The Secret To Building a 4-Octave Vocal Range

The Secret To Building a 4-Octave Vocal Range Without  Pushing, Straining or Reaching.

So you want to become a great singer, and you've tried and tried and tried to increase your range and reach those heights without straining; but it just seems damn impossible, right?

Maybe the headline above sounds a bit sensational, but I recently worked out my full, useable vocal range from my lowest to my highest connected note in full voice - and yep, it's Four full octaves from B1 to B5 with a bit of wiggle room on either end.

It's a serious amount of range.

Even I'm shocked... well, not really - but seeing it written down on paper in that way just makes it seem that much more intense. 

What the hell do you even DO with four octaves?

(I can think of a few things!)

Now, you're probably thinking "oh god no, another one of those marketing pages?" but I'm actually going to share a proven vocal plan with you in a moment (yep, completely free) which is going to show you exactly how I built all the crazy range I now enjoy, from the 'natural' low range in the Mark Lanegan cover you'll see below to my own original music with the Dead Spirit Communion band where I'm really challenging the limits of my upper range, distortion and intensity as a singer. You can check 'em both out below to see the kind of range I've built with the simple approach I'm about to share with you.

I already know what you're probably thinking, either "Oh, but you're just a natural" and "Yeah, but how does that help ME sing better?" and I'm here to tell you that no, I absolutely was not a natural. I actually struggled for years and years with strain and tension - and the "Before and After" I'm going to share with you in a moment proves one important fact; When I started learning how to sing, I absolutely sucked.

There, I said it - my voice just sucked, I was a bad singer and no, I absolutely was not a natural.

The voice I now enjoy is the product of hard work, dedication and a special set of tools which I'm actually going to give you in a minute.

If I had a dollar for every show I did in my 20's before I worked all this out where someone came up to me asking when we were going to "find a real singer" or asking me "if I had a cold", or asking me if I "had vocal damage" or even "why we didn't just cancel the show if the lead singer couldn't make it" (This was literally a question I was asked... I WAS the lead singer!) - well, we probably wouldn't be having this conversion.

But these are just some of the hundreds of incredible reviews and comments my singing gets now that I've mastered the simple skills I'm about to give you;

So how did a guy like me, with a considerably LOW voice naturally build so much damn range, and why are you only hearing about me now?

Let me introduce myself and tell you a little about my background as a singer.

Hi - I'm Kegan from Bohemian Vocal Studio; yes, I'm actually a real person that you can contact and speak with, and yes, I do absolutely everything here at and do all the teaching on my own as well as producing and recording everything for DSC myself.

Oh yeah, I'm also the guy you just saw in the videos above singing like a Pro! 

If you haven't heard of me before, that's totally okay - I've actually been teaching singing professionally since 2010, and I took this whole thing online in 2014 and it's been steadily growing since - but, I don't just work with 'anyone', I keep things pretty niche and selective and my calendar fills up pretty fast in advance with those who are serious about becoming better singers.

Now, if you're wondering "with a voice like that - why aren't you absolutely EVERYWHERE dude??"

And that's really because I'm not one of those people that says "anyone can sing!" or "I'll teach you to sing in 30 days or less!" - so I'm not really out there on YouTube doing BS videos about how I'm the greatest, or how my method is the only one that works; I'm actually a working musician first and foremost (actually, I'm a Husband and Father first!) and I'm super busy in the studio with Dead Spirit Communion much of my time when I'm not teaching. The first album came out in 2019, and through 2020 I've been steadily piecing together the second record which at the time I'm writing this, is about 80% done - I've also been peppering some covers out there along the way too, which if you want to do them properly, they can take a lot of time and preparation to get right.

Now, the reason I don't just go marketing crazy and make wild claims like "Sing better in 30 days!" or "Anyone can sing!" is because I'm a realist at heart.

This approach isn't for everyone.

My approach takes time, dedication and practice.

