Vocal Freedom Singing Method: World’s First 432Hz Singing Method Copyright© 2014 by Daniel Nahoa Ani/Vocal Freedom Singing Method: World’s First 432Hz Singing Method.
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means whatsoever without expressed written permission from the author, except in the case of brief quotations embodied in critical articles and reviews. Please refer all pertinent questions to the publisher.
Special recognition to: Cover art by Daniel Nahoa Ani Edited by Linnea Hunt-Stewart
More books by Daniel Nahoa Ani are available at Amazon.com: Enjoy The Moment: 7 Spiritual Life Lessons for 2014 & Beyond 1008 Affirmations for Spiritual Growth Immediate Resources: *Contact Daniel Nahoa Ani at the following email and Internet links:
[email protected] www.vocalfreedomsingingmethod.webs.com https://www.facebook.com/daniel.ani.12 http://www.youtube.com/channel/UCPN42O4LTcT7dWOjynnqmw
**With the purchase of this Kindle exclusive book, you’ll have access to a secret online 432Hz singing lesson that will show you how the five VFSM exercises sound and how you can begin to apply them with your 432Hz singing. Please refer to (Chapter 19) for the link to the video. If you are not able to retrieve the video, simply email
[email protected] to receive it.**
Dedication To the many voice coaches, teachers, family, and friends who have helped me on my path.
Table of Contents Foreword................................................................................................................................ Introduction............................................................................................................................ My Story................................................................................................................................ 1. 432Hz Foundation.............................................................................................................. 2. Goals of this Method.......................................................................................................... 3. What You Need to Start..................................................................................................... 4. From the Root to the Branches Principle........................................................................... 5. Half Voice and Full Voice.................................................................................................. 6. One-Register Voice............................................................................................................ 7. Basic Instrument Anatomy................................................................................................. 8. Vocal Health Basics........................................................................................................... 9. Alignment, Natural Breathing,........................................................................................... and Activation........................................................................................................................ 10. Speaking, Vocal Exercises And Singing.......................................................................... 11. Technique Excellence, Unique Style, and Star Quality................................................... 12. The Foundational Five Vowels........................................................................................ 13. The Foundational Seven Qualities................................................................................... 14. 432Hz Perfect Pitch Development................................................................................... 15. Power 3 Vocal Warm-up.................................................................................................. 16. Focusing on the F, F#, and G........................................................................................... 17. Vocal Reps and Single-Tone Excellence.......................................................................... 18. Connecting Voice Excellence...........................................................................................
19. The Five 432Hz Vocal Freedom Scales........................................................................... 20. Singing and Composing in 432Hz................................................................................... 21. Conclusion.......................................................................................................................
Foreword Most singers will agree that regardless of whether we sing in front of an audience, or we sing in the shower, singing simply makes us happy. I'm also certain that all singers will agree that singing freely, without worrying that the voice will break, become hoarse or strained is the one of the best feelings in the world. More importantly, finding that unique way to express feelings and emotions through singing is a true gift to both the singer and the listener. I have sung my entire life, and like many male singers, I experienced the dramatic voice change (the shift from singing as a child to singing as an adolescent). Over my teenage and even adult years, I became used to the false idea that I was born with a limited singing range, considering even a C4 one of the top notes of my range. A little more than six months ago, I had the privilege of meeting singing coach, and founder of Vocal Freedom Singing Method, the World’s First 432Hz Singing Method Daniel Nahoa Ani. At that time I had not only a very limited vocal range, I also had a very limited number minutes of singing before I began to strain my voice. Even as a tenor, the highest note of my range was E-4, and it was what we called a shaky E. During the following weeks and months using the Vocal Freedom Singing Method’s warm-ups, exercises and scales in A=432Hz, my vocal folds underwent a tremendous growth, which I had never experienced before. My range then began to increase week by week and month by month. I continue my daily routine of warm-ups, exercises and scales as
outlined in Daniel Nahoa Ani’s Vocal Freedom Singing Method, and currently I can sing up to a C-5 without any concerns about pressure, breaks, or squeals and without the fear of becoming hoarse or strained. I'm sure you have a strong desire to improve the tone, quality, and range of your voice; so, enjoy the path to the clean, powerful voice you were intended to possess by following the steps and exercises of Daniel Nahoa Ani’s Vocal Freedom Singing Method, the World’s First 432Hz Singing Method. Master the single-tone and connecting voice excellence; enjoy the one-octave spirals. Express your emotions by singing the divine love scale; have fun singing the cosmic power, and the excellence scales. The results will amaze you. Singing is awesome. Singing with vocal freedom is a true blessing. Armando Maciel
Introduction Hello and welcome to the Vocal Freedom Singing Method, the world’s first 432Hz singing method. Whether you’re a beginner, an intermediate or an advanced singer, the wisdom in this singing method (which is the first of its kind) will take your voice to the next level. My name is Daniel Nahoa Ani, and I’m grateful for this opportunity to share with you these new discoveries concerning the human voice and the art of singing. Actually, these discoveries aren’t by any means new, just recovered from the ages. I believe tuning in the key of A above middle C, equal to 432Hz is the naturally aligned foundation for the human voice, and, subsequently, the set tuning for all musical instruments. I have trained my voice and that of my fellow new-age singing students in A=432Hz with excellent results and have seen first-hand how much faster you can develop a voice, extend the vocal range, and freely express the infinite spectrum of a voice’s unique qualities. Everything I’m going to share with you in this book will aid you in achieving absolute vocal freedom, not only in your singing but also in your oral communications with others, and help you to acquire a majestic voice filled with the range, love, power, and confidence you desire and deserve. As we enter this new age of awareness and discovery, we’re finding we must change the way we look at singing and, therefore, the singing we express ourselves in will change. Moreover, we must begin to realize the necessity of letting go of the old, which may be holding us back from
changing for the better. If you begin to sing to the tuning of A=432Hz, adopting the mindset of creation, I can assure you that you will not only reach but surpass your current singing skill and what you consider is vocally possible right now with your voice. As you begin to sing in 432Hz, you will reposition your voice as well as your entire being, physical, mental, and spiritual, back into alignment with the vibration of vocal freedom and unlimited potential. Initiating this first step of exclusive 432Hz singing allows vocal freedom to manifest far faster and more effortlessly than you can even imagine. Honestly, if we were told that what we heard from the last century of great singers and vocally through our own voices in A=440Hz was the most power we would ever achieve, we would never experience or search for greater forms of musical expression. After all, do you think we’ve had many voices of the last century show the true power of the human singing voice? I think not. It’s bold of me to say that, but that’s the meaning of my middle name and purpose of this book: to boldly go where no singer has gone before. In truth, I consider 432Hz as the perfect and harmonious way to express our unlimited singing potential. By singing in A=432Hz, your voice can put out the power and influence you didn’t even know it could produce before, or even what you thought existed. Have the confidence that you already possess a unique sounding and beautiful voice, regardless of the years spent singing in the old way. What I’m showing you through sharing the message of 432Hz singing is simply how to adjust your form, in a slight way, to the perfect form, so you can begin to derive the greatest benefit to yourself, those who hear you sing, and the entire universe as we move into
this new age of singing together. 432Hz singing laws are now well explained through geometry, Cymatics, math, and leading scientific discoveries. This book’s mindset is in the spirit of honest expression through vocalizing in A=432Hz. This book is for you to become the most honest and open channel for the elevated vibrations of 432Hz singing to be expressed to the world, for spiritual uplifting, and for using that power for positive peaceful reasons. The motivated action of singing in A=432Hz, will help you express elevated vibrations of consciousness to yourself and others, and for the first time on this planet showcase the unlimited power of the human voice; a power of love that’s been locked away for too long. From this point forward, focus on expressing your unique self and your unique singing passion frequency, always continuing to shine your light. Standing firm and being a pillar of light is necessary as you undertake this new age tuning. In addition to a creative mindset, I wish for you to entertain thoughts of superior singing confidence as you trek throughout this new age singing book. This confident, creative, and love-based mindset will carry you to the end goal of expressing your unique voice honestly, all while joyously appreciating other singers in whatever sound, tuning, or state they may be in. I believe without a shadow of doubt that the human voice when trained in the tuning of A above middle C equaling 432Hz, will benefit all mankind and enable us to reach our true potential. I’m not here to state that any other tuning is wrong, because as I understand creation, all truths are true, and if that weren’t so, all that is would not be all that is. I’m here to say that you can reach magnificent wonders, far beyond what you have ever dreamed, by training your voice in
the tuning of A=432Hz. If each of you tuned your piano or other instrument to this tuning, and followed your intuition, there would be no need to read any more of this book, not a single word after this sentence, as I truly believe nature (432Hz) to be the best teacher and guide when training the human voice. I don’t know where you might be right now concerning your voice development and singing, but perhaps you’re a courageous beginner looking to start singing for the first time. Or, maybe, you’re an advanced professional singer on the road looking for new ways to develop your voice, focused on staying vocally healthy and strong through night after night of intense hours of singing, and willing to try any method that promises to give you more freedom, range, power, and positive influence on stage. Possibly, you may be a fellow voice coach, studying every method within your grasps including at-home singing programs, articles, and voice books. And as a 432Hz voice coach, I know you’re looking for the single small edge and insight to take your students voices to new apexes of vocal expression; relishing the joy of seeing the smiles and joyfulness come from your students who start to express more of themselves with your guidance, help, wisdom, and love. Regardless of where you are on your unique vocal journey, I know you’re looking to take your voice to new horizons of free expression that will not only bring you more happiness and joy, but also impact others in magical and uplifting ways. And I truly believe that training your voice from this sacred tuning of C=256Hz, will not only help you achieve those goals but also propel you beyond anything we’ve ever heard the human voice produce on this planet thus far. I live for what you’re looking for regarding
your singing excellence and success. I know you want more: vocal freedom, several octaves of accessible range, and unshakable confidence to express yourself honestly on stage. Furthermore, you’d like the ability to sing with complete ease and certainty that you can deliver the note anytime and the ability to break through to new levels of singing with a new zest for life. This is what this book will show you: how to be the best version of yourself all while overcoming any obstacle that you may be facing vocally and internally with gusto, with strength, with a new sense of confidence that deep down inside you know you need to become the singer you always wanted to be. Consider this guide a fresh start, a much-needed global fresh new look at the art of singing excellence and expression of our unique voice qualities collectively. We all grew up with the standard concert pitch of A=440Hz, and we’ve had many beautiful voices sing in this tuning with great results, but we can reach greater results, in a much faster time period, when we start to sing solely in the tuning of middle C equal to 256 cycles per second. This is a lot to ask many singers and voice coaches to do, which is to let go of everything they think they know about singing. As your fellow student of the art of 432Hz singing excellence, I ask that you trust and have faith that singing in A=432Hz, will lead you toward new horizons of voice creation unheard of until now. Training your voice from this tuning will also help you come to know yourself more fully, which, I believe, is the fundamental principle guarding the gates to vocal freedom. Some consider this wisdom of training your voice in 432Hz as sacred, and I believe we can use its ability and power to influence the world in
positive ways. My goal here and now is to show you the universal truth of singing in A=432Hz, which will set you, your consciousness, and voice free. For you will no longer feel left in the dark, for the truth will always shine through what would seem the darkest aspects of creation. I accept that every experience of my 24 years, have lead me to write this book. And If you’re reading this, I know it isn’t by accident. I know the universe led you to this new vocal discovery so you may finally reach and surpass your full singing potential, consequently helping everyone go into this new age easily and effortlessly. You need to let go of everything you’ve learned about singing and vocal expression for you to fully receive and perceive, understand and express, the true vocal love power within this tuning, which is waiting for you to unlock its hidden powers. The world at this time is on the brink of big change socially, economically, and musically. The last negative energies are leaving this planet and from every individual soul as we let go of the old together and ascend into higher levels of peace, positivity, and unconditional love. This is the year of re-invention in all ways on this planet. Please take this message with an open heart. Try singing in this tuning exclusively for at least a year, or for however long you feel intuitively led, and see whether you can make a difference in the outcome of our world for the better as we progress into the future. We have all witnessed the power a singer has over an audience. Now, if we sing in this tuning together, maybe, just maybe, we can help to eradicate the negative energy, such as famine, war, chaos, and destruction, even faster from this point forward and begin to send out a new vibration out into the universe, and start to shift to the reality of our peaceful
unconditional loving preferences that truly benefit all concerned. I believe this tuning aligns more with our universe and with the real vibration of world peace. Collectively, as new age singers taking a stand with 432Hz singing, we truly are the ones who are leading this new musical revolution and must be the ones to act first as every other musician is tuned, and so follows, the tuning the human voice sets. The difference between 432Hz and 440 Hz may sound small and trivial, but over a long period, I assure you, you will be in a far different place with a completely different sounding voice that’s more vocally free and filled with more love than you ever imagined. It’s truly love that will fuel your voice to new levels of singing excellence. According to leading scientific knowledge, when we sing and vocalize we create sound waves, and at the quantum level, these sound waves exhibit observable and measurable geometric patterns. When we sing in 432Hz, the sound waves are in direct alignment with the natural geometry that governs all creation. By speaking and singing in 432Hz tuning, we become more in harmony with each other, our audience, and with creation itself. Communication between us becomes more fluid and more loved-based, and world peace can then become a reality for us all. This introduction is simply my statement that now is a time for change, of letting go, of seeing things in a brand-new perspective concerning all things related to the human voice and its expression through sound. This change includes hearing your voice with a newfound power you never knew you had. Let’s take our power back and begin to use the truth of singing and speaking in A=432Hz to propel ourselves and all creation toward greater and more peaceful experiences.
The old tuning served the purpose of reminding us of how far we’ve moved away from the source vibration, which has now manifested itself in the many vocal problems, competitive singing competitions, and apparent trouble many people have in learning to sing freely. However, singing doesn’t have to be hard, and as we realize the truth, we must be kind to ourselves and come to know that we haven’t moved that far away from the source. Now is the time to seize our opportunity as singers and use the energy of singing in this tuning, as well as the energy of this current earth shift, to express ourselves more honestly, more in accord with the laws of creation, with the geometry that aligns our voices, and with what singing is truly all about: expressing who we truly are. Are you going to be one of the singers who falls behind while everyone else is moving forward? Or, are you going to seize this new opportunity and singing “secret” to move you in the direction of your singing goals faster than ever before? I ask that you trust not only this method, this new concert pitch of A=432Hz that we’ll set and pioneer together as one voice, but yourself also, that you’re making the right decision to start training your already unique beautiful voice in this new age tuning. I foresee what we can expect in the next hundred years of singing and vocal expression in this tuning: an era of singing and vocal expression that will usher in the golden age of humanity, heights of freedom and living we should start to display gratitude toward wholeheartedly. Developing your voice is very simple. We need to stop giving singing itself so much power so that we believe false thoughts such as it takes years to develop a great singing voice, or that singers are born, or you have to learn to sing. Right now, you already can use the vocal muscles to speak; you may simply need
to strengthen them as you do the other muscles in your body to get the full range of motion benefits, and as a result, a vocally free singing voice. The truth is that you can develop this small muscle extremely fast, faster than the other muscles in the body according to my experience as a certified fitness trainer and 432Hz voice coach. In fitness training, I help people develop their bodies’ muscles, and with 432Hz voice coaching, I help people develop their small vocal muscles. All you have to do is start in the right place, in the right tuning, and everything else will take care of itself. An ancient book warned us of building homes on a lofty foundation, so let’s take this knowledge and build our voices on the new foundation of A=432Hz. Keep the faith that it will take us where we need to go, to help us express who and what we really are, and lead us to a new age of singing and expression. I will define this new age as the golden age of singing, beginning now. Now is the time for you to let go of the old concert standard pitch, to release it with gratitude, and embrace this new tuning exclusively for your singing and music from this point forward. I know you deserve the best for yourself and your voice. I know you’re so committed to bettering your voice that you’d try any method that promises you more vocal freedom and power. Why not try this method? The mindset of a singer fascinates me: determined, courageous like a swordbearing warrior, and filled with a drive to improve the voice on a daily basis at all costs. I would also like to say that how I train my voice and my students is very simple, and it serves to help you learn the simple things that make apparently complicated things appear vocally simple. Now is the time to take back our power as singers and sing in 432Hz
exclusively. You will begin to realize that training the human vocal muscle is no different from training the body’s muscles through repetition weight training. Also, we can make the small vocal fold muscles grow faster than any other muscle in our bodies due to its small size, and small, yet vital, hydration and nutritional needs. You will soon understand how to grow the vocal muscle quickly with my vocal reps system and 432Hz scales in the later chapters, which again, mirror the principles on how we grow the other body muscles starting with a low weight, and progressing forward one pound at a time, one semitone at a time. As you apply the basics of 432Hz singing, technique, and vocal wisdom, you will come to find that making the switch to start singing in A=432Hz to be the best decision and investment you ever made for your voice and singing excellence. I have faith that if all you did was let go and begin to sing in A=432Hz, all would be well. You would never need to take another voice lesson again if you only continued to sing and explore the mysteries of 432Hz singing with a healthy foundation of vocal technique in the tuning of 432Hz. My aim for this book, and my 432Hz lessons with new age singing students, is to show you the basics of vocal muscle development and how they apply them to 432Hz free singing in one simple lesson. That’s all the time it takes for you understand how to execute or eventually learn from basic principles, full range of motion vocal form, just in the same way you learned to do a perfect one-arm bicep curl with a dumbbell in one lesson. Yes! I see singing as that simple a process in 432Hz. I will then lead you on how to spread your vocal wings and begin to explore everything that singing has to offer you in A=432Hz. The foundation is the most important thing to
build in singing; it must be cohesive, strong, and built upon strong scientific principles for everything that grows after it must stand firm in the face of healthy 432Hz daily singing. Singing in 432Hz is simple, period. I will show you the proper technique of getting your vocal folds, just like your biceps with a dumbbell in hand, to contract fully from the low range to the top range, in half and full voice, through a full range of motion, all in one simple vocal lesson. Once you understand and apply perfect form, from the foundational full range-ofmotion basics and by growing the voice from the root to the branches. The rest lies in your hands, to look within, apply the will to be all you can be, and muster the courage to motivate action through a full range of motion with your voice, in the most lovingly and assertive way through 432Hz singing expression. It all lies in your hand, heart, and mind to start singing in order to develop your singing, with a muscle that can contract freely in whatever way you deem right for the occasion. You reap what you sow, fellow students of the art of singing excellence, and it’s my hope for you and your unique voice that you look within to gain the courage to courageously sing in the tuning of C=256Hz. Here’s this 432Hz Vocal Freedom Singing Method technique as coherently as I can explain it. Sing solely in 432Hz, all while extending the half- and full-voice range in both directions—from the bottom to the top— by singing one-second vowel vocal reps, gaining awareness of how much breath we need to produce the most clear, ringing, and open 432Hz vocal tone. Once we can sing our single-second vocal reps in perfect harmony with the right posture, the right amount of breath, natural placement, and
activation of the solar plexus and heart center do we slowly elongate the time we hold our notes, one second at a time, moving up one semi-tone at a time. We then later connect vocally from half to full voice on single notes in our 432Hz register shifts to build the bridge into our mid- and top ranges, creating a one-register voice. During this time of building our connected registration, we also begin to implement scales and octave spirals for allaround vocal freedom. This system of voice development contains only five vocal exercises, because I believe five is the number of humanity. I’m honored and grateful to share with you a message I believe in so strongly and have so much passion about: 432Hz singing excellence and vocal development. I will do my absolute best to coach you vocally through this book in the most loving way I can, for I most assuredly understand how a life-changing rediscovery of your true 432Hz voice can be. I unconditionally love you, my fellow singer, regardless of what tuning your free will chooses to sing in. May you be blessed by the infinite love, light, and truth of all that is.
Daniel Nahoa Ani
My Story I was guided, intuitively and spiritually, to voice development when I was 21 after my enrollment in a local Southern California community college. While working as a lifeguard the previous year, I fell in love for the first time, and I quickly learned that I didn’t allow myself to love or show more of who I was because of my own inner fears and blockages, long after it was too late. This was the moment I knew in my heart of hearts that life had more to offer, and this was the beginning of my self-development journey that eventually led me here today to you. At the beginning of my self-development awakening, I had not a single friend and no girlfriend, and having just gotten out of the United States Army two years prior, I was financially destitute and afraid of life. To say the least, I felt alone and utterly helpless; I had no idea what to do to change my life of fear into one of inner peace and happiness. I began to invest thousands of dollars on self-development tapes and CDs, getting into debt with a few companies I have since paid back, to truly find out why I didn’t open myself to love. What could I have done to make things happen in my life that year when I became so deeply enamored with the woman of my dreams? So I then entered college with many burning desires: to become a better communicator, to improve my life, and to build relationships with others. I decided to take a public speaking class in addition to many other communication courses to help me overcome my shyness about speaking in
front of others and eliminate all inner blockages of fear. I wanted to relate to others and begin a new life filled with love, harmony, friendships, and cooperative communication, all with the goal of experiencing happiness in my life, and, in my own small way, help manifest peace on earth. At the end of the semester, after many hours of speech practice in the college music rooms, and many hours of studying past speakers in the library, I won a school-speaking tournament. This newfound confidence led me down a path that would send me across the country attending public speaking seminars, all in an effort to improve my life. At that time, becoming a professional speaker was my new life goal. I soon began to adopt a mindset of creation rather than competition. Many a day and night, I would go hungry on my bus rides across the country due to the speaking seminar high costs and bus rides. But I was determined, and it always seemed there were people who, at the right time and place, were there to lend a hand, financially, emotionally, and spiritually, to keep me going and growing strong. At the time, my message was undefined. However, I believe everything happens for a reason, so I persisted with the feeling and awareness that my message would reveal itself to me in divine right time and order. So from that point forward, I started to buy everything related to voice development; vocal books, at-home singing courses, and personal lessons with local coaches. I quickly came to understand that how I used my voice, and my ability to constantly open my mind in ways to improve it, would send my life in a greater, happy-go-lucky existence. This would happen only if I came to understand and apply all of its love and power, both of which I was determined to uncover to express more of my true self within my life.
This journey began January 2012 with the enrollment of that first speaking class. And on my birthday May 21, near the end of the semester, I did my first public speaking seminar at my college on self-image modification. This was not long after I won my first speech tournament on the same topic. Only three people attended my first seminar, two of whom were family. To say the least, I was elated, and this experience was the first step toward my expressing who I was, a student and a teacher. So I began to invest every waking hour from that experience on improving my voice with every method and exercise I could get my hands on. I trained in nature when I first started singing, developing my confidence with the birds. I also practiced in an empty parking lot at night, sometimes past midnight every single day. As soon as I saw my life progressing one step at a time, one semitone at a time, I began to get obsessed with improving my voice. I started to clock in my daily four hours every day, one hour in the morning of vocal exercises, followed by two hours of songwriting during the day in the college music rooms, and another hour nighttime session of vocal exercises in the parking lot. Many nights, as well, I would practice my vocal technique in the college music rooms, singing until midnight, long after the rooms were supposed to close for the day. Luckily for me, there was someone who had my back, noticed my drive, and who simply told me in his own way to “lock shop” when I finished. I never got to thank that person, or even speak one word to him, but I knew he noticed me, had faith in what I was doing, to allow me to stay in there after he was supposed to clear and lock down that section of the school. It wasn’t until the beginning of 2013 that I started to sing in 432Hz
exclusively. And by that year on my birthday, I played my first 432Hz vocal showcase, singing my own original works at a local coffee shop in Newport Beach, California. After that, I felt intuitively guided to help singers and began teaching area locals how to sing with my new 432Hz singing method. Yes, I have been singing for only two years, but that makes no difference about what I can show and teach you about 432Hz singing excellence. I can confidently say that I will teach you singing through this book and my other outlets because I believe that anything is possible, and everything is explainable in one way, just as it is in any other way. I believe you can learn to sing through the written word to the point where it helps you develop a powerful voice and you can develop this small muscle on your own. If I tell you the basics of 432Hz singing and let you, on your own, fly out and explore everything singing in this tuning has to offer you, you will do fine. Remember, singers, only you can unleash the power of your voice and with the same courage that made you begin this new vocal journey. So you must put in the experience to develop your new 432Hz voice, because you are here to experience the process of creation and self-discovery. However, I will give you what I feel will help you spread your wings in the most confident manner, the 432Hz singing basics. My passion is 432Hz-based singing. It is truly singers like us who must courageously stand first and lead the way for others into the 432Hz musical revolution, for musicians, for other singers, for our species, as a collective body moving into the new age. I’m confident this awareness of singing and composing music in 432Hz will free and awaken you and our world to higher levels of consciousness, thinking, living, and unconditional love. I will give you everything I know about how to train and develop the
human voice from the tuning of C=256Hz I learned from the many personal lessons with my 432hz singers, with my stories that describe 432Hz singing in action, and what I have seen firsthand in 432Hz vocal freedom, vocal range, love power, resonance, and the increased vibrations of students, self, and the people around me. This is a new journey we’re embarking on. I have effectively created in myself, and that of my 432Hz new age singing students, a well-connected one register voice without breaks, with ringing quality in both half and full voice, and with extension of range in both directions for several octaves. And I’ve seen how applying scientifically sound principles as the foundation from which we build our voices develops these vocal qualities effortlessly toward free singing expression. My current 432Hz vocal range is honestly from A0 to C6. When I first started doing vocal exercises, it was D2 to D4, and I could barely get that D4 without breaking. But I knew I had the low notes, and this helped build my confidence as a budding singer. I still feel as if I’m a 432Hz beginner singer, and that’s okay because I recognize I’m still striving to be all I can be. I knew that my stumbling upon this message of singing in 432Hz was special, and I know deep down inside 432Hz singing is the true secret of the human voice that so many others claim to teach but don’t. It’s my duty to you, and all singers everywhere, to deliver and share with you a message I believe is true about singing in this tuning: It leads to singing excellence, longevity of singing, and overall health as a human race. Moreover, I have a moral obligation to share with you something I accept as a firm step toward you expressing your unique self in the most natural and healthy way. So that’s why I’m here: to give you everything I learned in those years
of deep personal and spiritual growth. You desire to sing more freely so that you may connect, move, and share your loving message with the world. And I am here to show you the door toward achieving those goals faster, easier, and with more joy than ever before. But you have to be the one to walk through it, and it’s okay if you’re a little afraid at first, we can walk through it together, hand in hand, because in essence we’re all moving into this new age together as one. I ask that you give this method, singing in the tuning of middle C equal to 256 cycles per second, one year of exclusivity before trying to sing in another tuning. What is one small year in the many that you will experience in this lifetime? I truly believe that if you begin to fearlessly sing in the tuning of A=432Hz, you will reach the heights of vocal freedom you’ve longed for and should experience. By constant and never-ending singing in A=432Hz, you can become more satisfied with better health, happiness, abundance, well-being, and gratefulness toward the experience of 432Hz vocal freedom and also peace on earth. Now step forward with a little faith, and proceed with the confidence that all is well, all will be well, and you will surpass your singing potential by training your voice in the tuning of A=432Hz.
Chap ter 1 432Hz Foundation Developing and expressing your voice in the tuning of A=432Hz is the first cornerstone of the Vocal Freedom Singing Method, and upon which the universal laws that govern the human voice. Do not proceed to do any of the vocal exercises in any other tuning since you risk harm to not only your vocal health but the longevity and overall quality of your unique sound also. Now is the time to detune your piano to A=432Hz, with all notes tuned according to that pitch. You may also use your other instruments such as Native American flutes, guitars, harps, tuners designed for the human voice, and electronic keyboards with an adjustable master tuner. It’s that simple, and it’s that easy to start developing a new 432Hz voice. Acquiring 432Hz-based perfect pitch is another method to develop the voice away from musical instruments, when you’ll learn in Chapter 4. There are always some people who give away pianos and other instruments just to clear up space in their living quarters. So search around, and you’ll find one that’s right for you, and will ring true in the tuning of A=432Hz. No matter what the instrument is, it’s fine for now. If you do not possess a 432Hz instrument at the moment, you can simply record an A=432Hz pitch or all the notes of the C major scale on an electronic device to carry with you and refer to as you do your daily vocal exercises and develop your 432Hz perfect pitch.
