Hi, my name is Sam Johnson, and I am a voice teacher. I'm going to be reacting to and analyzing
Steven Murgatroyd singing My Heart Will Go On. This is a fan submitted video
I've never heard this man sing before so I'm just going to go into it
How I would treat a new student who was just coming in to me and this is the first thing that I heard from them
I don't have any idea what skill level they're at. So this will be a fun experiment.
Tough choice
Good so right now you're at least getting up into your head voice a little bit the pitches off a little bit but at this
stage I don't really care about pitch when I'm evaluating someone. My main goal is to find out why it's going like this
So what I'm hearing is that he's going up the octave
It's a little bit breathy, but that's actually making it a consistent sound whatever he's doing. It is pretty consistent
I think that the next step would be try to find a little bit more
cord closure in it oftentimes
That's a way to find a little bit more control and you'll have a little bit more of a visceral feeling
Because if you feel that it's buzzing. It's a lot easier to place whatever you're hearing with what you feel
Good so on distance he kinda pulled back his tongue: "Distoonce, distahnce"
Even I
Still made it up to the note that time kind of but because my tongue was all the way back it was hard for it
To tune up all the way
So I think that just getting the tongue out of the way rather than disto..
Rather than having that pull out is gonna be a really nice way to tune that one up because he did start that phrase on
Pitch even though the last one wasn't quite this one was on pitch he's able to do this
It's just he needs to figure out what is making some of these pitch issues happen
And I think that the tongue is one of those things
Good so with that one it just dropped off at the end
So I- it's mostly holding on to the phrase holding on to the feeling that you have for the rest of the phrase
Until the end of the phrase a lot of times people kind of let go and that's when the pitch might change or we'll lose
The tonal color that was working before
So just make sure that you're holding on through the end of phrases and that when you cut off it goes from beautiful tone
Beautiful tone to nothing rather than beautiful tone to let go and then some things weird is happening and then nothing
Just cut it off when you need to cut it off
That's at that time he allowed a little bit more cord closure to happen as he went up to that high note,
and that was a B! That was a pretty high note, and he was mostly on pitch with that as he started coming back down
He didn't hold on to that same level of connection and it kind of got breathy and that changed the pitch
So it started losing the pitch as he started going down
So when you go up to that high note
Hold on to that feeling let it kind of move back down into your chest as you're going down
Rather than just like staying stuck up here
You obviously asked for a more clear sound up at the top
Rather than some of the other times where you were asking for more of a breathy sound
we just need to ask for that clear sound to continue as you come back down that will help your pitch because it will be
Consistent vocal cord closure rather than a lot of it up at the top and then something that's imbalanced as you start going lower
See like with that one on go he started it. "Go...."
And it was fine and then as he wanted to go down to "Oooon"
He didn't let that feeling move back down into his chest
Whatever was working for the top one worked for the top one
But the lower note he tried to treat it like the top one rather than letting the feeling move down a little bit
Pretty good
Yeah that time
It was a little bit better as he came back down because he still have that clear
Forward sound up at the top
But as he went down
He didn't let go it didn't get breathy like the time before and it was more in tune than the time before
another thing that I think will help tune to that B a little bit faster is instead of going "AAA.."
Relaxing everything a little bit more. "You oooh-"
versus "You AAA-."