This approach WORKS - but only if you are seriously dedicated to becoming a better singer.

And do you want to know exactly how I know it works?

Because it's the approach I use myself.

My students use it.

And more tellingly - Other singing teachers are using it too.

In fact, much of my student base is actually made up of singing teachers looking to better their own voices and ability to help their students - some of them even have more subscribers than me on YouTube... even though I'm the one that taught them in the first place!

I'm not saying this to try and impress you, or say I'm the best, or say I'm the first, or that they owe me anything, I'm just trying to point out the facts that this little known, niche approach to singing works better than almost anything else out there - and I don't say that lightly because there's a TON of great courses and vocal programs out there; I would know, because I tried many of them when I was learning how to sing and this is the only thing that actually showed REAL growth, REAL progress and gave me REAL singing ability.

But don't just take my word for it;

One of Russia's BEST voice coaches Ivan Radkov says that "Bohemian Vocal Studio is the only vocal school I trust 100%" and my studio is regularly ranked in top 10 lists next to courses and lessons by Christina Aguilera, Roger Love and many of the top, most popular singing studios, teachers and courses as "One of the best Vocal Channels out there"

My videos are actually some of the most comprehensive teaching materials that you're going to find for free online, like this video on The Four Vocal Fundamentals which has more depth and practical information in a ten minute video than some paid courses out there:

Sure, sure - you've heard about placement before, you once had a guy tell you to yawn before you sing and you've tried mixed voice before; so after all this, what IS the true secret to building a 4 octave range, and where did you start?

Well, the first thing I discovered about my voice when I first started learning how to sing is that I'm definitely not a natural.

Does that mean that I can't be a good singer? Obviously not - I've proven otherwise.

Does that mean that my range is limited? Of course not - did you check out the DSC clip above?

Aren't you just a Tenor then? Nope, certified baritone, my lowest consistent, resonant note is a B1 - did you check out the Mark Lanegan cover above?

Now, to help hammer home my point about the possibilities for your voice, whether you want one more octave, or a better tone, or FOUR more octaves, or to sing on the voice, or to sing for an established band - I need to tell you something that I hear absolutely every day as a singing teacher, and something that I used to say to myself almost every time I sang - and something I would never, ever, in a million years ever say again myself;

"My Voice Is Different - This Isn't Going To Work For Me"

Seriously, this was my mantra through so many years of failed singing auditions, so many wasted singing lessons, so many courses I bought - ultimately, we're hard wired to look for 'reasons' rather than 'solutions', I believe it's officially called Confirmation Bias, which I spoke about recently.

And I had an excuse for everything.

Can't sing an E4? That's because I'm a baritone. Hoarse after a show? I just left everything on stage for the crowd. Bad review? They just don't understand my special voice! My tone sucks? That's just what a baritone sounds like in this range... and so forth.

I hate to break it to you, and this probably isn't the diplomacy you might know me for - but your voice isn't special.

My voice isn't special.

Aretha Franklin's voice wasn't special.

Adele's voice isn't special.

Chris Cornell's voice wasn't special.

(I can almost see the rage swelling in your face...)

Just in the same way your hands are just the same as my hands, and your hands are just like Slash's hands, and just like Jimmy Page's hands.

Sure, there's minute differences, mainly aesthetic differences and some acoustic differences when it comes to the voice - but the voice works the same.

Air. Vibration. Resonance.

That's IT.

Seriously, there's no special cord you have to pull, or muscle you need to build, or tendon you have to flex; you just need to master airflow, vibration and resonance and you're THERE my friend.

And excuse me for asking, but ARE you a master of airflow? A master of vibration? A master of resonance?

I'm going to guess you didn't really have to think much before you said a sheepish "well, no" to at least one of these.

And here lies the issue you're experiencing as a singer - your foundation sucks.

Don't get upset, my foundation used to suck as well - it just comes with the fact that we're not really 'natural' singers who already have a pretty good grasp on the fundamentals we just spoke about.

