort of bad habits
that you've picked up.
But rather because of expression.
So think fun.
Well,
(05:49):
I love this song specifically for me.
Hose. That's it.
It holds.
So right there, you're kind of pushing
that jaw forward a little bit.
Ho ho.
So you had a little bit of a jaw
thrust going on,
pushing that jaw forward slightly.
It holds it hose.
(06:09):
I don't know what that word is.
I don't know if that is a word or it.
I'm just
breaking to, like, a word
and just a small part,
I don't know, but,
just something to be mindful
when you're, you know,
making these sounds there
that your jaw
that you're not thrusting,
that you're not pushing that jaw forward
more than you have to
because this is in a comfortable
(06:30):
range of your voice.
So I don't think you have
to do any sort of,
any sort of jaw thrust at all here.
Yeah. Ho ho.
Get the job.
It's easy to get
the job done with your lips
rather than with your jaw here.
In this case, just shake
your lips and also breath.
Let's say that, then another.
(06:50):
And,
you're kind of like tilting their
head to one side
with your shoulder up,
creating a little bit of tension
in your neck.
It doesn't hold you back at all
here when you're down
in these lower notes,
just want to point it out
so that you are aware of what it is
you're doing.
Right.
But, this could potentially
(07:12):
I'm just moving it back here
a little bit,
like backing up
the track here a little bit,
but this could potentially
be something that
is going to hold you back in the future
or like
in a different range of your voice.
Maybe not, but maybe it's
for this little, this little hole.
The air is,
(07:35):
All right.
The beard.
So up here, I can see it on your face.
How you're starting
to get a little scared
because, you know,
the high notes are coming.
So instead of going,
and you kind of like, holding back,
like you mentioned,
you're losing a little bit of that power
instead of making yourself
(07:55):
smaller to get up to these notes.
Well, one little trick
that I like to use
is just pushing my elbows out
because it helps me feel larger
on the inside, really helps
me feel like I am
expanding on the inside.
To,
to
(08:17):
a lot of times
we also talk about placement.
When we when we talk about singing,
I know Coach Emily from our team.
She actually doesn't like to
talk about placement because
that's just not really her thing.
And she's like,
what does that even mean?
But some people like talking,
talking about placement.
It just really kind
of depends on the student
that we have in front of us.
(08:38):
But sometimes
when we are talking about placement,
we talk about
like bringing the sound more forward.
Right?
So it's not stuck back here.
I sometimes find it actually helpful
to place the sound
a little bit further back
so that I can feel more space
opening up back here,
and not so much in
(08:59):
in the front of my mouth.
That's just a tendency that I have.
And depending on the person
that I'm working with,
if they're the same or like,
they'll actually like create
a little bit more space back here.
Don't feel like you have
to place the sound
so forward all the time.
And for others,
if you complete opposite,
they need to place it more forward
in order to get the sound out
the way they want to.
So just play around with that.
(09:21):
For me, I'm just like, thinking like,
open up back here.
Almost like lifting that soft palate,
placing it a little bit further back.
Do not lose the fullness in my in
my sound.
So that's something you can try.
Here is the start of okay, here
the start.
This is actually not easy to sing.
You're beautifully opening.
(09:44):
Opening your mouth.
Shut up the side.
I don't know
if that's a word that you're saying.
I'm sorry if I'm butchering it,
So I recommend this.
First, drop the lyrics completely
and just do it on da da da or la la la la
la la la la
and see how that's coming out.
If that's coming out exactly
the way you want. Awesome.
(10:04):
Bring the lyrics back in.
If not yet,
figure out
where that tension is coming from.
I think you're losing power
because you don't fully believe
that you can hit those notes
more powerfully.
So I'd love for you to just go for it
and be like,
I'm just going to belt out these notes.
It's like crack on the note.
So be it.
I'm just going to try my best
and see what happens.
And I think
(10:24):
you're going to surprise yourself
a little bit up there.
Because you're already
beautifully opening.
You're opening your mouth.
So you've got that going, for
you already. It's just more your mindset.
That's holding you back.
Now, if this doesn't feel good,
la la la la la la la la la la
(10:45):
la up there on that note,
I'm like,
oh, I need to make a couple
little tweaks to it.
So, you know, figure out is in your Dodge
or in your tongue. Is it in your neck?
What exactly is holding
you back from nailing
that note in a more powerful,
in a more powerful belt?