Surrendering to A=432Hz is of prime importance regarding this method of 432Hz voice development along with your singing excellence and health. Truly, 432hz-based singing is the only method that takes into consideration the human voice, its register shifts in line with solar celestial bodies, natural geometry, and the golden mean ratio. You must use this method exclusively, and that means you have to stop singing along to music in the old tuning. It’s a lot to ask and requires an abundance of courage on your part, but you can still sing your favorite songs, just sing them in this lowered tuning. This is a big step to take, because I know just how much you love to sing along to your favorite singers of the past, but take heed, you will reap far more in relation to singing and vocal mastery by implementing this first step fully and never going back. You can’t overlook or overemphasize this first step too much. You must apply this foundation before moving forward and doing the vocal exercises or even using any of the techniques here. Hey listen, I care for your vocal health, so you can understand why I don’t want you moving back and forth between different set tunings. Common sense, right? I care not just for your vocal health, but your emotional, mental, and spiritual health and growth. Even if you switched between two other tunings, it’s not sufficient. You need to keep your foundation firm at first to grow stronger structures. It’s imperative to your vocal health that you completely stop singing in the old tuning pitch, vocal exercising your voice through scales in the old tuning, and carrying the thought that what you learned in A=440Hz, an altogether different modality, can serve you in any way in this new tuning.
I want you to entirely and utterly let go of what you think you know about singing in this tuning, because singing in A=432Hz is a completely different experience from singing in A=440Hz. Come to this method with an open mind, and the universe will have no other option to but to fill it with firmament singing wisdom. We’re building a solid 432Hz vocal foundation that will create a voice far different in sound, quality, freedom, and power that’s now unrecognizable or even thinkable for you at this moment. Yes, even if you already have a completely connected, several octave voice and are a professional, I believe you haven’t even begun to touch 1 percent of your vocal potential, which, I will add, comes within the tuning of A=432Hz. Even the great singers of our day and the past, who all sang in the higher tuning, weren’t even showcasing 1 percent of the human vocal abilities and unlimited singing potential within C=256Hz. You may have never heard of this set tuning pitch or even imagined there was another way to sing, but here it is for you to explore with an open mind and heart. Surely, you won’t dismiss trying to sing in this tuning without giving it a proper chance? What do you have to lose by singing in a lowered set tuning pitch? Have you not tried every other vocal method within your grasp? There’s a plethora of scientific evidence concerning the human voice and singing in A=432Hz. I’m not here to give 432Hz scientific vocal proof in any great detail; that’s better left to those whose life purpose is to explain it in scientific terms. Do your own research, though, in science, geometry, mathematics, and physics. And if you do, I know we will agree. However, you really don’t need to look any further than the lecture presented by Dr. Jonathan Tennenbaum at the Schiller Institute’s 1988 Music
and Classical Esthetics conference in Milan. This conference called for lowering the concert standard pitch to 432Hz, and many opera singers such as the great Luciano Pavarotti, Carlo Bergonzi, and Renata Tebaldi signed the petition in favor of the concert pitch A=432Hz. These singers were also aware of the high tuning’s effect on the voice, and even the great Mario Del Monaco refused to sing the aria Celeste Aida from Verdi’s Aida in too high tuning. The old Italian schools of opera trained their voices in this tuning; however, funding was important for the continuation of these schools, and all the remaining schools by the end of the 20th century were cut from all financial resources and forced to implement the higher tuning within their opera schools. Soon, nearly all of these Verdi-tuned voice schools vanished, and the voice coaches went with it. But here I am, bringing back this vocal wisdom to help you create a voice more magnificent than anything we’ve heard the human voice produce in a long time. I want you to carry the spirit of apprenticeship in your heart, and listen to the master carefully to build your foundation strong. However, I am not your master, I am simply a guide to this master: the essence of that which is 432Hz. The foundations you’re building in this tuning also have the basics of healthy physical, mental, and spiritual alignment. I will also teach you how to breathe naturally for perfect health and singing ease when we fill the lungs from the bottom up, seeing our stomachs and back expand first before we see our upper chest rise. You will then learn about activating the solar plexus and heart center and other vocal basics such as vocal health, 432Hz natural placement, and extending the low range down further in both half and full voice before
building a bridge into your mid- and top ranges. Let me repeat that again. You extend the low range in both half and full voice in the lower ranges before attempting to elongate range into the higher ranges. We build the vocal muscles from fundamental full range of motion techniques, techniques that mimic a weightlifter executing perfect weightlifting form, deriving the maximum benefit and return for his energy and valuable time. We develop this vocal full range of motion by doing onesecond vocal reps in half and full voice, slowly elongating the time we hold out the notes and then connecting from half to full voice on the notes in our 432Hz transition zones to eliminate vocal cracks and build a one-register voice. We then supplement with the other four scales of this method, which will challenge you vocally in all ways. Building this foundation and experiencing the vast vocal transformation of 432Hz happens the instant you surrender and become a 432Hz singing apprentice to this tuning, and begin singing or vocalizing a single note in this new concert standard pitch. So the fact that you may have sung in the old way all your life makes no difference. I have had singers come to me after many years of 440Hz singing to find that they can sing with more ease, with less strain, and with easier access to the mid- and top ranges of their voices. Obviously, from the outside, it’s easy to say the lowered standard pitch brings the ease of singing more comfortably in this tuning, but this is a small aspect of it. I believe the main contributions of the vocal freedom that showcase themselves when singing in this lowered tuning are, rather, due to the larynx shift that occurs when singing in this lowered tuning over time, and the overall cell changes occurring in the body when we sing and play
music from this lowered tuning of C=256Hz. We’re taking one step back to gain two steps forward by singing in A=432Hz, in regard to all aspects of vocal development, mostly including our range extension. It’s as if everything falls into place, clearing the way to easy voice development and vocal freedom, by simply singing in 432Hz. So to recap, the first foundation of building and training the voice from this lowered concert pitch is our first step in our quest toward vocal excellence in this new age of singing. Our next foundation is surrendering our old knowledge so that we may become an apprentice to the master. And our next foundational cornerstones are built upon the principles of alignment, natural breathing, activation, and natural placement. In the following chapters, I will also share with you my secrets and those of my students that enabled us to achieve vocal freedom, a connected voice free of cracks, a several octave 432Hz vocal range, and the inner victory of knowing we align with our voice and creation. So begin now detune any instrument you have to A=432Hz, and simply begin to sing along to the pitches in this tuning with your own creative works, the exercises, or just simply with a single vowel in half or full voice. Let’s sing together right now! Go to your new middle C at C=256Hz, and sing an Ah vowel with me in full voice, loud and proud. How was it? How did that feel? Be kind to yourself as you grow and relearn what singing is all about. Make sure not to judge your voice during this vocal rebuilding process. However, you must constantly monitor your progress and evaluate what you may need to work on vocally. Remember, students and teachers, singing in A=432Hz is unique from singing in A=440Hz in all ways. They are two
different parallel realities. Think of a radio station where there are numerous different channels to select, and on one station is A=440Hz and on the other station is A=432Hz. No matter how hard you try, you cannot hear the other stations unless you switch the dial, or in our case, our inner vibrational dial. All you need is an open mind to start this 432Hz singing method. Have fun in this new tuning. Begin now to build an aligned 432Hz vocal foundation by simply singing your heart out in this new age tuning. Let’s move forward with superior singing confidence to next chapter.
Chap ter 2 Goals of this Method My main goal as your 432Hz voice coach is to get you to sing beautifully in the tuning of A=432Hz, so that you may experience for yourself, how much more joy and vocal freedom this tuning has to offer you and your unique vocal journey. I only wish for you to attempt singing in this tuning before you judge what singing in this tuning can offer you. Ask yourself this question, “Will this idea improve the quality of my voice?” I say yes as the answer to that preceding question, but only you can answer that. The next most important goal of this method is to develop in you a one-register voice free of any breaks or cracks. A one-register voice that can spiral from your lowest pitch to your highest and vice-versa, easily. I say spiral because the notes truly make a complete circle, a conical spiral action, from one note to its corresponding octave above or below it. An octave spiral and slide are the same thing. With this book, you can develop a smooth well-connected voice, a one-register voice, where you will no longer only have to sing high notes in half voice and be able to sing them in full voice. It’s nice to have the option of doing both, right? The important goal of building a fluid, well-connected voice will lead you to all other vocal goals just that much faster. A strong muscle with a full range of motion can exhibit its true potential and
maximum power. Having a one-register voice free of any breaks will build a confidence and sense of muscle control you simply cannot get otherwise. We develop your connection from the low range to your midrange very gradually, semitone by semitone, by using your half voice and learning to connect it to full voice on the notes in our passaggio. You will soon lose the need to say or think, “Hey, am I singing in my midrange or top range?” because you’ll sing with your one full, range-of-motion voice. Thinking about those things only serves to distract you from your main purpose as a singer, which is to express your unique self honestly and freely share your specific message to the world. Everyone wants a connected voice, and if you follow this book, stepby-step, much in the same way you develop a powerful bench press, one pound at a time, you’ll get it. I can only imagine how tired you are of hearing your voice crack as you sing. Even in those moments of free singing it may still crack. Think of this approach as an experience that will enrich you to not only have more gratitude for your voice and its capabilities but also enjoy more aspects of the process of developing your voice to something incredible. Let it be a wakeup call to those of you who are afraid of trying to build a connected voice and who shy away from it in fear. So the first step in developing a fully connected, one-register voice is to start building the voice from the bottom to the top, the root to the branches method. First, focus on developing and extending the half- and full-voice range down further with single-tone vocal reps, all while tiptoeing, so to speak, into your midrange and top ranges. You develop this low range with patience and stride and start to see that developing a well-
connected voice is no different than developing the muscles in our body. If you use proper technique in, say, a bench press, do single reps of perfection, you gain skill, you develop strength, and you build muscle. This how you train the voice to not only develop a one-connected voice but to also strengthen the entire instrument. You must focus on extending your range down first before moving up, giving those notes more air and attention. Master singing one-second vowel reps before adding seconds. Master the basics. Work on your low-range setup for easy top-range singing. Learn the basics that you need more air for your low-range notes than you do for our mid- and top range notes. Once you develop a stable foundation to develop your new 432Hz voice on, you can climb confidently into your midrange and develop the transition zone. This area easily creates freedom and full range of motion within the vocal fold muscles to the high notes. Some singers may have a connected registration of voice but lack power and control in the midrange due to a muscle imbalance such as a stronger top range or exclusive singing in all other places vocally besides the middle range. An imbalance of registers is like a weak shoulder in an athlete. He can hide it by letting other muscles groups take over and masking its weakness. Here’s a sneak peak about how to grow this part of the voice and connect your voice to not only this middle register from the low range but to your top range where high note singing is waiting for us with a smile. Start at the note you crack at currently, sing it as pure, clean, and crisp in half voice, then learn to connect to full voice on the same note from half voice, doing your best to get the note clearly out and open in full voice for onesecond vocal reps at first.
You eventually elongate the time you hold the middle passage notes to build vocal muscle, coordination, and balance. Next, move up one semitone at a time until you enter your next bridge into your top range. While you develop your single-tone vocal reps at these transition zones, you’re also experimenting with one-octave spirals and the three other scales described in greater detail later. These five scales are the complete vocal method. The vocal rep system is the key to developing the mid- and top range register shifts faster than any other scale. As you connect from half to full voice, you start to recognize how that vowel shapes and slightly changes itself within the mouth during the transition. Before long, the singer can hold the note for as long as possible, while creating a pure vowel sound. There’s more to it than that, like landing on the notes in your passaggio in full voice without needing to start in half voice (more on that later). Actually, I repeat how to grow a fully connected 432Hz voice so much throughout this manual that by the time you’re finished reading this book, you’ll say to yourself, “He repeated that in this chapter, and that chapter.” That’s my goal: for you to completely understand how to develop your own voice in this tuning and notice how simple this new age method is. Building your one connected voice is easy, and once you have a connected voice, you’re free to fly on your own. The midrange is an area of vocal development many singers wish to improve upon above all others. I think these singers wish to improve their midrange singing because when they can sing in their midrange freely, they feel a sense of power, control, and freedom that comes from the magnificent ping and ring that we feel our voices create. You know exactly what I’m talking about if you already have a well-developed midrange, you feel so
powerful and majestic that you might think it’s better than sex. My first voice teacher coached me outside the computer technology building during school hours. She helped me to develop a fearless singing attitude and showed how it related to midrange development and how those tied in with letting go and the feeling of release into the midrange. She told me that fearless singing, and not caring what others thought about me, was the key to singing in the midrange. Many singers halt their progress subconsciously from developing a midrange because they’re afraid of their voices’ power, of letting go of inhibitions, and of showing the world who they truly are. The midrange’s characteristics reveal who you are because of both the low and top ranges. My next goal for you is to develop your half and full voice to higher ranges in both the low notes and high notes. However, my focus for your newly acquired 432Hz voice is developing your low range down further, past the C3 for both males and females before we start to focus more on connecting and extending into the mid- and top ranges. So many singers want to rush to the high notes, but be patient, take your time, and do it right. Each vocal rep sets us up for the next vocal rep. By doing one-second vocal reps, you can learn to elongate that time, then learn to apply that agility in simple scales to complete overall 432Hz vocal freedom. Relish in the fact that by your singing in A=432Hz, you can grow your voice far beyond your current range in both half voice and full voice through my accelerated 432Hz vocal exercises and techniques. I truly believe the human vocal range is unlimited regardless of your voice type and regardless of whether you’re a male and female. I understand you want to sing the high notes today, but it’s imperative you first build a
solid foundation for your voice by focusing on your half- and full-voice low range, extending that range down further, before you go into connecting into the midrange and singing the extreme high notes in full voice. The goal of high note singing is really the final step in the process of developing your 432Hz voice, and it’s actually the easiest step if you do every step before it. The media, the audience, and other factors demand many singers today to always have the high notes or to sound like this and that. You will have the high notes, but you must have patience as you grow your voice from small to large, from the root to the branches, in this new age tuning of A=432Hz. Already attempting to sing the high notes in this lowered tuning? Here’s a quick tip to satisfy your craving: high notes need less air, so they’re easier to sing. Keep that in mind and let’s move on. Another aim of this method is to help you develop technique excellence and teach you the basics of singing that enable your 432Hz technique to shine confidently, anytime, and anywhere. However, construct your own 432Hz vocal technique for the future, a solid set of vocal skills that should never cause you pain. Experiment once you master the basics of 432Hz healthy singing. To develop and use your techniques that give you absolute vocal freedom encompasses half- and full-voice development, one-second vocal reps, one-register voice development, range extension in both directions, and basic mastery of posture, breathing, and balanced activation of the solar plexus and heart center. Patience is a virtue concerning your 432Hz voice rebuilding process. So make it a goal for you to develop patience during this time of change. Another objective of this 432Hz singing method is to unblock internal
stopping signs, which are stopping you from expressing your unique style and voice qualities freely. It’s not that you have to develop a voice that sounds unique because since birth you’ve had unique sound wave signatures. You already have your distinct way of being that you’re already living. Your unique style will come to the forefront and will showcase easily as you come into alignment with this tuning and begin to accept all your unique voice qualities. You may add or remove things from your unique style in future chapters. This method will serve you in developing star quality, positively using your singing influence on stage in a healthy way that benefits everyone. You’ll see how to lovingly assert more command in your speaking and, therefore, more love in your relationships with others. You’ll define and develop a new 432Hz speaking voice that’s truly representative of who you are and wish to be and begin to see its use as singing (an awareness that will serve you in the development of rapid 432Hz singing excellence). Focusing on speaking sets up a strong foundation for the singing. Those people who have a melodious speaking voice, who use varying volume and melody in their speaking develop their voices faster than anybody else, faster than the determined singer who gives no thought to his speaking and who burns the midnight oil with vocal exercises and singing. When you master speaking, vocal exercising and singing in 432Hz, you start to understand how everything you’re building in 432Hz is growing from the bottom to the top. My goal is to give you complete vocal mastery, by showing you the basics and giving you simple step-by-step instructions in developing your vocal muscles, much the same way bodybuilders develops their muscles.
Why is it that it takes singers so long to develop a muscle the size of half our little finger? When we can grow the muscles in our entire body very noticeably in a few short weeks? The answer is a lack of knowledge; the 432Hz vocal method clears that up. We see singing reverentially, which I believe gives it too much power, things such as it takes years to learn to sing, that you need to be born a singer, or you need a personal coach, etc. By singing in 432Hz, and recording your voice constantly to get an outside perspective, you will become your own 432Hz voice coach. Becoming a great singer doesn’t take years if you’re committed, so take the power back and begin singing in A=432Hz. As you will see in the next chapters how use the analogy of muscle-building to create the belief that singing is easy as learning to do a push-up or bicep curl. By doing vocal reps and taking each note one step at a time, one second of phonation at a time, you will soon understand that singing is naturally designed to be simple for humans. So, how fast can you develop your range? It took me two years to develop one seamless five+ octave range. You can set new vocal goals in this tuning that will far surpass your wildest dreams. Write short-term and long-term goals for your voice. Write a vision for your new 432Hz voice and how you want it to sound. Make sure to write a solid one-year goal for your voice in this lowered tuning. My five+ octave range lets me sing more vocally free in my song writing and freely express my voice’s unique sound colors and qualities. I didn’t have the advantage of singing in this tuning during my first year of singing. I became aware of it just shortly after. But once I started to sing in 432Hz exclusively, my range took off, and my overall vocal agility and freedom came out of the dark so quickly and fast, I
started to wonder just how much time I wasted singing in the old tuning. I believe, though, that everything happens for a reason, so there’s no such thing as wasted time because everything is a learning process. Your beliefs and how much time you’re willing to invest in this method will dictate your results. There’s no limit to how fast you can develop a powerful several-octave voice in A=432Hz. My bass voice student Andy came to me with no notes above the D4 in A=432Hz, right at the first note in the bass singers midrange. By applying himself in this tuning for 12 weeks, he could hit his high G#4 in full voice. And this happened with only one 432Hz lesson a week. I thought to myself, “Imagine if we sang and vocally exercised in A=432Hz together for hours a day, every day?” As we end this chapter, start to think of your vocal goals and all that you expect from this method. Get descriptive and write out your vocal goals daily, visualize them manifesting themselves fast and furious in the tuning of A=432Hz. Remember that the very foundation you’re building your voice is in the tuning of A=432Hz. Don’t overlook or bypass implementing this first step. If you’re not ready to make this change and sing in this tuning exclusively, come back to this book when you are ready or share this vocal discovery with another singer whom you believe might benefit from it. In summary, the goals of this 432Hz singing method include complete vocal freedom in the tuning of A=432Hz; building a strong, capable muscle, one-register voice creation; extension of vocal range to several octaves; ability to fearlessly express yourself through your unique style; and exerting a powerful, positive singing influence and energy in 432Hz to benefit
everyone. These are but a few goals you can achieve through this method, so be constantly on the lookout in this book, reading every chapter several times to get the best insight on proper basics of 432Hz singing. Master the basics. Master the basics. Master the 432Hz singing basics. This is the future of singing, and I’m glad we get to journey on this new road of vocal discoveries and beginnings together. You actually get to start over and build a new voice! How exciting and grateful I am to be with you in these moments of profound change, to sing with you into the new experience of 432Hz singing. So let’s move forward, and see what we need to start our magnificent journey of surpassing our 432Hz singing potential.
Chap ter 3 What You Need to Start In order for 432Hz to endow you with all its powers, it must first have a place that’s unoccupied in your head and heart to fit these volumes of infinite singing wisdom. This requires you to let go of what you think you should sound like, what you think you know about singing right now, what you think applies to 432Hz from 440Hz singing, and your level of vocal skill. Journey through this book as if you have never spoken or sung a word in your entire life before. Once again, take on the mindset of an apprentice that you can develop your new voice in this tuning extremely fast and with an ease far surpassing 440Hz singing development. 432Hz singing is completely different from 440Hz singing. You literally shift to different parallel realties when singing in these two tunings because you’re in essence creating different vibrational frequencies. And the fact that you, in all likelihood, have never developed your voice in this tuning before, you’re a beginner no matter how good you think you are going into this 432Hz vocal training. Don’t just leave your ego at the door, completely let it go, and let spirit fully express itself in this tuning from the only place it can, the heart center. Now that your heart and mind are open and ready for the universal verity of 432Hz singing, let’s move forward.
As stated previously you will need a musical instrument tuned to A=432Hz/middle C= 256Hz to constantly refer to for scale work, 432Hz perfect pitch development training, and this book’s overall speaking and vocal training. Next is the absolute belief in yourself, this new age tuning, and your unique voice. You have a unique voice that no one will ever possess besides you. I hear from singers all the time that they’re trying to find their voice, unique style, or trying to stand out from the crowd by not sounding like other singers, and what happens? They end up sounding like other singers, because in their minds if they don’t, others won’t accept them. This is evident by the current singing shows that force singers to sing other performers’ songs, rather than their own original works expressing their unique style. You don’t have to find your voice or develop it so that you sound unique; it already sounds unique based on your unique signature sound waves. And you already possess a unique voice that stands apart from all others. You just need to acknowledge it, accept it, and understand its unique nature entirely before moving forward. And this leads me to a fundamental belief of this tuning method, you must first accept and understand your unique voice before you can really start to express your vocal potential as a new age 432Hz singer. Now concerning vocal fachs, this method considers them, but it also realizes that every voice is different. However, you must acknowledge and accept the voice you have and understand your natural qualities that may fall in line with certain known vocal fachs. I will use these terms as they represent the opposite ends of the vocal spectrum for males and females. Females have
soprano on the high end, mezzo-soprano for the middle, and contralto at the low end. Conversely, male voices align with the tenor on the high end, baritone for the middle, and bass at the low end. I will explain where these voice types may register a shift, in 432Hz only, into the mid- and top ranges in the one-register voice chapter. If you can sing low range notes, the notes between A0 and C4 very easily with ring and color, accept that, know that it is your natural voice quality, but don’t limit your vocal range to those notes. For bass singers, you know that by the time you’re at C4, you’re ringing in the top parts of your low range, right at the edge of your midrange at the D4. However, the tenor is just getting started at the D4 and easily sings it in his low range. Do you get my point? Understand the nature of your voice, which is easy to identify by the natural placement and sound of your voice as you progress into your midrange. So don’t view yourself as a tenor or bass, but please understand, appreciate, and acknowledge the voice you have and develop those qualities first before you progress with developing your voice further to higher and lower ranges in this lowered concert standard pitch of A=432Hz. Regardless of your voice type, there are specific parts of the keyboard, the bottleneck octaves C4-C5 for males and C5-C6 for females, that all voice types have to work on. I will get more into that later. Now, you must be patient with yourself and your progress. Remember you reap what you sow, and if you’re not applying yourself to daily vocal excellence, there are no guaranteed results. Things take time to grow, and if your voice takes longer than others, that’s okay, know in your heart that
everything is working itself out for your highest good in this tuning. Being kind to yourself at all times as you grow and learn means to stop saying you’re sorry when you hit a wrong note, beating yourself up when you’re not making the progress you want, and not ever judging your voice or others. Evaluate your voice from time to time, but never judge it. I will say it again; do not judge your voice or that of others in this new tuning. Remember, when you begin to sing in this lowered tuning, you will hear for the first time your voice using itself in a different way, and you must be kind to yourself as you develop new vocal habits and muscle reflexes. The fact that this tuning puts your voice in alignment with creation, the change and adaptations your voice will undergo will be extremely fast, and I truly believe happen instantaneously the moment you sing or vocalize even a single note in this tuning. Let me recap on accepting your voice because it’s really important. As a 432Hz voice coach and singer, I hear all the time from singers that they don’t like the sound of their voices, which is saying they don’t accept and love themselves as they are right now in the moment. Be here now with your new 432Hz voice and unconditionally love it. You must accept it, appreciate it, but don’t be satisfied with where you are vocally at the same time. Look to new horizons and goals for your voice in this new tuning. Give yourself a fresh start, you deserve it, and accept that beautiful voice of yours. Take the first step to start at least trying 432Hz vocal development and singing. If you want to get the most out of your 432Hz singing excellence sessions here, you must first have goals to go after. The intention of having a 432Hz vocal goal will start to shift you to the reality that your powerful 432Hz voice is already singing in. Do you want to speak and sing
confidently in front of others? Or perhaps your singing goal is to have a connected registration of voices? Be very specific in your vocal goals. Write your goals on a card and carry the card with you during the day so you can constantly visualize and vocally affirm them, manifesting them that much faster. Make sure to state them in the now. For example, if you want a sevenoctave range, write it like this, “I now have a connected and seamless sevenoctave range.” Here is a small list of what you will need to start. 1. A musical instrument preferably a hand-built piano tuned to A above
middle C equal to 432 cycles per second. 2. Belief in your voice, this new concert pitch of A=432Hz, and an
attitude of persistence, love, and gratitude. 3. Goals for all aspects of your voice. What do you want from this
method? How much range do you want? Do you want to sing the lower notes with more power? How fast do you want to develop your voice? Do you eventually want to compose 432Hz music? Maybe a 432Hz opera? Be creative and make these goals specific. Make sure to write them down and focus upon them with unwavering faith. You will reach your goals, and I will help you. 4. An unconditional loving place to vocally practice daily, with fresh air,
if possible. I advise you to pick where you sing wisely. Make sure that you constantly change the places where you sing so that you have more fun and stimulation. And remember, start treating singing solo in a practice room and on stage in front of others as the same. 5. Water to keep vocal folds hydrated. This step is extremely important,
and I have experienced and seen firsthand how fast and drastic a voice can suffer when it isn’t hydrated properly. Begin now to drink at least
a gallon of water a day, or more depending on your body and environment. Having water on hand during your vocal excellence sessions is important. Never be without water in the practice rooms or on the stage; it’s that important. 6. A vocal journal to monitor progress and keep track of your thoughts,
feelings, and emotions as you begin to realign yourself with not just the natural placement of your voice but your entire being. This is why you must be kind to yourself during this time of modification and change and not be so hard on your vocal progress. The act of writing down what notes you’ve sung, and the ability to see the progress you make after each session, will motivate you to continue your 432Hz singing. A journal will also create momentum toward the end goal of vocal freedom. 7. A recorder/mp3 player to record your vocal scales and singing, which
you will do with your 432Hz-tuned instrument. This helps so that you can freely sing without the need to sit down with a piano or other instrument. Also, use the recorder to monitor your speaking progress, as you begin to adjust your voice and speaking within this tuning. Use this recorder for both your singing and speaking evaluations and listen with the ear of an outsider, staying very keen but nonjudgmental in you observations. 8. A support group of your choosing to share your voice development
with but not get feedback from. Let me say this here now: The only person you should take feedback from is your higher self, other 432Hz singers, and 432Hz voice coaches. Period. Remember, singing in A=432Hz is not the same as singing in A=440Hz. Be careful whom you listen to as everyone loves to give feedback to singers, more than any other musician. Make sure you choose this support group wisely. The importance of this support group and the people in it cannot be overstated. For the people you surround yourself, and the people you sing with, will surely influence you in one way or another. Don’t sing
in groups that sing in 440Hz or with other singers who sing in the old tuning. This is a lot to ask of you, but you must stand firm in your 432Hz singing beliefs no matter what others think or how your stance may seem to others. So stand firm that you will only sing in 432Hz, just as the other singers of the past stood firm in their beliefs of exclusive 440Hz singing. And if that means walking off choral practice or band practice, so be it, let go and let god and continue to sing in A=432Hz, knowing you’re now on the right path.
Singing in this tuning is natural, fun, and very easy. You should never proceed with your singing if it hurts or if you feel pain. Pain is the universe’s way of saying you aren’t in accord with its laws, and you risk vocal damage that could end your career before it has time to blossom. Remember, if your vocal folds hurt in any way, back off, reexamine the things I will soon show you and relax. Stop taking singing so seriously. Take the power back, and sing from heart center in 432Hz, knowing that the universe will take care of the details, technique, style, etc. Eliminate stress in all aspects of your life. It’s paramount that you approach each singing excellence session in a relaxed loving state. All you need is belief in this tuning, your voice, and the courage start singing. Let’s move forward.