At this stage, you're probably expecting me to try to sell you a copy of my Foundation 101 singing course or direct you to another tutorial on vocal Foundation; but I want to share the TRUE secret to becoming a great singer. 

In fact, becoming great at anything.


Serious, Self-Reflective, Organised Goal Setting Over the Short, Medium and Long Term.

Wait - but you already have "goals", right?

You want to become the world's greatest singer.

No, not "that" kind of goal, like a dream - I mean serious, tangible, actionable goals like mastering a lip trill in the short term, to help you manage airflow in the medium term to ultimately allow you to sing specific songs and styles.

I mean like mastering Vowel Modification in the short term so you can extend your range over the medium term to ultimately wail like a banshee as your long term goal.

Improving your resonance and vowels in the short term so that you can improve your tone as a whole in the mid term so you can meet your goal of singing soul or blues as your ultimate goal.

Actionable is really the key word here.

Whatever your "Pipe Dream" goal is should really be made up of short, medium and long term tangible, actionable goals that you can meet and work towards along the way.


Short Term
Medium Term
Long Term

What Was Your Goal?

Honestly, I just wanted to be able to get through a show without spitting blood, going hoarse and ultimately sounding bad - which I totally did, all the time at every show.

This simple goal of not blowing out my voice forced me to lay out a serious of more actionable goals in the short through long term that helped me realise I was totally using my voice the wrong way completely, and that I really hadn't discovered my true voice at all; even after taking singing lessons over many years.

Learning that there was an easier way, a safer way, a repeatable way, a better way to sing that also had the benefit of opening up a ridiculous amount of vocal range, tone, power and freedom in my singing has been the true key to building a 4 octave singing range; setting goals, meeting them, then setting new goals, meeting them, rinse and repeat, rinse and repeat.

At This Point, You've Really Got TWO Choices

Option 1) You're on the fence. 

You're probably thinking: "What's this guy even talking about? Who is he? Why did I read this far? Is he for real? Does he expect me to believe all of this??" 

And the kicker: "My Voice Is Different, and This Isn't Going To Work For Me."

See what I did there? You were already thinking something like that - right?

At this point, you could react to that little zinger by clicking off this page, going back to your google search and trawling through a ton of "how to sing like" tutorials on google, maybe even find a slightly amusing one that tickles your fancy and gets you a bit excited like you've been time and time again, maybe it's an email, or facebook post somewhere, but is ultimately useless at helping you sing better at the end of the day - and after clearing your cache a few days later our little dalliance here together will be over and long forgotten.

Weeks will go by, months will go by - and instead of building a serious amount of vocal range and building the better voice we BOTH know that you're capable of, and that I'm trying to GIVE to you right now; you're still going to be spinning your wheels and watching "voice coach reacts" videos on YouTube wondering about what could have been while nursing a sore throat and bruised dreams.

And to me, that's just a tragedy.

Especially since you're essentially one click away from becoming a better singer.

Please don't let this be you.

Option 2) You take action and invest in building a Rock Solid vocal foundation with the Foundation 101 singing course. In fact, I'll even throw in the advanced level Growth course as well for just a few extra bucks than what Foundation 101 usually costs on it's own - up until now, the advanced Growth course has only been made available to students that I selectively choose to work with, and who have been through the Foundation 101 course first; proving to me that they're not just going to waste my time - but we both know that you're absolutely serious because you've read this far and watched the videos along the way.

And just a few days, weeks and months of practice and dedication away - you're likely going to see more range than you've ever dreamed of, or at the very least you'll be a very long way past the point that you're at right now - and right now, you're probably wondering whether you even have what it takes to be a good singer in the first place, right? Believe me - the only thing that's going to hold you back is if you don't take action.

You buy the course. You get to work right away with the actionable goal of building a rock solid foundation for your voice and you double your vocal range, power and start reaching your full potential as a singer.

