OPEN THROAT Singing Method – How It Really Works – Ken Tamplin Vocal Academy

OPEN THROAT Singing Method – How It Really Works – Ken Tamplin Vocal Academy


Hey, Guys! Welcome back again to Ken Tamplin
Vocal Academy where the proof continues to be in the singing.
I want to talk about open throat technique and at least my experience of what that is
compared to some of the videos that I’ve seen on the internet. And I’ve seen some
interesting stuff and some decent information here and there, but a lot of it is really
textbook stuff… and it’s… I’ve not really seen a practical application of how
open throat technique works. So, the very first thing I want to talk about
is laryngeal positions, which means your larynx, okay? Now, your larynx for guys is your Adam’s
apple, so you have this, you know, voice box; it kind of goes up and down and, you know,
that’s the larynx, it’s in there. And one recent vocal coach, you know, talks about
a lowered laryngeal position and neutral laryngeal position, a raised laryngeal position, and
then kind of compartmentalizes all of this stuff and I want to say that it’s not quite
that simple. And let me explain why: to have someone’s,
I don’t want to use the word “bash” but to say, you know, you don’t want to
have… you know, here’s a lower laryngeal position: AAAAAHHH, here’s a neutral laryngeal
position: AAAAH, Here’s a raised laryngeal position: AAAHHH. Right? So we have these
sort of you know ways of looking at this, that’s not really a good healthy way to
approach this and let me explain what my experience has been and if this could be help to you,
then hopefully this… you’ll benefit from this.
The first thing is is that in Bel Canto bel canto means opera and appoggio, it’s the
old-school style of singing for opera. That’s sort of the gold standard to really understand
how these laryngeal positions work, to make fun of, you know, tenors that have been doing
this a long time, a couple hundred years and make that… you know, mock them in that kind
of way for a lower laryngeal position… oh I don’t know that would be… I don’t
know that I would do that… for lots of reasons… and let me explain why.
I’ve been doing the… grandpa’s been doing this a long time… 35 years. So I’ve
done that. Look me up on IMDB, I’ve got close to a thousand songs or even more, maybe
more than a thousand songs placed in film and TV. Internet Movie Database, just check
it out. Go to my wiki, – you can check out I’ve got over 40 records out and I’ve
written songs with KISS and I’ve done this that than that.
So, you have these vocal coaches that come out and they say this stuff, that’s textbook
stuff, okay? This is really important, and they may even at the end of the video give
you some theatrical thing or whatever but listen to their actual voice and ask yourself
if you really like it and see if they display any students that do this and you really like
the way their students sound. Here’s why that’s important: it took me a long time
to figure this stuff out, this wasn’t something… this isn’t… been in process and by the
way, as we age we also have to learn how to control this over time, it’s not like once
you learn it you’re done, no you have to continue the process.
So, I’ve taken some very prestigious vocal coaches and I’d love to tell you who they
all are and it would sound too braggadocios, so I’m not going to talk about it but what
I am gonna say is this: what I’ve learned, and if this helps you, is that if we first
train with a lower laryngeal position it really helps you understand what open throat technique
is. Now is that the end all? No, but here’s something I want to put it put out there to
you guys is: in the world of appoggio… Bel Canto… opera is that in the early stages
of, let’s say a tenor, and I’m going to talk about guys and we could talk about you
know female vocals: Sopranos, Altos, Contraltos, up etc. in a minute… is that a lower laryngeal
position helps us identify how to keep the throat open first, it doesn’t mean we’re
always going to reside in a lower laryngeal position, in fact, that’s silly. In fact,
the… I’ve heard so many vocal coaches, especially SLS vocal coaches, say you should
always be in a neutral position, how stupid is that? The larynx moves up and down all
the time it doesn’t matter what you’re doing and if you’re at one position in a
scale in a lower register and you start to go up to a mid-voice register that neutralizes,
and as you go higher if you allow the laryngeal position you go up like this you, inhibit
range and lock down the larynx to where you’re not able to go up really high.
And again, guys and gals are different their vocal cords are about half the size of men,
so we have to… I can’t go into all the details of this now, but I’m just talking
about how open throat works. Now what I’ve learned and I hope you’ll
benefit from this, so really listen closely guys this is golden information if you’re
talking to a guy that’s toured for 30-some odd years, not some guy that sits behind a
piano in a climate-controlled studio that’s parroting something from a textbook, look
me up, look at the stuff that I’ve done – I’ll explain this to you: when you train
a lower laryngeal position, you’re able to open up your throat and, you know, what
is it a throat and all this stuff and blah blah blah… your throat is your throat, guys,
go in a mirror, doctor wants to see your tonsils ah-la-ah, just look at the back of the throat.