Chap ter 4 From the Root to the Branches Principle From the root to the branches principle is a concept I discovered through Confucius. We will apply it here as the definition of growing your half and full voice, from the low range to the top range, and starting to sing in half and full voice in one-second intervals. And once you have your one-second intervals mastered, the roots, we elongate them to several-seconds, branches. The root of this method is that you must develop your low range in half and full voice before you develop your bridge into the mid- and top ranges and before you focus on high-note singing. You’ll pay special attention to your half and full voice low ranges, giving the notes more air and focusing on extending the ranges further down. If you develop your low range, you will find how easily you can develop your mid- and top range transition zones, faster than if you didn’t focus or understand the importance of your foundational low range. The notes of A0 to C4 are often referred to as the low range for all voices. However, it’s a good generalization to follow for now, as it encases all the extreme low notes you should strive for. You’re developing strong roots for your voice by striving for the low
notes at middle C and below. Always start your 432Hz exercises in half voice before going on to doing them in full voice. And do both these things in your low range first, before going up to the higher ranges with all the vocal exercises. Doing the following exercises in half voice, you’ll learn the key basics and concepts of proper breath release discipline that’s naturally gained and understood through one-second vocal reps. The one-second vocal reps, with one-second breath releases, will serve in building your voice from small to large, literally one second at a time. Can you see why you start with one-second vocal reps? Anyone can start here! Anyone can learn to sing in 432Hz. Once you fully understand this concept, you will see your vocal progress grow to outstanding levels with ease and fluidity. You start building roots with half voice because every note in half voice needs less air than its full voice counterpart at the same notes. So by starting in half voice, you learn to use only the right amount of breath to create the most pure one-second open tone you can. Another main concept of the root to the branches principle is that as you naturally use more air to get your low range notes to vibrate more fully, you will gradually use less air as you ascend into the mid- and top ranges of your voice. Please re-read that last sentence; it will serve a basic understanding of mastering your voice in this tuning. You need less air as you ascend into the higher ranges of your voice and more air for the lower ranges of your voice. This applies to half voice and full voice. Master the basics. Master the basics. The volume of the notes will, of course, take on this principle: The lower the notes, the lower the natural volume, and the higher the notes, the
louder the volume. No one’s A0 is as loud as their C6. This is true for all voice types. So, don’t focus on trying to keep the volume consistent throughout all parts of our range; allow natural placement in this tuning to dial in the right volume for perfect health and longevity of singing. Each note will have its own respective volume, resonance, and tone quality with your voice. And this will change as you move down and up in your vocal range. You can increase, or decrease, volume and resonance in this tuning throughout all the notes in your range, by continuous singing and vocal exercising in this new concert standard pitch of A=432Hz, and following the steps in this book. I believe singers and coaches who push high notes overshadow this area of low range singing, instead of leading singers to developing a wellsustained low range. This may be due to the belief that you can’t extend this range for all voice types, and in this process, actually disregard this part of the range, the notes A0 to C2, as vocal fry, and not a part of the human range used in singing or considered to have a rightful place in vocal training. Let’s understand vocal fry before moving on: You can only create sound with one thing, your voice. Any sound you can vocalize, speak, and sing is a part of your range, I will explain more on that in later discussions and how this ties in with appreciating your voice and also learning how to make those low notes sound more full like a bass. This high-note focus is evident in singing today where people cherish high notes but subconsciously disregard low notes and bass/contralto singers. High notes are scientifically proven easier to sing than low notes because the space between the vocal folds gets smaller and smaller as you ascend into your higher ranges, thus requiring less air to vibrate freely. The
reason many have trouble singing the high notes is one simple reason: We don’t use that part of the muscle that much, and when we do, we apply too much force, which hampers muscle development. Remember, as we develop our low range in both half and full voice, and our speaking voice too, we are in essence building the roots for our new 432Hz voice, which will serve us not only in longevity of 432Hz singing, but improve and repair the overall quality of our voices from the A=440Hz too high tuning. Speaking is a foundation of the root to the branches principle since it leads to singing. So begin now to start thinking about how you can apply A=432Hz to your speaking. (We’ll cover speaking later in the book.) Now this might shock some of you, but the size of your vocal folds doesn’t limit your vocal range, the size of your beliefs do. If you’re a “Tenor,” you can sing to C2 and lower, and if you’re a “Bass,” you can sing that high C in full voice and beyond. This applies to women too, regardless of what others have said about the size of your range. There’s no limit to what note you can sing, how full it can sound, and how much power you can sing it with, in the tuning of C=256Hz. I’ve learned that tenors don’t like singing or training their low range because it shows them what they need to develop in their voices, so they tend to disregard expanding their low range, singing in their low range, believing they can sing past the C2, and expressing themselves in songwriting with their low range. The same goes for the opposite side of the spectrum with the bass singers, who believe that a high C5 in full voice is not possible and are stuck with half voice production of the high C5. Neither of these assumptions is true or only true if you believe them.
Many bass singers also believe they can’t sing into their whistle voice, defined here in this method as a part of the top range, because their vocal folds are too thick, which again is a limiting belief that manifests itself as a shortened range. The mistake I see in so many bass singers, the few who can sing a C5 in full voice, is that they try to make their high C5 sound like a tenor’s, totally disregarding their unique sounding C5. We can manipulate any notes to closely resemble the ring and sound of another voice type, which is possible and advanced through varying placements of sound within your instrument. Experiment with sound manipulation in this tuning, like placing the sound in your hard palate, once you’ve mastered the basics of natural placement in this lowered tuning. However, for now, accept the sound at which each note produces and places itself within your unique instrument and in the tuning of A=432Hz. You must accept your voice and the sounds it makes naturally. A great opera singer once said, “Don’t let anybody mess with a naturally placed sound.” Now can you understand why you don’t need a voice coach in person? Always stay within the realm of a naturally placed open tone in A=432Hz, and you will never stray from the right path. So this concept is very easy to understand and apply but often neglected to the detriment of many singers: Accept and understand the natural placement of your 432Hz voice. Now, I’m not saying master your low range in half and full voice, and don’t experiment with your mid- and top range until then. I am saying work and focus on that low range, extending the range down first, all while experimenting with your mid- and top range. Nearly all beginner singers use too much air because when we sing in low range full voice, we need more air to make those notes sound full like a bass singer.
However, for half voice low range notes, you still only need a very little amount of air. Actually, for all half-voice singing and exercising, you will only need to breathe in to the point that your stomach barely expands at all, regardless of whether or not you’re singing half voice in your voice’s low, mid-, and top ranges. I will refer to the basics of 432Hz singing often. So, if you still can’t sing the high notes even though you have perfect posture, breathing, and balanced activation of both centers, it’s probably because of muscle strength, and this note, or weight in a sense, is something you need to build up, too. So start with the range you have and begin to do vocal reps at those notes, dialing in perfect technique, and slowly elongating the time in which you use your vocal muscles. Start to view your voice growing from the bottom up and work on creating each floor in ascending order, note by note, all the way to the maximum of your desired vocal range. Start to focus and use the scales here in developing a strong half- and full-voice low range. By focusing on your low range first, you’re building a new foundation for your 432Hz voice. A bass singer will naturally, even as a beginner, sing a C2. However, with practice and accepting his unique voice, he can get to A0 extremely fast due to his natural abilities. You too can make this extreme leap in progress if you start to believe in yourself and the limitless vocal range that awaits you in the tuning of A=432Hz. Don’t limit yourself, you can sing that A0 and lower even if you’re female; just believe, and your belief will create the fact. All things are vocally possible when you sing in the tuning of A=432Hz. The main thing to focus on is your low range first when using the scales. Feel it out, sense how
much air you need for that entire range for each respective note. Sing all your songs in that range, and really get to know and understand the concept of using more air for your low range notes in both half and full voice. Remember, we focus on extending this range down lower before we focus on extending our range higher for every voice type. Also, make sure to really dial in your half voice in this low range, extending it down and naturally up following your intuition during this beginning process, as the half voice will naturally gain access into the upper ranges extremely fast, especially in this tuning pitch. Make sure to keep your low range half-voice notes extremely pure, tiny, and clear with no extra breath whatsoever. Singers see extending the low range down further more difficult than high note singing, because they believe only bass singers can sing that low, which is not true and limits them. So I challenge the sopranos and tenors to work on the low range extension past the C3 and C2 in full voice and half voice. I also challenge the bass and contraltos to sing their C5 and C6 in full voice and half voice when that time comes, all while understanding the part of the voice they’re assigned to: its timbre, its unique ring, its natural placement of sound in A=432Hz. We all use more air for our low range and use less air for our top ranges. We grow our voice from the bottom to the top, from the root to the branches, emphasizing extending our half- and full-voice low range down further before we attempt to build our bridge into the mid- and top range. We develop our foundation first. This is common sense, but many singers who are eager for the high range notes overlook it, and in the
process, forget to emphasize and acknowledge the voice they already possess. Your low range right now is any note below your midrange or temporary vocal break. One-second vocal reps in half and full voice is the cornerstone to the development and connection of a one-register voice in half and full voice. We just simply hold the note longer to activate more muscle activation and longer releases of breath. And when you have the right posture, all you have to do is the vocal reps, putting in the vocal gym time, and steadily working to your desired vocal range. Start right now to experiment with your low range in both half and full voice in A=432Hz. Use more air for your full voice low notes to get them to sound more full, making sure the larynx doesn’t go too far down. And experiment with your low-range half voice, using the right amount of air to create the most non-breathy tone possible. Make sure you keep both your half voice and full voice singing non-breathy in all ranges of your voice. So once you have your roots in place, you then can start to build your branches into the mid- and top ranges. For example, if you’re a tenor, you may only be able to connect from half voice to full voice for one second at C5, but grab hold of that, get it open and full for one second and then slowly elongate the time you hold the note, which, in turn, activates longer muscle use. You then spiral up and down an octave at these notes and the notes of a passaggio, to achieve vocal agility and activate a full range of motion. From there, you go into the divine love and cosmic power scale, which serve to grow the voice from many angles. And then you use the last scale, the excellence scale 1, to build your voice and activate longer ranges of motion. This system of 432Hz singing will create vocal growth. Build
your foundation one semitone at a time, from the root to the branches, with patience and perseverance that will unlock the unlimited singing potential within you and in the tuning of A=432Hz. Reread this chapter and understand the basic principle: Grow the range from the bottom to the top in half and full voice, master one-second singing intervals before lengthening the time and use more air for the low notes and less for the top notes. Once you master those basics, start to move in a non-linear way, activating a full range of motion with the other 432Hz scales and with your creative 432Hz songwriting.
Chap ter 5 Half Voice and Full Voice ~~~~(Half Voice)~~~~ Lets start this chapter with a discussion on half voice, otherwise known as falsetto and move on to full voice, which consists of the low, mid-, and top ranges of the one-register voice, which encompasses what others call vocal fry and whistle register. Half voice is the voice that many singers switch to when they crack at their transition zones, and the voice many bass singers use to sing their notes at full voice C5=512Hz and above. If you have trouble finding your half voice, or knowing how to produce it, there’s simple exercise you can do to find it right now. Start from your lowest note that you can produce in full voice, and spiral/slide up to your highest note while keeping your registers connected without breaking. When doing the spiral, if your voice breaks at a certain part, most likely at the entrance to your midrange, you will produce a soft airy sound. From there, immediately sing to recognize what and how your half voice feels and how you can perhaps sing in it on demand. If you don’t break and can easily slide up and down your several 432Hz octave range, then you most likely already know what your half voice is and how to switch to it due to your already well-developed voice. I have yet to meet a singer who had a fully connected several octave 432Hz voice
and who did not understand what half voice was or how to switch to half voice. Starting to sing in half voice, using its structure to develop your range, and disciplining breath release are paramount. Do the exercises in both half and full voice. However, there are a couple of reasons to first start them in half voice. First, you need to use less air, to produce a half voice tone creation compared to its full-voice equivalent. Second, you begin to realize precisely the smallest amount of air you need to create each one-second breath in half voice. These second half-voice notes are the least amount of air any human vocal fold will need to produce sound naturally. So anyone can learn to develop a magnificent 432Hz voice, if they just master the basics of vocal tone creation. Anyone can learn to sing if they start in the right tuning and start from the very smallest sound, confidently moving toward the progressive and ongoing symphony of vocal expression through continuous 432Hz singing. This is a critical concept about the Vocal Freedom Singing Method. So, by beginning with half voice, you will learn quickly whether you use too much air. If you do, the penalty is dry and irritated vocal folds. And it happens very quickly if your half voice is breathy. Also, if you use too much air in our half voice, before you even get to your full-voice exercising, you will know and feel your tonal qualities suffer from irritated and dry vocal folds when you start to do full-voice singing and exercising. And that can’t happen! It is paramount that you only take in the smallest breath when you sing or vocalize in half voice, to the point that your stomach barely expands,
because you need the very smallest amount of air to create the sound waves in half voice. The amount of air you breathe in for your half voice singing is also dependent upon the length of the phrase, which, of course, influences how far your stomach protrudes. This practice of half-voice singing and one-second vocal reps in half voice will help you perceive just how much air you require for each note of your vocal range. These principles apply to full-voice note creation as well. Remember, from the root to the branches. Master the basics. As you progress with your one-second vocals reps to multiple seconds, longer duration full-voice vocal phrases, you must take in larger amounts of breath and, subsequently, activate more muscles. However, you will take in less breath for half-voice singing overall and will, of course, use less breath as you ascend into the higher ranges of the voice. So, by taking in less breathe, you minimize the chance of breathing out too much air during the natural process of breathing. You can learn to control this process completely by strengthening the body, vocal muscles, and abdominal muscle structure. By doing half voice, one-second reps on all vowels, you start to develop good habits because you discipline yourself and know how to make your half-voice tone creation on spot, clear, pure, and as non-breathy as possible. All you have to do then is simply carry this breath release awareness to your low range, full-voice singing, and apply it to the upper ranges as well. You will come to find through your experimentations of half-voice singing in 432Hz, that a pure and clear non-breathy half voice naturally accompanies a low-volume half voice. And this is okay as we let this be
before we try to experiment with creating more volume in half voice and with adding too much breath. A breathy half voice is beautiful in 432Hz, but start from the basics and master the basics. Half voice has its natural volume limits, even when you develop an increase in resonance and volume in 432Hz to the maximum. Respectfully accept this by switching to full voice, or a microphone, and begin to realize a half voice’s job isn’t to create large volume but to build a foundation for large volume and resonance in the full voice. Using the right amount of air is the key to great singing, unless, of course, you wish to use a breathy half voice or full voice for effect but watch out for irritation and pain and be ever mindful of balance and 432Hz singing basics. So when you do the exercises in half voice, you are, in essence, creating discipline and control of your breath release mechanism. This will serve you when you extend your range further in both your half voice and full voice and start to release the smallest amount of air for those top notes, rather than releasing too much air across the vocal folds, causing the voice to break into half voice. So to recap, keep all your half voice exercising and singing throughout your beginning uptake of this 432Hz method to be pure, clear, and as non-breathy as possible. Begin to do the exercises in half voice to learn proper breath release and master the key concept of creating pure, onesecond, 432Hz tones that will carry over to full-voice singing and vocal exercising.
~~~~(Full Voice)~~~~ Full voice is the voice we speak and most usually sing in and includes the whistle register, which produces the highest known notes of the human voice, and the vocal fry register, which some often separate and disregard as a usable and acceptable range. Remember, your vocal range is unlimited regardless of your voice type, current range, or if you’re a male or female. Full voice is the voice you sing in when you’re not singing in falsetto/half voice. So when you sing any of your notes not in half voice, then you’re singing in full voice, which is part of your one-register voice that creates unique sound waves. Now this leads me to a principle I want you to really focus on. As you sing lower notes in your range, you will use more air to create the notes and make them vibrate, and conversely, you will need less air to create your midand top range notes. I will remind you of the basics throughout this book, since they help to tie everything together cohesively and help you believe that singing and developing a strong 432Hz singing voice is simple, far simpler than developing body muscles. When you sing in the octaves of your top range, you have to use far less air, to the point your stomach barely expands to create the notes, which applies to top range half-voice singing, as well. This is why you start with your half voice, learning to dial in how much air you need from a place in your voice that already needs less air regardless of whether you’re singing in the low and top ranges. And now you proceed with this new understanding of breath release
with your full voice. How much air did you use for that full voice middle C with all the vowels? Remember the answer to that question and proceed to use only the exact amount of air required to produce an open naturally placed ringing tone. For the extreme low notes A0 to C2, you will use a massive amount of air to get the vocal folds to vibrate and create sound, all while making sure the larynx doesn’t move too far downward and you’re breathing in to the point that your stomach fully expands. So the basic premise is you need more air for you low range notes, and as you ascend, especially into the midrange, ease off on the air and the amount of air you’re breathing in to reduce tension and allow freedom of singing. This is why we start with a concept called single tone excellence, which are one-second vocal reps to really learn how much air you need to create each note in all parts of our range, and by repetition, learn to master the notes in both half and full voice. Many singers and coaches think that bass singers have some other register they use to produce the low range notes below C2, and all other singers use something they call “vocal fry.” You can only create notes with your one voice, in either your half or full voice, and if your low range doesn’t sound as full as a bass singer’s, it’s okay. It will develop the quality and ring of bass over time. But to call it vocal fry and disregard, say, a tenor’s C1 or C2 low range sound, and even beginner bass singers who may not sound as full as a professional bass singers low range, is far too judgmental. Once you understand both parts of your one voice (half voice and full voice) you will come to respect and appreciate each of their parameters that enable vocal freedom in the tuning of A=432Hz. Accepting this low range means accepting this low range of the voice. Experiment with
your low, mid-, and top ranges with your half and full voice in the tuning of A=432Hz. Then, progress with confidence and fervor.
Chap ter 6 One-Register Voice There’s only one register of the human voice, and when it’s trained, it’s seamless with no more cracks or breaks in any part of the range in either in half or full voice. And the need to know where our natural registration shifts lie will become unnecessary as we develop five+ octave ranges. But first knowing where they are in 432Hz serves to help. Here are the register shifts for all six voice types in the tuning of A=432Hz. Let me explain the male register shifts first. Bass singers enter their midrange at exactly the D4 and enter their top range at G#4. Baritones enter their midrange at exactly the E4 and enter their top range at the A#4. Tenors enter their midrange at the F#4 and enter the first note of their top range at C5. Every note below your midrange entrance note is your low range, so view that part as having no starting point note. This concept applies to both males and females. Here are the register shifts of the three female voice types in the tuning of A=432Hz. Contraltos will enter their midrange at exactly the D5 and enter their top range at the G#5. Mezzo-sopranos will enter their midrange at the E5 and start the first note of their top range at the A#5. Sopranos will enter their midrange at the F#5 and enter their first top range note at the C6. If your voice doesn’t align with these register shifts, it’s most likely
due to a weak upper low range, which displays itself in singers who seem to break early. For example, a student I was singing with was an obvious tenor, no mistake by the tonal qualities and natural placement. But his voice always cracked at the E4/F4, but he obviously wasn’t a baritone, not by a long shot, because I know a tenor when I hear one, and so does everyone else. We found that he did all his singing in the low range and never attempted to get close to or go into his midrange. The upper parts of his low range, which lead into the midrange, had atrophied. Once we got his low range strengthened by focusing on the root to the branches principle, we came to find the F#4 was his true midrange entrance zone. So that’s why it’s important to focus on building the low range first, strengthening it, so you can get a clear sense of where your true midrange starts. From my experience, these register shift notes in A=432Hz align themselves perfectly with all voice types that may fall into those six known vocal fachs. However, once you create a several-octave voice, these entrance zones aren’t apparent and no longer necessary to pinpoint. All you need to focus on is creating a balanced, full range of motion muscle. Since low, mid-, and top range represent terminology we’re all familiar with, I’ll use them to show the progression of acquiring a oneregister voice and the different tonal qualities of each zone. I believe using these comfortable terms will help you better understand your voice and the different parts of that one register, all in an effort to help you obtain seamless transition between these zones in half and full voice. Low range, also known as chest voice, consists of the notes below our midrange entrance notes, which are the notes between A0 and C4 for males and females. The A0 to C4 low range serves a purpose so you don’t limit
your range mentally. From my experience, this low range makes singers focus on the areas of the keyboard they need to right now, the notes at middle C and below, and make you start from the root to the branches. In the beginning you will discover that you can only sing the extreme low notes, A0 to C2, in full voice as you develop your 432Hz range in that direction. Your low range notes may not sound as full as a bass singer’s but continue to work with it and give them more air. Also, appreciate the sounds you make in this low range, in this new voice you’re creating. We need to start and acknowledge our foundational low range as a collective body of singers in this new lowered concert pitch. Remember, we must focus on this low range first, not exclusively but with vigor, to build a solid foundation, all while tiptoeing our way into our mid- and top range with vocal reps, and the exercises in the book. The midrange varies from voice type to type, as we see in the register shifts, but for now, see them as this area of the voice you really need to have down before singing extreme high notes: the “bottleneck” octaves, which are between C4 and C5 for males, and C5 and C6 for females. I notice that all voice types need to focus on the octaves before irrespective of where they may lie in connection with their mid- and top range transition zones. These general guidelines serve to create in the mind an unlimited range for both males and females and show that both males and females can sing any note on the piano, and beyond, especially in this tuning of C=256Hz with absolute freedom and ease. Now please listen, we don’t stretch or wait as long as possible before we hand off the midrange to the top range. Modern vocal teachings say you must slowly “stretch” your midrange before you hand it off to your top range. This is not the same as
strengthening the low range in all directions. Stretching the midrange may create a powerful belting midrange, like 1980’s singers have, and may also create an unbalance of registration due to too much focus on one particular zone of the voice. As a great samurai once said, “In all things have no preferences.” I don’t advise this method of stretching the midrange. Even if you do it safely and slowly over time, please don’t stretch the midrange. Let your voice grow by respecting its natural boundaries, by letting go of each zone, and by focusing on developing a balanced registration at the proper right time in this tuning. First focus in on your low range, then the midrange, and then the top range. Then, focus on strengthening the muscle as a whole because the only time we can is when we have a full range of motion voice. You risk harm and future top range shortening from excessive use of belting and shouting in the midrange. Yes, experiment, but trust your intuition and this new 432Hz vocal method, and it will lead you to the most natural path. And if you’re a beginner singer, you will know when to let go into your mid- and top range when your voice “cracks” at your transition zone in this tuning. Remember, the notes you break at may change as you develop your low-range voice in this tuning. It may move up a few semitones. This might happen to you so be aware and monitor your progress. Your midrange is very important, and we will use very simple exercises to build this area very quickly. You will know your midrange when you sing in it because not only will it “ring,” and more often than not vibrate your face and nose area, but it will have the best tonal qualities of your low and top ranges. The midrange transition zones must be your focus before
building the top-range transition zone. We will also later get into the importance of the F, F#, G for all voices in their respective bottleneck octaves, which fall in line with the tenor and soprano register shift into the midrange. Focus on the transition notes into your midrange, via single-tone excellence reps and begin to learn why connection from half to full voice at those notes starts to build that bridge extremely fast and extremely easily. The highest known notes of the human voice, the top range, come after the end of your midrange. So, the thing to remember is that these zones simply represent unique aspects and tonal qualities of your one-register voice. One of my goals is for you to sing all the notes on the piano, from A0 to C9, in this tuning, so that you may showcase more of who you are whenever you sing and the singing excellence this tuning provides all voices and voice types. Soon I want you to lose the concepts of low, mid-, top range, half, and full voice because you’ll acquire a seamless one-register, several-octave voice. The fastest way to develop your voice technically is to start with your low range in half and full voice and then, semitone by semitone, work your way up till you achieve the range you desire for your specific vocal goals, It’s that simple and that easy. Common sense tells us we need to strengthen the “bridge” between these zones very carefully to have free flow in the future. Let’s recap this chapter. Our low, mid-, and top ranges are easily identifiable by the unique vocal sound qualities they give off, which are unique to you. The sounds will vibrate and naturally place themselves, and you must allow them to resonate and place themselves naturally, and not force them to always place them in certain ways. The connecting voice
exercise, found later in this book, will show you how to sing any vowel in all parts of your range without unnatural excessive modification techniques. Also, it shows you how to know exactly the way each note places itself with your instrument to create the most free, open, ringing sound that’s unique to each respective pitch across all parts of your range, in both half and full voice. Low, mid-, and top range each have its own distinctive sound qualities, so make sure you hear for yourself through constant and neverending improvement of 432Hz singing and experience to build awareness of how each note in your range places itself and where it vibrates. The basics of low, mid-, and top range vibration with natural 432Hz placement in our bodies are as follows: low range will vibrate the chest area, the midrange the face and teeth, and the top range will vibrate the highest and uppermost cavities in the top parts of our head.
Chap ter 7 Basic Instrument Anatomy Your unique voice instrument isn’t just your vocal folds; it’s a combination of all your elements, everything you are, composed of every cell and nonphysical substance that you vibrate. Your entire body is your instrument, and your vocal folds are nothing more than the prime movers in terms of muscle movement and action in the creation of musical tones. When you sing and speak, every fiber of your being vibrates in accord with the physical laws of sound and vibration, and in sync with what you’re thinking, feeling, and intending. This is why it’s important that you view your vocal instrument as your entire body. This simple perception will give you freedom and power as you begin to realize the force and vibrations you give off at all times and increase in power and positive influence whenever you sing in the tuning of A=432Hz. Your vocal folds are made of two elastic bands inside your larynx or voice box, located in your throat, and they come together extremely rapidly, and when combined with air, power, and love, create sound waves. The sound waves you create are unique, and no other human or instrument, whether or not they try to imitate your style and singing techniques, can replicate them. Since your entire body is your instrument, it isn’t enough to just do
vocal exercises, sing, and think you’re doing everything in your power to increase your vocal abilities. Start strengthening your body with weights and exercises because this will not only get your body stronger and more resilient, but it will also improve your mind/body connection. This will enable you to realize when you’re using too much air, realize when you’re tense physically, and become aware of every muscle in your body. Physical workouts then improve your overall instrument awareness and capabilities. As a new age 432Hz singer, you need to strengthen and develop your abdominal muscles and construct a routine that combines weights with low reps and no weights with high reps to develop strength, and therefore, increase cosmic power activation. The habit of abdominal strengthening will increase your solar plexus power and increase your heart center activation abilities. This translates to being more loved-based in your life and constantly being in a state of unconditional love and gratitude. Your heart is constantly sending out electromagnetic frequencies that communicate to every other heart in the galaxy beyond the speed of light. In now knowing this, it’s your duty to not only be the most love-based person and 432Hz singer you can be but also make it a mission of yours to always communicate and sing with love in your heart toward others. Don’t sing with a vibration too self-focused, too power- and competition-based, or tainted with an attitude of “Hey, everyone listen to and look at me.” You must always stay outward focused to others with a “Hey look at you” attitude. (I will get into why it’s important to know the true reasons why we sing in later chapters.) Back to vocal instrument basics. I remember vividly a time when I didn’t sing or do any vocal exercises for three months due to my power-
lifting training, and for a much-needed vocal break. But get this, I increased my range by one semitone and came back singing with more stamina, power, awareness, and freedom the moment I began to sing. It was if I had more confidence in myself and my instrument. To say the least, I was surprised but soon understood it had to do with training my body and becoming more aware of every fiber of my instrument, and thus, my ability to control it. I also believe this was due to my thinking that if I were to control and grow the muscles in my body with ease, why couldn’t I control and develop the small vocal muscles in the same way. The belief that singers shouldn’t lift weights is completely false and really a limiting belief in the quest for vocal freedom. So, start to walk and sing. This will build up your respiratory system, posture, and breathing, which will lead to great 432Hz singing and speaking. Once you’re proficient at walking and singing, start to run and sing to further increase your breath stamina and overall health. Remember, your entire body is your instrument, emanating vibrations from every cell in your body. It’s powerful to start visualizing this happening when you sing, especially when you get very emotional and in the zone. See energy and vibrations leave your body and impact others in the most positive, loving way. Please refer to the plethora of books, articles, and scientific literature describing in detail everything concerning the human vocal folds if you wish to understand more. I believe that all you need to know, right now to start 432Hz singing, is that everything that you are, physically and nonphysically, is your vocal instrument, not just your vocal folds.