Now I'm not saying this is an easy fix - there's a reason that I'm selective about who I work with, and especially when it comes to how I've shared the Growth 101 course in the past to only those who've worked through the Foundation course first. 

It takes work.

It takes dedication.

It takes actionable goals.

But you're ready for that, aren't you? It's time to stop dreaming and start actually SINGING.

You can invest in your voice by building a Rock Solid Foundation using the link below to buy the Foundation/Growth pack:



Hit this button to select your Foundation 101 Vocal Course Pack.

But what if you've still got questions - you know my voice is for real, you've seen the 'Four Fundamentals' video and can tell I'm actually a legitimate singing teacher with many years experience and you learned an absolute boat load about how to sing better, yet you're still on the fence.

Is there an Option 3) ?

You're serious, but not THAT serious - and that's okay. 

Remember how I promised to share a proven vocal plan with you that will take all the guesswork outta this whole thing for you?

We're about to go all twilight zone as I share the THIRD door with you.

Now, you know I'm super selective about who I work with as I just don't have time for time wasters and tyre-kickers, especially with a half finished album, a calendar full of students already and a super demanding 9-month old pulling at my Iron Maiden shirt every 15 minutes trying to get my attention (actually, sometimes that's my Wife), so if you're absolutely 100% serious about joining the vocal plan, you're going to need to watch this video below all the way through to sign up for the vocal plan.

I know, I'm already setting goals for you and making you work for it - it's just how I roll.

If you want to join the vocal plan, and you want to see a "before and after" of my own singing voice along with the #1 most important technique you're EVER going to learn as a singer (you're really not going to learn this in a YouTube video or google post, at least not in such a comprehensive way), then watch the video below all the way through, then you can sign up for the vocal plan below.

You can sign up to the vocal plan below:

Easy Singing Tips [No Jargon, No Classical Terms, No BS]

Easy Singing Tips [No Jargon, No Classical Terms, No BS]

So you're looking for easy singing tips without the fluff and jargon that you've been finding everywhere.

I hear you.

The amount of times I was told to "sing with Appoggio" and "Inhalare La Voce" and "More masque! More masque!" when I first started learning how to sing - huh? I wanted to learn how to sing better, not learn how to speak Italian.

I'm going to keep this as simple and practical as I possibly can and give you REAL singing tips which are easy to apply, but seriously powerful when you get them right.

There's actually only FOUR things you really need to do to become a great singer - that's right, none of that confusing classical stuff, none of those marketing terms, none of those crazy modes that they talk about on YouTube, just FOUR vocal fundamentals that are going to absolutely transform your singing voice.

The Four Vocal Fundamentals

You'll be surprised to learn that EVERY single concept, technique, term and trick out there relates directly to just one of these four simple vocal fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

And I'll do one better than just telling you what they are, I'm actually going to SHOW you exactly how to do them in this practical, simple and effective tutorial video:

Master The Four Vocal Fundamentals

With the Foundation 101 Singing Course

The #1 Thing You're Ever Going To Learn

Now, I promised to keep things as simple as possible - and it doesn't get any easier than The Four Vocal Fundamentals. But, there's just ONE more thing that you need to learn if you're going to become a spectacular singer.

Now, this is actually very EASY to learn, it's the skill that so many natural singers naturally possess when they sing, along with being the "secret" that many vocal methods out there and package up in a fancy way - but I'm going to show you exactly how to do it.

You know how some singers out there are just world class - even at a young age, and they don't really seem to have had to work for it like the rest of us?

That's because they naturally possess the ability to unlock their vowel overtones.

Paul Rodgers. Aretha Franklin. Adele. Chris Cornell. Layne Staley. Myles Kennedy. Ray Charles. Robert Plant. Ozzy. Jon Bon Jovi.

The secret to unlocking the same sort of range and power as every single one of these singers is to learn how to unlock your voice's natural overtones.