We want the tongue drop to the base of the jaw first, okay? We want the back of the throat
and this other vocal coach was kind of mocking the uvula approach and soft palate (palette)
approach but that matters, it matters a lot, actually. And it matters even more the higher
up you go, so that uvula rises even higher as you go and the soft pallete rises higher
as you go to create maximum space. If we don’t do that we actually pinch off and choke off
the back of the throat and then we’re straining ourselves to get… instead of having a lot
of good open throat as we go up. This is really important, so what is… what I learned, again
this is just me talking, do what… whatever you want with this information, in the ah
vowel and I’m gonna go through the vowels, all vowels in a second, the [a] vowel is the
biggest vowel that we have and it’s the most difficult to train, that’s why all
vowel sounds stem from it’s the la-ah, will open up that vowel.
There’s something called vocal tract shaping, and hopefully I’ll remember to get to this
in a second, is that in within that ah-vowel if we can train that ah-vowel open first to
keep all this open mechanism in the back… now, what you’re gonna do is you’re goon
go to a mirror. I want you to grab a hand-held mirror and I want you to just simply go “la-ah-ah-aaaAAAaaa”,
and I want you to watch the position of your tongue and you’re gonna see that your tongue
swells up and you start to gag on your tongue, right?
What just trust me on this, go to a mirror or get a hand-held mirror and watch yourself
do this. If you drop the larynx, your voice box down LaaaAAAAAaaa. You’re gonna find
that you can maintain and build muscle memory to hold the larynx down, this is really important.
It’s an anchor, let me say this again, it’s an anchor for your ability to control the
larynx, okay? So, it’s a pillar that you build your voice on.
When we talk about laryngeal positions just because we talk about a lowered laryngeal
position doesn’t mean we always reside in a lower laryngeal position. Okay? Let me say
this again, “we don’t always sing like this!” In fact, I’m gonna insert something
really funny for you, guys. I have an assistant named Bob so, Bob, when you can, if you can
insert… I did a couple of lower laryngeal position songs, one of them is Low Rider,
okay? And we’re going to show this clip in a minute and another one is Johnny Cash
Rings of Fire, and I use a lowered laryngeal position through the whole song, okay, but
I can sing with any position I want. But I’m gonna get back to why this is important in
a second, but we’re gonna play the clip. Bob, if you play the clip now, let’s do
it. Low rider don’t use no gas now
Low rider don’t drive too fast now Take a little trip, take a little trip
Take a little trip with me Take a little trip, take a little trip
Take a little trip and see And low rider don’t drive too fast now
So if you can tell this isn’t just lower larynx position, this a drop larynx position,
kind of like a gospel quartet and country, sort of combined, I’m gonna drop it even
farther on this course here. Ready? Let’s keep going, Nick, here we go:
I fell into a burning Ring of Fire Went down down down
And the flames were getting higher And it burns, burns, burns
The ring of fire The ring of fire
Okay, so like I said, you can see I… there’s a different between a lower larynx position
a la la. Very big difference: one is just a lowering… of taking the pharynx keeping
them flat horizontally straight and taking your whole larynx and lowering it so it’s
a la la, you know, la is lowered, and drop is la, – completely taking the entire larynx
itself and dropping it all the way to the floor.
Okay, we chose a couple little pieces out of that clip to show you a lowered laryngeal
position and why that’s important is it shows that I can maintain a lower laryngeal
position but then how is it possible if I can sing in this position but then sing AAAAAAAAAHHHaaaaaa
and connect the sound and go up really high and release to a neutral position, I never
go to a raised position, a raised position would be this laaaaAAAAA and you’re caught,
okay? Now, I know there’s a lot of pop artists
or, you know, Rihanna and like all these people do… you know, Britney and all these people
do all these raised positions and there are people that can do it and do it well. In fact,
Paul Rodgers does this… “Baby, when I think about you I think about love…” or
Paul Carrack, you know, “Tempted by the fruit of another…” he’s gonna use it
a raised position. But if you notice when they go up “heeEEEY” they open up the
sound and they drop the larynx. So, to say that you’re gonna sing only in
one position and only in this position and only in that position is kind of ludicrous
to me. Again, it’s just Ken Tamplin talking, I’m just trying to give you a good quality
information. Let’s get back to a lowered limit… oh
wait, I was gonna…. Sorry, I was gonna talk about a neutral position. Bob, if you don’t
mind playing the clip, you know, let’s grab Steelheart, for example, where I shift between
a neutral position… I have to drop the larynx as I go through passaggio and then I have
to come back to a neutral position as I go up really high. Check out this clip.
I’m wasting away Forgive me, girl
Lady, won’t you save me? My heart belongs to you
Lady, can you forgive me For all I’ve done to you?
Lady, oh, lady Okay, now, there’s other times you can do