Chap ter 8 Vocal Health Basics First things first, concerning all things singing and voice related: Whenever you vocalize, sing, or speak, have room temperature water on hand to keep the vocal folds hydrated. However, not all water is created equal, so make sure you use filtered water. It’s best to fully hydrate before you sing to minimize the water you need to drink during your singing excellence sessions and stage time. Make sure you drink your water slowly and not quickly. By drinking water slowly, you give your body time to send the water where it needs to go. Gargling water is a quick way to hydrate your vocal folds during your pre-singing hydration. Gargling water also serves to relax the vocal fold muscles. Be very careful when you drink extremely hot or cold water; they both might cause harm to and shock the small muscles surrounding the voice box, so it’s best to play it safe and just drink room temperature water. Staying hydrated and consuming plenty of water is the number one vocal health basic for 432Hz singers. If you don’t, you will send you and your voice into the danger zone of dehydration and rob the vocal folds of the much-needed moisture it needs to adduct and fluidly produce all the notes in your range, specifically the high notes. So how much water should you drink? A good marker is to check the color of your urine, and if it’s clear, you’re probably hydrated. Always listen
to your inner voice about when and how much water to drink. Too much is just as bad as drinking too little water. If you’re well hydrated, you’ll know it intuitively, so let nature guide you since the amount varies from person to person. Always consider your environment, and if it’s hot, drink more water prior to singing and have plenty ready during your singing excellence sessions and on stage. And if it’s cold, drink slightly warm water to keep your throat chakra area warm and open. Cut out all caffeine products such as coffee and soda completely. They have a diuretic effect, which robs the body of much-needed moisture. The only liquid I ever drink is water, and I hope you start doing the same. If you can, buy some Himalayan pink salt and put a few crystals in your water to create a powerful vocal drink that will not only keep you hydrated but also keep you in solid good health. Table salt is dangerous, and bad for your health, so stay away from it altogether, and use Himalayan pink salt, instead. Do some experimentation with pink salt, and you’ll find that it’s a true singing performance drink. The first vocal health basics are easy to master: drink more water, stay hydrated, and always have water on hand whenever you sing, vocalize, or give a speech. In addition, the food you put into your body has a tremendous effect on your voice’s attributes and the strength of your instrument. In general, it’s best to eat lots of green leafy vegetables and vegetable proteins, preferably a meatless diet, if possible. Zinc, iron, and magnesium contribute to overall vocal health, too, and you should constantly strive to maintain them in abundance in your body. What you eat and how soon you eat before a singing show will affect your singing performance. It’s best to eat 60
minutes before a singing or speaking show, but this changes from person to person, so know your body and, by all means, experiment. Whenever you finish with your daily 432Hz vocal excellence sessions, make the new habit of eating a meal with some protein to aid in muscle recovery, just the same way a bodybuilder eats after his workout to aid recovery. This will create a psychological boost and help you understand that you’re training a muscle, going to the gym in a sense, just the same as a bodybuilder does, and that proper nutrition and hydration play critical roles in reaching your vocal potential. So, develop your own “post-workout” singer’s meal and make sure it includes protein and zinc. My post-workout singing meal is organic spinach, sweet potatoes, and fresh sea oysters. Oysters are very high in zinc, and if there is one nutrient a singer needs most, it’s zinc. Sleep is also very important, especially before a show and if you’re on tour. If you’re training your voice vigorously for many hours a day, daytime naps in addition to a full night’s rest will serve you well. Don’t underestimate sleep because it’s the time the vocal folds rebuild themselves and come back stronger. Smoking of any kind dries and irritates the vocal folds, so stop altogether. This habit may harm your voice among other things. Once again, working out with weights and cardiovascular activity will build your instrument and body and help you develop your voice faster than if you were to do none. Drink filtered water, eat non-GMO organic foods, exercise daily, breathe correctly, and think only positive thoughts about yourself, your voice, and the universe as a whole. You will learn how easy it is to sing every day for as long as you wish in A=432Hz.
Living a healthy lifestyle with good friends and family is absolutely critical to your singing excellence. You become who you surround yourself with, and it’s paramount that you make sure to surround yourself with other supportive singers, friends, and family members. If you’re dealing with nonsupportive friends and family members, or worse yet, jealous friends and family members, you must stand strong and keep on shining your light. Don’t divorce yourself from your family members or friends; that indicates a blocked heart center. Just don’t go as often and don’t stay as long as you usually do. However, if they’re truly toxic, have enough respect and love for yourself to surround yourself with other people of your preference and completely let go of those other people. Remember, you have free will, and you don’t have to sing in front of anybody or share your singing with anyone whom you choose not to. The power of saying no is equal to the power of saying yes. And I find that people always expect singers to perform on the spot, so be assertive and learn to say no. At the same time, as a 432Hz singer, you must go out and show the world the true loving vocal power of this tuning. Trust your intuition in this matter. The musicians you surround yourself with on a daily basis and the surroundings you live in determine your vocal health. It’s best to work with another singer who is willing to sing exclusively in A=432Hz for however long you wish to try singing in this new age tuning. A clean home free from dust with access to fresh air is critical to your vocal health and repair. Some other things to consider are to stop yelling, and this includes belting, which means singing notes in your midrange that you should sing in your top range. Belting is the act of singing your high
notes in the lower ranges of your voice by shouting to some degree, and even if done healthy and with care, it may cause harm and limit your access to the extreme high notes. You pay the price with heavy belting, and yes, I say experiment with belting in the tuning of A=432Hz. However, before you experiment with 432Hz belting, develop your range and register connection in the tuning of A=432Hz and learn to let go, respecting your voice in the process, as you ascend into your mid and top range. You must discontinue throat clearing altogether; you risk harm to your voice and vocal repair. Throat clearing is more often than not due to a diet that creates excess phlegm and a sign of dehydration. So, check your hydration levels and what you’re putting into your body. Warming up and cooling done before and after every vocal excellence session is of prime importance. Some days it might take you longer than other days to warm up, but that’s fine and natural. Other days, you will need less than five minutes to vocally warm up. Use the Power 3 vocal warm-up and insights found later in the book, and take your time in your vocal warmups and cool-downs. You don’t want to wait too long before a show to start warming up, and you also don’t want to start too early. Everyone is different, so experiment and find your path. As a voice coach and singer, I find that I can read my energy and the energy of others very quickly, and discern exactly what others feel and think internally, in person and through the written word. You will come to this level of verbal and nonverbal awareness as you begin to sing in A=432Hz due to the natural sensitivity you gain from the elevated singing vibrations of this tuning. These heightened levels of awareness will serve you in knowing what you should do, and avoid, to stay in proper vocal health. By taking care
of your vocal health, you are, in essence, showing yourself love, and giving yourself all the support you need. The only person who needs to give you support is yourself. Stop relying on others to give you attention and acknowledgement on your singing, and why would you? It’s now time for you to become the new age singer that leads the way for others to follow, and you can’t do that if you constantly rely on others for attention. You must stand like a pillar of strength, especially being the new age singer that you are, by singing in A=432Hz. Vocal health is very simple, so don’t overlook it. If all you did was drink good water, eat good food, and get proper rest, you will be 10 times further along if you didn’t do those simple first steps. Constantly look for new ways to improve your overall vocal health, and you’ll make strides in developing your full singing potential in the tuning of A=432Hz.
Chap ter 9 Alignment, Natural Breathing, and Activation ~~~~(Alignment)~~~~ Before you even sing or speak, or do any of the 432Hz vocal exercises, it’s vital that you make sure you align your body with itself, in perfect posture with your body weight and evenly distributed upon your two feet or body if you’re sitting in lotus position, which is a good position. So, how do I find my perfect posture? You can use the old method of standing barefoot against a straight wall, and making sure your calf, butt, upper back, and head touch the wall. Another test to show you your most natural posture is lie flat on the floor with no belt on and then mimic this posture when you stand up. Now when you’re on stage, this perfect posture will change since you’re constantly moving, and I don’t necessarily recommend you stand in one spot unless that’s what’s called for, but always try to go back to equilibrium whenever possible. Another thing to watch out for while standing and singing is the protruding head jut that plagues many singers due to bad posture and unbalanced muscles in the neck and body. So make sure, if this is you, to sit
down in lotus posture, all while keeping the butt, upper back, and head touching the wall at all times to eliminate the head jut and force discipline into your body. A disciplined standing posture will also fix the head jut problem. Don’t sit in a chair; it’s not a substitute for lotus posture straight against the wall, unless you can’t or you’re a keyboard singer. Using this method, start the exercises sitting down. Imagine you’re assembled in a kindergarten 432Hz singing class, with a sense of play. See yourself sitting on the floor and see the rainbow colors on the wall and the alphabet of the musical 432Hz scale coalesce with the A note colored in red, and the B note colored in orange, etc. This serves you because when you sit down, you eliminate body movement, and consequently, stress and tension. This also stops singers from moving and tiptoeing and creates wellordered discipline in mind and body. Also, this puts singing in perspective and makes it less formal with the standard rigid standing position many singers practice and sing in exclusively. It also makes it more fun, and by sitting down, we’re sending the message that you don’t have to stand to display vocal power. You may not have plans to sing a gig sitting down in lotus posture, but practicing in this posture will serve you by creating a disciplined mind, body, and spirit, and help release muscle tension. Singing in lotus posture will also help us become relaxed when we begin to develop our first bridge into the midrange. Many singers start to develop tension and psychological blocks at this transition zone. As you go higher into your ranges, you’ll find that you might strain, even when you’re completely relaxed in good posture, using the right amount of breath and activation. But does a power lifter strain
when he lifts a new maximum weight? Of course he does. You might strain ever so slightly at the notes in your passaggio, but that’s okay, as long as it doesn’t hurt and you’re within the realm of safety while listening to your inner voice. You’re building a muscle, and as you handle greater and greater “weights” or notes, you’ll notice the vocal fold muscles in constant search of equilibrium, which they will always find as we progress with our scales and continue singing in 432Hz. You have to perpetually push the voice to new notes that at first may get you into sounding as if you’re cracking all over the place, but that’s okay. Attempt it again with the your newly learned techniques and continue to elevate your voice to new ranges in this 432Hz tuning. Just as an Olympic weightlifter might miss a maximum weight several times before lifting it, don’t give up if you don’t hit your high C after several attempts to connect with it from half to full voice. When I first started to sing at B5 in full voice, I was a little scared of the infamous C6, and I was stuck at the B5 for many months, afraid of even attempting the C6, but one day I tried it with an almost fearless attitude of “ I’m more powerful than that C6” and guess what? I immediately got in full voice. It was only for a second, but by doing one-second reps in both half and full voice on that note and while knowing how much air I needed for that one-second C6 and slowly elongating the time I could sustain the note, I soon added the note to my vocal repertoire. That’s the secret: vocal reps combined with connecting voice excellence, which I will go into detail later. And once you add the other scales into the mix, you have a powerful formula to build a 432Hz voice for
the new age. So, whenever you have any troubles hitting a note, check back to the basics and fundamental principles of your posture, making sure you are aligned. Chances are once you fix your posture to your own unique perfect posture, you can sing more at ease and more in accord with creating beautiful sounds in 432Hz. Singing in 432Hz will create a natural relaxing effect on the body and all those who are listening to you, so don’t be surprised that you can sing more comfortably and sustain perfect posture longer and indefinitely when singing in this new tuning. Vibrations affect every cell in our body, and you will soon feel the power for yourself in your mind, body, and spirit when you start to sing in A=432Hz. To finish our discussion on alignment, let me quickly say that you want your larynx to stay relatively neutral. It will rise ever so slightly for extreme top range notes, and lower for low range notes. But if it rises too high or too low, put your hand on your larynx to reassure it that it doesn’t have to move. Do not push it down. If you’re choking off the sound because of a too high larynx, use the technique. As we get into alignment with this tuning by surrendering to it and adjusting our posture accordingly, we will find how easy it truly is to sing in A=432Hz.
~~~~(Natural Breathing)~~~~ So now, you’ve aligned your bodily instrument, and you’re ready for the next natural step in the creation of vocal tones in 432Hz. Air can only fill the lungs up from the bottom to top when you’re in the correct posture. This is why posture always precedes breathing. Mastering this step of natural breathing enables you to breathe in the right amount of breath, in the right way, to produce sounds that you control and release easily. This section discusses perfect breathing in 432Hz singing, and life in general. If you’re a chest breather, meaning your chest rises first when you take a deep breath, you’re in for many struggles in your quest toward vocal freedom. Lie down on the floor with a book on your stomach and breath, notice your stomach expanded first with the book rising, and if you continue to breath, become aware of your chest expanding as you begin to fill your lungs to the maximum. So, when you stand up and breathe for your speaking and singing, breathe this way: first breathing into your stomach area, filling the lungs from the bottom to the top, and allowing not just your stomach to move forward and out but also your ribs and back area to fully activate all parts of the lungs. For really long phrases, you may need to breathe in to the point that you first expand the stomach and the chest will naturally rise but only breathe in this much when required, and for 95 percent of your singing and speaking, breathing in this much air is not necessary. All the 432Hz vocal exercises in this method you’ll do require you to breathe in only enough air that your stomach and back expand and no more, without
exception. You’ll never need to breathe in so much air that your chest rises for the 432Hz exercises in this book. Remember, you only need to use the amount of air per note that’s required for your voice to create the most pure, non-breathy tone that’s open and full sounding. We all know when we hear a singer choke on a note, and we also know when we hear an open and full note. Use your intuition to use the right amount of breath to get your notes to sound open and full. You’ll find out how much air you need per note by doing a one-second rep at a specific note, closing your eyes, and becoming aware of just how little or how much air you needed to create that specific note. Also, take into account how much your stomach is expanding whenever you speak and sing. Now, should you breathe in through your nose or mouth? Learn to do both, but first master this basic: Breathe in through the nose exclusively at first; mouth breathing may dry your throat out if you don’t do it correctly. Breathing in through the nose will serve to keep your vocal folds from losing much-needed moisture and helps beginner singers create good breathing habits before experimenting with mouth breathing. So when you breathe in, your stomach expands, and when you breathe out, your stomach will slowly and naturally come back in. Refer to the exercise when you lie flat on the floor and watch as your stomach rises and falls to get a sense of natural breathing. It may also help to put your hand gently on a baby’s stomach while it’s breathing to get a sense of how a natural breathing mechanism operates. Baby breathing ties in directly with the next section on activation, known here as solar plexus activation, and how we observe the baby activating the abdominal area to
produce powerful and resonant tones for hours on end with absolute vocal freedom.
~~~~(Activation)~~~~ Activation of the solar plexus and heart center tie in directly with your in and out breaths. Let me first start with your cosmic power activation, also known as support, which comes from your solar plexus area/stomach. When you breathe in before you sing, it’s imperative that the second before you sing you activate your solar plexus by bracing your abdominals or bearing down as if you’re using the restroom. You do not suck your stomach in. Babies exhibit correct abdominal activation when they cry, and it’s obvious they do not suck their stomachs in, rather they flex them in the most natural way by pushing down. You can easily find the solar plexus activation by getting a book, pressing it against your stomach, and then naturally letting your stomach push forward to resist the pressure. If you still have trouble understanding, here’s another test for you to try. Next time you’re using the restroom, try to make your bowel movement come out faster. This feeling is often associated with diarrhea but clearly demonstrates what it feels like to activate the solar plexus. Next time you see a baby crying, put a hand on his stomach, and you will feel the baby activate its core naturally. Trust and follow the baby’s neural circuit to activate the electrical energy located in the powerful solar plexus area. So, you breathe into your belly before you sing, then a split second before you begin your phrase, you activate your solar plexus and then sing your phrase all while keeping the abdominal activation for the extent of the phrase. As soon as you finish singing, you completely relax the solar plexus
activation while simultaneously breathing in. Your stomach area will mimic the instrumental movement of an accordion when this sequence is done right. To recap, breathe in the belly, activate by bearing down as if you’re wearing a tight weight belt, then sing your phrase all while holding the activation steady, then when you’re finished singing, simultaneously breathe in while you relax the abdominal activation. Many singers believe you must sing from your gut, and this is true to some extent; however, when we don’t activate the next area I will show you, the singing tends to be more power dominant and less love dominant. Power dominant singing manifests itself sometimes through the mindset of seeing singing as a competition, rather than an act of unique expression and spiritual uplifting. Singing and music are so much more than entertainment. I’m sure you’re starting to figure that out. Remove the “Hey look at me,” mentality to the “Hey, look at you” mentality. Remember, the reasons we sing are very important and color our inflection to the point where others can literally read your, “Why I sing vibrations.” Let’s move forward to heart center activation and how you can start singing from heart center to make a more loving difference in our world with your now perfectly aligned 432Hz singing voice. The next step in activation, which occurs at the same time as the previous step, is activating the heart center, located in the middle of your chest, exactly where your heart is now beating. The notes must pass through this center in order for your singing to be truly magnificent and representative of who you really are, unconditional love.
When we sing exclusively from the gut, our singing may be powerful, but it will lack the infinite power that only love can express. Activating the heart is simple, all you have to do is put your hand on your heart and sing a phrase while feeling the notes that originate in your solar plexus come through the heart center and up to your throat center. Keep your hand on your heart for the entire phrase of your singing and vocal exercises and then put it down after each phrase or scale. You don’t have to do this every single time, but for now, do it until you know in your heart of hearts that you’re singing from your heart and not your gut. Once you begin to become proficient at activating the heart center, you will only need to do this once when you’re warming up or for the first few seconds of your vocal show. One moment of putting your hand on your heart is all you need to activate the heart center. It’s my habit to keep my hand on my heart the entire time I’m warming up and when I sing. I keep it there for my first phrase, then release it for the duration of my set unless I feel the need to go back to heart center activation or if I feel I’m using too much power. So when you start to do the scales, if you’re straining, I want you to first review your posture, then check to see if you’re taking in too much breath. Taking in too much breath causes tension because air within our lungs naturally has to come out, and the more air you have in, the more pressure you create. And the less air you take in, the less pressure you create. Master the basics. If straining still shows up, check to see if you’re activating your solar plexus and heart center correctly and in order from bottom to top. Again, don’t suck your stomach in to activate, rather push down in a sense. One more test to figure out how to activate the solar plexus is to put a
weightlifting belt on tight, and try to push the belt out. Olympic weightlifters and power lifters know how to do this well, so ask one if he can show you how to activate the abdominals and its storehouse of powerful electrical energy. Remember to sing from the heart center, and never from the solar plexus. Yes, the solar plexus will give you resonance and power, but you must know it’s just the foundation and not the end point of full activation of your entire vocal instrument in the tuning of A=432Hz. Allow the notes that originated in your solar plexus to go through the heart center and not bypass straight to the throat center from the solar plexus. Practice these concepts thoroughly before you move on to the next chapter.
Chap ter 10 Speaking, Vocal Exercises And Singing ~~~~(Speaking)~~~~ Did I not promise you that this method, by training your voice in this new age tuning, would give you more love in your relationships with others? I sure did, and I promise you here again for the sake of your happiness that you will reap massive amounts of abundance and joy in your relationships from simply training your voice in the tuning of A=432Hz. I want you to think of your speaking and singing as similar like walking and running. I don’t teach speech level singing, the act of singing at the same volume you speak. However, singing at the volume you speak does have a place and is the natural progression to high resonance and powerful voice production, and it does serve a purpose. The volume may start at speech level when you sing and exercise in 432Hz with the scales if you’re a beginner, but resonance and volume will build in a gradual fashion, and there will come a point where you can decide and discern whether to sing a song or phrase at the volume you speak. You
must be ever mindful of how you’re using your speaking voice in your daily life. Speaking and singing use the same vocal muscles, but for our purposes, we’ll differentiate your speaking voice and singing voice for clarity and ease of communicating. You speak way more than you could ever possibly sing in your daily life, so you must take care to joyfully use your speaking voice as colorfully as you would your singing voice. That includes using more volume and melody, which I will explain shortly. To start developing your speaking voice, you must first hear your voice objectively to find out what qualities you don’t want and which ones you want to create. The best way to do that is to first record your speaking voice. So go to middle C at 256Hz and speak/sing a word: This is all that is needed to place your speaking in the correct tuning of A=432Hz, until it becomes habit, and soon your voice will be naturally placed in this tuning without needing to refer to middle C or any other note in this tuning. Do you sound breathy? Nasally? Or worse yet, monotonous? Make sure you’re honest with yourself; honesty about your voice will lead to rapid development. The biggest and best thing you can start to do to develop a great speaking voice, which will help develop your singing range and freedom faster, is to use more melody and tone inflection in your speaking. Speak high, speak low, and move around until you realize you’re jumping all over the place. This is fun! And you must let go of what you think you should sound like when you speak and sing in the tuning of A=432Hz. If all you did was focus on using more melody and volume variation in your speaking, you wouldn’t need to read anymore from this chapter. So, for your first exercise in the quest for 432Hz speaking excellence
is that you begin to record your voice reading any book, preferably this one, and play the recording back and see what you can spot. Look for signs of excess breath, monotone, nasality, an unruly tongue rising too high, high voice box sounds that choke off your sound, or maybe even a voice that really isn’t you. Many people speak with a voice they think may be acceptable to others but isn’t representative of who they are deep inside. Many women often speak with a breathy, sexy voice with the idea that if they do, they will garner more attention from the opposite sex. Many bass singers often speak in their low ranges and think that’s how they must sound, but this isn’t true. If you were to hear me speak, you would never guess that I was, by natural placement, a bass singer who rings in his midrange at the D4. For this exercise, I want you to let go of what you think you need to sound like and have faith that speaking, training and singing in this tuning will give you not only a more powerful singing voice but also a speaking voice that represents your true higher self. Another great piece of advice is to speak in your midrange as often as possible. So constantly record your voice, get your speaking voice in tune with C=256Hz by speaking a single word at this note and then speak a phrase or passage to record and analyze. If you abuse your speaking voice or have never thought it may impact your singing excellence, consider this: As a power lifter, I know that how I use my muscles outside the weight room affects how my muscles work inside the weight room. Every athlete understands this basic concept, which is why they take their time off very seriously, just as seriously as their training time. Singers must take this common sense approach and apply it to your
singing and speaking excellence. How you use your speaking voice, and whether you know it or believe it’s affecting your singing time, affects your singing development rate in 432Hz. Why not make the most out of the time you use your vocal muscles to propel you forward? When I first started getting into speaking, long before the thought of singing came to my mind, I knew that using my voice in new ways would lay a foundation for my ability to influence others. And unbeknownst to me at the time, I was actually laying the foundation for the singing I would use later. I truly believe my accelerated voice development related to my good speaking habits. Start to see your speaking and singing as one and start to use the melody, range, and freedom that you sing in with your speaking. Record your voice at least on a weekly basis for the duration of your singing excellence lessons. You don’t have to play the middle C at 256Hz all the time you’re speaking, just sing/speak at it for a second, turn away from the keyboard, and go about your speaking, knowing that nature is guiding you in your speaking. Once this becomes habit, you’ll never have to do this again since nature will guide your speaking from that point forward every single time in the tuning of A=432Hz. Let’s tackle speaking development from all the angles we can in A=432Hz with all the parts of our voice. A common problem with most speakers is a high voice box/larynx. The best thing to do with this issue is to first relax, since this is a symptom often associated with psychological stress, and the main reason many speakers and singers choke, crack, or lose confidence during a speech or performance. So, first check the three basics, posture, natural breathing, and correct activation of the solar plexus and
heart center. Don’t forget to put your entire hand on your throat center with a slight hand placement emphasized on the voice box. Don’t hold the voice box down, though. You put your hand on your voice box to create a psychological assurance that everything is okay, much the same way someone puts a hand on your back to assure you that everything will be all right. Placing your hands lightly will serve you well when you start to do your exercises in the bottleneck octave when your larynx and tongue might rise and block off your sound. So remember, you simply put your hand on the throat center to reassure yourself that your voice box doesn’t need to rise, and that it’s okay to stay relatively center. Now for the extreme high notes, the larynx will naturally move slightly up, and for the extreme low notes, it will move slightly down. But remember, the movement of the voice box either way will be so slight that you feel and think that it’s still neutral. A stable larynx produces a stable sound. So if you’re suffering from a high larynx, make sure you relax. This is how I train all my singers: Teach them the fundamentals of posture, breathing, and activation from the seated lotus posture against a wall. It takes the formality out of singing, makes it more playful, and eliminates body tension. So what about the tongue? When you sing in this tuning, you will find that for each vowel, word, or phrase you sing, the tongue will find its natural place. Telling you it should stay at the bottom of your mouth touching your teeth for every singing and speaking phrase is absurd because as you’ll soon find, the tongue moves around for different vowels and words ever so slightly but never choking off your sound. You may find that it stays flat and
touching the bottom front row of teeth the majority of your singing, but this varies. This brings me into the soft and hard palate of your instrument. The hard palate is right behind your top front row of teeth, and the soft palate is right behind it near the uvula. As you sing higher in your voice’s ranges, this soft palate will rise naturally. And this carries over to another speaking trait the causes many speakers and singers distraction-nasality. If you sound nasal when you speak and sing, most assuredly it’s from letting too much air escape through your nose. To remedy this, focus on letting the air, most of it, come out through your mouth when you speak and sing. Nasality is not natural because the human breathing mechanism, when breathing correctly, places the correct air through the mouth. No one is born a nasal speaker or singer, you learn it, either consciously or subconsciously, and it’s fixable. Nasality is useful for an effect, so go ahead and experiment with it in this tuning, but too much of anything is a bad thing, especially nasal singing. Many singers rely on nasality for volume, which could damage the vocal folds. Balance is critical; don’t rely so much on your nasality resonance or vibrato when singing unless you want to. The movement of the tongue, soft palate, and all other things going on inside your mouth and body is a lot to think about during speaking and singing, so don’t think about it. You’ll soon discover how to use single tone and connecting voice excellence to know exactly how your instrument naturally places itself for each respective note and vowel. This is why I don’t teach vowel modifications. Let’s say, for example, you can’t sing a tenor high C in full voice, but you can sing it in half voice. Sing an Ah in half voice at the high C, then immediately connect to full
voice and let it ring for only a millisecond, if possible. How was the position of your tongue, palate, mouth, lips, etc? Make sure to make only clear recollections of these things if, and only if, the sound was pure and not breathy. From there start doing one-second vocal reps, realizing how much air you need, how the Ah felt and you maneuvered your mouth as it moved from half to full voice. I will get into this with more detail, but I just wanted to reiterate the biggest secret of this voice method: Do one-second vocal reps, truly growing the voice one step at a time. Knowing these parts of your vocal instrument will help you understand and appreciate your speaking and singing time. So you now use more melody, more volume, different emotional inflections, and beautiful pauses to emphasize points in your speaking and singing. Make sure you begin today to use your speaking voice with greater volume than you’re currently speaking. More volume is different from resonance. To achieve brilliant resonance like the great Mario Del Monaco, you must master the bright and, most importantly, the dark Ah vowel, which I’ll explain later. It wasn’t that Del Monaco was high in volume; he simply mastered resonance and made it seem as if he were using more volume. Using too much volume in singing is easy to hear from singers who use it in an exaggerated, forced fashion. You can always spot true resonance and volume balance with singers who are high in volume but don’t sound as if they’re trying to sing loud. Using greater volume in your speaking is natural, and using more of it is easy to figure out. Just remember the times when you got very emotional, and your volume increased. Volume in speech can emphasize, or deemphasize, certain points and
create powerful calls to action in speeches. Be ever mindful of how you use volume in your speaking communications with others and vary the volume as much as you vary the words you speak. Concerning shyness in public speaking endeavors, the greatest advice I got was from a well-known and respected million-dollar speaker named Steve Siebold. I asked him in the lobby of a Nashville, Tennessee, hotel, after one of his seminars, “What can I do to overcome my shyness and fear of speaking in front of others publicly?” He looked me straight in the eyes with a smile and said, “Look, Daniel, you can’t control what other people think of you. You may have the ability to change how they perceive you with your actions, words, and communications, but in the end, you have no control over their thoughts about you. All you can really do is control your performance, your mental attitude, and your focus on delivering your message to the world. And besides, what they think of you is none of your business anyway. You don’t want people to know you as a noisy person, do you? You can’t care what others perceive about you because at the end of the day, all you can say is did I get my message across effectively. And you will always know the answer to that question regardless of whether or not anybody in the audience told you so.” Speaking mastery precedes vocal exercises and singing for a reason. I’m not saying master your speaking before you do vocal exercises and singing. Do all three at the same time. However, since you speak more than you will ever sing, it’s important that you build this foundation strong and beautifully, in this tuning, before you venture to improve your range beyond the C6 in singing. This just may be the missing link that many singers need to grasp to propel their singing excellence forward in the tuning of
C=256Hz. Maybe your ability to speak articulately and confidently is the underlying reason stopping you from not only talking to strangers and others, creating more loving relationships, but also delivering your message effectively when you sing. If you can’t confidently express yourself when you speak, what makes you think you can do it when you sing? Constantly record your speaking voice, and play it back to pinpoint the things you wish to change and think about what you would like to add. There’s no limit to who you can be or what you can sound like, so be creative, and let go of the need to know all the details. Continue to speak and sing in A=432Hz, and the details will show themselves in the right steps and in perfect timing for the unfolding of your new 432Hz speaking voice.
~~~~(Vocal Exercises)~~~~ Vocal exercising in the tuning of A=432Hz is the next step into this chapter, and is, of course, the same thing as exercising the body’s muscles. This is why I teach my 432Hz vocal reps method; it directly works the same way we train our bodies in muscle development. Vocal exercises build your voice very fast, faster than by just singing exclusively. If all you did was 432Hz vocal exercises and no “singing,” you could still sing just as powerfully or as beautifully as a singer who just sang exclusively or did both. All you have to do is to let go and let the muscles express who and what you are. Yes, singing is an art in and of itself, and I recommend that you sing twice the amount of time you vocal exercise. At the same time, let me lead you to an awareness of an astonishing revelation: There’s no difference between vocal exercising and singing. Whenever you do your vocal exercises, see them as singing and no different. A very reputable 1980s singer was coaching me one day through some vocal exercises, and he then stopped me and said, “What are you doing? Sing that #$%^& scale, dude! Stop holding back and trying to make it sound like a perfect scale, sing that damn scale!” It was a true wakeup call, and the experience immediately changed my perception on vocal exercising and singing. So, how often should I do the 432Hz vocal exercises? I recommend you do them for at least one hour a day, followed by an hour of original song writing for beginners and twice that amount for singers looking to go professional or already singing professionally.
