OPEN THROAT Singing Method – How It Really Works – Ken Tamplin Vocal Academy

Hey, Guys! Welcome back again to Ken Tamplin
Vocal Academy where the proof continues to be in the singing.
I want to talk about open throat technique and at least my experience of what that is
compared to some of the videos that I’ve seen on the internet. And I’ve seen some
interesting stuff and some decent information here and there, but a lot of it is really
textbook stuff… and it’s… I’ve not really seen a practical application of how
open throat technique works. So, the very first thing I want to talk about
is laryngeal positions, which means your larynx, okay? Now, your larynx for guys is your Adam’s
apple, so you have this, you know, voice box; it kind of goes up and down and, you know,
that’s the larynx, it’s in there. And one recent vocal coach, you know, talks about
a lowered laryngeal position and neutral laryngeal position, a raised laryngeal position, and
then kind of compartmentalizes all of this stuff and I want to say that it’s not quite
that simple. And let me explain why: to have someone’s,
I don’t want to use the word “bash” but to say, you know, you don’t want to
have… you know, here’s a lower laryngeal position: AAAAAHHH, here’s a neutral laryngeal
position: AAAAH, Here’s a raised laryngeal position: AAAHHH. Right? So we have these
sort of you know ways of looking at this, that’s not really a good healthy way to
approach this and let me explain what my experience has been and if this could be help to you,
then hopefully this… you’ll benefit from this.
The first thing is is that in Bel Canto bel canto means opera and appoggio, it’s the
old-school style of singing for opera. That’s sort of the gold standard to really understand
how these laryngeal positions work, to make fun of, you know, tenors that have been doing
this a long time, a couple hundred years and make that… you know, mock them in that kind
of way for a lower laryngeal position… oh I don’t know that would be… I don’t
know that I would do that… for lots of reasons… and let me explain why.
I’ve been doing the… grandpa’s been doing this a long time… 35 years. So I’ve
done that. Look me up on IMDB, I’ve got close to a thousand songs or even more, maybe
more than a thousand songs placed in film and TV. Internet Movie Database, just check
it out. Go to my wiki, – you can check out I’ve got over 40 records out and I’ve
written songs with KISS and I’ve done this that than that.
So, you have these vocal coaches that come out and they say this stuff, that’s textbook
stuff, okay? This is really important, and they may even at the end of the video give
you some theatrical thing or whatever but listen to their actual voice and ask yourself
if you really like it and see if they display any students that do this and you really like
the way their students sound. Here’s why that’s important: it took me a long time
to figure this stuff out, this wasn’t something… this isn’t… been in process and by the
way, as we age we also have to learn how to control this over time, it’s not like once
you learn it you’re done, no you have to continue the process.
So, I’ve taken some very prestigious vocal coaches and I’d love to tell you who they
all are and it would sound too braggadocios, so I’m not going to talk about it but what
I am gonna say is this: what I’ve learned, and if this helps you, is that if we first
train with a lower laryngeal position it really helps you understand what open throat technique
is. Now is that the end all? No, but here’s something I want to put it put out there to
you guys is: in the world of appoggio… Bel Canto… opera is that in the early stages
of, let’s say a tenor, and I’m going to talk about guys and we could talk about you
know female vocals: Sopranos, Altos, Contraltos, up etc. in a minute… is that a lower laryngeal
position helps us identify how to keep the throat open first, it doesn’t mean we’re
always going to reside in a lower laryngeal position, in fact, that’s silly. In fact,
the… I’ve heard so many vocal coaches, especially SLS vocal coaches, say you should
always be in a neutral position, how stupid is that? The larynx moves up and down all
the time it doesn’t matter what you’re doing and if you’re at one position in a
scale in a lower register and you start to go up to a mid-voice register that neutralizes,