it and use the John Fogerty clip here, Bob, use Fortunate Son, where you sing in a in
a just a slightly lowered position like Wilson Picket which we just did a whole thing here
recently on open throat technique, you know, where I use a lowered position and then I
move it to a neutral position. Check out this Fortunate Son clip:
Some folks are born, made to wave the flag Ooh, they’re red, white and blue
And when the band plays, “Hail To The Chief” Ooh, they point the cannon at you, Lord
It ain’t me, it ain’t me I ain’t no senator’s son, son
It ain’t me, it ain’t me I ain’t no fortunate one, no, no
Okay, why this is important is because when we learn and we train the voice in a lowered
position we can hold down the soundboard of the voice, when we can hold this down then
we can relax it and move it into a neutral position. When we’re in a neutral position
or we try to learn only from neutral position, the default or what most people do is, as
they ascend a scale or passage they go to a raised position and then, all of a sudden,
they get caught in the throat, right? Now there are great artists that do this, like
I said, I talked about you know Paul Rodgers, Glenn Hughes is like… he’s got this great,
you know, sort of thrill thing, Sam and Dave, – we just talked about this in another video.
Well, this becomes more of a stylistic thing because I’ve heard Glenn do this without
having to raise the position but what we do is, again, – first, we train first the lower
laryngeal position, once we’ve mastered that and we get the feeling of it… what…
I’m gonna back up, sorry, a lot of information. In bel canto when kids are being raised to
understand how to sing with these different laryngeal positions they cannot touch an aria,
which is the musical piece of Italian, for four years, I want you to think about this:
for four years they train vowels in different laryngeal positions, think about that, kay?
What I did was develop something that showed that if you train a lowered position first
and you maintain that lowered position to where you understand when you relax the position
to a neutral position and if you want to raise it to an upper, you know, to a raised learned
your position then all of a sudden you’re… you have total command, total control of this
and you can get there a lot quicker, you don’t have to do it in four years you can do it
in six months, okay? Straight up. If you do it every day, about an hour… hour and a
half a day five days a week and start, sorry, for those who didn’t want to take the quick
pill and get it you know do it faster than that it ain’y gonna happen that way because
we’re at the gym and we’re working out and this is what we have to do.
Now, we want to use these different positions all throughout the spectrum of the voice but
there’s two elements that are missing… big ones the first one is is remember I just
said that all vowel sounds stem from it’s the LA-ah and it was a real open sound, well
guess what? When I go ah eh ei and I spread the pharynx which is just the mouth, right?
When I spread the pharynx all of a sudden the sound closes down. So if I haven’t trained
a lowered laryngeal position first I have no way of really identifying how that really
feels in the throat when the throat itself closes down as the pharynx is spread. This
is really important. Why? Because we don’t sing only one vowel [a] and we sing many different
vowels through the spectrum of the voice and as we go through raising the… going up in
range, up and down in range we find that we have to change this laryngeal positon and
also there’s another huge element to this which our glottal stops are things that close
down the back of the throat. Now, what do I mean by that? I mean that we
want to reside in something called Contiguous Phrase Singing. Continuous Phrase Singing
is that we want to keep that vowel open as long as we can without closing it down with
consonants. Well, it turns out to be this is extremely important because every time
you close a consonant down it closes off the back of the throat it wants to shoot air up
into the velar nasal port, by the way, fancy terms for all the stupid stuff, not stupid
but I try to keep things so simple I don’t love complicating stuff and you find yourself
using technical terms you hope people will understand… going into the nose and so as
it goes into the nose then the throat is going, “Hey, hey man what’s wrong with you? Do
you want this to come out of the mouth or you want this to come out of the nose? Could
you make up your mind here?” or both, right? So, what we want to do contiguous phrase singing
is we want to have the sound over… in fact, Steve Perry and Sam Cooke, I just did a vocal
demonstration on this and I’m not sure when I’m gonna air all this stuff but if you
listen to A Change Is Gonna Come from by Sam Cooke and he goes “I was born by the river…”
I didn’t go “I was born_by_the_river…” Because every time I close down a consonant
sound I have to re-open the throat and then get back to that placement that I had depending
on where I am in the range. Well, man, if you think that’s tough and you think that
you’re gonna only reside in a neutral position or raised laryngeal position or lowered positon
you’ve got another thing coming. Now again, I’m gonna say this again: check
out whomever you get your information from, do they sing great not just sing, do they