But let’s face it, and I won’t lie to you, if you want to become a professional singer, one others pay handsomely or one who attracts everything they need by expressing themselves through singing, do two hours of vocal exercises, followed by four hours of original songwriting and singing. A good measure once again is to sing double your vocal exercises. Some of you may not want to invest that much time, and some of you can easily fit that into your daily lives, but you need to look at this the same way an Olympic athlete does. You have to be willing to do whatever it takes to be the best 432Hz singer you can be. And if that means making this your life, training and singing in the tuning of a middle C=256Hz for six to eight or more hours a day, then so be it. I believe we need new age singers to take the power of this tuning to the maximum, and the only way to do this is by making a conscious decision to put in the time with your vocal exercises and singing in this tuning to accomplish that. This new discovery of training your voice in this tuning will, again, propel you beyond anything we’ve ever heard the human voice produce thus far. Work on your speaking; do the 432Hz vocal exercises for at least an hour and sing your original works rather than other material for at least two hours, and everything will fall into place for you. If all you can do is 15 minutes that’s okay; it’s fine for now, but re-examine your goals, and see if maybe you aren’t making singing a priority in your life. If you’re reading this book, then singing is one of the most important priorities in your life, and you will soon feel like a kid in a candy store whenever you know you’re about to sing. The five 432Hz vocal exercises in this method will develop a powerful 432Hz voice only. They’re not meant for any other tuning. They
work together, one after another, and you must do them in the specified order to derive the greatest benefit. You are free to create your own 432Hz scales, be creative. Vocal exercising should start to seem like fitness time at the gym for you to truly develop strength and muscle whenever you exercise vocally in this tuning.
~~~~(Singing)~~~~ In order for you to grow a truly magnificent, free singing voice, you must sing in 432Hz. 432Hz singing is an art and is easily mastered when you develop a muscle that can go through a full range of motion, through all its registers, in a connected fashion easily, in half and full voice. You must make it a new habit to sing in 432Hz daily, so that you develop the vocal agility needed to make a beautiful singing voice. If you do too many vocal exercises and no singing, you may risk sounding too controlled and focused in your singing. So make sure there’s balance, and make sure you step out from behind the vocal exercising and sing with nothing in mind except vocal freedom. Start to compose and sing your own creative works. Go out in nature and sing with the birds to get you started with creating and composing your own vocal scores. Let’s recap this chapter and its three qualities for you to review. The best speaking advice to get you more influence is to use more melody, volume, and pauses to captivate the audience. If that were all you did and mastered from this chapter, you would become a magnetic speaker. The best advice for vocal exercises is to do the five 432Hz Vocal Freedom scales in this book and to define it as singing, and not vocal exercising even though you truly are exercising your voice. Start writing and singing your own original works in 432Hz. The fastest way to grow your 432Hz voice is to start writing and singing your own original works in A=432Hz. You may say you’re just a public speaker, a cover artist, or a rapper. I say start expressing yourself honestly through
432Hz singing. Stop limiting the definitions of who you are and begin to open up to the infinite ways you have of expressing yourself, in your own style, and not just singing, speaking, or vocalizing in the confines of a style. Truly, be like water. And once you start to sing daily in the tuning of A=432Hz, you will know how true that is for your voice during speaking and singing: It will flow like water.
Chap ter 11 Technique Excellence, Unique Style, and Star Quality ~~~~(Technique Excellence)~~~~ Now, it’s time to cultivate technique excellence in the tuning of A=432Hz, with the end goal of gaining complete vocal freedom. Your technique is entirely dependent upon many factors, including your natural voice type, vocal strength, range, gender, etc. But the best technique is, of course, pain free and healthy, which enables you to have free expression, and one that allows you to express all your natural tone qualities confidently in the tuning of A=432Hz at anytime. The fundamental rule of 432Hz technique regarding singing is that it must be free of pain, tension, and fear. If your current technique is causing you pain, in any way whatsoever, or if it’s causing you to have a dry throat or creating thoughts in your mind such as, “Can I sing this song tomorrow?” or “Can I hit the high note of this song?” Then it’s not adequate for complete vocal freedom, and it isn’t a foundation of technique you want to rely upon for the duration of your singing career, which should last your entire
lifetime. You want a healthy technique you can rely on to carry you through your tour, through your set, and throughout your many years of 432Hz singing. I have even heard of singers coughing up blood after their performances due to the force they put on their voices to make certain sounds. You must protect your voice at all costs, and that means respecting it. Yes, I agree that you must push it, but be ever mindful and know that there’s a safe technique, especially singing in 432Hz, to sing any sound, note, or style you wish to sing in. As you build your voice with the scales, through the single tone excellence progressions, in combination with the connecting voice, going from half voice to full voice on a single note, you’ll learn there’s no need to sing in any way that causes you pain within A=432Hz. This leads to the absence of vowel modifications. You can keep vowels as pure as possible as you ascend the scale. Suppose you’re a bass, and the G#4 is giving you some trouble in full voice, but you can sing it easily in half voice. You always try to carry your Ah up to the G#4 but to no avail. To do this, start with an Ah in half voice at the G#4 and immediately connect to full voice to create the note in full voice. With this new ability, you understand how to sing that note with an Ah without modifying it. Spiral up and down an octave for a test spin. Your facial muscles, tongue, pallet may move around with each different note as you connect from half to full voice, especially in the bottleneck octave of C4 to C5 for males and C5 to C6 for women. But the reposition is very slight, and not nearly as apparent as the traditional vowel modification methods of changing the vowels as we ascend the scale.
So from there, you do one-second reps, making sure the note is pure, resonant, and clear with no obstructions and continue to do reps at that note for only a second at a time, or a millisecond, depending on skill. You then proceed to do that with all vowels, feeling out exactly how your mouth adjusted itself ever so slightly as you connected from half to full voice. Doing this helps build a technique that’s as pure and beautiful as you are and will help you sing high without the crutch of modifying vowels. More on this later, but again, I just want to reiterate how vocal reps, connecting from half voice to full voice, and being patient about the time you hold on your notes, serves to grow your voice rapidly, faster than any vocal scale in the world. So a technique that enables you to sing every day is a technique you deserve, and a technique that will naturally build when you do the exercises and sing only in the tuning of A=432Hz. You can also develop your technique by singing your own songs. This works in ways I can’t explain here and now, except maybe it’s a process which shows more of who you truly are to yourself and others, while creating a passion frequency with 432Hz tones to create rapid vocal growth. Singing along to others singers is also a great way to build technique, but don’t sing along to other singers who sing in the old tuning. I can hear you saying, “Well, Daniel, who am I to sing along too?” I say record yourself singing those songs in this lowered key using a retuned piano or other instrument while thinking of how that artist may sing it in this tuning and with your voice. Many singers use nasality a lot, others rely on vibrato, while other singers like to spend a lot of time in their half voice. Listen, be attentive, notice what you like about the singer and take cues. You should never try to sound like another singer or try to imitate the
artist so closely that you forget who you are and your unique voice. Imitation is a good way to learn the technique of other singers, and if you can’t transpose that artist’s music to this new concert standard pitch of A=432Hz, just listen attentively and really figure out what that artist is doing. You may still sing along with other singers in the old tuning, and that’s okay since you’re moving one step at a time, but please stop this practice altogether as soon as possible and make a concerted effort to let go of the old completely. You also build strong technique by using the right posture, alignment, and activation. All in all, developing your voice in A=432Hz with the five Vocal Freedom scales will assure you develop a vocal technique enabling you to sing all day. The 432Hz vocal exercises in this book will set you up with a healthy basic technique that will last your lifetime. Be your own voice coach. I’ll explain my 432Hz method so clearly and concisely you’ll never have to book a lesson with me. It’s all you need to sing freely and will set you on a golden 432Hz singing path. I’m teaching you how to connect your registers with simple vocal wisdom, with very few scales, and through a tuning that I believe is easier for us to learn how to sing. Relearning to sing can be a fun process, but hearing that you have been singing incorrectly in a slight way will probably be hard to take—or not. Maybe you might feel excited to learn something you never knew before. If you came with me to the gym to do a fitness session, and if your technique was off, wouldn’t you want me to point that out so you could get the greatest benefit from the exercise? I’m obligated to let you know that you aren’t using the best techniques. It’s the same with singing. It’s your choice. Will you choose to relearn from zero to 432Hz? Or are you going to
hold onto the old pitch, which is holding you back from your true vocal power? Tuning changed nearly a hundred years ago to the tuning pitch of A=440Hz, and I don’t hear anybody else talking about training voices in A=432Hz. The world is changing quickly, and I need to get my message across to you. If that strikes a chord in you, good, let this be your wakeup call. I’ve found that the singers today need to hear my message, in exactly the way I feel intuitively inclined to speak it. You are not in alignment with creation by singing in any other tuning besides A=432Hz! Creation, god, the almighty, call it what you will. I truly believe that is one the sole purposes of my existence, to say to you in this new age, “Start singing in A=432Hz with the vibration of our creator.” Nature will lead you to develop a healthy technique in this tuning. On a last note concerning the current styles of extreme screaming singers, who may believe that pain is necessary, must start to open their eyes and hearts, and know they can sing those extreme singing styles in this tuning pain-free. Where there’s deep love, there’s no pain. Develop a healthy technique in A=432Hz that serves you and your unique message.
~~~~(Unique Style)~~~~ One of my favorite ways to develop unique style is to indulge in all the arts, which means go out and take an art class, go buy a pound of clay and sculpt, or take a dancing class. By indulging in all the arts, you will open your horizons of who you are and what you can do, and this will surely help elevate your singing excellence and style. Imitating and copying other singers styles is a way to learn your own style, but the best way to develop your own style is start right now to express yourself honestly in everything you say and do. Start to write your own songs and sing them with your hand on your heart, and watch your voice and unique style start to express more and more of your higher self through the tuning of A=432Hz. Unique style is very simple to build because you already it. From the very way you walk, to your mannerisms, to the unique voice sound waves you’ve had since birth have already built your style’s foundation. But you can change your style and the way you express yourself at any point. It’s easy for you to change. All you need to start this process of change is to close your eyes and visualize the type of person you want to become, expressing the singing style that you want to express. Visualization is a powerful technique you should start to employ to not only develop your technique and style but also your newfound selfimage as a singer. Many singers stop singing because, in their minds, they don’t see themselves as singers. You need to close your eyes and watch yourself on stage singing with superior confidence, in the tuning you’re
singing with your unique message. You can only develop your unique style when by remaining true to yourself, by expressing more of yourself and by fearlessly exhibiting your life purpose in whatever is your calling. Singing other performers’ songs and imitation can only take you so far in developing your unique style, and there will come a point when such a practice becomes detrimental to your unique style. Yes, you can always learn from other vocalists, and you can always learn new things by singing along with other singers. However, realize that showing more of who you are and showing the world your passion frequencies and your unique and honest self is the fastest, most reliable way to express your unique voice. Expressing your unique style is the key to recognition in a crowd of singers today where differentiating yourself could mean the difference between a successful career where you can support yourself with singing and a not-so-successful career. I believe the only kind of unsuccessful career there is in singing is a career in which you never share your unique sounding voice to others, either in person, on stage, or in recordings. Your 432Hz voice deserves to be heard by others, and by singing other artists’ material, by hiding behind a song that has audience acceptance, you never will know what it’s like to express yourself honestly. Never attempting to compose your own singing material, you’re also truly doing a disservice to those around you and to your uniquely created instrument, which is supposed to create and not imitate. Another beautiful way to develop a unique style is to practice singing in all styles. Pick one style for one month and really immerse yourself in it. Get some Verdi compositions and sing the respective roles, or all of them, until you can sing Celeste Aida, or his other works with ease. Transpose the
roles of the tenor to the bass register and vice versa. Verdi was a strong believer in the tuning of A=432Hz, and wrote his works in this tuning. Take all the great composers works, and sing them in this tuning to really understand just how right and dialed in these composers were. You don’t need years of practice to sing opera or any other style. Mastery of the one voice makes all the other styles coalesce. This is the one is the all and the all is the one principle. Start today to sing in all styles in this tuning, and you will amaze yourself at the progress you make. I know this is probably a very big leap of faith, but this tuning, will speed your vocal growth to new heights. Freestyle singing also rapidly develops unique style. Freestyle singing is just picking random or chosen words and singing them in whatever way comes to mind. For example, use these two words, divine love, and sing them in whatever melody or whatever part of your range that you wish; be creative and really let the inner voice guide you. Attitude is another factor you need to work on when you express yourself, for what you feel and think will surely come across to the audience immediately. You need a carefree, courageous attitude to express yourself freely. The fact that you will be one the singers that take it on themselves to start singing in this new tuning shows you have great courage, so use this newfound strength to express yourself more openly and more in alignment with you true self. How you pronounce any given word or vowel is really up to you and how you wish to communicate your message to your audience. You may want to keep your words pure with no unique pronunciation, and that’s fine. You can start to be creative now and experiment changing words around and how you use your vowels. Make sure that you built your vowel
foundation thoroughly before doing this with the basics I will show you later because this will serve you in the long run when you begin to experiment in A=432Hz.
~~~~(Star Quality)~~~~ Star quality is often associated with the ability to move your audience in much the same way a speaker does but even more powerfully when using 432Hz singing. There’s no medium of influence and communication more powerful than the human voice expressed through 432Hz singing. You can’t develop star quality because it inherently resides in you, and you express it by letting go of who you think you are, who you think you need to be, how you think you should sound, and what style you need to express yourself in. It’s complete surrender of your unique style to the point where you’re allowing the infinite to express itself with and through your 432Hz voice. I know how challenging it is to let go of inhibitions, since they plagued my first year of singing, but I ask that you use the same courage you showed to buy this book and use it to shine, no matter what. Others may feel jealous of your voice, and some will go out of their way to tear you down, to tell you to stop singing, or say you should hire a singer and play another instrument. I say disregard these people, have compassion for them, and realize they’re in your life just so that you may realize just how strong you are. They also teach you the lesson of seeing the positive in a circumstance and situation when you might not see the positive. Listen to feedback from the right sources, from 432Hz singers and 432Hz voice coaches, but also realize the importance of not taking it seriously and not allowing it to bring you up or down. Remember, who you’re listening to. Everyone loves to judge and give feedback to singers, as if everyone is an accomplished vocalist. The only singers and coaches you
now listen to or ask for feedback are 432Hz singers. Very few people have heard a voice sing in 432Hz, so who are they to judge what your voice is, or to even give feedback? Please don’t forget this basic premise of 432Hz singing: A=432Hz singing is completely different from 440Hz singing; they are different realities and experiences. We’re all starting again as a collective body of singers as we retrain our voices in the tuning of A=432Hz. You must make it a habit to shine no matter what. Being all you can be as a 432Hz singer will be a step toward bettering yourself and the people you’ll eventually co-create with. I learned to never think or care what others thought about my singing and expression. I also learned to never dim my singing light no matter who had a problem with it. Having this fearless mindset helps us learn to open up and express our true star quality. It took an abundance of courage to let go of not only inhibitions, but also of certain people. I didn’t need their approval or anyone else’s. I came to realize I didn’t even need positive feedback from others. A strong support team is critical to your singing excellence but not necessary because the universe will always support you and send you those people or to those places that support you. As a new age singer who sings in 432Hz, you have a duty and moral obligation to go out in the world and share your newfound voice in a world that needs it so much, in a world that is changing ever so rapidly. You’re passionate about singing, and I say follow that passion, for when you follow your passions, the universe will supply everything you need. Living and being in the singing passion frequency will also help you develop your singing potential and star quality. This is why you must always
continue to learn from other coaches, singers, styles, and speakers. I would also like to add here that the words you use have an enormous impact on your voice and your overall self. State your vocal goals in the now, if you want a nine-octave range, state it in the now, “I sing with a connected strong nine-octave range.” If you want more vibrato, state it in the now, “I now sing with a fluid and perfect vibrato.” If you want to sing the C6, state it in the now, “I now can sing the C6 easily and effortlessly and so it is.” Use your newfound visualization techniques and combine them with your new awareness of word use. In so doing, you activate the brain’s cerebral cortex, and this will help you manufacture the vocal freedom selfimage that’s necessary to really express all that you uniquely are in sound and in spirit. Using these two modalities will also help you develop a singer’s selfimage with power and star quality. Right before you go on stage, tell yourself that this show will run smoothly, and it will. Visualize the crowd lifting you up with energy as you share the power of 432Hz voice, hear them applaud and become spiritually uplifted in higher energies. You must stay focused on you and your performance, and give no thought to anything else. In essence, you must let go, and let your voice do what it knows best, expressing itself honestly without ego. As you begin to develop your voice in this tuning, keep it humble, and do your best to lead other singers to this discovery so they may try it. But don’t push it on them; force never works with anything. Instead, let the other singers know what you learned through fearless 432Hz singing excellence. Chances are very few, if any, singers will know what you’re talking about
concerning 432Hz singing. Some may have heard it applied to music creation, but even fewer have heard it applied to the human voice. Stay motivated, have fun, and enjoy the process of retraining your voice. How beautiful it is to start over? To start again in a totally new place that you’ve never been before? You may have had a lot of vocal issues and troubles in the past, but now is the time and place where you can start again, from the beginning, and build the voice you always dreamed of. You’re in heart and soul by singing in this tuning of C=256Hz, rebuilding your technique, your style, and who you are to new levels of awareness that will bring you more happiness and joy than ever before. Singing in the tuning of A=432Hz, in my opinion, opens up the consciousness to higher levels of thinking and existence. Your technique will come naturally, your unique style will be easily expressed, and your ability to move others in positive ways through your star quality is the natural result of singing in the tuning of A=432Hz.
Chap ter 12 The Foundational Five Vowels In this method, we only emphasize and stress the importance of the foundational five vowels: Ah, Eh, EE, O, and OO. However, I want you to experiment and use the five traditional English vowels, due to the popularity of the language, and the traditional seven Italian vowels, as well as any sound you can imagine and produce when doing the exercises. For example, you should try using sounds like Uh in the scales. Since you’re singing in A=432Hz, I have faith you’ll do all right using any sound you can think of, as long as it doesn’t create pain or go against the laws of nature. Let us first start with the foundational vowel of Ah, which has two parts, a dark and a bright version. Say the word “father” and hold the “fa” syllable. Other words that show you the correct pronunciation are the words “hot” and “papa.” That’s the correct way to sing the dark Italian traditional vowel. Many opera singers use this vowel to achieve amazing resonance and brilliance in their singing. This dark Ah is characteristic of great opera singing. Singers do the dark Ah with a relatively open mouth to the point where the back part of the throat is visible, but the mouth is not overly wide as we will soon discover with the bright Ah. Mastery of the dark Ah will help you achieve magnificent resonance. The other Ah is the bright Ah, and singers achieve it by opening up the mouth a little fuller to the point where the upper teeth may be showing,
with the jaw opening wider in all directions. We have all made this bright Ah sound when the doctor asks us to open up our mouths wide and say “Ah.” By opening up the mouth to nearly its limits, we begin to see how the dark Ah becomes ever so bright. It’s very easy to differentiate these two ways to sing the Ah vowel, so experiment until you know exactly how to produce each part of the same vowel. In the bright Ah, you open your mouth wide and clearly see the back part of the throat and the uvula. The sound of the bright Ah will have more ping toward the soft palate as it naturally rises as you open up your mouth wide to produce the bright Ah. Actually, with the bright Ah, for now, open up your mouth as wide as possible just so you know the brilliance and brightness of the bright Ah, and then you can close the mouth slightly once you have it down and understand its bright brilliant nature. A foundational point of all singing and speaking is to keep the throat open and unobstructed for all vowels so that the sound you create can flow out to your listeners clearly and beautifully. This also means keeping your tongue and entire instrument relaxed. If your tongue is rising, stretch it out vigorously; make it a routine to always stretch your tongue out and your whole body along with your neck area to ensure you’re relaxed and comfortable before you sing. If it still rises and chokes off your sound, sit in lotus meditation posture with your butt, back, and head against the wall to cancel out all physical distress. Other than that, if it still rises, relax and have faith that it will find its place with proper practice of the scales and the growing comfort of singing in 432Hz. In general, for the two sounds that make up the Ah vowel, the tongue will stay flat and touch the bottom front row of teeth regardless of
high up in the range you are. This will vary, so stay alert and relax as you move the Ah, dark and bright, up the scale. The Eh vowel is very simple and has one part. Say the word “bed” and hold out the sound before the D. Your mouth may take on the characteristics of a slight smile with the cheeks moving out to the side, so experiment, know how your voice articulates and how your face shapes itself from singing not only this vowel, but all vowels on every single note on the keyboard and beyond, since it will be unique to you and to you alone for each respective note. The EE vowel has one sound and is simple to pronounce. Say “bee” and hold out the EE, or say the word “steep” to understand how this vowel sounds. You can use a very slight smile, but you also can do it without one. With the EE, the tongue will be concave when you look into a mirror. Hold a hand-held mirror close by whenever you do your singing excellence sessions and vowel work, so that you become aware of and see how your body is reacting and how it places itself for each respective note and vowel as you move up the scale. So, the EE is simple, and if you still need help think about this: Remember when you were a kid and hearing yourself and other kids say, “Wheeeeee!” like what you were doing was the most fun in the world? Now, a smile isn’t necessary to create an EE sound, even a slight smile, but smiling on the EE serves a purpose to easily help you get into your midrange and place the sound in the upper resonators, as you will soon find out as you take this vowel up into your range. For now, always sing your EE vowel with an exaggerated smile, until you get the hang of this vowel and the importance of smiling with the EE in relation to easy access into your
midrange and placement of sound in the upper resonators. Experiment creating your EE vowel with and without a smile. The next vowel is the O as in “go,” which is really a combination of O and OO. The correct pronunciation of the O is simple and easy to discover by saying the words “go,” “no,” and “low.” Pay attention to the distinct sound of that American O, which is a diphthong. If you listen clearly when you say the word “go,” and hold the word at the end, you will hear the OO in there. Moving forward is the OO vowel. Say the word “zoo” and hold the OO part. Or you can try this word, “moo,” as in the sound a cow makes. Saying these words will clarify all misunderstandings of the pronunciation of the OO. Each vowel will have its own sound, placement, and resonance with your voice, so it’s vital to experiment and get the correct production of these vowels before you attempt to do the exercises. First, though, do the exercises with these five vowels, then with the traditional seven Italian vowels, and then the American five vowels. Remember, we don’t have to modify the vowels because, as you’ll find out in the connecting voice chapter, connecting from half voice to full voice on the same note in the mid- and top ranges and also in the bottleneck octaves shows how to keep the vowel as pure and as naturally placed as possible in this tuning of A=432Hz. AH as in “father,” including the dark and bright counterparts. Eh as in “bed.” EE as in “fee.” The O as in “go” and “no,” which again is a combination of O and OO. And OO as in “zoo.” Very simple. You have to make sure how each vowel works with your voice in all areas of your range. So, for example, go to middle C at 256 cycles per second and sing an Ah vowel for only one second either in a dark or bright
fashion either in half or full voice. How much air did you use and need to create a pure non-breathy tone? What was the position of your facial muscles? Now do another vocal rep and do the other vowels for only one second. Now, start this time in half voice and do that same exercise again, making sure your half voice is extremely pure, non-breathy, and crystal clear in tone. You’ll need very little air for these one-second reps in half voice so take the smallest breath in, so that you barely see you stomach protrude. This will minimize breath pressure from creating in your lungs from an already naturally filled lung space. Remember you’re starting from small to large, and before you go off and hold notes longer than one second, you need to master creating the notes pure and non-breathy for one second. It cannot be overemphasized enough just how pure and “tiny” your half-voice, onesecond reps are. If you even hear for a split second extra air released, or even a slight breathiness, try again. Close your eyes and truly dial in to how much air you need to release to create a pure tone in half and then full voice. In the same way a power lifter masters a weight before moving up, dialing in his technique, and making sure it’s perfect, you need to master creating the note, for one second at a time, before elongating it and then moving up/or down a semitone. This is common sense but often overlooked by many. Start at middle C and do all your vowels for one second in half voice, taking note of how much air you needed, how your mouth shaped it, where your tongue was, how much air you took in, how pure and crisp it sounded. It’s vital that you don’t use more breath than required for each note; excess breath causes vocal strain and creates many singers’ vocal issues, which are preventable.
Mastering the basics is essential and is your first priority when trying to take your voice to heights in this new tuning. Once again, tongue placement, covered earlier in this chapter, is paramount. An unruly tongue causes many barriers to singing in the upper ranges with all vowels. A relaxed tongue for all the vowels rests on the bottom of the mouth, touching the front row of teeth. This will vary from singer to singer, vowel to vowel, and note to note as you ascend and descend into your new range. One way to ensure your tongue is aligned and relaxed is to check whether your sound is choked off or whether it’s rising so high you can’t see the uvula or back part of your throat, especially in the dark or bright Ah vowel. These seven vowels serve as the focus for the exercises. Of course, do the exercises with the American and Italian vowels, as well as all other sounds that can think up. This is really important: Do not modify the vowels as you ascend the scale. You will soon learn how the connecting voice exercises, connecting from half to full voice on a specific note in the midand top range, shows you naturally how to carry the vowel up the scale without exaggerated mouth manipulations or from switching the vowels as you go up the scale to make it easier. A note about consonants before we wrap up this chapter on vowels. You probably have heard the phrase “singing on the vowels.” Remember the song by the band Journey, “Don’t Stop Believin’”? The first words are what? “Just a small-time girl.” I bet you didn’t realize he didn’t sing the J, which brings vocal fold closure and abruptness to the sound. He simply bypassed the J and went straight into the vowel of the word. Steve Perry was excellent at singing past the consonants, sometimes not even touching them, and floating his voice on the vowels. Experiment with consonants and vowels in
this new age tuning and apply them in your own way. All these different ways to pronounce the vowels aren’t set in stone, so be creative once you mastered the basics.
Chap ter 13 The Foundational Seven Qualities ~~~~(Pitch)~~~~ Let’s begin this chapter with the foundational seven qualities you must master to express not only the true power of this tuning but also your unique sounding voice. The first is pitch. A singer who always sings on pitch is a great singer. Moreover, a speaker who always speaks on pitch, never faltering in confidence, is a great speaker. A singer who can know when he’s on or off pitch can develop his voice faster and with more brilliance than a singer who has trouble staying on pitch. Even to the untrained musician and casual music listener, one note sung off pitch is subconsciously recognized instantly and can ruin your entire performance, which isn’t truly representative of your skill, passion, and hard work. You never want to stop singing on stage or in your exercises just because you find yourself off pitch. Instead, stay focused and keep on singing. However, stop, reset yourself and retry if landing on pitch is an issue and if you’re always landing off pitch in practice. Go back to the basics: Are you using too much air or not enough? Is your head jutting forward causing a misalignment in your instrument and pitch quality? Is
your tongue rising and choking off your sound? If you always stopped every time you were off pitch, you would never sing. Just recognize when you’re off and on pitch and constantly focus and listen to it in your singing and speaking. So how do you improve your pitch? Simple. First you close your eyes to better activate your auditory abilities, then sing a note, middle C at 256Hz or wherever’s comfortable, now check for alignment in both tones. Did they ring well together or was there a noticeable difference? Another way is to grab a tuner and set it to 432Hz and try to make it stay center in the green while singing any particular note. The tuners today may be a little inaccurate nor designed to exactly estimate the pitch of the human voice, but there are a few out there. Any slight discrepancy they register is okay for now since this is only a beginner’s tool. The best way to improve your pitch is to develop 432Hz perfect pitch, which is later in this book. But for now, if it’s a challenge to stay on pitch, it’s because of lack of muscle control and development and not your lack of any musical hearing or tone deafness. Just as a weightlifter might not have total body control under a heavy load, your voice isn’t stable enough to stay exactly where it needs to be either, and that’s okay. Don’t be so hard on yourself if you’re always off pitch. Just keep singing in 432Hz, and this will remedy itself naturally. So, the first exercise of singing a note simultaneously with the note played on the keyboard is a fundamental, common sense practice and will serve you well when developing a good sense of pitch. However, you must close your eyes to build auditory awareness and allow your auditory sensors to fully activate. This act cuts out visual distractions and forces you to focus.