Just because that sound is a little bit more brash and it doesn't
Connect with the rest of the sounds that he was making in the phrase
Yeah, it's just it's he's he's so stuck in head voice for a lot of this or in falsetto
Whatever you want to call it because it is a little bit breathier
There were some times where he was allowing it to move back into his chest a little bit more
But if you're stuck up there if you don't have very much cord closure
It's gonna be really hard to tune low notes. One thing that I think might be nice is practicing this song an octave lower
Just to get used to what it feels like to make those sounds a little bit bigger
Then when you come back up to this high one
You will have had that practice
going into your chest voice because almost all of its going to be in that lower more connected place and then you'll be able to
Hold on to that and not like gets stuck up in your head for all of it. So that's a big thing
And then the other one is just tongue so many exercises to release your tongue
One of them that's really good is just sticking it out as far as you can because then it kind of stretches out the base
So just stick it out and try to touch your chin
Mmm, I feel so good and then your nose
And the left, uh, and I needed to do this I'm really tense, and then the other way
And then around
And then try to brush your teeth with it
Doing that is a nice thing to kind of just be aware of what's going on at the root of your tongue, another thing
That's nice is trying to stick out your tongue, hold it with your teeth and just hum through it like
"Mm-mm-mm". That way you'll know what it feels like to sing without your tongue flexing like this because it's gonna be occupied by being stuck
Out rather than flexing and pulling back
That time he was able to tune to it
But it became breathy because he wasn't letting more cord closure come in the way that I would suggest
Starting to add in a little bit more of that cord closure is just doing squeaky hum
Exercises what that does is it brings your cords gently together
Because it makes it so that you're doing it on every onset the exact same
if we were doing "Mm mm m m mm mm"
every one of those notes sounds pretty similar because my focus is on how I'm starting them with the same little squeaky "m-m" type
Sound not breathy like "hhhhmm hhhhmm"
not completely closed off like "MM MM..
MM", but just a little bit of squeakiness like you were imitating a squeaky or a creaky door like *imitates a squeaking door*
That little sound just brings the cords together gently
I also like it because you tend to feel the sound a lot more in your lips
And that's an easier way to start matching pitch a little bit more
So the first step if he's gonna start doing it if he's gonna continue
singing it
This high is just sing it on that squeaky hum to get used to what it feels like to have
Your cords together as you go higher as you get used to that
Start opening it into different sounds and seeing if you can maintain that
Feeling that you get when you do it on this week because if you're doing it on the squeak and it's doing it well
Whatever you feel like, that's correct
And then we just need to keep opening it up and holding onto that feeling as well as you can
See that time he held on to it
He didn't have it flipped like the time before
"Love is when.."
And it was so much easier to tune to it because it's on this E and the E is kind of one of the point
It's on your bridge
so if you start bringing
the head voice down
Lower than E that's when it's gonna start dropping out a little bit more
what he did then is he held on to chest voice
It was a little bit higher chest voice, but that's at least a start
You just need to start getting more used to that feeling of holding onto cord closure
So in that phrase it started with his tongue a little back
"In my life-" and then when he went to the M it came forward it tuned up
And then he lets go again rather than mixing him together
Yeah, just hold on as you come back down
you started it right so he started with a "Near, far.."
"Neeaar, Faahr"
a little bit more closed or a little bit more cord closure and connected and then when he went up he stayed connected but
When he came back down he let go so come back to where he started the way that he started that phrase was fine
It didn't really start getting completely off until halfway through. Again though, I don't really care about pitch at this point
I'm just hearing for why this is happening
As soon as you start fixing some of these types of things a lot of the issues with pitch will go away
Sometimes people's pitch issues are because they're concerned so much with being on pitch
That they don't let their body work in new ways. And then they never figure out different ways to be on pitch
So it's like trying hard in that way limits your progression
I think that just stop judging what you hear and just start asking for these feelings to remain consistent across your range
And then the pitch issues to kind of take care of yourself the more that you just spend time making sounds throughout your range
Pretty good, that's the easiest it sounded so far
Good. So that time it started "Ooon-" and then it dropped back
"Oo-oahn", and that's when it went a little bit flat how he started it
He just needs to hold on to that feeling
"Oonce" vs ""Oo-ahnce
Nice
Yeah that time when he went he actually did the line before a little bit narrower
"You're here in my heart ANd-" and then when he went to and
Everything fell apart and that's why the vowel sounds like it doesn't fit with the rest of it if you went
"aand you're here in my heaart aaand"
A little more "heaaart and" rather than "Heart AAAANNd"
Then it would sound like it fits with the phrase more he didn't do it and so it pops out of the texture
As he ended the phrase that sounded like he was running out of breath a little bit and collapsing onto it
rather than learning how to keep an even airflow.