sing great? Like do you want to sound like them? And do they display students that sing
great? This is so important because I could sit there and then I could be some guy that
gets on the internet, reads all kinds of technical stuff and… and regurgitate this stuff to
you or I could put my heart on a sleeve and put my heart on the line and actually demonstrate
and show you. This is very very important. So as we go up and down a scale if we only
train a neutral position, a neutral laryngeal position, as we ascend there’s a 95… doing
this for 35 years… 95% of the people I’ve trained default to a raised position, so aaaaAAAAAAHHH
and they’ll get caught and in a raised position If you train a lower position first, this
is old-school bel canto, guys, you train in a lower position first and then you relax
to a neutral position and you understand the soundboard, how to move that soundboard first
by anchoring it to a lowered position, it doesn’t mean you’re sentencing yourself
to sing in a lower position all the time it just means you understand it. SINGING CLIPS 18:53-26:18
I would wrap you in the Heavens ’til I’m dyin’ on the way
Feel like makin’ Feel like makin’ love
Feel like makin’ love Feel like makin’ love
~~~ My baby moves at midnight
Goes right on till the dawn My woman takes me higher
My woman keeps me warm What you doin’ on your back yeah
What you doin’ on your back yeah You should be dancing, yeah
Dancing, yeah ~~~ I find I spend my time
Waiting on your call, How can I tell you, babe
My back’s against the wall I need you by my side
To tell me it’s alright, ‘Cos I don’t think I can take anymore
Is this love that I’m feeling, Is this the love, that I’ve been searching
for Is this love or I’m dreaming,
This must be love, ‘Cos it’s really got a hold on me,
It’s got a hold on me, baby… ~~~~ In a town without a name, in a heavy downpour
Thought he passed his own shadow, by the backstage door
Like a trip through the past, to that day in the rain
And that one guitar made his whole life change Now he needs to keep rockin’
He’s never gonna stop Gotta keep on rockin’
That boy has got to stay on top And be a juke box hero, got stars in his eyes
He’s a juke box hero, got stars in his eyes Yeah, juke box hero, got stars in his eyes
With that one guitar he’ll come alive Come alive tonight
~~~~ I know that I must do what’s right
Sure as Kilimanjaro rises like Olympus above the Serengeti
I seek to cure what’s deep inside Frightened of this thing that I’ve become
It’s gonna take a lot to drag me away from you
There’s nothing that a hundred men or more could ever do
I bless the rains down in Africa Gonna take some time to do those things we
never had ~~~~ Here I am, baby, come and take me
Here I am, baby, come and take me Take me by the hand
And show me Here I am, baby, yeah
When I’m down I can always count on you For a helpin’ hand
I know you’ll do the best you can But it don’t take much for me, no
Before my cup runs over, babe All this love’s inside of me
I believe there’s going to be an explosion, babe
You can talk to me, oh babe I can do, no hurry
Won’t you tell me all your troubles, darling You won’t ever have to worry now, no
There’s just one more thing You just can’t trust everybody
Everybody you see You’ll find yourself lost and alone
On a darkened street On a darkened street
Here I am, baby, come and take me Here I am, baby, come and take me
~~~ When I hold her in my arms,
You know she sets my soul on fire. Oooh, when my baby kisses me,
My heart becomes filled with desire. When she wraps her lovin’ arms around me,
About moves me out of my mind. Yeah, when my baby kisses me,
Chills run up and down my spine. My baby, she’s alright,
My baby, she’s clean out-of-sight. Don’t you know that she is … she’s some
kind of wonderful. ~~~ Free on my own, that’s the way I used to be
But since I met you baby, love’s got a hold on me (Fooled around and fell in love) whoo, it’s
got a hold on me now, yeah (Fooled around and fell in love) it’s got
a hold on me now (Fooled around and fell in love) I can’t stop
loving you, baby (Fooled around and fell in love) yeah
~~~ Dream on, dream on
Dream on, dream on Dream on, dream on
Dream on As you’ve seen some of these different positions
you see that this can be done in all kinds of different ways. Now, here’s where this
gets lingually interesting: we talked about the vowels themselves, with the vowels If
you go to an [i], [i] is the most pharyngeally spread vowel that we have “eeeeEEEEE e e
e”, all of a sudden, larynx goes up, right? But if you’ve trained a lowered laryngeal
position “eeeeeEEEEeeeeEEE”. I can actually maintain the “a” vowel or a different
vowel modification to hold it at bay, so then I don’t get caught in the throat.
Anyway guys, I can go on and on and on about this. I have a singing course called How To
Sing Better Than Anyone Else I cover all of this in the course. If you guys want to check
it out, – cool. Hopefully, this information is beneficial to you and I’m sure we’ll
talk a lot more about this in future sessions, so thank you for joining me, Ken Tamplin Vocal
Academy where the proof is in the singing. Peace. Out.
Hey guys, if you like what you heard, please, like and subscribe to my channel and if you
want to get notified when I have a new cool video come out you need to go to my channel
and click on this little bell icon and it will actually notify you every time I have
a video come out. Thanks, guys!

