have you been struggling with applying
mix coordinations into your songs that
is what we're going to talk about today
in this tip I'm Shelby Rollins with
Singing Success and i can tell you that
one of the number one questions that i
get from my students at the end of
usually the first one or two lessons is
ok ok i can make these weird noises but
how do i sing a song which the
million-dollar question and for one you do
have to kind of be patient with the
process
trust me a little bit here but that's
what we're going to really dig into is
how do we take these exercises these
wild sounds even the normal sounds and
actually put it into a song couple
things you have to remember and take
into consideration here is when you sing
a song it's innately harder than
singing a scale and the reason is even
free vocalizing is the easiest version
because you're just making noise you're
not thinking about pitch you're not
thinking about quality it's just like a
meow whatever
when you put that into a scale you've
actually come to another level of
application because now you're having to
discipline the pitch from just meow to
meow or something like that where
you actually hear disciplined notes and
a scale and then when you go into a song
it's a whole nother level again because
now you're changing from the same
syllable over and over again to lyrics
that are not the same and not always as
friendly as the syllables that we use in
the programs and in our lessons in this
methodology and then you're also adding
dynamics you're adding crescendo
decrescendo you're adding then the
million-dollar one is emotion you're
adding feelings you're adding emotion
connecting to an audience and
elevating your lyrics to something that
can relate to somebody else and you know
we usually don't do that much when it
comes to a meow and a scale we don't put
a lot of emotion into that usually on
purpose because we kind of need to think
a little bit differently in those
moments so let's take a meow for example
and see if we can workshop that into an
example of singing High singing that belty
range into a phrase of the song so if
I'm singing (meow sounds) and I
need to get into something right around
that
range but I keep pulling up chest or I
can't really quite get that same sound
then the first thing I usually do with a
student in a lesson is have them take
the most successful syllable that
they're using in a scale and replace the
song lyric with that syllable so instead
of singing for instance the lyrics to a
song i'm going to put the meow in here
instead go (meow sounds) and just sort
of fall off of it
forget finesse forget quality here i did add
a little bit of vibrato because I was
already doing that before but i can go
from there to (meow sounds) and get myself
into a song lyric and I don't even
though the cry word is different from
the meow the word cry actually is asking
for me to put that kind of resonance
into it and I want the meow to inform
the cry from one syllable to another so
if I go meow cry then i can find that
same place i can find that same release
the same quality and then it helps that
the word is cry and i'm wanting to cry
and be desperate and passionate in my
delivery and you want to put that
sound in there it actually is
it's a nice marriage between lyric
and sound quality lyric and tone here so
if i go
(meow sounds) come on and cry and kind
of get very you know sort of sectioned
off with her almost choppy very spoken
vs thinking about having all the perfect
finesse because i'm still in process i'm
not going to divorce myself from the
process because i'm now singing song
lyrics i still want to have that quality
in there as i get familiar with this way
of singing this phrase (meow sounds)
come on and cry and then slowly
get into the more finesse version the
more legato version of this
come on and cry get myself into the mix
from that sound if that makes sense so
now let's take this up a half step right
here so now the high note is an e come
on meow come on and cry
take things like that like one little
word stop even in the middle of the
phrase if you're like that's not quite
it
(meow sounds) there's my mix okay keep
it that loose you know don't worry about
having this amazing quality to go
through there but (meow sounds)
cry cry and then slowly stretch it
out right
add a little bit of that sort of wild
vibrato and then you know finish it off
as you go down but that's a very simple
way to take what you're doing in the
program and apply it to a song a hard
song too you know whatever it is that
you're listening to whatever it is that
you're trying to sing this is a hard
process and here's the thing about any
of Brett's programs is what you're doing
systematically in a program is not the
most diagnostic part of your journey as
a singer that's really where lessons come
in and it's an
important role to play and in addition
to using 360 or whichever mastering mix
whatever program you're using is get a
coach get somebody to help you unpack
this stuff and really apply it very
specifically to your needs it's not a
one-size-fits-all but all of it does
work when applied appropriately
and correctly to everybody's voice but
sometimes the journey to get there looks
a little bit different i would love to
help you out with that if you're
struggling in this using the program and
trying to figure out application
give us a call I would love to help you
out with that
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