Miami Vocal Coach | Head Voice and Falsetto
I am a Miami vocal coach and I thought this would be a great opportunity to share with you guys some tips on healthy falsetto and head voice usage because I have to use that register a lot in this song. And um, instead of using scales or using like nursery rhyme stuff, I thought it would be cool if you watch me apply to an actual song in real time and I’ll share those tips with you so you can start using it.
Like today, before we get into the nitty gritty of the techniques, let’s start talking about the difference between head voice and falsetto. I actually hate talking about this part because it gets pretty confusing. There is a difference, particularly as it pertains to core closure or vocal full closure. When a Miami vocal coach starts talking about that with the average singer, it becomes just confusing and kind of pointless, so I’d rather focus on what it means. More practical terms for one, falsetto is weak and is detached and you can’t get dynamic range with it, which is why a lot of times when you’re using falsetto, you feel stuck, you feel trapped, you feel like it’s weak,
I’m Ariana Grande’s super popular right now and I have a lot of female vocalist and some male vocalist who want to sing her songs like and they can’t get any.
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Head voice has dynamic range. I can get loud with it. There’s a range dynamically. That’s really all there is to it. Head voice gives you dynamic range and depth of sound and also connects to chest voice via the mixed voice or von [inaudible] Passaggio or whatever term you want to use. Whereas falsetto is detached and it’s kind of wimpy and weak. So really, um, this lesson will be more about how to really tap into head voice. No, I know that a lot of people want the, what I call the Ariana Grande they had with the Marrakesh, with the. I get that. And at the end of the video I’m going to explain how to get that sound healthily, but right now I want to give you three tips for finding power in your head. Voice clarity for the sake of vocal health. So tip number one is to find your head voice through your chest voice. Like I said, authentic head voice can transition from this voice on up. So it sounds like one continuous line to a Miami vocal coach. I probably looked crazy person and make a lot of weird faces when I say, oh, you want to connect seamlessly from the bottom to the top. If you get a, Oh, that’s, you’re disconnecting. And I don’t want to be confusing technically. That could even still be head voice, but basically a sure fire way to find a stronger sound or a more stronger. I don’t even necessarily mean loud, but a more solid kind of reliable tone is to find it by going from chest voice.
It’s a head voice with a blend if you having difficulty doing that, you can use a trill, and that could help you to find that connection and you can blend. If you can find it through there, then eventually you can go right to it. So if I can in chest voice, so I blended and now
I can jump right to head voice with a Miami vocal coach. I know where it is. Okay. And I’m just throwing out like I’m just Kinda splatting out sound right now. It doesn’t necessarily have to sound that Abrasive, but um, we’ll talk about playing with it in the second. Tip number two carries on from the understanding that you know how to find your true head voice so you know how to connect it from chest. Again, it might take a little practice, so don’t feel vexed. If, if it doesn’t come effortlessly, it might take time and that’s okay. But once you’ve got that, tip number two, I’m actually could still be an appliance, a tip number one, and that is don’t aspirate your tone. A lot of times when I hear people try to aim for a head for us, even if our subtle note, they try to breathe it out there again, there are healthy ways to do breathy. That’s not it for a Miami vocal coach. So you want to go right to the vowel instead of
go right to the vowel. It doesn’t mean you have to bash your throat. It doesn’t mean people start pinching and stuff. No. If you drop your jaw, ah, ah, you’re just speaking in or an o or o, o, p, e, whatever the vowel is, just go to the vowel. Um,
Or whatever. Instead of. I know it can be misleading because some of your favorite singers, they might totally sound like they’re. And you’re like, oh, well I want to do that, but trust me, the ones who could do it lie. There’s a core. There is a core. An example I give when celine dion came out with my heart will go on. That’s a tannic song that they played so many times. I wanted to like destroy every radio around. Um, a lot of, a lot of female vocals would try to sing it and they will do a, um, a
And it was just weak and powerless. It’s not because they didn’t have talent. It’s not because they didn’t have a good voice. But what they didn’t realize Selena was giving it core.
No, not celine dion, but you get the approach is different with a Miami vocal coach.
There’s this core there. How much cord you add is up to you as an artist in your skill level, but there’s got to be some kind of a core there to give the tone, body. Otherwise the tone, what kind of evaporates into nothing and you’re going wear your voice out. You’re not going to have control. You’re going to feel like you’re weak. You can’t. You can’t go back and forth between chest voice and head voice, especially on songs that require you to, um, move from
chest voice and up into the chest and then back up in there
if you have to keep going back and forth and you don’t have a core, you’re going to be more like, it’s going to be really yodlee and not in a good way. Okay. Yeah, there’s good yodeling for a Miami vocal coach. He’ll, yeah. Anyway, we have tip number three. Tip number three is about what I call head voice belting. And you’ll hear me use that a lot. Um, it’s that kind of. It’s used a lot in gospel singing is even using classical singing to a degree depending on what kind of things being done. Um, it’s used in rock and that is like that kind of singing. And we utilize what we call the witches voice.