100 Replies to “OPEN THROAT Singing Method – How It Really Works – Ken Tamplin Vocal Academy”

  1. And there he is, Ken Tamplin himself, obliterating all other vocal coaches. It kinda makes me chuckle when other vocal coaches on YouTube (with all due respect which they certainly deserve) just do a 3 minutes long video with a few of scales on a piano, and basically say "there, that's it, now you can sing." While Ken gives you 30 minutes of vocal wisdom for free, and still doesn't forget to stress that you can't learn to sing over night. We are blessed to have you, Ken!

  2. Sir should I push the larynx down while practising…?
    But after practice my voice becomes tired and thin
    Please help..
    Not in a position to buy your course…
    Love your classes
    Best in world…

  3. Кен величайший преподаватель!!! И даже если к нему прийдёт корова,то через пару занятий,она вместо МУУУУ запоёт бельканто! Это талант!!!

  4. I love to watch and hear you sing…I always go hoarse early and feel my throat strained..I definitely need to learn your techniques…thanks for your time

  5. your are the best thanks for giving us free and training here above all your tutorial videos contains the right teachings, I love it and I love to be here I can't get tired of being here.here is my latest song which I did just one week old now after some short training with you above all due to your training I got a huge change in my vocal. https://thegmp.biz/music/1850/2817/bro charles agit icingi

  6. Thanks for explaining this clearly , at least now I understand what OPT is about. I am trying Mathilda Marchesi exercises and going through The behemoth of bel canto confusion on the internet. It’s unbelievable the extent of scattered information and the contradictions in some parts. Maybe because as I understand it is an approach that teachers across the past century each carried a certain method to teach and mentor their students.Great video as always thank you.