and as you go higher if you allow the laryngeal position you go up like this you, inhibit
range and lock down the larynx to where you’re not able to go up really high.
And again, guys and gals are different their vocal cords are about half the size of men,
so we have to… I can’t go into all the details of this now, but I’m just talking
about how open throat works. Now what I’ve learned and I hope you’ll
benefit from this, so really listen closely guys this is golden information if you’re
talking to a guy that’s toured for 30-some odd years, not some guy that sits behind a
piano in a climate-controlled studio that’s parroting something from a textbook, look
me up, look at the stuff that I’ve done – I’ll explain this to you: when you train
a lower laryngeal position, you’re able to open up your throat and, you know, what
is it a throat and all this stuff and blah blah blah… your throat is your throat, guys,
go in a mirror, doctor wants to see your tonsils ah-la-ah, just look at the back of the throat.
We want the tongue drop to the base of the jaw first, okay? We want the back of the throat
and this other vocal coach was kind of mocking the uvula approach and soft palate (palette)
approach but that matters, it matters a lot, actually. And it matters even more the higher
up you go, so that uvula rises even higher as you go and the soft pallete rises higher
as you go to create maximum space. If we don’t do that we actually pinch off and choke off
the back of the throat and then we’re straining ourselves to get… instead of having a lot
of good open throat as we go up. This is really important, so what is… what I learned, again
this is just me talking, do what… whatever you want with this information, in the ah
vowel and I’m gonna go through the vowels, all vowels in a second, the [a] vowel is the
biggest vowel that we have and it’s the most difficult to train, that’s why all
vowel sounds stem from it’s the la-ah, will open up that vowel.
There’s something called vocal tract shaping, and hopefully I’ll remember to get to this
in a second, is that in within that ah-vowel if we can train that ah-vowel open first to
keep all this open mechanism in the back… now, what you’re gonna do is you’re goon
go to a mirror. I want you to grab a hand-held mirror and I want you to just simply go “la-ah-ah-aaaAAAaaa”,
and I want you to watch the position of your tongue and you’re gonna see that your tongue
swells up and you start to gag on your tongue, right?
What just trust me on this, go to a mirror or get a hand-held mirror and watch yourself
do this. If you drop the larynx, your voice box down LaaaAAAAAaaa. You’re gonna find
that you can maintain and build muscle memory to hold the larynx down, this is really important.
It’s an anchor, let me say this again, it’s an anchor for your ability to control the
larynx, okay? So, it’s a pillar that you build your voice on.
When we talk about laryngeal positions just because we talk about a lowered laryngeal
position doesn’t mean we always reside in a lower laryngeal position. Okay? Let me say
this again, “we don’t always sing like this!” In fact, I’m gonna insert something
really funny for you, guys. I have an assistant named Bob so, Bob, when you can, if you can
insert… I did a couple of lower laryngeal position songs, one of them is Low Rider,
okay? And we’re going to show this clip in a minute and another one is Johnny Cash
Rings of Fire, and I use a lowered laryngeal position through the whole song, okay, but
I can sing with any position I want. But I’m gonna get back to why this is important in
a second, but we’re gonna play the clip. Bob, if you play the clip now, let’s do
it. Low rider don’t use no gas now
Low rider don’t drive too fast now Take a little trip, take a little trip
Take a little trip with me Take a little trip, take a little trip
Take a little trip and see And low rider don’t drive too fast now
So if you can tell this isn’t just lower larynx position, this a drop larynx position,
kind of like a gospel quartet and country, sort of combined, I’m gonna drop it even
farther on this course here. Ready? Let’s keep going, Nick, here we go:
I fell into a burning Ring of Fire Went down down down
And the flames were getting higher And it burns, burns, burns
The ring of fire The ring of fire