But again, for you, it's
mostly a mental thing.
You got those notes on the nose.
It's the same thing there, the ground.
(11:07):
So they're, on this palabras.
I know that word palabras.
Does that mean, like, words
or something like that?
Anyways,
I feel like I've heard that word before.
It doesn't matter.
There.
You're stopping
your energy
before the word is done.
So on for LA.
(11:29):
That's great.
And when you get to brush the brush,
you're already kind of done with it.
I don't know if that's
because you were running
out of breath or,
you know,
if in your mind
you're already on the next phrase
or whatever.
Just make sure that you're
sustaining yourself
all the way
through the end
of the phrase energetically
and with your breath as well.
(11:50):
If it is because
you're running out of breath,
make sure that you're
just taking a really good breath.
Right before you start that phrase,
because it's not a long phrase.
You so got that.
You just need to remember
to take a good enough breath.
Okay, so you know where to go.
So you can the individual slow.
Oh is going to get higher there.
(12:12):
So that whole part there, in the middle,
it's the same thing there.
You have the power in your voice.
You just don't fully believe that you do.
And you might be a little bit
scared of what could happen
if it doesn't come out
exactly the way you want it to.
So don't hold back. Don't hold back.
You got this.
I do want to hear that hanging out there.
It y'all.
So I thought more clear though.
(12:34):
So I love that title.
And,
the beautiful melody.
The, when we get up to that super line.
I don't know what that is.
I don't have perfect pitch.
But when you get up there,
if you're making it more belting
in these other notes,
and then you get all the way up there
and you're like, okay,
that is definitely out of my range.
(12:56):
You could go into a softer
light and,
something like that on purpose
because it
it builds a dynamic range, right?
A lot of times
singers are doing this and we're like,
oh my God, that sounds amazing.
And they're doing it because otherwise
it would be way too difficult for
for them to sing.
And us as the audience,
we don't know that we
love what they did anyways.
(13:18):
So it's
nice little
things that we can do
to kind of like cheat our way
through the song.
But yeah, that's
definitely something
you can do that in and up,
because if you go down Da under,
that might be a little difficult,
but you can play around with it.
You have the power,
I know to play the styles
(13:39):
trickles down more.
Oh,
There,
it doesn't have to be
this powerful either.
I actually kind of
like pulling back there
and making that a little bit softer,
like you're doing it.
Just make sure that
when you're going up in pitch,
that you're not going into your note.
(14:01):
Oh.
Oh.
It's just a little stuck up here
in your nasal cavity, like slightly.
Okay.
Like it's
not anything crazy at all by any means.
It's just a little stuck.
So keep the energy in the
holding forward rather than up into,
you know, a more,
(14:23):
you can even close your nose.
And then you can feel it
any vibrations in your nose.
And that would mean
there is some nasal resonance
happening there.
If there's no vibrations
and you're completely out of your nose.
Not that you need to get
completely out of your nose,
(14:43):
but we just want to make sure
that, you know,
you're not
sending too much sound of
into that, up into the nose, Zemo.
Oh, so I think there are more, there.
What I think could be
cool is building that dynamic range
(15:04):
that a more,
something like that,
or a more,
keeping that
second or that third note soft as well.
But just,
you know, that
high note
pulling back on that note
and even making it a little bit
breathy on purpose,
it's just going to help
(15:24):
you build that dynamic range.
I think that could be really cool.
I know is a vocal
must see this outside of the coast.
And,
yeah, that was very nice.
Oh my gosh,
I like hearing you sing in Spanish.
I don't think I've ever heard
you sing in Spanish. So.
Yeah.
Robin, that was really good.
(15:46):
With the, with the high notes, like,
I think everything you're doing
sounds really great.
I know you've got more power up there.
It's just a matter of.
Do you
trust yourself
and you just want to go for it?
That's really all it comes down to.
And just like, yeah, voice take over.
Try it, give it a shot.
(16:07):
See what happens,
and then you can slowly,
build up
the confidence essentially, for you to,
to do these higher notes
with a little bit more power, regularly.
And you definitely got those notes and,
yeah,
building that dynamic range
is going to be is going to be super cool.
For, for your
(16:28):
for your song here
and for your singing in general. Right.
Like building a dynamic
range is super important,
like playing around
with different tones
and embellishments
and, different volume as well.