  7. I remember the band Shout I had both Cassette tapes. 😇 I’m glad ken is sharing his wisdom of vocals with anyone who is willing to invest the time and effort to learn to sing and improve for the singers who have been singing for awhile.

  8. Question Can I train my singing while Im driving my car? Or do need to be standing up? I spend a LOT of time driving and if possible this would be the best time if its suitable. Please advise

  9. There's some dude on YouTube that says open throat isn't needed to sing and people who teach it is wrong lol. What an idiot. Love you, Ken.

  10. The lowered larynx pass sounded normal and balanced, just good singing! BTW appreciate that you say dropped as opposed to pulled, which would end up choking the sound

  11. at about 15:22, technical question: in terms of space behind the tongue only, doesn't 'ee' win that contest? And in terms of naturally lowering the larynx, doesn't 'oo' do that automatically? Is 'ah' then the intersection of both (back space & larynx posture)?

  12. I really want to sing like I really to learn how to mix voice while singing worship songs of God .God bless u I really like teachings and have tried to do what u said like have found my self with high note

  13. Hi Ken! Regards from Spain. I found your channel while searching for covers of Dio. I’m not actually interested in singing but I’m addicted to your videos and your charismatic way of speaking, teaching and of course singing!! Thanks!!

  14. I watch it last week , That thing I like it about YOUTUBE shows us amazing people who really lead others which their knowledge ❤️❤️❤️🌸🌸🌺

  15. hi ken. i’ve a request for singers for you to talk about: PJ HARVEY!* please!
    also & björk & liz fraser & beth gibbons 😀
    *(searching her name + yours directed me here. which i’ve seen before but am glad to again. )

    glad you talked about jim morrison a bit
    i’m still left wanting more!
    thanks to these analytical response vids i now study singers on my own, when watching them rather than just listening to recordings i def am getting the hang of getting the hang of recognizing what’s going on, seeing how they shape their mouth and face and stuff etc

    love how these longer vids are… w your demonstrations w specific explanations
    singing a list of singers/songs both what and how and how not and what is the difference…
    my favs of yours
    – maybe means it’s time to upgrade to your paid program?…

    also the tip about changing a vowel sound is a great one!

    thanks again for existing:) xo

  16. I wonder if Tina Turner had good open throat technique. Could you do a video on her singing "Help" (qknG6GwfPD0), please?

  17. Your videos are amazing. I understand the concept of all of this and I can sing properly sometimes but for some reason, I always seem to revert back to my bad habits of my larynx going back to a raised position and I end up straining myself. To be fair though, I don't practice enough

  18. So if I use the open throat technique will I half practice vowels without consonance? Or will the muscle memory prevent or help prevent throat closure with proper vocal exercises?

  19. Love that you always talk about if the vocal coach can demonstrate and if their students can. I've looked up vocal stuff on youtube before and always…disliked…the vocal coach's singing. Finally found your channel and you're my go to now. I just found you yesterday and I totally trust your techniques 100%. Seriously thank you for what you do!

  20. I love this channel. I am Brazilian, do these tips work for singing in Portuguese? The Portuguese language as Italian, Spanish, French are languages originating from Latin. We have no stop without a voice because all our stops occur in the vowel and not in the consonant as in the case of English. We don't use the soft palate to speak, we project sound into a region of the body called mediastinal space. Famous singers from Brazil always say that it is easier to sing in English than in Portuguese. Really?

  21. I'm sure it's just because I can't retain information well but the only thing I've learned is what I'm supposed to do but I still don't understand how to do it

  22. I love the way you're explaining the details with an energy of 'Im so tired of these fake coaches teahcing them the wrong stuff' 😂
    Amazing, love your passion.
    And those are some crazy achievements as a writer and singer!!!

  23. When I hear sing from here or there might as well tell me to make my liver move or wiggle my spleen. I can’t even trill my tongue.