Now, you might be thinking "but why haven't I heard of this before??" - and this really illustrates why you've been having so much trouble learning how to sing.

There's a piece of the puzzle missing.

So let me give you that missing puzzle piece right now by showing you exactly how to access your vowel overtones just like the pros and naturals do (you can also watch the full video HERE to see a "before and after" of my voice before/after I learned to apply what I'm about to show you)

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to hear my "before and after" and learn how you're going to build a big voice too!

Sign Up to your 3 Part Vocal Plan:

Simplify Your Singing [The Powerhouse Approach Used By Pros]

Simplify Your Singing [The Powerhouse Approach Used By Pros]

Compression. Vowel Modification. Overtones. Placement. Tongue Position. Support - there's a LOT to think about when you're singing, right?

When you look at old videos of Aretha Franklin singing - she's just going for it without overthinking things.

When you watch videos of Chris Cornell live in 1990 with Soundgarden - he's stomping around the stage, crouching down and wailing D5's, E5's, even F5's without even the slightest effort

When you watch Adele singing live - she's not bothering with posture, and you can't see her huffing and puffing from the diaphragm like an athlete

It's easy to overthink your singing approach and complicate the way you sing, but I'm here to tell you that you really CAN simplify your singing and use the same approach that hundreds, even thousands of pros have used for decades to sing with ease, freedom, range and a killer tone.

Now, I'm not one of those guys out there who's going to say "Layne Staley used my vocal approach!" or "Chris Cornell uses my method" - after all, I was only a few years old when Soundgarden first started in 1984, right? Instead, I want to share with you exactly what I've learned from these guys with the classic voices that we're still listening to 20, 30, even 40 years after we first heard them.

And this is why:

Layne isn't trying to "sing like Layne"

Adele isn't trying to "sing like Adele"

And Chris Cornell - well, that guy's voice was just from another planet.

Yet that's exactly what you're doing.

That's exactly what I was doing for many years too - until I learned the simple approach that allowed me to sing with the same freedom and power as my favourite singers, without the need to carry around a 20-step checklist for how to do it.

The thing that used to amaze me about all of my favourite singers, like John Fogerty, Paul Rodgers, and Layne, and Jim Morrison, and Eric Burdon, and Ray Charles, and Warrel Dane - is that they were all incredible singers at a very young age.

It obviously didn't take Paul Rodgers 10 years to learn how to sing - after all, he was all of about 17 years old on the first FREE album in the late 60's. 

Layne and the guys from Alice In Chains were all of about 20 when Facelift came out - and those A4's from Man In The Box just sailed out of Layne like he was half asleep.

Surely Chris Cornell didn't spend a decade mastering Vowel Modification before he was able to sing Beyond the Wheel, right? I'm pretty sure Janis Joplin had no idea what she was doing - but Piece Of My Heart is a timeless classic.

And the reason for this, is that all of these powerhouse, dynamite singers found the best way to use their unique instrument. 

I'm going to guess you've been spending a LOT of time trying to "sound like this guy" or "sing this other guy's song" or "hit that note in the same way she does" - am I right?

I'll admit, this is what I did for WAY too many years while learning how to sing. Instead of working on my own strengths and working through any weakness in my voice - I just tried to copy what my favourite singers were doing.

Remember, Paul Rodgers isn't trying to "sing like Paul Rodgers" - he's just singing with his natural resonance, a nicely open vowel, a pleasant tone and ultimately what was right for the songs, and THAT, my friend, is exactly why we're still listening to Bad Company records 50 years later.

Something really incredible that I was taught almost 20 years ago now, was that the voice is developed and built in the same way a supercar is built. You don't just drop a 5000 horsepower engine on the floor, attach a gearbox and then floor the accelerator, no, you first start with a shell. Then there's wheels. Then there's breaks. Then there's the electrics. Then there's the engine. The exhaust. All these individual elements make up the "foundation" of a race car.