That's going to be,
they're going to be really cool
and take this performance
to the next level. So one more time.
Bravo, bravo, bravo, bravo and well done.
Well done.
(16:48):
Okay.
Next up, we have Nicklin from Hungary.
She's singing in Hungarian,
and the clown is a greenroom member.
Here with us at Blockchain Studios.
And, she's actually two our exercises
and and things like that.
And I always love
when she's posting
videos of herself
(17:08):
singing and sharing her music with us.
She is like a metal singer, too,
which is super fun and super cool.
So she's going to be singing
I have no idea how to pronounce this mix
to get.
I don't know
if that is correct or not,
but we can pretend,
(17:31):
she says that she is working on singing
without tension belts and mixed voice.
All righty,
let's have a look here at the song.
And, well, there you go.
There's another.
Yeah.
We'll back up and get this show up.
No. Oh, yeah.
Oh, God.
Yes.
(17:52):
That the appeal of.
Well, Oh, yeah.
Yeah. That good? Well, they got us. Yeah.
We want good.
I want to do that. Okay.
Oh, hey, that was cool of a shot at it.
And with that, I believe that is
the man is an engineer.
(18:13):
All right,
I'm going to pause right there.
Holy moly.
What language?
That sounds so cool.
There's a lot of consonants
happening here.
And
I don't think
I've ever heard the language,
or at least not in songs.
So this is like, whoa, what's happening?
But it's super cool.
Obviously this is a little
like an aggressive song, but up, up up up
up up up up up up up up up up up.
(18:35):
Like it's, you know, it's really quiet.
There's a
a a little bit of a drive
behind it and a lot of rhythm.
So, so far, honestly.
Really great.
I'm going to give you
some recommendations for some
vowel adjustments.
You got to let
me know, though,
if that is even a possibility, because,
sometimes when we change vowels
(18:56):
in certain languages,
they mean something else.
And I don't know if that's the case,
in your language here as well or not,
but, let's have a look here.
Oh, before I go into it,
just one thing in general.
You know, when we sing
rock and metal music,
it gets difficult
for us to pace ourselves.
(19:18):
And, you know,
especially when you have, like,
all this music, these distorted guitars
and everything behind us.
It's like,
I need to give it my everything.
And already
be really loud
and and work really hard
to get the notes out.
And it's like, okay, hold on,
but we can pace yourself a little bit.
So I my first recommendation
would be start with 20% less
(19:40):
so that we can build a little bit
more of a dynamic range.
Now, I have no idea
if this is the beginning of the song
or not.
So, you know,
take this, tip however you'd like,
but pacing yourself
is something that's incredibly important.
No matter the genre that we're singing,
no matter,
the song that we're singing, anything,
that or the language
(20:01):
that we're singing in,
we do need to pay for ourselves.
And.
Yeah, I will get up and get this show up.
Your.
Oh, yeah.
Oh, God. Yes.
The,
Can you get can you get a little lazier,
(20:22):
but up up up up up up and down
that, but up and just a little.
Yeah, a little lazier in your face.
Like in your in your mouth
and your mouth shapes.
Again,
this is
kind of goes back to pacing yourself and,
(20:42):
you know, just not working
harder than we have to
to get the words out.
I know there's a lot of words
that need to come out.
But I think you might be able
to get away
with, like,
5 or 10% less work in your mouth,
and then make that, a little darker.
(21:04):
So it's not quite so,
you hear the difference there?
It's a very slight difference.
Just as a recommendation.
Maybe you hate that and you're like, nah,
I actually like it. Right?
If you like it. Right. Great.
Go for it. As long as I feel love.
I had to pull the plug.
Nah nah nah nah.
(21:25):
So a, it
sounds like you're working really hard
to get these lower notes out there.
Like, down. They're out.
Nah nah nah
nah,
don't work
quite that hard on these low notes.
More like when you're getting to
da da da da da da da da.
Nuh There
you can give me a little bit more.
But in these really low notes,
(21:45):
I know it's hard to not work
hard down there
because the lower notes
are always quieter than the higher notes.
And so we're like,
I want to be able that,
like I want to make sure
that other people can hear me.
So I need to work
hard to get the notes out.
But we're only always going to be
singing with a microphone,
at least in this case here for sure.
So yeah,
(22:05):
a little less work in those low notes.
And I think they're going to come out
just a little bit more easily.