Okay, so like I said, you can see I… there’s a different between a lower larynx position
a la la. Very big difference: one is just a lowering… of taking the pharynx keeping
them flat horizontally straight and taking your whole larynx and lowering it so it’s
a la la, you know, la is lowered, and drop is la, – completely taking the entire larynx
itself and dropping it all the way to the floor.
Okay, we chose a couple little pieces out of that clip to show you a lowered laryngeal
position and why that’s important is it shows that I can maintain a lower laryngeal
position but then how is it possible if I can sing in this position but then sing AAAAAAAAAHHHaaaaaa
and connect the sound and go up really high and release to a neutral position, I never
go to a raised position, a raised position would be this laaaaAAAAA and you’re caught,
okay? Now, I know there’s a lot of pop artists
or, you know, Rihanna and like all these people do… you know, Britney and all these people
do all these raised positions and there are people that can do it and do it well. In fact,
Paul Rodgers does this… “Baby, when I think about you I think about love…” or
Paul Carrack, you know, “Tempted by the fruit of another…” he’s gonna use it
a raised position. But if you notice when they go up “heeEEEY” they open up the
sound and they drop the larynx. So, to say that you’re gonna sing only in
one position and only in this position and only in that position is kind of ludicrous
to me. Again, it’s just Ken Tamplin talking, I’m just trying to give you a good quality
information. Let’s get back to a lowered limit… oh
wait, I was gonna…. Sorry, I was gonna talk about a neutral position. Bob, if you don’t
mind playing the clip, you know, let’s grab Steelheart, for example, where I shift between
a neutral position… I have to drop the larynx as I go through passaggio and then I have
to come back to a neutral position as I go up really high. Check out this clip.
I’m wasting away Forgive me, girl
Lady, won’t you save me? My heart belongs to you
Lady, can you forgive me For all I’ve done to you?
Lady, oh, lady Okay, now, there’s other times you can do
it and use the John Fogerty clip here, Bob, use Fortunate Son, where you sing in a in
a just a slightly lowered position like Wilson Picket which we just did a whole thing here
recently on open throat technique, you know, where I use a lowered position and then I
move it to a neutral position. Check out this Fortunate Son clip:
Some folks are born, made to wave the flag Ooh, they’re red, white and blue
And when the band plays, “Hail To The Chief” Ooh, they point the cannon at you, Lord
It ain’t me, it ain’t me I ain’t no senator’s son, son
It ain’t me, it ain’t me I ain’t no fortunate one, no, no
Okay, why this is important is because when we learn and we train the voice in a lowered
position we can hold down the soundboard of the voice, when we can hold this down then
we can relax it and move it into a neutral position. When we’re in a neutral position
or we try to learn only from neutral position, the default or what most people do is, as
they ascend a scale or passage they go to a raised position and then, all of a sudden,
they get caught in the throat, right? Now there are great artists that do this, like
I said, I talked about you know Paul Rodgers, Glenn Hughes is like… he’s got this great,
you know, sort of thrill thing, Sam and Dave, – we just talked about this in another video.
Well, this becomes more of a stylistic thing because I’ve heard Glenn do this without
having to raise the position but what we do is, again, – first, we train first the lower
laryngeal position, once we’ve mastered that and we get the feeling of it… what…
I’m gonna back up, sorry, a lot of information. In bel canto when kids are being raised to
understand how to sing with these different laryngeal positions they cannot touch an aria,
which is the musical piece of Italian, for four years, I want you to think about this:
for four years they train vowels in different laryngeal positions, think about that, kay?
What I did was develop something that showed that if you train a lowered position first
and you maintain that lowered position to where you understand when you relax the position
to a neutral position and if you want to raise it to an upper, you know, to a raised learned
