Selen Dar

Muscle-Building Workout and Diet

Hey Saher Galt here and we’re gonna do
a complete vocal workout start expanding your range build up your power refine
your tuning and sing a cool run as well as hit some other core fundamentals this
is an introduction to my new vocal system v60 which is a 60-day complete
vocal program it’ll build up your vocal ability day by day alright let’s get to
it we’re gonna start with the end sound
this is a warm-up but it’s also an important exercise for developing
resonance throughout your range this will bring brilliance and a
shimmering quality to your tone sounds like this focus on creating an intense
buzz in the sinuses and when you hit the staccato x’ make it crisp we don’t want
this instead put a fine point on it okay using as we retire but residents move up your
face if you need to transition the head voice it’s okay show you how to stay
connected later on strive to keep the breath in us and even
up here couple nine great now we’re gonna sing a lip roll with a little bit
of a Hootie sound this is a good way to get the voice feeling flexible and open
and over time it’ll expand your range now don’t let this turn into unsupported
mechanical buzzing of the lips that doesn’t do anything you really need this
to ring with tone and feel the body in it this is where the benefit is we’re
gonna do it on a single note sustain so you can focus on getting the technique
right and nothing else it’s that important here we go you we find your lips stop buzzing on their
own try gathering your cheeks between thumb
and forefinger make your lips protrude a little it’s
usually helps can also be thicker blowing too much air at the lips like
you’re saying the letter P but what we want is more like the letter B work to keep the pitch steady and the
volume even as we’re getting higher don’t pinch these last few nice
now we’re gonna imitate the sound of a siren we’re after a focused ringing that
resonates powerfully in the head we’re gonna move this both up and down from
our starting point in both directions remain in this head voice don’t
transition out into a chest voice cultivating control and power in head
voice over a vast swath of your range is a useful effect in its own right but is
also the foundation for a fully connected voice in a general sense all
right certain remain into toys even down here back up
to where we started make sure pushing apart from being uncomfortable extra
force doesn’t help any stay relaxed let’s sing fried EPS this will connect
you to the lowest extension of your voice and introduce you to powerful
aspects of vocalization showing you how to reduce unwanted breath enos and
relaxed tension the basic gesture goes like this ah and that crumbly bit down
at the bottom is what we call vocal fry’ notice that we can connect to this as a
kind of undertone beneath everything we do vocally even when speaking you can
filter down to it or lead into words with it this not only gives us added
control we can use to shade speaking and singing but connecting to the underlying
mechanic shows us how to add texture and body to our tongue and can even help us
get into high-nosed without slamming them so try it
ah now connect to the fry only and notice that you can move the pitch
around Oh try that okay and our exercise is
gonna take us from chest voice proper slide us down into Fri and back again you’re developing fluency with the
technique and conditioning your vocal folds at the same time okay let’s get to
it you now back to where we started and we’ll
go lower and the range you you you you now for some flexibility work we’re
gonna sing a semitone trill on e i kiii e first make sure the interval is
precise we don’t want a lazy slide up and back down we want a flutter between
two distinct notes also maintain a relaxed jaw position don’t shatter it up
and down if you start with a relatively tall position for your e you won’t feel
the need to lift to make space for the eye he’ll also have the nice side
benefit of training a more optimal shape for your evals rather than its sounding
pinched and squeezed it’ll sound open and free okay let’s give it a go you you you keep the jaw relaxed and make swift decisive no changes this is a breath and dynamic control
exercise take a breath in deep down into the belly keeping the shoulders relaxed
then we’re gonna sustain a note starting quietly with crescendo for three beats sustained at the top dynamic for three
beads the day crescendo for three as you’re
doing this focus on evenness of pitch the sine wave that’s acting as your
reference will mercilessly reveal imprecision in the form of beating which
is a slight warbling as the sine wave in your voice don’t quite match up
perfectly in terms of pitch which will sound like this ah
here the warbling and this is right on pure ah that’s what you’re striving for
but it can be challenging without training in this area the use of air and
control of the vocal folds is imprecise which results in a subtly wavering pitch
and as we introduced the dynamic shape will have a natural tendency to go sharp
when getting louder and flat when getting quieter stay vigilant for that
too at first avoid vibrato entirely so you can hear
the beating then add it back once you feel like you’ve got the pitch Center
right and finally this is probably obvious to you but listen to the drums
for when to change states you’ll hear the snare once when you’ve
reached the top of the crescendo and you’re meant to plateau and you’ll hear
it again once you’re meant to begin your day crescendo of course also you’ll have