But, you know, they got us really good.
So that
you mentioned that you're
working on releasing tension. Right.
So, that is just my tongue
(22:28):
kind of getting a little tight back here
if I'm going more to the, sound.
So if you can just,
hear the difference there
playing around with that,
that might help you release
a little bit of tension in your tongue
and make the notes come out more easily.
But this is really high level stuff.
But I like everything you're doing.
(22:50):
Want to do that as well.
Hey, that was cool of a shot.
Okay.
Did you hear how that one was different?
That was,
but that one was a little less bright,
which is
exactly what I was talking about.
And the other two here.
So there.
You're already going into that direction.
So, you know, maybe explore
a little bit more of that
if it feels right.
(23:11):
And it definitely is better.
I think that it
the magazine industry shine
through.
You
know that.
Okay. Okay.
Nice little growl.
Oh wow.
I am not a metal singer.
I do not teach you metal techniques.
I can teach you distortion.
(23:33):
Like distortion in the sense of,
like, rock singing.
But that was nice.
I love and I love the arms
like the hands of the two.
Very cool.
Yeah. Okay. Okay, okay.
I want to point this out to everybody.
Did you see how me clone
was pushing her tongue out there?
A little bit more mistakes and.
Yeah,
(23:55):
getting that tongue out of the way.
So when I'm doing this,
and I like,
like putting it into my own voice
and feeling it and see.
Okay, what am I experiencing
when I'm, you know,
pushing my tongue out versus
when I'm not pushing my tongue out
so I can put it into words
a little bit more easily. But here,
(24:19):
it obviously changes
your tone a little bit.
And so in general,
you have quite a bit of those,
those kinds of sounds,
compared to like a,
so that's mostly your tongue position.
So I there is not a right
or a wrong way to do this here.
These are just different options.
(24:41):
So when you're practicing the client,
I would definitely recommend
paying attention
to what your tongue is doing
and then recording yourself
and seeing like, okay,
if I'm doing this with my tongue,
if I'm pushing it more forward,
it changes the tone this way,
if I'm doing,
you know,
keeping my tongue a little bit lower,
whatever, it changes the tone that way.
So just playing around
(25:02):
with the position of your tongue
to see how it affects
the sound of your voice
and then go with whatever feels
and sounds the best.
So yeah,
just playing around with it
and having fun with it,
the melody and motion.
Yeah.
But ever you know, it's it's interesting
(25:22):
because with low notes,
I usually tell people like,
bring it more forward, right.
Make it more.
My favorite exercise for
this is the dooby doo doo doo doo
dooby dooby doo to get these notes.
These low notes, out a little bit
more easily,
and it doesn't feel like they're stuck
in your throat. We just.
Yeah.
Yeah, I feel like with
with you
(25:43):
here, in this case,
it's almost like,
actually, can we tone down the brightness
just a little bit?
But that just comes down to preference.
Whichever one you like more.
Let's see that.
Go back.
All right.
Yeah.
And here your turn again.
Yeah.
This is not a good thing or a bad thing.
It's just something I wanted
(26:04):
to point out.
In general,
you're working so much with your
with your mouth,
with your with your lips
and your jaw and everything.
And I love how you know, it's
the words are really coming out
crystal clear.
I'm just wondering
if we have to work like that much
or if it can be just a little easier.
Roasted baguette?
(26:26):
No. But, Oh, I love.
Oh, no, I love that cry there.
Oh, cabbage.
That was great.
Baguette. Oh my God.
Hey, hey,
I'm pushing your jaw forward here.
Hey.
Don't know if you need to do that.
(26:47):
Oh, no.
You've got some really nice cries
here in this in the song.
I like it here.
Oh my gosh,
if you don't know what the Christ.
That's kind of, compared to just.
Here's the difference there.
So I love all these cries.
It sounds awesome.
And I it never really never.
(27:09):
It never, never, never, never let,
If you hold on,
I want to see one more time
what you're doing here
had never really had any.
Yeah,
yeah.
(27:29):
No, you're actually,
you're
you're doing a good job with those.
I like it said they
did. Yeah.
Love that that started there.
And I love the smile at the end too.
Oh my gosh my god yes I love this.
You're just such a badass chick.
You're way too cool for me.
But I love it.
(27:50):
I think you did a fantastic job
with this.