your position then all of a sudden you’re… you have total command, total control of this
and you can get there a lot quicker, you don’t have to do it in four years you can do it
in six months, okay? Straight up. If you do it every day, about an hour… hour and a
half a day five days a week and start, sorry, for those who didn’t want to take the quick
pill and get it you know do it faster than that it ain’y gonna happen that way because
we’re at the gym and we’re working out and this is what we have to do.
Now, we want to use these different positions all throughout the spectrum of the voice but
there’s two elements that are missing… big ones the first one is is remember I just
said that all vowel sounds stem from it’s the LA-ah and it was a real open sound, well
guess what? When I go ah eh ei and I spread the pharynx which is just the mouth, right?
When I spread the pharynx all of a sudden the sound closes down. So if I haven’t trained
a lowered laryngeal position first I have no way of really identifying how that really
feels in the throat when the throat itself closes down as the pharynx is spread. This
is really important. Why? Because we don’t sing only one vowel [a] and we sing many different
vowels through the spectrum of the voice and as we go through raising the… going up in
range, up and down in range we find that we have to change this laryngeal positon and
also there’s another huge element to this which our glottal stops are things that close
down the back of the throat. Now, what do I mean by that? I mean that we
want to reside in something called Contiguous Phrase Singing. Continuous Phrase Singing
is that we want to keep that vowel open as long as we can without closing it down with
consonants. Well, it turns out to be this is extremely important because every time
you close a consonant down it closes off the back of the throat it wants to shoot air up
into the velar nasal port, by the way, fancy terms for all the stupid stuff, not stupid
but I try to keep things so simple I don’t love complicating stuff and you find yourself
using technical terms you hope people will understand… going into the nose and so as
it goes into the nose then the throat is going, “Hey, hey man what’s wrong with you? Do
you want this to come out of the mouth or you want this to come out of the nose? Could
you make up your mind here?” or both, right? So, what we want to do contiguous phrase singing
is we want to have the sound over… in fact, Steve Perry and Sam Cooke, I just did a vocal
demonstration on this and I’m not sure when I’m gonna air all this stuff but if you
listen to A Change Is Gonna Come from by Sam Cooke and he goes “I was born by the river…”
I didn’t go “I was born_by_the_river…” Because every time I close down a consonant
sound I have to re-open the throat and then get back to that placement that I had depending
on where I am in the range. Well, man, if you think that’s tough and you think that
you’re gonna only reside in a neutral position or raised laryngeal position or lowered positon
you’ve got another thing coming. Now again, I’m gonna say this again: check
out whomever you get your information from, do they sing great not just sing, do they
sing great? Like do you want to sound like them? And do they display students that sing
great? This is so important because I could sit there and then I could be some guy that
gets on the internet, reads all kinds of technical stuff and… and regurgitate this stuff to
you or I could put my heart on a sleeve and put my heart on the line and actually demonstrate
and show you. This is very very important. So as we go up and down a scale if we only
train a neutral position, a neutral laryngeal position, as we ascend there’s a 95… doing
this for 35 years… 95% of the people I’ve trained default to a raised position, so aaaaAAAAAAHHH
and they’ll get caught and in a raised position If you train a lower position first, this
is old-school bel canto, guys, you train in a lower position first and then you relax
to a neutral position and you understand the soundboard, how to move that soundboard first
by anchoring it to a lowered position, it doesn’t mean you’re sentencing yourself
to sing in a lower position all the time it just means you understand it. SINGING CLIPS 18:53-26:18
I would wrap you in the Heavens ’til I’m dyin’ on the way