Record yourself doing this simple exercise and hear it repeatedly until you hear for yourself whether you were on or off pitch. If your pitch isn’t where you want it to be, you will recognize it, and deep down inside, you’ll in an instant hear when you’re on pitch. It will feel as if the tone you hear yourself sing is in perfect accord with the note played. Often, it’s singers who suffer from a self-image problem who suffer most from lack of pitch perception and judgment. Because if they sang on pitch, they’d be singing, but if they don’t see themselves as singers, why would they sing on pitch? Singing on pitch would mean they’re serious, committed singers, and that’s against their self-image and not in line with who they think they are. Remember the visualization techniques earlier in this book? Here’s another exercise to help you to develop the ability to sing on pitch every single time you sing in 432Hz. Close your eyes and hear yourself singing on pitch, see a middle C sound wave at 256Hz flowing from the keyboard and the sound wave from your voice coming together in sync and becoming one. You don’t even have to perceive yourself singing the note in your mind, but, of course, learn to incorporate all your senses in your visualizations, including hearing yourself sing the note on pitch. For now, close your eyes and see a sound wave come out of your mouth and a sound wave coming from the middle C at 256Hz merge and become one. You can do either exercise with your 432Hz instrument or in your singing visualization sessions. These exercises are powerful, one of your own creation even more so. The words you use will also help you create a singer’s self-image, one who sings on pitch every single time perfectly. Say to yourself before every
432Hz singing excellence session the following statements: “I now can sing on pitch perfectly,” “I’m now singing on pitch, and I’m grateful for this increase in my singing skill,” “It’s easy for me to sing on pitch; furthermore, I sing on pitch easily and effortlessly, and I am grateful.” Once again, be creative and speak your vocal goals with persistence, faith, and understanding. Combining both visualization and spoken words is one of the fastest ways to change your self-image, not only in regard to landing on pitch every time you sing, but for all aspects of who you choose to be and what you choose to do with your voice and life. The basic premise if you’re struggling with pitch is to close your eyes, focus, practice one note at a time in both half voice and full voice, and listen to whether or not you’re off pitch. Again, you will always know deep down inside when you’re on pitch in 432Hz. It’s universal with every human being, so if you don’t intuitively feel aligned to the note vocally, adjust till you do in the tuning of 432Hz-based singing techniques. Once again, if you’re a beginner singer, your vocal muscles may be weak, much the same way a beginner weightlifter may have weak muscles, so have faith as you grow. Focus on half voice then full voice with onesecond reps, all while dialing in your air and activation, while also working with the simple scales and connecting voice techniques. You will find that your muscles will grow, and you will gain the muscle control and awareness to not only sing on pitch but also to develop a faster range in both directions more quickly. You’ll move your audience in new and uplifting ways, too.
~~~~(Tone)~~~~ The second quality is tone, and it’s crucial that you begin the exercises in half voice. Know how much air you need for just one-second vocal reps, all while making it extremely pure and non-breathy, before you jump into full voice and figuring how much air you need for those notes. Yes, do both simultaneously, just focus on your half voice for right now. The tone you create, determined by many factors, is unique to you. One of the main factors affecting tone, other than too little or too much breath, is your level of technique excellence and strength of your vocal muscles. This goes back to your alignment of body, mind, and spirit, and making sure you’re singing from heart center and not entirely from the solar plexus. Once again, breath release is paramount to crisp, pure tone production. Are you using too little air or not enough? Remember that to sing the low–range, full-voice notes effectively, you must use plenty of air, more air than you think you need, especially if you’re a tenor or soprano to get your vocal folds to vibrate effectively. Remember also, that your top range notes require very little air. Make sure you use the breathing idea that you draw in so little air that your stomach barely protrudes. This exercise will help you understand just how little air you need to breathe in and out to produce the highest notes. So, for half voice production of notes, make them as pure and non-breathy as possible before you start to experiment with the new trend of breathy half voice. To achieve brilliant tone requires you to master the basics with your vowel work, breath release, and everything else covered so far. Diet is also
crucial to tone brilliance. Phlegm can interfere with clear tone, so watch what you put in your body since it directly correlates to how you sound. If you eat junk food, you get a junk body and will have a junk voice. Eat good food, you get a good body, and you’ll sound as crisp and clear as the food you ingest. Water is an obvious remedy to unclear tone production, so make sure you hydrate before you sing and not just during your singing excellence sessions or shows. A dehydrated voice lacks clear tone and brilliance, and as a voice coach, I know whether a student is hydrated or not. Here’s a call to action: Cut out all sodas, artificial foods, and anything unnatural from your diet. They all cause phlegm and health issues, which could ruin your voice and your would-be successful career as a performing 432Hz singer. The best way to develop a power 432Hz singing tone is by strengthening your vocal muscles with the 432Hz exercises and working on perfecting your one-second reps with single-tone excellence and using only the right amount of air in both half and full voice. Also, you’ll see your tone match the level of passion and time you put into 432Hz creative singing and songwriting. You must begin to compose and sing your own songs in the tuning of A=432Hz. Doing this will do far more for your tone than singing others’ music in A=432Hz.
~~~~(Melody)~~~~ The third quality is melody. Melody is your ability as a creative and unique expression of spirit to produce notes in whatever fashion you choose. To say that one successive line of notes is a melody and another isn’t is a judgment that limits us about what a melody is and our creative ability to use any successive notes in any fashion. To improve your melody, you must have an open mind about the very definition of melody. Any successive notes you sing is a melody, and therefore freestyle singing, which we covered earlier, will serve you well in developing your sense of melody. Start to compose your own songs by singing words in whatever way comes to mind. If you’re new to composing, play around with the basic chords on a guitar in 432Hz or a piano. You’re creative and I believe in you. Here’s how I implement freestyle singing to increase my melodic abilities and creative output. I first write down a simple sentence, word, phrase, or poem. Then I close my eyes, with my hand on my heart, and let the universe guide me to create a unique melody, a melody no other human being has expressed before, an expression that’s my unique vibration. I know that sounds simple, but letting go in the creative songwriting process is crucial to your creative output and how confident you become as a singer. Many singers don’t see themselves as creative, so they end up spending their whole lives singing cover songs or singing other people’s songs. Developing your melody directly corresponds to your ability to create and compose your own original songs and stems from the belief that you’re a creative spirit.
In regard to melody in speech, begin to use your speaking voice with more melody, speaking in all parts of your range and really have at it by using your voice more creatively. Exaggerate your melody with rises in pitch variation that you would not normally do. Begin to use more melody in your voice, speaking in the low, mid-, and top ranges. Have fun using more melody in your speaking voice and let go of what you think you should sound like or what’s appropriate. Have fun with melody, and always move your new voice around as you do when you sing. Because after all, it’s all singing.
~~~~(Inflection)~~~~ Inflection is the next quality and is the essence of how we humans communicate in speech and in singing. You see the words you speak and sing are only a part of how people understand your message. Much of it is body language, and the rest is how you say the words—inflection. Have you ever heard someone sing and felt the pain, the sorrow, or joy? You may not remember the words, but you do remember how the person communicated them. Becoming aware of how you inflect a word in your communication and in your singing to others is important. We often blame others for not understanding us or taking our words the wrong way. What if the way we communicated those words came from a place not supportive of true communication and harmonious expression? Perhaps you were stating something in a demanding way, in a sense leaving no room for the other person to respond and so create a conversation. This problem demands analysis and an honest self-review. Maybe your inflection communicated hate, jealousy, pride, and an air of showing off in your speaking and singing. I admit it; I was guilty of this behavior, that is until I became aware of it and its negative impact on me and my audience who deserve nothing but my true self in the form of a unique humble inflection of unconditional love. Inflection is immediately recognizable, and we humans are very quick to know how someone feels and what their intentions are by the inflection in their voice, in the tone they’re using. We can all tell when a singer is sad or
when a singer is singing to get attention. In the same way, a mother can pick up distinct emotional and attention signals from her baby and immediately decipher how the baby feels by its distinct vocal sounds. Yes, our brains can decipher things that precisely in the inflection of others’ speech and singing. When I was a child, I would immediately know how my mother felt about my actions by the way she called my name. You see, we already are masters of deciphering inflection in the human voice from eons of adaptation. All you need to do right now is to become aware of what kind of inflection you’re using when you speak and sing to others. Use the recorder to record your speaking and singing throughout your day, this is a great habit, to becoming more aware of how you’re inflecting your voice in daily life. Perhaps there’s something you may want to change or perhaps just tweak. We can tell nearly everything about how a person feels simply by the inflection in their singing, which is representative of how they’re feeling, and the beliefs and motivations that are the force behind why the sing. So begin to ask yourself, why do I sing? Your inflection is the outcome of your current thoughts and state of mind. This is why it’s important that you always sing from heart center, while using the solar plexus for its power but never letting it dominate your singing. We must change to get in alignment with the perfect pleasing will of the creator, 432Hz. You have the ability with your thoughts to control your inflection, depending on the theme and story being told through your speech or singing. Remember this, how and what you say has an effect on whoever is listening to you and begin to focus on how you want the audience to feel
and what message you’re trying to deliver.
~~~~(Volume)~~~~ Let’s move on to the next quality of volume and its importance in 432Hz singing. The volume you speak and sing at makes a big difference in how your audience receives your message. Although I covered volume in earlier sections, here are new insights on how you can take your volume to the next level. Let’s start with everyday speaking, which I learned about through the many speech seminars during my years of deep selfdevelopment and speaking training. I also gained my vocal knowledge through study and practice. However, I added techniques from my own experimentation from the 432Hz foundational tuning, to my emphasis of the F, F#, and G, and my one-second vocal reps system that grows the voice from the root to the branches. If there’s anything I learned about great speaking it’s this: Great speaking is the very foundation of great singing. The ability to use volume well, in beautiful pauses and in well-spiked up and down intervals, is the key to using it most effectively to influence others. You will see that you already possess the natural skills of volume manipulation that you can apply to singing. The most natural way to increase volume is to get more emotional and uninhibited in expressing yourself. This may sound easy, and it truly is if you remember when you got angry and shouted at another person. But there’s more to it, and there’s a safer way to release the volume. We have all at some point in our lives used high volume speaking to convey to others our feelings, our hurts, and what we feel deep down inside regarding an issue. Do you remember the last time you got very emotional in a conversation and
the volume of your voice rose significantly? I’m sure you do, and if not, I’m sure you witnessed others. Sometimes, people who are under stress or in a state of discomfort will use more volume in their speech to let others know how they feel. The many singers I sing and train with tell me they want to increase their volume, which does, of course, blend in with building resonance and strength in the vocal muscles but not necessarily since beginners who have never sung before can speak and sing with great volume. People who are fearless in expressing themselves have great volume because in reality, it displays the most natural path and set volume for the voice. We have all heard people speak with low volume, and more often than not, speaking in a low volume vibrates low self-confidence, not always, but most of the time. Ideally, you want to use both volumes masterfully, and maybe use more volume to get a certain point across and less volume to make a point in another way. This ability to use more volume to stress one point over another is really the influential cornerstone that makes the quality and essence of human volume truly come to the fore in speech and singing. Start now and use more volume in your speech and communications with others. Use more volume in your singing affirmations and use more volume if you’re one of those people others are always asking to repeat what you said. You never want someone to ask you to repeat yourself, and you never should unless it’s extremely necessary. According to the many speech seminars I attended, every leading speaker always, and I do mean always, started the speech on how to be a better speaker by telling us to start using more volume in our speaking. Using greater amounts of volume adds more authority to your presence and
your message and vibrates that you really have a hold on yourself and what you’re communicating. As a reminder, allow me to bring up a few concepts which we covered earlier, so that you can begin to notice how these concepts work with your speaking. The sounds you’re creating in this new age tuning will resonant in different parts of your instrument, namely the face, upper palate, and nose as you ascend the scale. And as you ascend into the higher notes of your range, you’ll notice the sounds do get louder, and this is natural, as the low notes become lower in volume. No one’s A0 is as loud as the C6, not even a well-trained true bass. However, don’t feel as if you can’t create more volume with the low notes and make your high notes produce slightly less volume. Experiment with these ideas, using your newfound breathing and activation techniques to dial in your volume, and start to impact your audience in new, profound ways, all by simply adjusting the knob of your inner emotional intensity dial. You can manipulate where you place your sound to create more volume. You see every note that you sing in A=432Hz will resonate naturally in your instrument at a certain place more than others. For example, a bass singer will find that when he sings F#4, it will ring in his face and nose area since he’s well into his midrange at that note. The placement that each note has is unique, and this is where you allow it to resonate. However, placing and focusing the sounds into your soft palate, as we did and do in the bright Ah, will create more volume. Don’t always try to focus all your tones at that spot for the sake of resonance and volume, though it may sound ideal. You must let them vibrate and resonate in their natural placement in A=432Hz. Once you know natural placement and feel it for yourself, don’t let anyone change it or tell you to place your sound elsewhere, especially since
you’re singing in 432Hz. However, experiment with placing your sounds anywhere you please. Since you’re singing in this new tuning, you should only listen to feedback from coaches who train voices in this new tuning. Period, with no exceptions. So if someone comes up to you and asks if you want some singing feedback, and we all know just how much other people love to give singers feedback more than any other musician, make sure to ask them if they sing in A=432Hz. If they don’t, don’t listen to a word they say for they do not know what they’re talking about. Remember the difference may be slight, but it’s an entirely different vocal training method and system of singing, with different foundations at the core, which lead to different sounding voices. A great wise teacher once said that you must be very careful who you listen to and take advice from for the people who may be giving it to you may not know what they say and understand. The fact that you have taken upon yourself with great courage to begin singing in the tuning of A=432Hz will create more volume abundantly in your speaking and singing. Actually, it’s now your duty to speak with more volume to others, particularly singers, to help them switch to singing in A=432Hz exclusively. Once you begin to grow the vocal muscles, they can produce more volume much like a muscle can produce more power when it’s strengthened without having to do anything else but grow stronger. Once you grow your vocal muscles with the 432Hz voice development system and master my basic concepts, you’ll find that using more volume is then solely based on your emotional state, as everything else is in a natural place to set you up for increased volume.
~~~~(Resonance)~~~~ Resonance and volume are not the same thing. An increase in resonance, a full sound with depth, always follows an increase in volume. But you can force an increase in volume with no increase in resonance. To increase your resonance in the tuning of A=432Hz, all you have to do is put into everything you’ve learned so far into action and work on naturally placing all your vowels in this tuning through constant 432Hz vocal exercising. Resonance is the ringing powerful quality that comes from a well-trained, naturally placed 432Hz voice, and you will receive that voice in due time as your voice progresses with A=432Hz vocal training. Placing the sound in your soft palate will help you achieve a bright ping and resonance to your voice quality, and you’ll see this as you undertake and explore how to use the bright Ah. However, the main contributor to resonance is a strong vocal muscle and your ability to allow the notes to place themselves naturally in your instrument in this 432Hz tuning. Opening up the mouth for all vowels and keeping the back part of throat open creates greater vocal resonance. Furthermore, by focusing and working on your bright and dark Ahs, you can explore and hear for yourself your natural resonance grow. Remember the bright Ah serves a purpose and can really only reach its maximum potential once you master the dark Ah, which is easily recognizable in opera singing. Mastery of your dark Ah will create enough resonance to fill an opera house due to the facial muscle position and dome you create inside your mouth with your tongue and
cheeks. Remember, you create the dark Ah by keeping the mouth open, tongue down, and the back part of the throat open, but your lips will come forward a bit and will cover the front row of teeth. Experiment with this dark Ah. Sing the first words of the aria Celeste Aida in 432Hz, of course, and use a tuner if you need to get in correct starting pitch, or your new 432Hz perfect pitch skills, and begin to sing the aria. When you get to the word "Aida," notice that the last part of the word is the dark Ah; listen for yourself how resonant and how far that sound echoed. It wasn’t that you were trying to get loud; it was that words and vowels naturally created a powerful resonance. Resonance builds naturally by singing in 432Hz, by using proper breathing, by using correct vowel pronunciation, and most importantly, by allowing the notes to place themselves naturally. However, you can increase your resonance by believing, understanding, and actually feeling your body exude energy while you speak and sing to others. You’re giving off vibrations when you sing, and knowing this you can begin to increase the power of these vibrations to give off more resonance by simply holding more love in your singing while using your power activation to begin its free flow. Imagine there’s light emanating from your body every time you sing, reaching out to the farthest corners of the universe and being heard by every soul on this planet. Sometimes, I find that telling a student just this one thing puts all the others tools and techniques regarding volume and resonance into action immediately, and even without the singer knowing any other method to increase resonance. An addition to this technique of visualizing your 432Hz sound
vibrations coming from your body is seeing this same scenario in your daily singing excellence visualization sessions, either in their own separate time or before/after singing. Close your eyes and see yourself singing in alignment with the universe in 432Hz, all while white light emanates from your body reaching the farthest corners of creation and beyond. Visualizing is actually in some ways better than singing. Your mind cannot tell the difference between what’s real and vividly imagined because, there really isn’t any difference. If you can think it, it exists somewhere in space-time creation. You cannot think or visualize nonexistence. Everything exists, and the voice you’re searching for is already singing in its own vibration. It’s just that you couldn’t match its frequency due to the 440Hz singing frequency that has blinded you from it. So when you begin to form images and visualize your voice becoming more powerful and resonant with the vibration of love, 432Hz, you will naturally gain more resonance when you begin to sing outside your mind. In the mind, you can learn to never miss a note, and doing vocal exercises and singing your songs in your mind perfectly will help manifest the results of beautiful resonant 432Hz singing that much faster. Do you remember my telling you I didn’t do any singing for about three months, not a single vocal exercise or song of my own, but I sang in my mind daily and when I came back to singing I had a newfound resonance that I had visualized and heard in my mind for months. However, I also believe my power lifting training, training my body and thus becoming more physically aware and in control, enabled me to come back with more power. I was now in control of the small muscle that beforehand I gave too much power and humility to. I came to find that
singing resonantly was easy, that building the muscle was far easier than building a big deadlift by a long shot, and that I was giving way too much power to singing. Remember, the fact that you’re singing in A=432Hz alone will give you more resonance and volume. I’m not aware of the long-term effects of singing in A=432Hz in relation to resonance, but if it’s the natural placement for the human voice, with time and patience, your voice will grow in resonance. You won’t ever have to worry or think about increasing it for it will be in its right place every time you sing in accord to your mood, message, and delivery.
~~~~(Vibrato)~~~~
Vibrato is a vocal effect used to emphasize certain points in a song, give closure to a song or phrase, and shake the very roots of our audience’s soul. Vibrato, however, eludes many singers due to a lack of muscle control, relaxation, and the practice needed to make it happen. To have a vibrato, we start on one of the Vocal Freedom method’s fundamental principles, singlesecond vocal reps in 432Hz. For a true vibrato at the oscillations you want, you must relax. Yes, your vibrato doesn’t need to fit into a certain amount of oscillations per second since that may depend on how you wish to color your song and speech from its use. So once you’re relaxed, start to do your vibrato excellence practice first sitting down to make sure you cancel out all physical movement and align the body next to a wall to absolutely make sure you have no physical stress. If you’re still feeling tension when singing in lotus posture with your head, upper back, and butt touching the wall, it might be coming from how much breath you’re taking in because too much will naturally create pressure since your lungs want to push it out. Also, make sure you’re activating fully in your solar plexus and heart center by putting one hand on your heart, and remembering to breathe, activate both centers while you sing your phrase, then release activation of both centers while breathing in the new breath to begin the new circle of life sound wave. You start by doing a one-second vibrato, imitating at first if you need to, of a note first in your half voice.
Once you have that down, proceed to do it in full voice. You create your natural vibrato with your ability to relax and allow the muscles of the voice box to make any oscillation necessary. We all can make one sort of vibrato or another; even a beginner can make it by trying to imitate a singer using vibrato. If a singer can spiral up and down an octave easily, at any rate of speed, he is, in essence, doing a really long vibrato. The faster and closer the notes are determines how fast or slow the vibrato is. Also, how much air you’re using creates your vibrato. Sing a C note and then sing a B note fairly quickly. Now focus on going back and forth between these two notes as fast and as relaxed as you can. The vocal folds create vibrato, so it’s really a body and mental awareness that allows you to gain the muscle control, so you can control letting go and allowing the vocal folds to oscillate freely. We’ve all heard many types of vibrato: gospel jaw vibrato, opera vibrato, etc. So learn all the techniques and styles of every vibrato to produce your own 432Hz signature vibrato, oscillating at your pace, your heart, your feeling of love, and your inner balance of power. By singing in 432Hz, you will come to easily know vibrato by the relaxing effect 432Hz tones have on your instrument and vocal folds, and you can take joy in the multitude of expressions that you uniquely express. Even at first, try the exaggerated and obvious manipulation of vibrato to just get a sense of how you can create it. One test is even to push your hand in, back and forth in your stomach very rapidly while you will sing. This will create a form of vibrato, one you should explore, and simply use to begin to get a sense of how you can get a vibrato and how you can learn to make it better. Obviously, you don’t want to use this technique on stage; it’s
just a beginner’s tool to find your vibrato. One of the main things I’ve picked up from singers who have excellent vibratos is their ability to relax while singing. It’s as is if they intuitively know this and pick up on the oscillations per second. These oscillations help us to become more harmonious with each other by singing and speaking in 432Hz exclusively. We begin to speak and understand each other better, each other’s needs and desires, and we then start to become synchronous with the creator energy and sing our way toward the golden age of humanity as a collective consciousness unified under one truth. The one is the all and the all is the one. Never underestimate the power a singer with a pleasing vibrato has over an audience, especially in 432Hz, which truly awakens all the energy centers to activate in full power. Singing in 440Hz limits the power of the human voice and its ability to not only sing, but create a world of peaceful cooperation. Those who changed the tuning to 440Hz knew you would never even think you’d lost any power. After all, haven’t many great singers shown the power of the human voice? Yet, you will never know that your voice’s true potential, a voice developed in 432Hz, surpasses 440Hz in power and in love. We must awaken and take the power back by building a new foundation for our new voice in C=256Hz with a well-developed vibrato. Vibrato, to recap, is simply relaxing, going back and forth between notes very quickly in whatever fashion we choose within 432Hz. You do this in safety and respect for the human voice, using the science of releasing breath in the perfect amount to produce vibrato, or vocal vibrations. However, experiment with not only the use of breath but also facial and
mouth manipulation of tone, amount of breath released, speed of your vibrato, etc. Remember, start in your half voice, go to middle C at 256, sing an Ah, either dark or bright and practice working vibrato in one-second intervals. You can sing clearly and beautifully in half voice without the need to open the mouth as wide as full-voice singing. Practice your vibrato in half voice. Sing an Ah for a one-second rep. How pure was the sound? Did you hear even a single sign of breathiness? Did you try to put some vibrato in there? Close your eyes and really zone in on exactly how much air you need to breathe in and exactly how much air you need to release to create the most pure tone you can with no signs of escaping breath whatsoever. Okay, you dialed in you air with a clear, half-voice tone, now switch to all vowels and do the same. Find how much air you need exactly for one second to make a perfect clear, audible, non-breathy and non-forced tone in 432Hz. Once you have that, put some vibrato in it and practice working on one-second vibrato reps. Also, the exercise of singing very quickly between the C4 and D4 as fast as you can go, starting at the D4, works great, too. Remember to go over the basics of experimenting with any and every style of vibrato that you come across to create and learn from others. Experiment with all things vocal within the realms of singing in A=432Hz. Singing strengthens singing, which uses muscle indirectly. The mind must emphasize that you’re always singing, even when you are doing vocal exercises. Remember what my 1980’s voice coach told me in my Hollywood days of searching for Los Angeles voice coaches, who told me in an almost face of disgust, “DUDE! What are you doing? You sing that @#$%^& scale.” Well, that’s not hard to understand, so I let go of my inhibitions and
connected to the idea that anytime you use your voice, you’re singing, and you sing with your emotions. You’re developing the very center of communication in new and harmonious ways by singing in 432Hz. He also told me that whenever you do your scales, you sing them, and you learn how much easier it is to hit the top notes of the scale. Now, do the vibrato exercises in full voice. Even if you think it sounds exaggerated, fake, or whatever your mind is telling you, let go of judgments, and use any kind of vibrato you can create using the tips. Then from there, experiment with the confidence that you always have talked and sung with a slight vibrato at the quantum level. Make sure you don’t hide behind your vibrato and constantly use it to hide a lack of free expression. Often singers think that vibrato means good and acceptable singing, so they always use it on every single word and phrase; however, don’t use and hide behind it as many singers do. You may want to add vibrato to every word and phrase, and that’s fine too. Experiment with vibrato, understand its new nature, within the realm of 432Hz, and allow your voice to perhaps oscillate at a level of vibrato and overall singing you’ve never experienced before until now. Relaxed vocal folds create vibrato, period. Any by constantly singing in 432Hz, you’ll know fully what vocal fold relaxation and vibrato are.
Chap ter 14 432Hz Perfect Pitch Development This chapter will lead you to an unparalleled level of confidence. Having perfect pitch will give you more creativity, perfect vocal acuity in terms of pitch accuracy, and overall appreciation of music that leads to more gratitude, which then leads to more musical ideas. Once you have 432Hz perfect pitch, you will know everything and have the confidence to express yourself that will surpass your previous marks. These very simple vocal exercises will enable you to develop perfect pitch in the tuning of A=432Hz extremely fast, faster than developing perfect pitch in 440Hz from my experience. All that’s required is your voice, a 432Hz musical instrument for reference, and your ability to listen attentively to whether or not you or on or off pitch vocally. And if, with the exercises, you’ve practiced landing on your notes perfectly, you’re now ready to not only develop 432Hz perfect pitch, but also to take your voice to new levels of expression with a confidence that only comes with the complete mastery of vocal recall of all the notes in the scale. Start with middle C or C3, or any note you feel comfortable singing, and sing an Ah vowel with your eyes closed while simultaneously playing the note on the keyboard. Now stop singing and hitting the keyboard note for one second and hear that note in your mind. Now, without the piano, try to
vocally match the C as close as possible. Now do this with all its octaves but say the note. For example if you’re at middle C sing “C4” or “middle C’’ while staying at the pitch and playing the note simultaneously, keeping eyes closed the whole time. It’s important you do the exercises with your eyes closed. Now do this with all the octaves you can right now. Sing C3 by singing “C3” then go up and down an octave so on to your current and temporary maximum. Constantly refer to the 432Hz-tuned piano to make sure you stay on pitch. Sing the middle C the same time you’re pressing the key on the keyboard. Close your eyes and hear the note sung in your mind, then sing that note without playing it on the keyboard. The next step is then to finish by playing the note on the keyboard and singing it at the same time to hear how close you were. Even remembering where and how the note resonates in your instrument and body will serve as a good marker to help you stay on pitch, but you must do this with your eyes closed so you fully activate your auditory sensors. This is a main reason why I don’t include any audio scales with this book. You don’t really need them. If you can remember and master the perfect pitch mechanism, even just one note for example middle C at 256Hz, you can train your voice anytime and anywhere by referring and bringing yourself back to the middle C from memory and perfect pitch recall. Then you can do any scale within your imagination by always remembering and bringing your voice back to C=256Hz. Once you can sing it inside your head, you can practice without the need of a keyboard or music file. Do not move forward with your 432Hz perfect pitch exercise until you master the first note, middle C, or whatever note you choose to start from.