The two biggest things
that I'm hearing for you is,
first of all, is this how much effort
you're putting into it?
As far as you know,
volume goes
and your your mouth shape and all that.
I think you can get by
with just 5 to 10% less.
(28:10):
It's not necessarily
going to change the sound of your voice
or just like the end result.
It's just going to take 5
to 10% less effort
to create exactly the same result.
Okay.
So yeah, play around with that.
And then the other thing is,
you know like the the tongue
just being mindful of your tongue.
(28:31):
Like do we want that more or
like it's a tongue more forward.
Is it more back.
Like playing around with that to see
how does it affect your sound
and what do you want to do with it?
How do you like it the most
and how does it feel the best as well.
But.
Well, what, wild song, I love it.
Thank you so much for me time
(28:52):
bro on the club.
Thank you for sharing.
In case you didn't know,
you can get your very own
vocal evaluation as well.
I'll include the link
in the description too,
so that you can get your own,
vocal evaluation.
Don't worry,
you get to let us know
if we can share your evaluation
with everybody here on this show or not.
(29:13):
We also do private evaluations,
so don't worry about that
if you don't want anybody else to do.
We got you covered.
You can still get your own evaluation.
All right, let's do one more.
We've got Francesco from Italy,
la Cura by Franco about Giotto.
But yeah, maybe.
(29:35):
Franco.
Francesco, Francesco is working on.
My voice is unmusical, poor in harmony.
I am out of tune and some notes.
There is little emotion in the execution.
usually just
without listening to this first,
just hearing that
usually that would mean
(29:55):
that we need to work
on, skill number two, which is dynamics.
Right.
So we need to work
on, on dynamic singing, which is volume
and tone and embellishments
and that automatically like if we if we
if we are a little bit more playful
with the dynamics of the,
the tones
(30:15):
and the embellishments that we are using
pretty automatically and quickly,
we can sound a lot more musical,
a lot more natural when we are singing.
But let's have a listen and see what's
actually happening.
The potential,
the power of the label country and
(30:36):
they talk by name, ticket, dog country.
And I bet a lot of the.
The land use states it's
a dying gong need the total them
by to give birth
to an not
to the normal mentality that I is.
So let go
(30:56):
we're going to
we're going to stop right there.
Before we
before we keep going
and look at it in more detail,
I, I'm going to have to say
I don't really agree.
I don't think that you sound
unmusical or unemotional or at all.
Are there other things that we can do to,
(31:16):
you know, make it more, more dynamic?
Yes, of course I
we can
look at some things here together, but I
really
do not
feel like you sound unmusical at all
with, Italian songs
from my limited experience
with Italian songs.
I lived in Switzerland,
and we vacationed a lot in Italy
(31:38):
because it's right there.
We even went to a Zucchero concert
as well, which I loved him.
He was so fun.
But, he's an Italian singer.
I love Andrea Bocelli.
He's also Italian, and he's fantastic.
I saw him last summer in Italy.
It was so good.
Anyways, I'm topic in Italian songs.
(32:01):
It's.
We hear like a lot of consonants
and, like a, like, really clear
enunciation of the words is very, very,
very typical in Italian songs.
And I feel like you're
doing such a great job at that,
and you actually are already
(32:22):
showing us a couple different tones
in your voice,
which is why I'm saying, like,
I don't think you don't sound musical.
Well,
I don't think you don't sound musical.
I think you do some musical.
Yeah. There you go.
Just making sure
I'm saying the right things.
But let's go again.
From the beginning to the time.
People.
Digital. All right.
(32:43):
Digital already down here.
Like, we're starting
pretty low in your range.
And I think you did
a great job down here.
I would almost say that you can.
And, maybe. Maybe not.
I don't know,
you'd have to play around with this, but
5% less equal to zero.
And so that's total right.
(33:04):
Just people digital
almost like little husky people.
Digital keyboard digital digital.
Do you put that at all.
You know,
just like doing less down there
on that first phrase.
To, you know,
start out the song
with the power of the label country
(33:24):
and see the country.
Yeah, I'm saying
I'm surfing this all wrong, but,
you know, like your,
your enunciation is so
crystal clear and so perfect.
Like, I love that it's not so good.
They talk by name,
ticket, dog and country.
And I bet a lot of them, and the
(33:45):
the right.