Feel like makin’ Feel like makin’ love
Feel like makin’ love Feel like makin’ love
~~~ My baby moves at midnight
Goes right on till the dawn My woman takes me higher
My woman keeps me warm What you doin’ on your back yeah
What you doin’ on your back yeah You should be dancing, yeah
Dancing, yeah ~~~ I find I spend my time
Waiting on your call, How can I tell you, babe
My back’s against the wall I need you by my side
To tell me it’s alright, ‘Cos I don’t think I can take anymore
Is this love that I’m feeling, Is this the love, that I’ve been searching
for Is this love or I’m dreaming,
This must be love, ‘Cos it’s really got a hold on me,
It’s got a hold on me, baby… ~~~~ In a town without a name, in a heavy downpour
Thought he passed his own shadow, by the backstage door
Like a trip through the past, to that day in the rain
And that one guitar made his whole life change Now he needs to keep rockin’
He’s never gonna stop Gotta keep on rockin’
That boy has got to stay on top And be a juke box hero, got stars in his eyes
He’s a juke box hero, got stars in his eyes Yeah, juke box hero, got stars in his eyes
With that one guitar he’ll come alive Come alive tonight
~~~~ I know that I must do what’s right
Sure as Kilimanjaro rises like Olympus above the Serengeti
I seek to cure what’s deep inside Frightened of this thing that I’ve become
It’s gonna take a lot to drag me away from you
There’s nothing that a hundred men or more could ever do
I bless the rains down in Africa Gonna take some time to do those things we
never had ~~~~ Here I am, baby, come and take me
Here I am, baby, come and take me Take me by the hand
And show me Here I am, baby, yeah
When I’m down I can always count on you For a helpin’ hand
I know you’ll do the best you can But it don’t take much for me, no
Before my cup runs over, babe All this love’s inside of me
I believe there’s going to be an explosion, babe
You can talk to me, oh babe I can do, no hurry
Won’t you tell me all your troubles, darling You won’t ever have to worry now, no
There’s just one more thing You just can’t trust everybody
Everybody you see You’ll find yourself lost and alone
On a darkened street On a darkened street
Here I am, baby, come and take me Here I am, baby, come and take me
~~~ When I hold her in my arms,
You know she sets my soul on fire. Oooh, when my baby kisses me,
My heart becomes filled with desire. When she wraps her lovin’ arms around me,
About moves me out of my mind. Yeah, when my baby kisses me,
Chills run up and down my spine. My baby, she’s alright,
My baby, she’s clean out-of-sight. Don’t you know that she is … she’s some
kind of wonderful. ~~~ Free on my own, that’s the way I used to be
But since I met you baby, love’s got a hold on me (Fooled around and fell in love) whoo, it’s
got a hold on me now, yeah (Fooled around and fell in love) it’s got
a hold on me now (Fooled around and fell in love) I can’t stop
loving you, baby (Fooled around and fell in love) yeah
~~~ Dream on, dream on
Dream on, dream on Dream on, dream on
Dream on As you’ve seen some of these different positions
you see that this can be done in all kinds of different ways. Now, here’s where this
gets lingually interesting: we talked about the vowels themselves, with the vowels If
you go to an [i], [i] is the most pharyngeally spread vowel that we have “eeeeEEEEE e e
e”, all of a sudden, larynx goes up, right? But if you’ve trained a lowered laryngeal
position “eeeeeEEEEeeeeEEE”. I can actually maintain the “a” vowel or a different
vowel modification to hold it at bay, so then I don’t get caught in the throat.
Anyway guys, I can go on and on and on about this. I have a singing course called How To
Sing Better Than Anyone Else I cover all of this in the course. If you guys want to check
it out, – cool. Hopefully, this information is beneficial to you and I’m sure we’ll
talk a lot more about this in future sessions, so thank you for joining me, Ken Tamplin Vocal
Academy where the proof is in the singing. Peace. Out.
Hey guys, if you like what you heard, please, like and subscribe to my channel and if you
want to get notified when I have a new cool video come out you need to go to my channel
and click on this little bell icon and it will actually notify you every time I have
a video come out. Thanks, guys!