Remember just like muscle building, we master a weight, get it under control before we move up even a single pound. I find that within a week a singer can by recall sing a middle C and its octaves with their perfect 432Hz pitch, without the need for a piano reference. I also find that singers are in a position, more advantageous than any other musician, to acquire perfect pitch faster than thought possible. This is because not only are you zoning in on your sound because of your closed eyes, but you’re also using your voice every time you practice the 432Hz perfect pitch exercises, rather than just listening to them attentively. This creates and builds neural connections extremely fast, much faster than other methods, which teach you perfect pitch in the slow, arduous method of just hearing the notes repeatedly all while making small distinctions. The preceding method does work but takes longer than if you sang the note, close your eyes, make internal and emotional distinctions between each note, and constantly sing with and without the tone being played on a 432Hz keyboard. Do this one step a time and remember to use your newfound visualization and word programming tools to catapult your perfect pitch progress to improve your singing. Once you have perfect pitch in 432Hz, you will find just how much more confident and fluid your voice is. Acquiring perfect pitch in the tuning of A=432Hz will also come a lot quicker to you when this tuning aligns mathematically and geometrically with our bodies, our ears, and the entire universe. Once you have the middle C down and can sing it on recall anytime, even after first awakening, move on to the C# with the same process. All while also going back to the C and dialing it in. Making emotional distinctions is critical, not necessary since the brain
already creates auditory distinctions based of the differentiating frequency of each note that the subconscious interprets rapidly. However, you must make an emotional distinction between each note to serve as a guide to mastering 432Hz perfect pitch by activating the emotional right brain. How does the C=256Hz sound to you? Does is sound open and full? Or how about the A=432Hz? To me, the A feels like an internal sense of “absolute security.” Be creative in your distinctions and be patient with yourself in this process. Your ear has been under the strict conditioning since birth of A=440Hz. I advise you to also stop listening to all music in A=440Hz, if you’re truly serious about developing perfect pitch in this new age tuning. Each respective note, and its corresponding octave, will have its own “sound” unique to itself because the vibration is different. Once you make this distinction, all you have to master is one octave, and the rest of the octaves become transparent and unified, as if they all coalesce together over a time determined by your persistence and faith. Also, put colors to each note on flash cards to make more neural connections and speed this process of 432Hz perfect pitch development. This is how I developed my basic 432Hz perfect pitch. Get seven pure white flash cards for each respective whole note in the C major scale. You will later add the other sharps and flats. So I put a big letter A on one card and used the color red to not only write the letter A, but how I felt about that note. I put the words “absolute security,” since that’s how that tone color felt to me. I also colored in the card a little bit with red to make the color stand out more. However, I made another distinction and correlation to the yoga seven
energy centers of the body (chakras), going in ascending order from top to bottom, which also aligned with how I felt about each note, and the colors of the rainbow in ascending order. Then, I drew a body on the card, and colored in the first energy center red. So, the first flashcard was the letter A written in red with some light shading of red behind the letter, correlating to the first color of the rainbow and the first chakra located below our sex organ area. Next to the letter A, I would draw a body and red color in the first chakra area and write “absolute security” in big letters to serve as my emotional and mental distinction of the note. (I explain the seven energy chakras and how to clear them, which will aid free singing, in my book 1008 Affirmations for Spiritual Growth). For B, I used the color orange, labeled it in my mind and on the card as “boundless energy,” drew in the respective energy center in the body I drew on the card and made the distinction in mind that the B sounded, felt, and expressed itself different from the A. It’s important to hear the distinctions that each note is giving. Continue to listen and sing A=432Hz musical tones, and they will become apparent. For C, I used the color yellow, labeled it “cosmic power,” and always thought of activation of the solar plexus whenever I sang the note, closed my eyes or recalled the note from my mind. Apply the basics to every note on the card: Write the note in a certain color with light shading behind it, write the definition of each note in the same color, and draw a body and color in the energy center that you associate with the tone. Be creative. The next card will be the letter D drawn in the color of the heart center energy green, with the words “divine love” written in green as its interpretation. When I hear a C=256Hz I immediately think, “That’s cosmic
power, and in no way sounds like divine love.” Constantly making inner distinctions of the pitches’ tone color is paramount. I’m only covering the seven tones and not their halves or sharps for I want you to use your creativity and do those. I’m just showing you basics of 432Hz perfect pitch development and how you can use these methods to gaining 432Hz perfect pitch faster and easier than ever before by creating as many mental, physical, and spiritual connections as possible. You will hold out these cards in front of you while you sing and play the notes on the piano together. Then when you close your eyes, you envision the card, the color of the note, its qualities, the particular sound of the note, its energy center association qualities, all while hearing the note in our head. With eyes still closed, and no longer playing the note on the 432Hz piano, replicate and sing the note as best you can. Then, you play the note on the piano and sing along with it to see how close you were. You then lengthen the time you pause before you recall the notes, before you sing and play it on the keyboard to check for final accuracy. For example, play the note while looking and singing at the card, close your eyes, stop playing and singing the note, and wait two seconds before you recall it. Do this for another rep of two seconds. It’s called a 432Hz perfect pitch recall rep. This is how you grow the muscles of the auditory sensors and memory, just as you do when you grow the muscles in the body. The weight analogy puts things in perspective and puts the voice where it needs to be—under your control at all times and not controlled by things outside yourself, regardless of situation or circumstance. Remember once you close your eyes for any length of time, it’s
crucial that you continue to hear the note you’re focusing on, in any way shape or form you can imagine, preferably your own voice, and seeing yourself sing the note with its own colored sound wave emanating from the assigned energy center. So, for note A (absolute security), color red, I closed my eyes and saw myself sing this note, while red sound waves emanated from both my mouth and energy center. This is all happening during the pause when you close your eyes and stop singing and playing the note on the 432Hz instrument. Furthermore, you’re also feeling and making emotional, physical, and spiritual distinctions for each note so you can create denser neural circuits that will become more super-conducive and hyper-conducive to the development of 432Hz perfect pitch neurology, which as you know, comes easier, faster, and with more joy in study than in any other tuning Let’s continue with the next note on the C major scale in regard to the development of 432Hz-based perfect pitch. Note E, color blue, aligned with the throat energy center or chakra, and named in my case, expressive communication. The next letter on the C major scale is the F natural. F is for firmament vision, note F, color indigo, and the sixth chakra center of the third eye. The F is nearly at the beginning of a well-trained tenor’s passaggio, the F#, the geometric mean according to Greek math. And at the F#4 we find the universe and our star system have a “register shift” in alignment with the tenor register shift in 432Hz F#4. (More on the F#, F, and G later and why you must focus on these notes, regardless of voice type, vocal fach, and midrange/top range transition zone.) Now, the next and final note of the seven notes of the octave. The musical note G is for god enlightenment, color violet, and the seventh
highest state of our seven chakras. Make inner and bodily distinctions of each note, master each note before moving on, use your recall ability to constantly test your 432Hz perfect pitch. And remember to close your eyes, hear the note, and let your ear retrain itself naturally to the 432Hz musical tones of the instrument and your voice. Understand these concepts and practice them thoroughly.
Chap ter 15 Power 3 Vocal Warm-up This complete 432Hz vocal warm-up will get you ready for any speaking or singing occasion. Your goal is to warm up completely so that when you hit the stage, you can sing any song you want and not rely on warming up through your set. This whole warm-up lasts for 30 minutes from the moment you begin warming up to the second you begin your speech or singing engagement. Some days it may take you longer to warm up, say 45 minutes, and some days you may need less than 10 minutes. Even in some moments of tranquility and inner strength, you won’t need to warm up because your voice will be ready for anything at anytime, much the same way the body is ready to run for its life at anytime. Don’t warm up only if your life depends on it or if you feel so inclined on a walk to just start singing, for example. Warm up every time before you begin to sing and exercise vocally and cool down vocally after. Your goal with this 432Hz vocal warm-up is to get you speaking and singing fluidly, which will enable you to show all of your voice’s qualities. You can only display these qualities with a fully warm and ready muscle structure. So the first thing you must do is, with the new awareness that your whole body is your instrument, is to begin warming up and stretching the entire body to get blood flowing to your system and to get you more in tune with your
instrument. Warming up your body serves a greater purpose than just getting your instrument ready, it serves to get you more aligned with the instrument itself and produces a physical awareness, which is what separates the “natural born singer” from the others. What can you do to warm up your bodily instrument? Very simple exercises such as walking, yoga, full body stretching, light weightlifting, etc. Even heavy weightlifting is fine if you know your limits, body, and relaxation abilities. Here’s how I warm up my body. I go for a short walk and start to breathe deeply, to relax and focus my mind on the task at hand creating a productive singing excellence session. Getting your body ready also falls in line with getting yourself mentally warmed up. I start to visualize the outcome of success, of singing the scales with fluidity and composing new songs with new melodies to showcase more of who I am. After my short 10minute walk, I do a basic full body stretch while concentrating on taking full natural breaths that expand the stomach and back side first before expanding the upper chest. Once I get my body and mind primed, do my stretching along with deep breathing, I begin to speak affirmations out loud of what I wish to achieve from my vocal excellence session or my showcase. I set an intention for my A=432Hz singing session, which gives me more emotional juice, so to speak, and is how I warm up spiritually. Setting a goal activates the hidden forces behind the scenes. For you performing singers about ready to get on stage, this spiritual warm-up is powerful but use it at the same time as your visualizations of how you wish the performance to go. The same applies to any singer not just
those who are performing in front of others. However, remember this, you’re always performing wherever you are. There’s no real difference between singing alone and singing in front of others, only the difference you make in your mind. Say you’re shy and nervous about singing in front of others, and you hear your voice quality become less than optimal during these moments, but you sing freely and perfectly when you’re alone singing in your daily practice place. You see, you have to make the connection that there’s no difference between the two and to stop giving your power away to others. Take it back by singing confidently and fearlessly whenever you sing from this point forward in A=432Hz. Go to a nature setting or find a secluded spot to sing freely if you’re afraid others will hear you or if you’re shy and then bring that feeling whenever you sing in front of others. Once you gain confidence, take your 432Hz singing into the arena of the world with the same mindset of singing in your secluded practice room where no one but you can hear. Truly, the only difference there is between singing in a practice room and singing on stage is in the mind because really, you’re in a place singing, and all that’s changing are the things outside you, which have no control on the things inside you, your internal state. Get your body primed by light exercise, stretch the whole body, especially the neck area, where I find many singers carry tension. The reason I believe singers have so much tension in the throat chakra area is because of inhibitions that manifest themselves as physical tension, preventing them from expressing themselves freely. Massage this area of the neck and think of new ways to how you relax this area.
After you’ve spoken into being and visualized how you want your singing excellence session to play out, now is the time to get your vocal folds, the prime movers, ready to sing freely in the tuning of A=432Hz. There are just three exercises in this vocal warm-up that eventually you’ll do free form without the need of a scale either in electronic audio format or with a piano. Have you practiced your 432Hz perfect pitch exercises? I hope so since they will serve you well here. However, for now, just make sure to have a 432Hz tuned piano available or a tuner of some kind to check your voice and make sure you’re singing in alignment with the pitches of 432Hz. We all sing naturally in 432Hz when we sing in nature, when we hear the birds and animals and water dropping from the rain and waterfalls, but only when we sing from heart center, and not from the sole power center. The balance of love and power is critical. Have water on hand during your vocal warm-ups and be patient with yourself as you begin new vocal habits and routines in the tuning of A=432Hz.
~~~~(Lip-roll)~~~~ The first exercise is the lip-roll, otherwise known as lip bubbles or rolling B’s. The lip-roll is by far my favorite warm-up tool, and the only one you need to fully warm up your voice prior to vocal exercises, in addition to some light singing, before any speaking or singing occasion. Actually, doing some light singing before you do your vocal exercises will truly prime the voice. It will get the vocal folds moving in a way that even lip-rolls can’t replicate. To perform the lip-roll, bring your lips together as if you were about to kiss with slightly puckered lips. Doing this will make the lip-roll sound clearer, rather than leaving the lips completely relaxed. This also streamlines the air to the lips and not letting the musculature around the lips vibrate too much. You want your lip-rolls to use the slightest amount of air (a basic you know by now and should start to put into practice with this foundation vocal warm-up exercise). Breathe in, activate both centers, while you release only the air you need to vibrate the lips and make a bubbly sound while maintaining activation. Then release the activators while you simultaneously breathe in again. Once again, your stomach will almost seem as if it’s moving down during your activation sequence toward your pelvic region, as the abdominal muscles electrically produce energy and in sense flex. Remember, for solar plexus activation, don’t suck your stomach in, but bear down. Another tip is to constantly lick the lips if you need to keep them moist and increase their ability to vibrate. Having excessively dry lips is a sign of dehydration, so
always stay hydrated before you do your vocal warm-ups. Often, the students who use too much air have trouble producing liprolls. You can always place one finger on each side of the cheek and push up slightly if you need to, to produce the lip-rolls. This prevents unnecessary air from going to the cheeks and focuses on streaming the air to the lips, so they make a soft bubbly sound, and relaxing the vocal folds. Use this technique if you can’t do it without your hand on your lips, but soon let go of these training wheels, as mouth relaxation and body control come to you without the helping hands. If you already have this exercise mastered from your previous singing experience, simply start from your natural comfortable pitch, not your lowest or highest current range, doing the lip-rolls and one-octave spirals, first going down an octave and sliding back up to that starting pitch, then going up an octave and spiraling back down to your starting note, keeping it connected the whole time, slow and controlled at first. Also, if you happen to fall into half voice while you’re doing your one-octave spirals, that’s okay. Allow that to be your warm-up voice but then concentrate on leaning and letting go into the mid- and top range and keeping it connected in full-voice lip-rolls. Start at a comfortable note, and start to spiral down an octave, which should be the lowest note you can produce in the lip-rolls, not necessarily in your full voice, and then slide up. From there spiral up an octave and back down. Then move up one semitone and repeat the process. Remember to put your hand on your voice box to give yourself a psychological reassurance that it doesn’t need to rise from tension and lack of muscle control. This is much the same way someone puts a hand on your shoulder or gives you a hug to reassure you.
You don’t keep the larynx down, push it down, or even grasp the neck area tightly. Use a very light touch while thinking, “Relax, I have control, I can use a relatively neutral voice box. It’s okay and this is easy.” I love using this trick when teaching singers to build their midranges and first notes of the transition zone. It blocks out the many reasons why singers have trouble with this area, tension, lack of muscle control or belief they lack control and a high larynx most assuredly caused by the too high tuning of A=440Hz. Your lip-rolls must be as pure and clear as possible. You should never feel strain, a dry throat or vocal folds, and tension when doing the lip-rolls in the tuning of A=432Hz. If you still can’t do the lip-rolls that’s okay at the start, but practice it until you can. That isn’t to say that learning this warmup exercise is completely necessary because it truly isn’t. But remember, the lip-rolls teach us proper breath release in the right amount, facial and muscle control/relaxation, and overall awareness of the vocal muscles. Make sure to practice connecting your registers in your lip-rolls, keeping it connected to really learn the feeling of letting go into the midrange. Understand this exercise and practice it thoroughly.
~~~~ (Resonant Humming)~~~~ The next exercise is resonant humming, which everyone with a set of fully functional vocals folds already knows. In essence, all you have to do to warm the voice up is sing, from the root the branches, warming up the range slowly from bottom to top and the top to bottom. Have you ever walked down the street and heard a passerby humming a tune? To hum, close your mouth and try to speak or sing a word without opening your mouth. Congratulations! You just hummed. Now try to make this humming sound a little more resonant, rather than a simple, soft, light humming sound. Resonate your humming to the point that it vibrates your teeth and mouth. Understand and feel the difference between light humming and resonant humming. This exercise may serve as the staple of your warm-up over the lip-rolls if you’re still in process of learning the lip-rolls. However, they both serve a purpose, and you should master them and do them routinely. Resonant humming puts slightly more vibration on the vocal folds than lip-rolls, in a sense waking them up a little more with the extra vibrations in the face, due to the closed mouth. So simply do the octave spirals with the lip-rolls. Start at a note that isn’t your lowest or highest and spiral down an octave and then spiral back up. Then go back to the original starting note, spiraling up and then back down. From there, move up one semitone from the original starting note and do the same. Always spiral down first, showing appreciating and acknowledgement of your foundational low range, getting it warmed up first before you move on and start warming
up your mid- and top range of your one-register voice. Once you obtain your one-register voice, stop using and referring to your low, mid- and top ranges, even the terms half voice and full voice. You can only make sound from one thing—your one voice. And if you can make the sound, it’s a part of you, your range, and your entire vocal expression. So understand resonant humming, and if you have to at first, truly exaggerate the hum and try to make it as loud as possible to understand the feeling of a resonant hum within your instrument versus the relaxed every day hum people and singers use. A good focal point is to always make the teeth vibrate. So now that we warmed up the voice from small to large, from the root to the branches, from the slight vibration of the lip-rolls to the more resonant vibration of the hum, you’re ready to lightly sing with the voice and get it in the state it needs to be to sing fluidly and freely.
~~~~(Light Singing)~~~~ Always sing before a show, even if it’s for a couple of minutes after you do your lip-rolls and hums. There’s just something about singing to warm up that really gets the vocal folds ready to the maximum, and it gets all the kinks out of your voice that you thought weren’t there in the preceding two exercises but show themselves in your singing. First, experiment, know what works best for your voice, I’ve found that after the lip-rolls and hums, you must do some light singing and progress to the point where you can sing in all parts of your current range easily and effortlessly. Just like an athlete who warm ups carefully and patiently, you must do the same with your instrument. You will know when you’re ready. Start singing in the octaves of your lower range in both half and full voice and begin moving up semitone by semitone, singing your way to total control and warm up. Remember the basics: Sing in 432Hz, sing/warm up from the bottom to the top and have fun. Follow your own 432Hz vocal warm-up routine such as just singing the song you’re going to sing lightly in half voice rather than full voice. Or simply just sing it in full voice. You don’t always have to start warming up in half voice before singing and warming up in full voice, but it does serve a purpose as you warm the voice up from small to large, using less air for halfvoice singing and eventually more air for full voice singing. If you warm up in this manner, you will never stray. Always warm up in half voice, dialing in your breath, and doing the basic routines before you move into your full-voice singing warm-up. This
whole warm-up should take you less than 30 minutes to complete from the second you begin to warm up the body. But if you it takes you longer or shorter, that’s okay, some days you have it and some days it may take more time to get it. Be patient with your warm-ups. Create your own complete 432Hz vocal warm-up that works for you. Maybe you like to do lip-rolls while you stretch, or maybe you like to do the whole warm up free form while you’re walking to band practice. Hey, maybe you just like to do solely lip-rolls before a show with a few moments of singing, or none. Use your intuition to guide your warm-ups in 432Hz, and you’ll be ready for any speaking or singing lined up for you. I remember one day when I was with my voice student Andy leading him through the Divine Love scale, singing from middle C to E4, then to G4, and then back down in that same order. I didn’t warm up before our lesson due to a show I had later in the evening. Andy was having psychological blocks, though, which I picked up intuitively because I knew he could sing the melody/scale, and he was easily able to hit the G4 before in our connecting voice reps earlier in the lesson. So I told him I noticed those things, and showed him by my singing the scale without any prior vocal warm-up, and as a natural bass singer, the G4 is well into my midrange, nearly at the entrance to my top range around the A#4, that its all psychology. I sang it from the heart, it rang clear, and the sound came out easily and effortlessly. The thought of “singing is simple, and I got this, no matter what! Even if I didn’t warm up,” was in my mind before I sang the scale. Andy looked shocked, and guess what? He then sang the scale with
great power, resonance, and confidence that showed itself in the fluidity of his singing and the beautiful display of singing the G4. It wasn’t as if he needed to see someone else do it, but because I did it in front of him, without warming up or just telling him, it showed him that to see vocal scales as just scales was a mistake. You should sing them as if they’re songs and not only warm-ups. It certainly helped Andy open up and sing the scale easily like never before. See your vocal exercises as singing and all will be more fluid like water. Every sound you make is an expression of who you uniquely are, so warm up fully to express all those beautiful qualities. Create your own warm-up and if all you want to do is sing in 432Hz to warm up, that’s fine. You’ll be fine if you take your time warming up, and continue listening to the inner voice inside you. Also, make sure you always cool down after you finish singing. Master the basics.
Chap ter 16 Focusing on the F, F#, and G The Vocal Freedom Singing Method, the World’s First 432Hz Singing Method, distinguishes itself in many ways as you’ve already found out: The vocal reps in one-second intervals, 432Hz-tuned singing, low-note development focus before high-note focus, and using half voice and full voice to build natural connection of the registers. Focusing on the F, F#, G is important in 432Hz singing for all voice types because they’re the most important notes in the C major scale. Here is some new insight of F, F#, G focus in all octaves. It’s important to not only tenors and sopranos who find these notes are the beginning of their passaggio or transition zone into the midrange, but bass singers and all other voice types. These notes align with of our voices and with the geometry of 432Hz singing and science. The following information will serve you well regardless of voice type and range for it’s based on science, the alignment of the tenor/soprano passaggio with the solar system, and it builds a strong foundation for our respective high C’s. The F aligns with the harmonic mean, F# with the geometric mean, and the G aligns itself with the arithmetic mean, all according to Pythagorean and ancient Greek math. These three notes are the most important notes in the C major scale, regardless of voice type or gender. Make sure you have these notes in total command, in half and full voice, in
all your octaves before you go up any higher and build the notes above them in all octaves. Focus on these notes in the octaves of your low range first before moving up. Luciano Pavarotti once said in an interview that tenors should focus on these three notes before they focus on the high C5, and achieving brilliance with these three notes serves a tenor well for the production of a beautifully well-placed high C5. He also made no reference that these three notes as their harmonic, geometric, and harmonic mean definitions, but he knew very well their power and importance in developing a ringing voice with great ping and brightness. These three notes form a tetra chord right in the middle of the C major scale, hold validity in science, mathematics, music, and architecture as constant values through the expression of geometry, the golden mean ratio, and math within music. So male and female singers, regardless of voice type, focus on the F, F#, and G in your respective low ranges before going up even a semitone as you build your octaves. Make sure that when you go past these notes, you always go back and focus on the F, F#, and G exclusively, now that you know their importance. Bass singers and contraltos, you may find that by the time you get to your G that you may be going into your top range, but most likely you’re at the last note of your midrange, and that’s okay. Remember, we don’t make any distinction where our mid- and top range should be as we start to develop a range of several octaves. Bass singers and naturally low female voices, as you progress to the C5 for males and C6 for females in full voice, it may sound a lot more “heady” than a tenor or soprano’s, that’s okay. You will come to know natural placement with 432Hz singing and know within
that it’s natural for your C5 and C6 to sound unique in its natural ring and placement with 432Hz vocal training. Many bass singers try to make their full voice C5 sound like that of tenors, totally disregarding the natural placement and ring of their naturally placed C5 in 432Hz singing. This often happens because tenors and sopranos get all the roles, all the acceptance and applause, and basses and contraltos feel as if they need to sound like the higher ranges in order to gain the audience’s acceptance. Don’t let that trip you up; you do your unique voice a disservice by trying to sound like another singer or voice type. You must understand your unique voice and all its natural qualities. Focusing on the three notes across all octaves is important, so you need to build these notes very strongly in all vowels, in half voice and full voice, before moving up to the G# in all octaves. Start to see these three notes as a launching pad you can springboard from to the notes beyond much faster. Recognize these notes for their true worth: the most important notes in the C major scale. Now it’s time to strengthen these areas to quickly propel you to higher ranges to focus on these notes, which are vital to high-range singing for males and females. Remember to continue to sing exclusively in the tuning of A=432Hz, regardless of what others may tell you. Stand strong in your convictions, and if that means walking off stage because the piano is tuned too high, or not singing with musicians who sing in 440Hz, so be it. You’re on a new path now as a new age singer and must set an example for this new age of singing through your convictions and beliefs about what is right and true for the human voice.
Chap ter 17 Vocal Reps and Single-Tone Excellence Doing single-second reps in half and full voice is the first step in all tone creation because anyone can start here. Anyone can learn to sing! I know many of you jumped straight to this chapter to start building the area of the voice that so many of you want and to focus on improving the middle voice/mix/midrange. The concept of doing vocal reps with perfect form, much the same way a weightlifter uses perfect form, absolutely gets results. Your vocal muscles will grow extremely fast using this method because, in a sense, this is how they were meant to train. You’re not meant to you jump all over the place using scales at first. By having you start from creating notes for one second at a time, one pitch at a time, all while dialing in the parameters of your unique instrument, you create the most perfect, clear, open sound. Vocal reps is simply phonating or singing one note, on one vowel, for one second at a time. Then and only then, after you’ve mastered the one-second note creation process, do you elongate the time you hold out the note. Do this first with no vibrato. We start from the root to the branches, so add vibrato after you master the following basic concepts and can do at least sets of 10-second vocal reps or are focused on your vibrato exclusively. It’s
imperative that you do it for one second at first because you must become aware of how much “gas” or air you need to make that one-second note as pure, open, and crisp sounding as possible. Start doing these vocal reps in the tuning of A=432Hz. But also do them in half voice before your low-range full voice. Start doing your vocal reps in half voice because every note in half voice in our entire vocal range needs less air than those same notes in full voice. Use this technique and learn to dial in exactly how much air you need to make your half-voice, onesecond reps as clear, pure, and non-breathy as possible. Also start in half voice because most singers can’t sing a note at or above their break in full voice in any kind of scale or song without breaking and going into falsetto/half voice. They can sing them in half voice easily. Get the notes that surround the passaggio area into your mid- and top range open and full, in half and full voice, for one second at first. Then, slowly elongate the time you hold the note. The longer you hold the note, the more breath and muscle activation you use. Just as the F, F#, and G surround the midrange passaggio of the tenor and soprano, you must start to focus on the notes that surround your midrange passaggio and consequently, the passaggio into the top range. This does not take away any importance the F, F#, and G for all voices type in all octaves. Hammer the three notes surrounding your passageway in half voice and full voice and later learn to connect to them from half to full voice, and even if it’s just for one second, grab hold of that power and begin to do your reps of perfect seconds. And as your confidence grows, add another second. We quickly develop the half-voice range in a much faster period of time than we can develop the full-voice range. For example, a
tenor voice student of mine couldn’t sing the F#4 without breaking into half voice, but his half-voice singing at that note was so pure and beautiful that I would sometimes stop playing our single tone notes in awe. What was the solution? We started him in half voice at that note and had him quickly switch or connect to his full voice at that note for a split second. He was able to connect and make the sound open and full, but soon lost muscle control, pushed too much air through, developed tension, and then lost the vocal fold closure needed to keep the note sustained. I found out he got the note for a split second open and full, meaning his vocal folds could create the note freely, but he just needed to develop strength to elongate the note for however long he wanted, which is obviously more than one second. This is the basic premise of how we build our respective transition zones into first our midrange and then our top range. So even if you can’t produce a half-voice note at your break to connect to full voice and do onesecond reps, you simply work on extending your half-voice range to those notes and above before you connect to full voice and do one-second reps. Go to middle C at 256 and sing a half-voice Ah for one second and no more. How much air did you use? How much air did you breathe in? Not much. Did you even hear the slightest sound of extra breath leaving your mouth? This pure half-voice creation will also naturally be small in volume. Go back between a breathy, half-voice rep and a pure one to become aware of the obvious sound difference between them. You can spot a breathy half voice easily, and we know when we hear a pure clear half voice. Once you have your Ah sounding as clear and pure sounding in half voice, do many one-second reps in whatever time and pace you intuitively feel.