the reference of the synthesizer for the shape of your dynamic curve and also a
pitch okay you know what to do here’s your starting note breathe in
sing little higher up big breath in here we
go remember belly breath shoulders relaxed moving up you listen for the beating fight to keep it
pure you Oh you you you last one at work on connection we’re gonna say
yeah with increasing levels of excitement yeah yeah yeah yeah yeah and
this is actually a pretty good shorthand for what we need to have happen as we go
up high so first try and mimic my progression also notice when we get to the top
we’re not shouting or screaming those notes just kind of taps into that silly
place yeah okay now we’re gonna put this on specific notes yeah yeah yeah
in addition to the natural quality of rising excitement I want you to mirror
the attack it’s yeah is a little short I in front of the Y that’s gonna help us
get into the note without too much pressure and then we can open it up in
the back to produce the AH vowel to let it ring and in general this
foot-in-the-door gesture small attack then open to resonate is really useful
for making your high range singing super reliable okay we’re gonna sing the yeah
on an octave leap here we go now we’re gonna work on tuning by honing
the intonation of the major scale not least of all because so many melodies
are made up of bits and pieces of the scale itself but also the very act of
refining intonation focusing deeply on pitch improves your ear and thereby your
ability to sing in tune no matter the melody and we’re gonna
train singing against the sine wave to reveal even the slightest inconsistency
in pitch and sing our numbers like this 1 2 3 4 5 6 7 1 and remember when we’re
singing with the sine wave we’re listening for those beats a little
warble that indicates were slightly off pitch now don’t be satisfied with any
scoops or bends at the outside of the note think the sound in your mind then
sing it as straight as you can right out of the gates ok give it a sing you you and we’re gonna sing it one more time
get it even more precise here we go you once more but now it’s a gap between the
scale degrees you attempt the coming note in that space sustained until the
sine wave comes in and check your tuning against it to and so on down the line okay sing one to three for five six serve if you found it difficult to sing that
perfectly without any beating you’re not alone most people do even trained
singers at first but in v60 we work you through the most intense intonation
training regimen there is you’ll master every important scale interval court and
refine your ear to a level of resolution that transcends what we need for Western
music using tools and techniques that exist nowhere else okay moving on we’re
gonna practice singing a run with a little bit of style sliding into and
back out of head voice goes like this did you catch it we went into head voice
then transitioned back into the chest in slow motion Oh only the highest note transitions into
head incredibly expressive and dripping with character but also a way to
practice revealing the break for a fact while enhancing dexterity around it okay
let’s get the first three notes down in chest now the first three notes in chest
then leaping up to the high note in head first three chests leap up the head then
back down to just and now it’s a bit of half step filigree at the end okay we’re
gonna practice this first with the keys then acapella then speeding up kick drum
for tempo reference here we go and our capella speeding up a cappella a little faster acapella speeding up acapella speeding up acapella humor
cycles like this final tempeh and acapella if you couldn’t get all the way
up to tempo in one go that’s okay in v60 since it’s a progressive series of
workouts over the course of 60 days it’s able to build you up gradually day by
day and things you would have thought impossible
it’s beginning you’ll be doing them by the end okay
let’s conclude with an application of one of the techniques we studied in the
context of something that feels like a song which by the way is extraordinarily
important at every stage in v60 we make the connection between the technique and
exercises and their specific benefits uses and applications in a musical
sentence simultaneously training an expertly capable voice and the
artistically sophisticated use of it now back to the exercise we’re gonna sing a
crescendo decrescendo over a three note melody
like this but leveraging our breath support to
create this crescendo into a powerful sustain then and perhaps more
challenging Lee his delicate and smooth day crescendo ever receding into the
distance first with the keyboard only and now with the whole backing and once more okay that’s it for this time and to
continue our work in expanding your range building your power refining your
intonation and singing fast runs pick up my new vocal program v60 link in the
description thanks for watching I’m Saher Galt I’ll see you next time you

100 thoughts on “A COMPLETE Vocal Workout | Power, Range, Runs & Singing in Tune

  1. it's easy enough for my hands to find an octave gap on the piano, but hard for my voice to accurately find an octave gap…feels like trying to jump onto a little stool from 5 feet away, lol

  2. This is a fantastic warmup! I have no problems with anything except runs. For some reason, I just cannot grasp the concept of runs. I can do them every once in a while, but I want to be able to do them consistently! I can only practice over and over again until I get it, I guess.