Author Since: Mar 11, 2019

  1. And there he is, Ken Tamplin himself, obliterating all other vocal coaches. It kinda makes me chuckle when other vocal coaches on YouTube (with all due respect which they certainly deserve) just do a 3 minutes long video with a few of scales on a piano, and basically say "there, that's it, now you can sing." While Ken gives you 30 minutes of vocal wisdom for free, and still doesn't forget to stress that you can't learn to sing over night. We are blessed to have you, Ken!

  2. The fact you are sharing such knowledge with others is an actual blessing. I feel like I did when an elder would share their wisdom with me for a life lesson. These lessons are just like those, in that, I will carry this wisdom with me in my life and have it become a part of me as I grow. However, these lessons help me step closer and closer to the chance of fulfilling my dreams… and that is precious to me. Thank you so much

  3. Will this corse teach me how to scream hardcore punk such as minor threat or fuguzi or youth of today without killing my vocal chords

  4. Nothing really to do with the instruction of this video Ken but I absolutely love your version of She's Gone. Is there any chance that you will ever record the song in full? I went looking on youtube last night to see if you had, but I couldn't find anything apart from 2 teaching clips.

  5. Tremendous demonstration. I've always been so jealous of people who can sing well. I'd be happy to be able to sing 1% as well… or at all that wouldn't make people run.

  6. Ken he is one of the best! He knows what’s he’s doing I see him sing he can reach notes that we all wish we can reach! I love ken.. wish I can sing like him buts it’s not easy..I wish I can take singing lessons from him..thankyou ken for giving all the best advis

  7. You see on my channel here on youtube I sing songs..can you check them out and see what I need working on? I love singing but hitting notes like you seems impossible.but I do look at your channel almost everyday too see how I can improve myself.please check out my channel and let me know your opinion..thanks ken

  8. Lv u sir from my heart ❤️❤️❤️ you r really superb thankyou so much sir I'm indian 🇮🇳❤️🙏

  9. Hey ken, as I sing everyday I discover that the mucus increases more and more day by day and as I sing I lost the sharpness in my voice and my voice becomes like that of Bryan Adam's..
    So how can I overcome it??

  10. Hi Ken! I must say that I find your videos really helpful. I was classically trained when I was a teen (now I'm 28) and after that I found it very difficult to make my sound more pop or rock. You explain very well like noboby does on YT. Greets from Argentina! 🙂

  11. I have a question to anyone that can answer please. When I'm doing the "LaaaAAAaaa", should I always keep the Larynx lowered? It just goes up by itself and I don't really know if that's supposed to be like that.

  12. Hi Ken, I'm brazilian, 22 Years old and i aprecciate all of I am learn here… Well, I've never had a singing teacher cause I don't have money for this… But all I have that I learn here shines more than gold for me… Thanks for help to Follow my Dreams! Keep the good Work, Master!

  13. Five years I've been following Open Throat Technique from you. I'm 19 btw. I suffered couple throat problem at 15, 16, 17, and 18. I almost gave up from singing. I was confused getting PING in my voice. I was like, "Is this what Ken means by PING sound?". I used to forget lowering the larynx and just start yelling, screaming, etc. Then, I just got the email about Open Throat Technique. I watched it again (I had watched it before). Now I understand how the larynx works and what that PING is. Honestly, I wanna cry, but I'm happy for getting it. I just realized that I was too bad using English when I first watched this video. I think my English has become better and everything you said is just clear. Thanks a lot for making this video (and for reading this far, hehe). Time to get extra exercises :)…,

  14. I'm totally blown AWAY!!! If I can only grasp this concept! There are times, I can sing a song perfectly and then I go to sing it again and the magic is gone.. I believe this is the magic!!

  15. Hi Mr. Tamplin !!!
    Always Remember how much I (know) AND SHARE HOW AWESOME YOU ARE.
    Life has its twists and turns, but just please remember I will ALWAYS support and share with others how Cool you are.

  16. Hi your channel is a pure gold!! Thank for all !! You do a tons of free videos on sing instead tell "call me on Skype I give to you lessons for money!" (Like most, respectably and good, vocal teachers) and I very appreciate this! U spend Moore time on doing that!! thanks thanks thanks !!

  17. In the open throat technique the nasal air flow cuts right?

    Also thanks for all these helpful videos ken! U r really amazing… I wish i had discovered u sooner

  18. Jesus !!!! I have never thought that someone could sing like all that!!! You aren't from this world guy.

  19. Hear, hear! Always love your content. Have been doing it professionally for over 30 years, but am learning the terms I never knew before. Thanks, Ken!

  20. if you practice the scales and train with the videos, you will improve. My wife loves my voice. She has noticed a vast improvement.