  24. THIS IS PROOF KEN TAMPLIN'S VOCAL COACHING WORKS: I LITERALLY WENT FROM NOT KNOWING HOW TO SING TO THIS IN ONLY 1 YEAR: Watch ""iL Padrino" Song By LeoJay" on YouTube
    https://youtu.be/onfnerRFt0o

  25. I noticed your tongue nearly come out of your mouth, I don’t know if that’s just you or if that’s the proper positioning result. If you have a video explaining this I would appreciate a link, thank you ❤️

  26. I wish you could coach me personally…you are an amazing vocalist and vocal coach! 🙌🖤🔥 I love singing, and I know I have potential, yet I need LOTS of training to tap into my real potential.

  27. I felt so blessed to have found your channel and the way you explain about how these vocal techniques works, how to use them properly, and these vocal exercises for em. Thank you so much! I’ve learned something from you♥️

  28. That was massive! I had a couple of years of college voice, sang for a couple of decades, and didn't hear 98% of what you just went over, let alone what you demonstrated. What a dedicated, kind heart you have.

  29. Well, I’m just gobsmacked. For a long time I thought good singing was all based on breathing from the diaphragm and keeping the throat open. I have no idea how to tell whether my pharynx and larynx are up, down, or sideways. I’m considered an excellent singer but I know I could do better! We all want to expand our range. And developing stamina and relieving throat tension is also important. I have much to learn!

  30. In 1975 I was 7 years old and watched Jesus Christ superstar the movie for the first time which got me interested in music, I couldn’t get it out of my head but never watched it again until I was much older because it’s not like we had video recorders or DVD players yet but by the time I was 10 a much older cousin gave me the original record of Jesus Christ superstar with Ian Gillan and it blew my mind. Since 10 years old I started singing and writing music until I was 34 then completely stopped because of a song I couldn’t get to record the way I heard it in my head, plus my first daughter was born, it also frustrated me I must have recorded it 50 times but it was still not working out. I recently got the itch to get back into music but now I’m 52 and a bit rusty in the vocals even though I can still hit very low and very high notes I’ve been struggling because I keep blowing out my vocals in about half an hour because I guess I’ve always done things wrong. I’ve been listening to allot of vocal coaches but they are not doing it for me until today which I found this channel.

    I must say not only are you an amazing vocal coach like I’ve never heard before, your theory is outstanding but I also absolutely love your vocals and you have amazing feel something I have lost. You are so right about others, what do they sound like and what do their students sound like and I can tell you they sound nothing like you. Why aren’t you the most famous singer the world has ever heard? I watched one of your videos where near the end you show a little of child in time where you do the third scream perfect, do you have a longer video? I’ve never been able to do the third scream without coughing my lungs out. Anyway I will be checking out all your stuff because after listening to you I’ve realised I’ve been doing everything wrong and I’m sure you will help me a lot but I still need to work on getting the feel back for music because without that it doesn’t matter how good your vocals are it just won’t work.

    Thank you so much for your work you are truely amazing and a great vocalist also your phrasing and the feel you put into the vocals is inspiring.

  31. Looking down my own thrat is weird. Im getting a little frustrated that the back fleshy bits force them selves closed when i go a bit higher.

  32. This is beyond my comprehension but I really enjoy it, I came here because I felt suffocated, or maybe can't hear my voice

  33. Ken I LOVE YOU I ABSOLUTELY LOVE YOU 😂😂😂😂

    Your videos are not only super inspiring and VERY ON POINT but freaking Hilarious 😂 you speak the truth though the absolute TRUTH about these things

  34. OK so when you hit that high note at 12:00 I actually said, “Lawd, Jesus!” 😀🤡 I love how you mention in your videos the great ‘ol school singers like Sam Cooke (his influence on Steve Perry) and “wicked Wilson Picket.” I am so glad that you actually have the skill and discipline to actually show us vocally what to do (and the technical terms) as well as your emphasis that vocal improvement is not an ‘overnight’ thing.

  35. Man! Blows my mind you can sound EXACT and so VERSATILE!! Great, and now I get what so many things I have been doing wrong positionally Anyway, am not a man, but still am getting so much out of this! Wow!!

  36. Thank you Sir. I most certainly cannot afford you as a vocal coach, but I most certainly appreciate your free YouTube videos. Thank your time and effort for us..