  3. Hi Saher, I found this very interesting. One question: The run in 22:59 you say is to switch from chest to head , but I hear in your voice of the example mix instead of chest. Could you please clarify? Thank you!! Mariano

  4. I'm on Day 27 of the V60 program. My range and tone have improved significantly. Four weeks in and I'm comfortably hitting notes in head voice that I never thought I'd be able to reach. And the tone doesn't suck!

  5. Your V60 program is exquisite, it's covers every aspect that pertains to growing and improving your singing voice, even my speaking tone has improved, thank you!!!…

  6. OMG – his voice telling me what to do (*sounds like Eric on True Blood!!!!)……….um. Oh yea, I'm supposed to be singing again. must……..concentrate * :D, Having……troubles……focusing…….on…..non-vampire….fantasies! hahahahaha *** Aaaaaaaaaaand saved for later.

  7. Tks u so much, it’s working for me.. i was closely born with nearly deaf tone but now i can sing in tone in low note

  8. Just purchased the V60 after watching this video! I love how in this vocal warm up video he gets straight to the point. I might do a before and after video of my voice to fully appreciate this course. Who else has done it??

  9. I do this video every day and seriously over a short amount of time I hear a huge improvement. Thanks

  10. I love the way you explain the what and the why, brilliant. Thank you for taking the time to do this!

  11. 1:03 = resonance (NG)
    3:45 = freedom & range (Lip roll)
    5:44 = control & range (siren)
    8:48 = body & texture (chest voice -> vocal fry -> chest voice)
    11:06 = flexibility (i-a-i-a-i-a-i)
    14:34 = power, breath & dynamic ('aah' increase then decrease volume) [HARD LMAO]
    17:53 = connection (iya, iYa, iYA, IYAAA)
    20:48 = tuning (1, 2, 3, 4, 5, 6, sev, 1)
    24:12 = runs
    27:00 = musical application

  12. I have been searching for a teacher to teach me of more about making a music an more important reggae music an it seems I have found one now. I will be grateful if there is any chance to have a close contact with you.

  13. *like saying yea excitedly*
    Him: yea!
    Me: Yea!!
    Him: Yea!!
    Me: YEA!
    him: YEA!!

    me: Laughing

    This made me laugh as i said yea higher and louder Lol

  14. Should you stand up or sit whilst practing , I'm trying learn to play guitar and sing. But singing is really hard sitting down.

  15. Saher, over the years I've made conscious effort to invest in new vocal lessons and as a result I've done so many vocal lessons from various voice coaches. Last year I decided to get the V60 lesson; not sure if you remembered that I had a Skype session to go through those that challenged me. Anyways, V60 has been the most challenging vocal workout system I've ever used. This is my second time around doing the lessons and I'm almost finished and it's still a bit challenging. I think in my first try, I was too eager to finish as I wanted to see drastic results rapidly. I'm so glad I decided to do it a second round and exercised patience and mindfulness with each lesson. Each challenging exercise I redid several times before I moved to the next track; the way I should have done it from the start. I can tell you that there's been a remarkable difference I hear and feel when I sing. I love the vocal flexibility and the ability to hold my notes a little bit longer and interestingly hit powerful notes without the need to "push". I have better control over my vibrato and also love to play around with tones. I think the biggest achievement for me with all this is the ability to make a song more my style because of the fun things I can do with my voice; it's like my voice goes where I want it to go. After I finish up, I'll be doing the other courses and let you know how those worked out. I still plan to redo the program a third time. I just want to say thank you for putting out such great work at affordable costs for people like me.

  16. Should you breathe with RIb expansion or belly breathes and could you possibly do a video on the subject of breethe?

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