  21. Which coach was mocking Operatic tenors? if they were they are clueless, listen to Corelli hit his top Ds with power and clarity, or any tenors of the past, they had techniques that are nothing short of amazing. Any decent coach or singer ( regardless of style ) should understand the years it takes to develop that vocal strength and technique.

  22. Love to hear and see you sing! I was reading the technical descriptions on the screen. Recognized some words, understood nothing!!! Still like to sing w/you. Local cats beware!!

  23. What do you need to do to learn this in 6 months? What do you practice for an hour and a half a day? Also, Great video like usual, so helpful. Definitely the best on youtube!

  24. Holy cow, Ken, you can really sing! There's no style, no song you can't handle. You're better than the original artists.

  25. You are the only teacher who can really breakdown the technical parts in clear language and not give us cheap tricks.

  26. Nice Ken. I’ve a couple questions … 1st … when does the mic (nylon cover ‘sock’) applies … Why? 2nd…are you hearing the original artist / yourself / both in the headphones? Have a groovy day, Ken! ✌️🤟🎶💕🤓

  27. That was awesome Ken, especially with all the annotated examples. Closest I've come so far to understanding what is going on physically as I shift my tone around.
    Have you ever sung Highlander by Lost Horizon? Particularly this line:

  28. First of all, you’re incredible Ken. Second, I just have a quick question. Is it possible to master the different larynx positions once I’ve already gotten in the habit of automatically raising my larynx? I’m finding that I don’t have enough space because everything is so tight when I try to go above a C5. I’m assuming it’s possible to learn how to lower the larynx over time.

  29. Thank you ken. You are brave enough to tell your perspective because you really know your stufff. Thanks again, this will help many people out there.

  30. Awesome, brother, I just have a hard time separating these things in my head. Is there any possible way you could use a model to show us? Like the "Half head" in a doctor's office that shows the throat, tongue, nasal passages, etc?

  31. Nice one, Ken. Thanks for the video! I sing in my bands because I have certain approaches in mind and I don't like trying to tell other people "how it should go." I'm not great, but know what I want to achieve. I'm going to watch more of your stuff because it's the proper education I am looking for.

  32. This is one of my favorite videos ever for singing because I’ve always struggled with this exact issue. Thank you Ken Tamplin!!!

  33. Thank You My good Sir for taking the time out of Your day to bestow upon Us the blessings of Your wisdom!!! KEEP UP THE HARD WORK MY FRIEND!!! 😀 You've truly revolutionized My Life!!! THANK YOU MASTER SENSEI OF SINGING!!! 😀

  34. Wow you can sing anything!!! I am so jealous! Congratulations, I can see your passion for teaching good singing techniques!

  35. The proof certainly is in the singing. Amazing flexibility and range. I dont sing but I appreciate people who do it well.

  36. You’re the man! Been practicing every day for hours and and I’m in a hard rock band and got moved from backup singer to lead singer cause I finally showed them what you’ve been helping me work on 👍🏻thank you so much Ken!

  37. Thanks! This helped me improve my false-chords for singing along with my favorite metal bands. I'm not a singer or anything, and only join in when there is no one else around to hear it, but if I'm gonna do it, I'd rather do it right! xD

  38. I always had this problem with my voice where it got caught up when I tried going to higher notes while having an open throat and nobody could explain what the problem was. BUT THEN YOU POPED UP IN MY YOUTUBE RECOMMENDATION AND GOD BLESS YOU AND YOUR BEAUTIFUL VOICE BECAUSE YOU DON’T KNOW HOW MUCH YOUR VIDEO HELPED ME!!!!!!!!
    THANK YOU SO MUCH 🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻

  39. I just have a quick question Ken. Don't you ever fear that….perhaps teaching this stuff to the world will bring reprocations … meaning maybe a few of your students or maybe one of us your fans … could achieve the impossible … Grammy time. I'm just saying lol

  40. We need to listen to this man, considering he’s someone who’s actually been in the industry a long time. I’ve seen these YouTube cats who get on here and critique everyone yet they can’t sing and nobody has access to their students to see their progress or anything.

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