  37. A Legend!!… I listened to him in the 90's but kinda lost track.  I thought Tamplin had fallen off the face of the earth.  Come to find out he never stopped singing.  I just stopped listening.  My loss… Here I found him teaching a vocal ACADEMY!!

  38. Ken, do you feel throat restriction when singing the i (like in “in”), ee, or uu vowels in your upper chest register? Everything feels great for me until I reach E4-F#4 when singing those vowels. I was wondering if this is just me or if it’s a common thing that you have to get past as a singer.

  39. I love to sing so much. But I'm scared of my own voice. I'd be happy if I could just sing around the house or in my car or in the shower like a boss.

  40. I've always wanted to have a really clear voice when singing but only really realised it now that 1) I'm super breathy 2) I'm putting a lot of strain to get to the higher ranges. This was super useful! It got a little confusing at times since I wasn't aware of lots of the terminology but I could still follow through. I have a question though: I've also noticed that I have the tendency of going flat. What would you say is the best way to rectify this besides by keeping a keyboard nearby (which , I've noticed, a lot of other vocal coaches online say to do)?

  41. I like this video! I sing quite low for a girl,, I didn't no it was actually called open throat!! How obvious 😂 I'm so stupid !! Xx

  42. This is gold.

    This is one of the first times I find someone on the Internet actually spreading good and sensible informations for free without being a jerk and without being the typical mama's kiddo who is just copy-pasting things he doesn't understand and had taken from wherever.

    During my life I had to follow courses of studies, I had to search infos from hundreds of books, hundreds of academic papers, tens of teachers and professionists (from various different styles) and even from a few phoniatrists in order to achieve SOME comprehension of singing voice and I usually get upset at certain internet coaches because they are either just showing off some good natural voice and/or they are teaching either incorrect or incomplete things (or maybe they distort good informations into crap, ThisIsOpera style).

    You are on a completely different level.

  43. Hey Ted, (first 3 minutes of this video) I knew you were a badass master of singing but I wasn`t aware of your resume and experience, you are a BALLER dude #Respèct!!! Ok I will continue with the video now.

  44. Ken, I am so afraid of losing my voice forever I want to know how to get it back. I can't hit high notes anymore not even a single one I can't able to do it anymore. Do you have any tips to get my voice back? How do I heal it?

    My little brother always pisses me off & I can't stop screaming or yelling at him cause he annoys me everytime, and it's stressing me out. Please help me ken. Thanks in advance!

    Sincerely, Jeffrey Woods.

  45. One thing I noticed yesterday in the studio in producing our next song for an upcoming video game (it's going to be killer) is that when I envision myself racing under water I can hold my notes longer. As a lead singer and athlete I use that old visionary goal setting. Ken I wonder what you think of this? Thank you as usual for your awesome singing instruction for rockers like me!

  46. Master Ken…. lots of development from me since I am watching your videos for just two weeks… I was so shock to reach the tone of Bed of Roses by Bon Jovi!

  47. Ken is highly talented. I will love to meet with him face to face so he can train my voice. How can I get in touch with this talented coach and singer?

  48. Amazing video and the knowledge is lit as always.. I have a suggestion that why don't you react to bollywood singers?? You'll be amazed with a different culture of music, and I really want to know how you'll connect it with your vocabulary because most of Indian singers Don't have Western music coaching rather Indian classical . It's a humble request. I know you'll not let me down. I really wanna know what you think about it.

  49. Question, when I was about eight years old my parent following the advice of my pediatrician had my tonsils removed. I guess it was suppose to help me keep from getting sick or something anyway the question is does the lack of having said tonsils limit any vocal ranges I could possibly achieve?

  50. WOW, WOW, WOWWWWW!!!!!! I can’t get over how you break down all this info!!! I can’t wait until I finally get to be your student! None of the “coaches” I have ever tried to get any education from have ever shown a pinch of the visuals you show with your own body! None of them ever even gave such a simple tip as looking at your own throat on a handheld mirror!!!! You’re the best Ken! You get rid of all the unnecessary complications!!!! A true teacher/pedagogue (like you) is the one who makes even the most complicated concept so simple to understand!!!!!

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