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ArtistWorks Vocal School Lessons: The Mind-Body Connection

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I'm gonna be repeating certain
things as we go forward and shed new light
look at it from new angles, and
we're about to do that to some extent with
this next lesson.
We've taken a look at a lot of things so
far regarding how the body is designed to
make sound, but
we haven't really talked about who is the
player and for
some it's obvious, and it may be so for
you, but
it's definitely worth exposing and talking
So, there are, as we've covered, there are
certain parts to your instrument,
and they co-relate, coexist, and work
together, or need to.
[LAUGH] In a certain manner.
But, they serve you, your thoughts,
your sensitivities, the emotion that you
decide you wanna put into,
your voice, your, your song actually comes
through your voice.
Our body as a vocal instrument is designed
to be thought and emotion-sensitive.
This can either serve us or can show up
For example, if you're thinking the wrong
way about sound,
which we'll get into more in a, a future
lesson but
we'll talk about a little bit now, if
you're thinking,
what would be wrong way, by the way, let's
say you're,
you're singing a song, and it's
Oh, here comes this high note.
[LAUGH] You know, like the way you're
thinking about the note ends up showing
itself in how the body works.
If you think that a note is high, and that
you have to leap for it,
stretch for it, push up, send up more air,
all of those thoughts,
unfortunately are against how the body
works to actually make
that higher note, which is why I try to
eliminate the word high and
low and talk about it in a different way.
So, if you're going.
It's just sound.
You imagine the sound.
Okay, again, huh, easier to say than to
do, and
that's where exercises come in to help you
rework your thinking,
and it's also why I get into some of the
vocal anatomy with you, so
that you have the actual facts of how your
instrument works and then you
can compare it to your thoughts and go
wow, you know, that's not really true.
My vocal folds don't go up to the top of
my head or above or
on the ceiling in order to get this
particular note.
They're in the same place.
So you know, there's, there's a lot
of things said about singing, and a lot of
thoughts that get created about range
and how to sing loud and all these things,
and a lot of them,
to our misfortune are based on no real
So of course, if it's not based on fact
it's based instead on fiction, and it's an
alteration of how the body actually works,
it's gonna make it harder for you, not
If you think that in order to be
you need to articulate your words very
what's gonna happen is your tongue is
gonna overwork, and get real tight.
Your lips are gonna do the same, and of
course we, we covered earlier stuff about
tongue tension, stuff about lip tension,
and the way it backfires here, and ends up
overworking the muscles of your vocal
folds, and basically rags your voice out.
You end up getting hoarse, you end up
having la, loss of flexibility.
If you've had it prior,
you certainly won't have it after all this
extra articulation.
It is easier to be understood
than often people think and, and,
and are told because all this extra work
is not really gonna get your idea across.
To get your idea across, people, first of
all, need to hear your voice.
Well what's making the sounds of your
It's not all this movement.
It's actually the vowels that are what,
what are created when your vocal folds
So, so it is the sound of your voice,
not the precision of your consonants.
And again, we're gonna get into a whole
bunch of really cool exercises and
more details about that.
But I want to just start your
penetrating this area because, what you
is what will happen physically, which is
pretty cool.
If you've heard that expression, I don't
know if I'll get it exactly but oh,
actually I think it's from R.
Kelly's song I Believe I Can Fly, "If I
think it,
I can do it," that has a lot of truth but
there's this one other element which that
phrase isn't taking into account,
and that's fine, song aside, the idea is
If you don't know something that you need
to know, you might think it,
and you might be very capable of executing
it, but not knowing how will block you.
That's actually pretty good news,
because if you've priorly thought that you
had a short range hm,
maybe you'll find out something different
as you move through this school.
And in fact I can guarantee you will.
I have never met a singer who didn't have,
if not two octaves, often more,
a lot more sometimes, but they didn't know
it because they didn't know how, just like
you don't, you know, you're given a car
does that mean you know how to drive it?
They're things to know, and if you step on
the gas when you're supposed to
be stepping on the brake, heh, you'll be
crashing into a tree or
someone else's car or whatever, and that's
what can happen with singing.
You have a body, but that doesn't
necessarily mean you know
all about how to use it for the purpose of
singing, and
that's what I'm hipping you to, as we move