the hard part with this technique is that, um, the temptation is to squeeze your throat when really all you have to do is squeeze the sound. So it’s like if we take that idea of we connect from head voice from our chest, tip number one, we don’t aspirate the tone. Tip number two. So now I have like a, it might sound too pure for certain, for certain styles. Um, that might not be what you want if you’re trying to do like a Jessie j song, you know, you might want, you know, and I’m, I’m exaggerating, exaggerating it to an extreme that you don’t necessarily have to do with a Miami vocal coach. There’s definitely, if I have a, which amateur I can play with the twinning of it, twigs and other kind of slang term that we vocal coaches use to describe it. But you can play with that. It’s just bending that sound. The key is play with the sound. Don’t squeeze your throat. Just think of imitating that which is voice. It’s like.
you can do it again. You don’t have to pinch inside if you get what I’m saying. You might have to play with it. The key is give yourself permission to not sound like yourself at first. That’s something a lot of people struggle with that college doesn’t sound pretty. No, it’s not really. It’s not supposed to do. You’re trying to. It’s a different kind of sound. You’re not doing it very different kinds of styles for different kinds of things. But I want you to have options so there isn’t. In between when I work with my female clients, they have to.
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Yep. Do that all the time. If you, if you’re in Broadway at all, it’s about a lot of the high notes for smart women. Our head voice, they’re just really, really witchy. And so sometimes people go too far. Um, and you can definitely find clips of that, but it’s a matter of personal taste with a Miami vocal coach. So I can’t even say it’s too far because it was too far to me. Might be just right for you. I might do a lot of stuff you think is too far. So welcome to being an artist. But anyway, to recap, tip one connects from chest voice. Be patient with yourself. It may not be effortless, but practice going from chess with find your head voice from chest and you will be able to draw some strength from the lower register. Tip number two, don’t, don’t breathe your voice out. Speak it out even in head voice. So if I say, uh, uh, it’s not a no-hit number three, get witchy with it a little. It’s been a t-shirt, I’m sure.
but if you play with this thing, this thing is like Erica Badu, any gospel soul, if you, if you, if you’re familiar at all with Gospel music, like old school soul, you’ve heard that,
that kind of sound a lot in rock singing. Steven. Tyler does a lot. You know, it’s that kind of sound. You’re bending sound, not your body. Okay? We’ll actually, in a way, you are kind of tilting the larynx using a Miami vocal coach. That’s what we’re not going to get into all that right now. Voice Science be damned for now. Let’s stick to like practical stuff. So those are the top three tips, but I have a bonus tip for you on how you do the airy stuff if you want to smartly,
So I have to say, I’m sure you this tip, if you want to take voice lessons with me, go to [inaudible] dot com. All the information that’s there. We provide the site, we’ve revised the site to make it a lot clearer and simpler and all that stuff. Um, yeah. So I just, I had to shame this book. So that being said, I’m breathy tones, need core and a good way to find the core is to doing a face simple technique that’d be just called skipping rocks you want to see in another video. And so it’s just a
aspirating on purpose. But you just said don’t aspirate a Miami vocal coach. I know, but this is a very conscious controlled, concentrated aspirate. So this is very controlled aspect of we call them concentrated aspirates. So instead of,
It helps you to find that sense of your vocal cords closing so that you can get some nice. But yet you still have freedom. It’s a light touch, so it doesn’t have to be or there isn’t. Inbetween. Doesn’t have to be the beep. Super Breathier, super witchy. It can be,
which is nicely in between, or a little more. You can play with it, but it’ll help you find the core. Now you might be struggling with this right now. This might be like, be patient with yourself and also go slow. Start in chest voice actually to get your bearings. Notice there’s a stop. There’s like A. There’s AI’m using short concentrated puffs of Brett. So I’m a little bit of airiness in a Miami vocal coach. But some focus, some focus. Next focus, some focus as well. So. So I am doing a little bit of an aspiration as you can hear, but it’s a more focused when instead of a,
there’s freedom and there’s air, but there’s a core, there’s a, there’s a, there’s a tonal. It almost sounds like I’m talking about a candy bar. There is a Gooey chocolatey center inside your voice. There’s a delicious center and the Guy Never said I wasn’t lame. I just know some stuff about boy stuff. So if you practice the head doesn’t have to be. I’m even on a scale or anything, just work notes that you want to work. It works best if you work your entire voice as opposed to just head voice, but you can totally apply this to head voice. I’m also, I have to say, um, I have an online course at [inaudible] dot com as well. Phase one goes over this and a whole bunch of other stuff. Um, it’s for people who are professionals or even beginners who wants to build a strong foundation. We have phase two if you feel like you’re more advanced or if you’ve already done phase one, it gets deeper into really opening the throat and really using your body to get a bigger sound.
That’s another aspect of a Miami vocal coach is getting a more controlled head voice. Um, and I did see more beauty even though that’s very subjective in a matter of opinion, but you can get a lot more freedom, that’s for sure. And more health when you’ve learned how to really get your body integrated. And so the process of making sound, um, and also, yeah, for now that’s it in voice lessons with me through skype, through face time, whatever in person, depending on where you are.