You're giving me that,
that release there at the end
and so the and the
and that those little details is why
I'm saying
I do feel like you sound musical,
because it's in those little details
that make it sound musical and natural.
And so, you know,
you're already doing it.
(34:06):
I do want to go back here
to this other part real quick.
They tour by name, ticket dog country
and I.
But yeah, go on today.
Line up there.
So you're going a little wide
on country rock, right?
Right.
It's quite wide going today. Right.
Country. Right.
(34:26):
If we can go a little bit longer
rather than. Why gone.
Hey.
Yeah, a little longer rather than wide,
cuz that helps a lot of the the, I love
the lean.
You said, he got me the hell to to.
Yeah.
Same thing
that, that, thought you're going very.
(34:48):
Why the devil?
For a little more,
a little lazier in your mouth
shape, a little longer rather than wide
and just usually takes a little bit
less effort to get the hell out.
But if I mean to give birth to an up
to the normal mentality that I is,
get it?
(35:11):
Yeah, I love I love the breath releases.
Give me all those press releases.
They're magical, I love them.
Don't let me at all
thy glory in thy place.
But see, you more in the little sense.
Show me.
That led to a morning.
Okay.
So I here you've got those notes.
You're working harder than you have to
(35:32):
to get to these notes.
I can see it in your eyebrows.
I can see the worry creeping in
in your eyebrows. Relax.
Those beautiful eyebrows.
So a couple things you can do.
Just bringing awareness
would be holding your forehead
with your hand,
to, you know, bring awareness to,
you know, the eyebrows and, like,
(35:54):
you're working harder than you have to
to get those notes.
And the biggest thing
would just be giving me 5 to 5
to 10% less volume
up here on these notes.
It sounds great.
I just think you can get away
with a little bit less effort,
which seems to be a theme today,
to burn it.
All right?
(36:14):
Right.
You were going to come in
a little bit early
and you built up all this
pressure on suit, right?
Obviously that can happen.
Sometimes we're like, oh, hold on.
I came in a little bit early
and then we're holding on to it.
Ideally,
we don't want to do that
because it can build up
quite a bit of pressure.
What I usually say is only start
breathing in right before your notes,
(36:36):
because what we don't want to happen
is breathing in
and then holding your breath
with full lungs
and then starting to sing,
because that builds up a lot of pressure.
Like I said here with this,
before you start singing as well.
So we don't want to go
that up, but more
to do that. Right.
I'm inhaling
(36:57):
and immediately starting
and I'm not holding on to
any sort of breath.
Let so do this one more time
to burn at all.
Let go 90 gravitationally.
I gotta listen to this again,
because your R's here are so juicy in
(37:18):
full band and all that core 90 gravity
corrente like, yeah, it's so good,
I love it.
It's your gnarly little spot
for the new champion mom 14.
They got it all right back Yadi.
We're going there.
I think Yadi a little longer
(37:40):
a little lazier.
Okay.
Okay okay okay okay.
So, this is interesting.
I feel like
I rarely talk about this in lessons,
but in these vocal evaluations,
I feel like I'm talking about it
all the time, which is interesting.
But keeping that energy
all the way through the end of the note,
(38:02):
if you're like, oh, I'm
going to run out before,
you know,
like I'm going to run out of breath
before I can actually like,
you know, finish the notes or whatever.
Just finish the note
a little bit earlier.
It's much better to cut the notes short
than to just kind of like
fade out there at the end.
So keep that energy
and keep that breath flow
going for as long as you can,
and then end the note,
(38:23):
even if it means you have to
end the note a little early.
Here, there, there.
You had
a little bit of a crack
there at the end because,
you know, your energy
and your breath stopped flowing,
and then you were still
holding on to the note.
So again,
it's better to cut the notes
a little short,
and,
(38:43):
and support it
all the way through to the end
and very right now
to minor thing.
Now do the lamb.
Let it we're going a little flat there.
To the lamb did it
because you're going very wobbly.
(39:04):
Yeah. Right.
Until you kind of like trying
to push that note up.
It's also very possible
because you're going to, like, let,
that usually translates into your neck
like a tension in your neck.
So let me let it.
You can hold like you're at your face
a little bit like this.
Like just the palms of your hands
on your face, on your cheeks
(39:26):
so that you're not going this wide,
but more, down that it,
it feels a lot better.
