Ken Tamplin - Vol1 Notes

Ken Tamplin: Volume One - Video Notes General Stuff  Chuck out other knowledge, trust in Ken  Even Pro’s miss basics  Glottal compression is the addition of air or other end of spectrum extreme brightness, to BLEND (more in Vol. 3)  Do whole audio portion 5-6 days a week, it’ll grow your voice like MAD (says Ken) – Try like hell to do it correctly, but don’t be put off by slower progress (think about Weightlifter idea – lifting 300kg straight away)  Voice has a bio-rhythm (likes to be woken up at same time each day)  Open throat – think TOOTHPICK holding open Posture  Posture is important for proper breath control, although it may be altered live  Look straight on, stand up straight, ribcage ¾ full from bottom up, no spine tipping or head nodding Breathing  Ribcage is already expanded! (3/4) (Inhalation sensation)  Breathing comes from lower 3rd, 4th abs right down to groin, chest doesn’t move, no spine tilting  Don’t lock down when breathing, see breath out exercise, relax to stomach out, like accordion  Engine that drives ship, does all work, relaxes chest and throat, strain can mean lack of proper breathing  Exercises in later volumes

Ribcage and Pillars  Correct use of ribcage develops pillars, a consistent strong tower  Don’t think about high note, think about where to place it on vocal chords  Rocket ship has 3 stages: as it goes up support tube the stages of rocket detach, getting smaller and thinner as it goes up, stopping it from splatting, locking the larynx down and stopping it from getting higher  Ribcage expansion one of many systems to the whole objective; to eliminate moving targets (ie. any chance of failure) – They are safety mechanisms  Vowel modifications are an extension of ribcage expansion – dropping weight with each modification Lip Roll  Lip roll is about warming up easy, lightly, add weight as you warm up  It’s for relaxing the face, sinus cavity and displaying breath control (like when used for old Bel Canto candle blowing without extinguishing flame)  Lose weight and bridge passagio average at F# Tongue  Tongue exercise closes down sound so it can’t explode (over-sing) at high notes, locks low larynx, keeps throat open  Ball at back of throat, think “Ah” vowel Vowel Modifications  All vowel sounds, bar “ooooo” and eee” come from “Ah”  “Ah” will be modified up and down scale, to control how big it gets and create release valves along the way to eliminate tension in chest, neck and throat  Watch back of throat and jaw in mirror  At the moment we open the jaw as wide as possible, later we can close it down (once the open-throat mechanism is working)

 Tongue must be as flat to the base of jaw as possible, so air is not constricted in back of throat, choking off chord  Amphi-theatres created with over emphasized open throat, give even more room for super resonance  No jaw shifting!  Uvula should ascend into head (more chesty stuff I think?)  DON’T MASK SOUND, THE BRIGHTER THE SOUND, THE FASTER THE VOICE GROWTH (RESONANCE) ‘Ah’ Vowel           

Singing lower on “Ah”, modifications don’t change All modifications should be subtle, unnatural is probably wrong First mod is “aw” from LOFT, around E Second mod is “oo” from HOOK, around G/# Nothing moves, nothing changes visually apart from back of throat “reyawning, remodifying sensation” Everyone’s mods are different, but are consistent with each person Wait as long as you can for modification, to leave open space for next release valve Another system to eliminate moving targets Don’t sing too hard on bottom, or you’ll want to carry weight up Last mod is “oo” from WHO, around head change Ken’s highest note is B5 (one below C6, ridiculous soprano note)

‘Aa’ Vowel  “Aa” from PLAY, uses exact same mods  Mask covers vowel modification to bring back expected sound, smiling is one way (see volume 2)  Videos are more power than he wants, do them lightly (for more effect it seems)

‘Oo’ Vowel         

“Oo” vowel has different approach Most people close up on high OO Keep surface (lips) on OO, but back of throat open like AH Use least amount of air possible, like all singing First mod is AW like from LOFT, but comes across as exclamation – OH! – due to closed off lip position Later mods are HOOK and WHO as before Start ON vowel modification when hitting high note is key Don’t get lazy when descending scale! Only bridge as loud as you can connect

‘Ee’ Vowel     

‘EE’ vowel is its own animal Smile like there’s no tomorrow, VERY BRIGHT ONLY mod in this vowel is EH from EIGHT, occurs around E-G# as usual Not a light switch! Slow gradual, mixed implementation MORE vowel mods via going back to EE (and possibly EH again on super notes)  Virtually impossible to go straight to high EE vowel, so EH is usually best option Bridging  Bridging should be done very lightly, least amount of air possible  Over-use of air causes hoarseness, polyps, nodes etc.  Stretch chest far out (VOL2), until head connection (VOL3) Two separate mechanisms of a whole (strengthen one before another)  Don’t linger on passagio  When bridged quietly, you can add volume  Add H to cross over and cover bridge if you have to, until you can do it  Two schools of thought on bridging:

 KEN: If you stretch mid-chest belt voice as high as you can before you hand off into head, you’ll have a much stronger mid voice and create proper WAIL and BELT  OTHER SCHOOL: R&B singers bring head down to bridge quickly, for lighter sound Vibrato  Vibrato is the last release valve and is used to add interest, emotion and beauty  Just an alternation of two pitches  Feels natural and comfortable