Change the vowels, make note of how much air you used, how much air you breathed in, the natural position of the facial muscles for that vowel, your soft pallet and inner mouth movements, etc. Do this for all the five foundational vowels and notice how each of those vowels changes the need for airflow and structure of your instrument, to produce one-second 432Hz perfect vocal tones. Your foundational one-second vocal reps must have no vibrato, just a pure straight tone. This is the foundation to build the vibrato. Now, sing middle C for one second in half voice for all five vowels, doing 10 one-second reps per vowel. Constantly keep in mind how that vowel works and shapes your mouth. One you have the pure tone down of half voice for one second, do two-second reps and notice exactly how much air you need to create the most non-breathy tone for two seconds. Things will adjust such as how much air you breathed in and subsequently how much your stomach protruded. Carefully listen and feel any excess breath, and if you hear even the slightest amount of air escaping, start again. This time, use less air and take less air into your body by filling the lungs from the bottom to the top. Continue to elongate the time you hold the notes until you get to at least 10 seconds, without vibrato, and without going up even a semitone. This is why it’s crucial you always start your vocal exercises in half voice because of the discipline required in the breath release. Release too much air and you will obviously feel and hear it affect your half voice and full voice exercising and singing very quickly. This builds awareness as it forces you to be mindful of breath release and overall relaxation because I know you want to get to full voice midrange and top range singing as fast as possible. This is why I say you always start your singing excellence sessions
and vocal warm-up singing in half voice. One-second reps also serve us as we build the transition zone from low to midrange and from midrange to top range. Nearly any male singer regardless of skill level can sing a half-voice C5, which develops confidence as he builds in half-voice, single-second reps at that note. Eventually, he connects the vocal folds with a new exercise, called connecting voice, to create the note in full voice, a note at which he probably couldn’t sing before or reach in a scale without using vowel modifications, which again, aren’t necessary. However, this is all before we build every pitch below that high C, of course. We will get into connecting voice in greater detail in the next chapter. Focus on doing single-second reps in half voice and then full voice on a single pitch before moving up, always starting with half voice before moving on to full voice reps. With full-voice reps, use all the concepts of correct amount of air and start from one second reps at one pitch at a time. The goal for each tone before moving up is to sing and hold it in half voice for a solid 10 seconds with no vibrato on all seven vowels before trying that same note in full voice and doing one-second reps until the 10second rep mark. You’re growing your voice from the bottom to the top in both half and full voice before you proceed to widen the range into the high notes. When you build your low range, extend it further down to build a foundation, then the upper notes become that much easier to sing since the foundation is stronger and firmer. Try this if you need some help starting your one-second vocal reps routine. For example, start in half voice and do one-second reps of all five vowels on a starting pitch with about a onesecond pause between each rep. Ah for one second, pause, Ah for one
second, pause, so on till you have done 10 reps at that vowel, at which time you can reset and get ready for the next set of 10 reps with the next vowel. Do this with your full voice on that same note making sure your full voice is full, resonant, and open. Do a set of 10 reps for each vowel on the same note. Develop your own routine and use the basics to create your own regimen using one-second vocal reps on a single tone. You may just want to focus on your middle C in half voice in all vowels for the duration of your practice time. Follow your intuition and the faith that training your voice in the tuning of A=432Hz will help guide you. Now, as you begin to move up the scale into new ranges, your upper palate may move up in both half voice and full voice or that your mouth and inner vocal instrument may shift to accommodate the note. This is natural, and singing in 432Hz will ensure you make all adjustments perfectly. It’s not necessary to learn vowel modifications because you don’t need them to sing high notes. As we connect from half voice to full voice on, say, a note in our upper range, the vowel and sound we make undergoes the most natural change as you move from half voice to full voice. For example, how do I sing a bright Ah in my midrange without modification? Simple. Go to an F#4, if you’re a tenor, and sing an Ah in half voice and then immediately connect to full voice for one second. Notice that your mouth opened a little wider, or you made a slight change with the inner workings of your instrument. This is natural. So the need to do vowel mods isn’t necessary as nature clearly shows us how we must move our instrument to carry any vowel without obvious mouth and jaw movements that modify the vowel. We let the vocal folds do
that job while noticing the small shifts it makes in our instrument naturally, as we connect a vowel at one part of range to the full-voice pitch at the same tone. Enrico Caruso did not modify his vowels, and he serves as a main example of what beautiful natural singing is all about. Caruso trained vocally before the rise and implementation of A=440Hz, so take note of this beautiful singer and his example. So to recap, start with half-voice, one-second reps on all vowels making each as clear as possible, keeping in mind exactly how much air you used to create the most pure sounding tone. Then slowly lengthen the reps to 10 seconds of pure non-breathy tone with no vibrato for all vowels, in half and full voice. Make sure to be mindful that as you elongate the rep time, you must breathe in more air to sustain the note for the longer time. Then carry this on to your full voice, starting in the low range, making it resonant, full, with an open throat free of the choking tongue sound. Still focus exclusively with your low ranges first before you move up into your higher vocal ranges in both half and full voice. Remember that each vowel naturally shapes itself to accommodate the pitches of your higher range and lower range. Get a mirror and take note exactly how your face, mouth, and instrument adjust naturally to each note in both half and full voice. When you get to your transition zone, you may find that you cannot do your single-tone excellence reps in full voice, but can easily sing them in half voice. And this leads into the next chapter.
Chap ter 18 Connecting Voice Excellence Connecting voice excellence is the ability to go from half voice to full voice and vice versa with no breaking in the voice. Connecting from half to full voice on the notes going into your midrange, your first bridge, is great, because you then can learn how to land on them in full voice, and then spiral down and up, strengthening the area, and using the other musical scales to create a mobile vocal force. It’s very important to start with a pure half-voice note on the notes of your midrange and top range entrance zones and then quickly connect it to full voice and focus on getting it open and full. Once you can get it for one second, you elongate it to two seconds, doing all five vowels, knowing the distinct parameters of breath, natural placement, and activation of each note. Start doing reps at those notes of the passaggio, spiraling down very slowly and keeping it connected to really learn muscle control and have more respect for the full range of motion. Then, spiral up an octave just as slowly, controlled, and confidently as you did spiraling down. This concept is the fundamental principle of how you build the notes of your transition zones so that you can later sing them with ease and with a newfound stride in A=432Hz. Now, you’re doing the vocal reps in your low range, in half and full voice, and starting to become a master at breath release and every
foundational concept covered thus far. Next, delve further into your transition into the midrange and develop the sweet spot of the voice faster than ever before. Go back to the one-register voice chapter to get a precise reading of where your voice type may go into the mid- and top ranges. In my experience with A=432Hz, the guidelines always align to every voice on earth. Remember, if you sound like a tenor, you’re probably a tenor. Record your C5 and play it back. Basses, baritones, and tenors have distinct naturally placed sounding C5’s. Female singers, do the same test just one octave up. You will find your natural register from this test. But remember you may break early due to a weak low range. For beginner singers, the note they crack in always moves up at least a whole tone as they strengthen their foundational singing and speaking. So don’t worry if you aren’t at these guidelines; trust this tuning and it will lead you naturally to developing a connected voice if you only continue to sing and exercise vocally in this tuning and have patience with yourself as you grow and learn. Remember we don’t force this point any higher, by gradually pushing the passaggio up. Don’t belt it out until you have a fully connected voice, years of singing in a fully connected 432Hz voice and mastered power and heart center activation balance. Belting is really shouting, whether you do healthily or not. There’s always a price to pay for going against the laws of your voice one way or another, maybe a shortened top range or inability to sing in whistle register after years of heavy belting. Experiment with belting later; take it easy and build this zone naturally and learn to let go at exactly the right time according to your intuition.
A great marker to know if you aren’t leaning and letting go into midrange at the right time is tension, pain, and a feeling of force of any kind. As you slip into your midrange, you should feel a release and a sudden shift in muscle control to other parts of the vocal muscle; this is how you do a full range of muscle action. Once you get to these notes by doing the half-voice, one-second reps, then connect to full voice on the same pitch for one second. You may be only able to keep it connected for a split second, hearing your voice shake and crack from a lack of muscle at first, especially when you start to connect half to full voice. So for example, tenors go to the F#4 and bass singers go to D4, females follow just one octave higher. Begin a one-second half-voice tone on any vowel, making sure it’s as pure and non-breathy as possible and quickly connect to your full voice, now hold the note in full voice for one second. Was it open and full? Did it resonate and ring with the sound of an open throat and voice? Record yourself and play it back to make sure it sounded open and naturally placed with the same level of light heart scrutinizing you did when learning to pick out breath escape in your half-voice, one-second reps. You will know an open 432Hz vocal sound when you hear it. It’s truly intuitive and human nature to know when someone is vocally free and open. Just like anybody can tell when a voice is struggling and choking, anybody can tell an open, full, naturally placed vocal tone. Quickly connect at first so there’s no concern when connecting. Beginners will often crack and lose connection very quickly at the transition zone, if connecting too slowly. Also, connecting fast at first literally forces you to use the muscles that bring the vocal folds together from half voice to full voice in much the same way activating an inactive muscle through an
exercise. So for now, connect quickly, visualize your vocal folds coming together and use your new muscle awareness and strength to literally force the folds together at this new note. You may be shocked and surprised on how you could get the note that you couldn’t get to or sing before. Start from this one second at the first note in your transition zone and slowly build the midrange from the root to the branches. Half voice for one second, connect quickly to full voice, and hold the note for another second. Eventually, you actually won’t even have to hold the half-voice note for one second, for now yes, but as you get hold of it, touch lightly on the half-voice starting pitch and connect quickly to full voice on that same pitch. I like to hold my hands in front of my students during this time and when they start to connect from half to full voice, I slam my hands together to show them visually what’s happening and how fast I want them to connect. And while you’re beginning to grow your transition zone, it’s crucial for you, in a sense, to slam the vocal folds together That muscle needs to not only wake up, but you need to build control and you need to have a sense of connecting and continuous connection. Connecting fast also works better at first than making the connection from half voice to full voice slowly. Many singers tend to start using too much air if they connect slowly causing them to break and never really connecting into a full voice, resonant, open tone. So how much air did you use? How did your instrument adjust itself for that vowel at that part of the passaggio? You probably noticed you didn’t have to modify the vowel, and that nature just showed you how to adjust your instrument to produce that vowel in full voice (more on this later). Now once you got the idea of connecting into a full, resonant tone at the transition zone quickly, practice connecting slowly since this will create more muscle
control and the awareness needed to lean into the midrange. The midrange gives many singers trouble because it’s part of the vocal muscle we tend to use less in speech and singing and so, it atrophies with disuse. This is why comparing vocal reps, with muscle-building reps is appropriate. All muscles need to strengthen for peak performance. You will grow your midrange transition zone without the need for scales and having to constantly fret and think about singing the top notes of a scale. Start from one-second tone creation and continue mastering each pitch on all vowels while lengthening the time you hold the note. There are some scales later in the book you can use to bring more vocal agility and power into the voice but no scales at first. You must build awareness of short-tone creation on a singular plane before you move onto other planes of various vocal maneuvering. This method is primarily just one exercise, single tone, one-second reps in half and full voice and connecting half to full voice at every note at the transition zone into the midrange and top range. Make sure do your one-second connecting voice reps at your break, on all vowels, and make sure you understand how each vowel works at each note in the transition zone. Learn and feel how it shapes the inner workings of your mouth as you connect from half to full voice, especially in the notes in your ringing midrange. Once you understand the concepts and are connecting seamlessly from your half voice to your full voice, slow and fast, it’s now time to start using one-octave vocal spirals to build more neural connections for fullrange motion, vocal fold adduction. You always spiral down an octave first, keeping it connected before you spiral up an octave into the midrange. Don’t build the top range bridge just yet, emphasize your transition
zone into your midrange and build from the bottom to the top. You must have patience, and if you practice daily in the tuning of A=432Hz, the speed your voice develops without jumpy scales will amaze you. Now back to midrange building. Once you can connect seamlessly in your midrange fast and slow and spiral down an octave while staying connected, it is time to learn to spiral up after sliding down. You might find you have to take in more breath to accomplish this. Also for your single-tone excellence reps, as the time you elongate the note increases, the more air you will need to breathe in. One-second vocal reps while connecting to full voice is just the beginning, and once you have your respective midrange notes in your repertoire, it’s time for the next step which is landing on the note in full voice without the need to start in half voice every time. After that, start doing half and full-voice reps at the crucial notes in your transition zone for your top range. You build one muscle at a time. It truly is that simple when you realize you can grow this tiny muscle much faster than it takes to grow the other muscles in our bodies, only in the right tuning, of course, and build it on the right scientific principles. I developed this method of vocal development and growing the passaggio when I was a certified fitness trainer. Using the knowledge I gained from this profession, I learned the same principles of growing our body muscles and applied them to growing the very small muscle, our vocal folds. Perfect biomechanical techniques, through a perfect range of motion, defined by the unique parameters of a person’s voice, will create a stronger vocal muscle. Make this connection, and you can control your voice. You cannot overlook or overstate the importance of mastering the
basics of this 432Hz-based singing method. Start in half voice at your lowest pitch, and focus on producing the most pure, non-breathy clear tone you can, using only the scientifically right amount of air for a one-second vocal reps on all vowels. Next, start to elongate the time you hold that note, second by second, until you get to 10 seconds with no vibrato whatsoever. Later add vibrato, of course. Then, you ascend semitone by semitone until you reach the maximum of your current half-voice range. Once you’ve done that, it’s time to start doing your vocal reps in full voice, starting with you lowest current full-voice tone. Make sure you remember how much air you used, the openness of the sound, and correct activation techniques. Now, you may be at a point that you stop right at your passaggio and scratch your head that you can’t produce the tones in full voice, but you can in half voice very easily. So, connect half to full voice to create those notes of your midrange and top range transition zones and practice connecting with the determination and patience you need to excel in this area very quickly. Also, remember to use more air for you low-range notes and less air for your mid- and top ranges. As you go into your midrange, you really do let go and lean into it. You’ll find it’s easier to sing the notes in your midrange and top range because you use less air. Practice the concepts and basic premise of this chapter of one-second, pure vocal reps and connecting from half voice to full voice at the beginning notes of your mid- and top-range passaggio.
Chap ter 19 The Five 432Hz Vocal Freedom Scales Let’s go right into how we develop the voice in action within the realms of the Vocal Freedom Singing Method, the World’s First 432Hz Singing Method. The exercises are in the order that will benefit you the most and develop your voice, from the root to the branches, the fastest way possible. These scales will develop more gratitude in you and appreciation for your new 432Hz voice. Once you become proficient at these new age vocal exercises, feel free to make your own, depending on what you feel you need to focus on or explore. We don’t need a lot of different vocal scales and exercises to develop the voice fully in the tuning of A=432Hz, just as we don’t need an abundance of exercises to grow the human chest, for example. Science shows that one exercise is all you need to stimulate the most muscle fibers, and therefore growth, in the human chest muscle. This same concept applies to voice development in 432Hz, and there’s really only one exercise to the Vocal Freedom Singing Method, divine love scale, because that is all you need to stimulate growth. All the other exercises are extras and serve to stimulate and challenge your vocal muscles. They also serve to help you understand and implement the basics of one-second, single-tone creation.
Do at least one full run through of these five exercises, which take about an hour a day. Record these scales on a recorder with your 432Hz musical instrument and practice them daily.
1. Single Tone and Connecting Voice Excellence We’ve covered the first fundamental exercise many times, but it bears repeating. You first find the lowest note you can produce in half voice. This is probably at the C3 for males and C4 for females, but this may vary so find the lowest note you can produce in your half voice. Once you find the marker, begin at that note singing all your vowels in one-second intervals. Each vowel will shape itself uniquely through natural 432Hz vocal placement, so pay attention, close your eyes, and really come to know how a specific vowel works at a specific note in your half voice and full voice, in all parts of your range. Make sure you find out how much air you used and how much you breathed in to make the note as pure sounding as possible with no extra breath whatsoever. Also, keep using aligned posture, correct natural breathing, and activation techniques of the solar plexus and heart center. You may also want to experiment doing single tone and connecting voice excellence in lotus posture sitting down as you enter your mid- and top ranges, where comfort and relaxation become vital. Then, continue to move up semitone by semitone in you half voice until you reach your maximum. Now it’s time to apply everything to your full voice. Remember to start with one-second vocal reps and then move onto elongating the time you hold your notes one second at a time. Next, start landing on the notes in full voice until your current highest note. For beginners, this may be the beginning of your passaggio into the midrange, so mark down your current maximum.
And once completed with full voice, use the connecting voice technique to go from half voice to full voice starting at the lowest pitch you can connect, which is probably the lowest note you can sing in half voice, all the way up to your maximum, and most likely the first few notes of your transition zone into your midrange. Again, pay attention to working your transition zone with the connecting voice that connects from half to full voice on a single tone, even focusing on them exclusively for a time. Make sure you have that one second down before elongating it or moving up. When you connect from half to full voice, you want a full, open, free, naturally placed sound. If tension arises as you start connecting at the notes of your passaggio, put one hand on your neck area to gently reassure your voice box that it doesn’t need to rise. This is critical, male singers, keep your hand gently on your voice box at all times in the area of C4 to C5, females one octave higher, as you approach and enter your mid- and top ranges. Do your midrange transition zone single reps and connecting voice while sitting in lotus posture with your hand on your throat for the most comfortable position for the body to develop this part of the range. I have my students switch from standing to sitting in lotus posture if I notice too much physical tension building inside the voice box. Remember, you’re handling a new vocal weight so to speak, so of course, it’s natural for things to be a little shaky, or to hear you voice crack, even if you’re doing the basics of posture, breathing, activation, and perfect breath release. You’re building the muscle, so be patient, and if all you can do is connect at the passaggio for even a slight second, that’s okay. Work with that and know that you’re developing the muscle control needed to build those notes into
something incredible. Remember to also connect from half to full voice fast at first just so you know how to capture those notes in full voice and awaken the vocal muscles, then work on connecting slowly. Once you’re confidently building the notes of your midrange and passaggio, and can connect from half to full voice at those notes, it’s time to start landing on them in full voice for onesecond reps again.
2. One-octave Spirals This vocal exercise will help you to better understand your ability to control the voice, so you can learn relinquish control to vocal freedom in the mid- and top ranges. This exercise naturally occurs with the connecting voice. You connect from half to full voice at your transition zone notes and do octave spirals as the next natural step in exhibiting a full range of motion muscle and strengthening both passages. One-octave spirals are another way to say one-octave slides. You start at one note, then spiral down to the corresponding note one octave below, before you start to spiral back up. Then, you learn to spiral up an octave and back down. Always slide down first, so be patient as you grow the voice from the root to the branches. Practice your one-octave spirals starting again in your half voice, perhaps an octave higher than your known lowest half-voice note. Keep it connected as you spiral down an octave extremely slowly to build control and freedom and then speed up the amount of time you slide down. This is fun and helps you begin to see vocal exercising and singing as one. Begin to make sure you really hear yourself keep it connected while you’re sliding down an octave. If you hear even the slightest bump, crack, or unconnected sound from note to note, start again, this time more slowly and more in control. So for example, the bass singer is having trouble connecting into the higher parts of his midrange and building the area, say, the G4 note. So, he would start at the G4 note on an Ah in half voice, connect to full voice as fast as possible, and once he has the note full, free, ringing, and
open, he then slides down one octave slowly while keeping the sound connected from note to note. When you practice your one-octave spirals, start you slides slowly and then build up speed. So, hammer the notes of your midrange transition notes by connecting from half to full voice, then sliding down, and eventually sliding back up, making sure to keep it connected. Next, start at an octave below your transition zone and start spiraling up an octave and back down. You don’t have to start always connecting from half to full voice before sliding; you may just want to start in full voice and slide down or up the octaves. However, starting your octave spirals from the connecting voice strengthens the notes at the passaggio even faster and enables singers who can’t start in full voice, at the notes in their transition zones, to strengthen the area and start spiraling up and down. The basic premise is to do one-octave slides on all your vowels in both half and full voice and sliding down first, very slowly, before sliding back up at the same speed. Once your confidence grows from octave spirals, go on into the following vocal scales, but in a gentle way. Start with the divine scale. This divine love scale teaches how singing and working out the voice are the same. Once you’re confidently singing the divine love scale, do the cosmic power scale and use the word “go” instead of “do.” Take advantage of the vocal fold closure you get from phonating a G, which helps you stay connected when singing the notes around the passageways into mid- and top range. Finally, at the end of the Vocal Freedom Singing Method 432Hz scales is the excellence scale 1, an age-old opera scale. Enjoy the scales, and behold their power.
3. Divine Love Scale This exercise directly applies to beautiful 432Hz singing because it finally connects the belief that vocal exercising and singing are one. Enrico Caruso believed you must sing the scales (so did my 1980’s voice coach), and he made his own scales as musical as possible to replicate the art of free singing. This scale definitely follows the theme that you should sing a scale as if it was a song for it is. I stumbled upon this melody in a moment of deep tranquility and inner peace. These are the notes and pattern I applied to every single semitone increase and decrease, keeping the pattern the same throughout. The words to sing in this scale are “divine love”: C4 (Di) -E4 (vine) -G4 (lo) - E4 (o) - G4 (ove) is the beginning. You don’t finish the word “love” until you come back down, and you may add a little vibrato when you hit the G4 or top note. The G4 is the longest note, compared to the others. The next is part of the scale is: C4 (Di) - E4 (vine) – F (lo) - E4 (o) - C4 (ove). Remember you always hold the top note for a brief second longer than the others to get a feeling for release, freedom, and ring in that part of your range, and at that specific high note. For tenors, baritones, and basses, I find that at these notes, in their bottleneck octave of C4 to C5, show the beautiful qualities of all three voices. For females of the three opposite voices, who do these exercises one octave up in their bottleneck octave to start, also show the fabulous characteristics of the voices starting the scales at the C5. Remember, you start at a comfortable note and use this exercise to build the transition zones. This melody is simple and you can easily learn it
if you play it rather quickly before you sing it. Now make sure you don’t splatter the world love by opening your mouth wide, creating a nasal tone, or changing the pronunciation. From the G4 and E4 when you begin to sing the word love, it’s just the first part, “Lo,” while the next note down is still the same, and the final beginning note is when we put the final “Ve” in the word, all while keeping it connected and smooth like singing one loving phrase. Position the scale so the top note is a transition zone note and realize how freely you can sing in your mid- and top ranges.
4. Cosmic Power Scale Remember the do-re-me scale you learned growing up? This book is the biggest game changer to ever grace the singing market at this time. We’re changing the well-known old Solfeggio scale by simply using the word “go” instead of “do.” We use the word “go” because singing the letter G creates vocal fold closure, and we need this as we begin to connect our voice into our mid- and top ranges. This is an octave scale expressed in the following pattern; make sure to keep the pattern the same as you move up and down your range. Here’s the pattern: C4 (Go) - D4 (Re) - E4 (Me) - F4 (Fa) - G4 (So) - A4 (La) - B4 (Ti) - C5 (Go). Pause for one second, then go back down in the same order singing the scale as you did going up from the C5. For example, C5 (Go) - B4 (Re) - A4 (Me) - G4 (Fa) - G4 (So) - A4 (La) - B4 (Ti) - C4 (Go). Now pause for one second or more to breathe if needed and then land right back on the top note, C5, and go back down in the same order of C5 (Go) - B4 (Re) - A4 (Me) - G4 (Fa) - G4 (So) - A4 (La) - B4 (Ti) - C4 (Go). This exercise has three parts that are all broken up by a one-second pause. You jump to the high note and land on it to help you develop confidence in landing on the top note of the scale irrespective of where you might start it. This will help you as you learn to land on notes that enter your mid- and top range passaggio in full voice. Another important point is to make sure you overemphasize the G sound in the word “go” at all times to really get the vocal fold closure you need to get a open and full tone. When you land on the top note in the third
part of the exercise, make sure you really overemphasize the G sound to get the vocal fold closure. This is probably the most important thing about the new 432Hz Solfeggio scale and why it strengthens the voice much faster than using the “do.”
5. Excellence Scale Let’s put everything you’ve learned into action and really challenge the vocal fold muscles and your muscle control with this operatic exercise. This scale is an octave and a half scale. An Italian voice coach taught me this scale. She said all the greatest Italian voices, especially tenors, used it to create powerful confidence in midrange control and passaggio mastery. Now, you keep this scale pure and only use one vowel the whole way through before trying it in another vowel. Perform this scale as you do all the other 432Hz vocal exercises—in both half voice and full voice. Keep it flowing, legato, with no pauses or abruptness. Here’s the pattern explained in great detail. You can move around and keep it the same as you move from one semitone to the next going up and down your range: C3 - D3 - E3 - F3 G3 - A3 - B3 - C4 (slight sustain) -E4 (sustaining note longer than previous notes) -G4 (longest sustained note in scale) and then go back down in these notes while keeping it legato, F4 - E4 - D4 - C4 - B3 - A3 - G3 - F3 - E3 D3 - C3. In the first part of the exercise while you ascend the scale, make sure that as you continue to sing and hold the single vowel note from the C4, that you jump to the E4 and G4 in a slide-like fashion and also use them individually with a longer singing time compared to the other notes in the scale. Once you get to the C4, all while sustaining the note, you land on the E4 with the same vowel, holding it a little longer than the previous notes, and then landing on the G4 to hold the note with some vibrato when you get
to that level. C3 to C4 notes on this scale are done rather quickly, and you hold and sustain the jump to the E4 and to the G4 with the vowel, though the G4 note is the longest sustained note in the scale. Going down you simply go at the moderate to fast pace you did in the beginning ascension of the scale up to the C4. This is a very advanced scale and builds the vocal folds extremely fast due to the nearly two-octave range and the strength needed to make the E4 jump from the C4 and the jump to the G4 from the E4. These intervals can be tricky but work on this scale starting in your low range and then slowly move up into your mid- and top range. Remember, as in all the scales, do them in 432Hz, and watch how fast your range and vocal freedom rise to new levels of expression. Make sure to do the five 432Hz scales in both half and full voice. Create your own exercise regimen based on your now open 432Hz intuition. You can record one octave of the scales at a time, or you may want to record a five-octave-long scale going up and going down each respective scale. You may want to do an hour of straight single-tone excellence or an hour of connecting voice excellence at your midrange. Develop your own system with these simple five 432Hz exercises. * Here’s the link to your exclusive 432Hz singing lesson that will show you how these scales sound. Enjoy! https://www.youtube.com/watch?v=UBE4OWidq_I&index=3&list=UUPN42O4LTcT7dWOjynnqmw
Chap ter 20 Singing and Composing in 432Hz The fastest way to develop your voice, bar none, is to sing and compose your own music with your own voice in the tuning of A=432Hz. You will do amazing things for your newly acquired 432Hz-based voice. How beautiful it is to start over again in this new tuning, to build a voice from zero to something magnificent. Start composing your own music and start to sing your own songs more than you sing other artists’ songs. It’s time for you to break away from always singing cover songs and hiding behind songs that have audience acceptance. You are now championing 432Hz singing, and the best way to show the power of this tuning is through new songs that you create with your new voice. Make a goal to write 10 songs, a full album, in the next year in this tuning. Composing with your voice will take your creativity to new heights and increase your confidence to a place that only comes by deeply knowing you’re creative and have the proof to show it by your 432Hz musical compositions. If you haven’t already done so, stop singing in the old tuning and singing others’ songs in the old tuning. What use will this message of singing in 432Hz serve you if you keep relapsing into the old? Start believing that you’re creative and that you can compose your own music, whether you’ve never done it or stopped yourself from this
aspect of creation due to limiting beliefs. I have faith in you, my fellow 432Hz singer, and I know that it’s not that you don’t believe you’re creative, it’s that you don’t know you’ve been creative your whole life. You have created your life, your voice, and your experiences, with your thoughts, feelings, beliefs, and intentions. Maybe you’re a country singer or a rap artist, or maybe you’re strictly a rock ‘n’ roll belter, and these are all fine if, of course, you sing in 432Hz. What I’m suggesting is that you not only begin to write new 432Hz music but also start to express yourself from a different style, with your newfound unique style, without conforming to only a certain style of singing and voice creation. Challenge yourself and boldly push to new heights of vocal freedom in 432Hz. Propel yourself, a new age 432Hz singer, to start composing original works in this tuning, so you can express this tuning in new music for everyone to benefit. Look around you; the world needs these attuned vibrations now more than ever. So start today to compose music in 432Hz, and continue to sing in 432Hz exclusively, all while doing the simple exercises in this book to reach complete vocal freedom.
Chap ter 21 Conclusion So here we are, my new age 432Hz singing students, on the edge of not only new vocal discoveries but also at the beginning of creating your new beautiful voices. We’re truly creating this new voice as one through training our voices in this new tuning. Your voice will change when you begin to sing in alignment with 432Hz musical tones, and that’s fine. Trust that this change is the best for you, your voice, and the world as a whole as we progress into the future, a future rich with new music, 432Hz voices that far surpass the champion singers of the last century, and musical creations that will finally fully showcase the unlimited potential of the human spirit. It is my honor to share these 432 Hz singing insights with you, insights I’ve used for myself and with my students to connect into a oneregister voice, develop powerful and easy connections into the mid- and top ranges, create more overall vocal freedom, develop vocal ranges of several octaves, develop half-voice and full-voice control, and help us become more harmonious with each other, the world, and the art of singing itself. Singing in the tuning of A=432Hz is the beginning of something truly remarkable, not only for us singers and musicians, but also for the whole world as we progress into the age of Aquarius. You have the basics of my 432Hz singing method, most particularly, on how to develop a full range of motion through single-tone excellence and
connecting from half to full voice on the notes of our mid- and top range passaggio. But remember, it’s the basic vocal principles that lay the foundation to make apparently difficult vocal expressions appear vocally simple. Be your own 432Hz voice coach and master these basics of singing: alignment, natural breathing, activation, and natural placement. I don’t know what you may choose to do after you read this book and how far your search for the next vocal edge will take you, but I assure you that singing exclusively in 432Hz is the best route you can take in regard to singing and reaching your unlimited singing potential. I care for you deeply, and I love you so much even if we never speak or see each other in this life. When I wrote this beautiful singing message, I intended to share a feeling I felt spiritually and intuitively inclined to share with you and with the rest of the singers and musicians who occupy this planet earth. It’s my deepest wish that no matter what you choose to do, sing in 432Hz or not, that you have joy and happiness. I wish you the absolute best in your singing and life as a whole. I truly believe, with the most loving sense of conviction, that by singing and training your voice in the tuning of A=432Hz, you will know your voice’s qualities and powers you never knew were there, or were led to believe existed, and begin to show the beautiful and unlimited qualities locked away for too long. May your new 432Hz voice create the peaceful change we wish to see on this planet and lead us into a generation where we travel among the stars.