And just shake your head
loose a little bit,
so that, you know,
those neck
muscles are not engaging on you,
and then you can get
all the way up to that now,
rather than being slightly under
(39:47):
for kissing
it especially.
It's.
So it's,
I like how you sing,
especially, because, like,
you're giving us a little bit of breath.
And again, that's what I'm saying.
Like, you got plenty of dynamics already,
which to me
doesn't make it sound boring or unmusical
(40:07):
or anything like this.
Your other of a.
Yeah.
I got a very confident Tennessee
coming up. Tennessee?
Did you just say Tennessee?
Well, state here in the United States
and you're Italian song to kiss?
(40:29):
No.
No, if you're if you, give it to me,
you will. And should be all good.
I mean, for me, some old Molly.
Okay.
So, Mo was also slightly under slightly.
Just a little bit, because we're
we got a little bit heavy there. My,
(40:54):
small mouth,
a little bit out of the mouth.
So that's a theme for you.
Instead of going wide,
going a little bit more long instead.
Right.
It's more a long face
rather than a wide mouth shape.
So, keep that note
a little bit lighter
and a little bit longer.
More,
(41:17):
and so when you're
switching up into that
falsetto or the head voice,
we still have
a, contrast there, right?
Because we're going from translation.
That was muddy and not,
but it's not the modern
is that the more memory
is not so heavy,
so that we're not going
(41:37):
slightly under right.
I want to hear that
last note one more time.
Lee.
Okay.
Muddy.
Yeah.
So when we're singing
more in a head voice there
in a more breathy voice,
we run out of breath more quickly.
(41:58):
So what you could do here
is that is an issue, muddy,
and just end there and not do the,
at the end.
Or you can go muddy back into more of a,
just your sound
so that you're not using quite
(42:18):
as much breath to get those notes out.
But again,
we feel like we're running out of breath.
We want to end the note
before we get to that point
so we can support it all the way through.
But I do love
how you're switching up into that head
voice there.
That gives, again, more dynamic range.
See, Francesco, you're already doing it.
(42:40):
You're already doing it.
Give it up for Francesco.
Yay!
I thought that was great.
I like yes,
there are things that we can do
to make it sound
more, quote unquote musical.
More natural.
Like add more layers to it.
Yes,
but I don't think we need to overdo it,
(43:02):
because sometimes
if we start doing too much,
then it's,
you know, it
almost takes away
from the vocal performance.
I kind of compare this like,
you know, the cake analogy.
If you've ever heard me talk about cake,
the dynamics is the
frosting on your cake.
And there's absolutely such a thing
as too much frosting on your cake.
And we don't want that to happen right?
(43:23):
We don't want to have too
much frosting on our cake. So
it's the same with dynamics.
We can absolutely overdo it.
And then it's like, well, hold on now
it's taking away from our cake.
Right now
it's taking away from our performance
because there's so much going on.
I think this was this was really solid
and really great for you.
The biggest thing is just elongate
(43:44):
your mouth shape, don't go too wide.
And in some of the parts work
5 to 10% less
and you want it,
which seems to be a theme today.
Working 5 to 10% less.
I think this is something
that we can all work on, is working
just a little bit less.
(44:05):
And it's the same thing for me
when I'm singing,
I tend to work harder than I have to
to get the notes out.
And I think a lot of us are this way.
So that's it for today.
Apparently working a little bit less
and still get that same great sound,
but it takes just a little bit less.
That's what it comes down to, right?
In singing, we want to
(44:26):
we want to optimize, right.
We want to optimize for
amazing sound
with the least amount of effort.
And a lot of times
that is decreasing the volume by 5 to 10%
and boom, you got it.
Same sound, amazing sound,
but just a little bit less of it.
All righty.
Well done Francesco.
Well done everybody.
Thank you for,
(44:47):
for sharing your videos with us,
for getting these evaluations again,
if you want to get your own evaluation,
even a private one,
just click the link, below.
When you get your evaluation,
you will
let us know
after where you are
submitting your video.
And you know, any questions and,
comments and remarks that you have,
that's where you'll be able
(45:07):
to let us know
whether we can use
it, here for our show or not.
Okay.
So please don't feel pressured
to, to say
yes if you want to keep
this more private.
And then only our vocal coaches here
at our subsidiaries
will be able to see your video
and not everything else.
Okay.
Anyways, thank you for listening
and for watching.
(45:28):
We'll catch you in the next one.
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