With stuff like that It will help significantly when he starts adding in
a little bit more cord closure all the way through his range
because if what happens if
you are going from a place of high or moderate cord closure to a place where there's not very much in the same phrase is
You just start losing breath all the way through and so you won't have enough in the tank to finish a full phrase
Just figure out how to monitor how much cord closure first and it takes care of almost all of these problems
See it started a little bit tense because he was preparing for the note
You could see okay here, it's coming up and then he came in a little tense and then he relaxed into it
It actually tuned throughout the note
So just figure out what it feels like once he tuned
Start there and then through repetition you get to know what it feels like to start in tune
And then as you went back up, it kind of went out again, but you have to take it note by note
That's not bad
Yeah, he had some parts that we're coming back in it's just inconsistent so find the things that are good
Hold on to that feeling start getting rid of the things where it falls apart
Another thing is as he started moving his head a little bit more forward it seemed to tune
I'm not sure if that was a thing
but just make sure that you're not hunching over or having like
interesting neck positions just as
Easy and relaxed as you can get all of this that generally helps the active singing which will in turn give you more reliable pitch
Then he let go again.
And then he connected really big.
I would actually start by using that "Ehr-Ehr-Ehr" (ie the 1st E in forever) quite a bit because it feels that's an easy one to feel
what it was like to hold on because if you go
'eeeehrEEEEHreeeehr...'
It's connected it has a lot of ring like what he's doing it at the top "for-EE..."
He's actually doing a lot of things really well with that
The problem is when he starts adding in these words it like goes off
So he needs to figure out what it feels like to hold on to that and change around vowels
That's gonna be a big thing, but don't focus on the things that are like not working well
Focus on the things that are tuning well that do feel good and then see if we can hold on and make the whole song
Like that before we start adding in different styles
And then when he went back down it just started grabbing him the tongue again, so "Safe in my hear-" Hear-, hear-
That's where it grabbed it was actually okay at the top
It seems like his tongue tension is kind of coupled with the feeling of chest voice
So I think doing some other exercises to kind of D couple that would be a nice step just so that he could feel this
this presence in his chest without having this tongue tension behind it.
Then he's stuck in chest and it wasn't moving back up
So it becomes a little bit flat because he wasn't letting it move back up into his head the way that he had some previous times
He's able to tune, he can tune.
It's just sometimes it's a guess,
sometimes it's a guess for where how to make the muscles and the breath and the vowel all work together to
make the tune a little bit more accurate and because it's a guess some of those times he starts
changing things and then it makes it harder rather than just spending enough time on a
Uniform sound that you know what it feels like all the way through your voice and you know, like oh, yeah
I can make this sound here
I can make it here and here and here and here and it all feels pretty similar and then using that unifying thread to tie his voice together,
because right now what's happening is sometimes it's working, but it's completely on accident
so if he can just
Find those times that it's working, even if it's on accident hold on to that and then it will start
Influencing the way that he's singing everything else. So I don't think that there that he's completely hopeless
it
sounds like he loves it and that he's willing to work and I think that the most important thing is gonna be focusing on what
It feels like when it works
it'll be good to have someone who he trusts and who isn't gonna be a bully help him by listening to those times and
Telling him, "Yeah, that's the one. That's the time that it worked really well,
"What did that feel like?" and just make sure that you're aware of that and then start
exploring his voice around but still living in that land of pretty good configuration rather than
Losing it all the time
once you're aware of
What it feels like when it's good and what it feels like when it's not as good. You can just start telling yourself
Oh that felt good
That was probably it or that felt like what it's like when I'm singing well and that just hold onto the feeling
Because it's hard for us to just micromanage all of these muscles, especially when we're just learning
It's a lot easier to just focus on feelings and sensations and just maintaining that throughout a range.
Thank you for watching
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There's a link in my description as well as a link to my patreon and my Instagram. Have a good day
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