Voice Teacher Reacts to Morissette Amon - Akin Ka Na Lang

Hi, I'm John Hanny, I'm a singing

teacher

and author of Amazon's best-selling book. I teach contemporary singing and today I am going to analyze and react to Morset Amman and the song is wait on a key, I need my glasses. kana

lang

-like people, I'm sure that's not right, but it will have to be okay, so I haven't heard her sing. I've heard a lot of great things. I've been asked a lot to do a reaction video for more outfits. so here we go and oh the camera is here this is the first time I've done a live performance review about someone's live performance on a bus so there's a newness to everything wish 107.50, I love the choppy texture she's using and the fact that she's able to hold a core of energy in the sound, it's not pure breath, it's not weak, you can tell she has the ability to lean on it, uh, whenever can, and even that little rise on that last note shows you that she's in control of this breathy sound, she's not doing it because that's the only way she can sing foreign oh, I love that little pitch she did there, so it's going to go into this really very beautiful example of mixed

voice

.

There are different names that singing

teacher

s will give it. use, but essentially uh, between the lower register, the chest

voice

, it's often called or the upper register, the head voice, there's an area where you need to mix the two and it's really complicated, singers spend a lot of time learning to do this and Very often what happens with a less skilled singer is that he goes too high in the low register and starts shouting or the voice flips and falls apart and what she can do is use a really good mix so that the The vocal sounds smooth, but then you can let it go a little bit lighter, more towards the lead vocal production there at the end, so the last part that I played for you, I'm going to back up a little bit and and show you that where she goes light , it's very skillfully done, it's very musical and she doesn't let go due to a lack of technique, she's m

akin

g a musical choice and then it comes back to a good mix, then nice choppy, nice weird riffs if I pronounce it. correctly, but I guess that's it.

I can hear the ah part that she keeps a little bit of uh underneath so that it has some depth and richness. One thing that great singers will do is play with the nuances of the vowel to make it brighter make it darker make it richer make it thinner and she keeps a little bit of uh in it to create a little more depth and richness and you can feel that if you put your finger on your Adam's apple and you say I'll feel that little drop in the uh what it does is just your vocal tract this tube that the sound waves pass through makes it a little longer and when it's a little longer it highlights the frequencies lower, it brings out a little more of the bass in her voice and you can hear that in the ah, there's a little bit of uh underneath, yeah, she has, she has depth, I guess Mariah Carey is one of her favorite singers, um, because she let's break it down into something like that whistle tone uh squeak uh that mariah does it it's pretty effective she did it uh transmit a movement let you live well that's awesome I guess you don't need me here to tell you that um that's just a very whistle tone well produced, it's interesting that voice teachers and researchers discuss what is happening with whistling, as far as I know they don't know exactly what is happening, but what they think is in the vocal folds is actually in the upper part. superior. make them so stiff that only the front part vibrates, so only a small part of the vocal cords vibrates and produces sound, that's how she can reach such a high pitch and she does it very, very well, oh, that's just a beautiful tall. belt now, if you listen really closely on the first note, you can hear the uh in the throat with a little bit of the eye in the mouth see if you can see if you can pick this up, let me back up a little bit here. wow, yeah, and she goes from that ah sound to an e and she doesn't miss any of the intensity evaluations.

Evaluations will tend to want to flip and get heady and singers will often take an e and turn it more into an a. they'll say no in my place and she keeps a beautiful evaluation here I want to hear that again it's okay to kill me here that's so good uh it's just her ability to sing that phrase without breathing and then the way she's able to change the pitch and controlling that without any audible change in the register you don't hear her suddenly start straining or wanting to weaken is just wonderful. I'm going to play that again just for myself.

I'll take him back. beautiful beautiful oh my god wow wow that is absolutely incredible, I mean, she is brilliant, absolutely brilliant, her ability to sing seamlessly through her registers from the lowest note to the highest note, I don't hear her straining, her Vowels are wonderfully balanced, you can make them warmer and pull them back a little or then she can open up the vowels and get a little more belt and a little more intensity and at no time do you feel like she might get in trouble, you are never nervous about her . Every note she comes out you know she's going to pull it off with absolute precision and that's a great vocal performance and if she can do that sitting on a bus I imagine she's even more incredible on stage so thanks for watching.

My name is John Henny, please visit my website johnny.com and be sure to subscribe to my podcast The Intelligent Vocalist where I talk more about this singing topic, okay we'll talk soon, bye.