And that's exactly what all of these singers were total MASTERS at.

Instead of trying to sing with distortion relentlessly because "that's what his favourite singer was doing" - Layne sang with forward placement, an open vowel, great airflow, balance between the registers; and only then, distortion and grit was used to effect with taste. I'm going to guess that you've been grinding into AIC songs like it's going out of fashion, right? And that they probably don't really sound "right" with the distortion?

Here lies the problem: You're overcomplicating everything rather than keeping it simple.

I'll tell you a secret.

Singing with distortion is actually VERY easy.


Singing with distortion if you don't have a nice, forward placement is almost IMPOSSIBLE.

You're ultimately trying to run before you can walk - or floor the accelerator before there's wheels on your supercar, so to speak.

And here's where everything is about to get SO much easier for you.

I've already done the legwork.

I've already learned what you need to do to build that ROCK solid foundation.

I've even organised and complied it into an easy to use approach that you can start right now.

The Foundation 101 singing course really is the most simple way to learn how to sing - and it's very fast.

Now, I'm not saying that singing is totally easy and it's not going to take work - this is going to take some work.

But with the Foundation 101 singing course, you're building the same ROCK solid foundation that your favourite singers were such masters of - Paul Rodgers had a great foundation. Layne had a great foundation. Adele has a great foundation. Paul McCartney had a great foundation.

The reason they're not agonising about vowel modification and placement when they sing live is because these fundamentals are built into their foundation as singers.

At this point, you're probably expecting me to try and sell you the course, right? Well, I'm not even going to offer it to you at this stage - because there's something I want you to know first.

Do you want to know why these singers were all so great at such a young age? How Chris Cornell was able to sing with four full octaves of connected voice? Why Layne could flick the distortion switch so instantly and effortlessly shift between clean and gritty singing in an instant?

Resonant Overtones.

You might have been expecting some buzz word or marketing term like edge, or curbing, or Open Throat technique - but the truth is, these singers were all masters of their own resonant overtones.

If your high notes sound like you're turning on a garbage disposal unit in your sink, or they're just all air - it's actually the register overtone within your vowel that is missing. It doesn't matter how much compression you add, how much support - in fact, without the vowel overtone, then you'll never sing with freedom, power or a full range.

This is really what "natural singers" are great at that you and I might not be getting right from the start - and it's also something that not too many approaches or teachers out there really talk about; because they're already great at it naturally.

This is also why interviews with your favourite singers often fail to show any insight into their actual approach as singers - they might mention one of the basics like support or breathing, but they very rarely share any insight into why they're such incredible singers.

And that's because they're already singing with the right vowel overtones for their instrument.

Don't feel bad - I wasn't a natural either, this took me YEARS to learn.

I'd love to save you those same years of struggle and straining by showing you exactly how to unlock your register overtones in the easiest, most effective and practical way.

If you're serious about sounding like a truly PRO singer, then you absolutely must watch the tutorial I've put together for you on Vowel Overtones (you can also watch the full video HERE to see a "before and after" of my own voice before and after I mastered what I'm about to share with you)

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to hear my "before and after" and learn how you're going to build a big voice too!

Sign Up to your 3 Part Vocal Plan Below:


Mask Resonance Singing Tips [Vocal Placement Exercises]

Mask Resonance Singing Tips [Vocal Placement Exercises]

Many years ago, I took classical singing lessons. One of the most common concepts and techniques I was taught and constantly pulled up on was Mask Resonance, sometimes called Masque Singing.

I'll be honest, as a Rock guy, the idea that you 'sing through a mask' like there's an imaginary masquerade mask sitting between your eyes just didn't resonate with me.

For starters, I just didn't WANT to sound like a classical singer, and secondly - I was way more into 'practical' ways to sing than all those figurative and esoteric classical terms like masque that just confused me more.

Until I realised what people were actually trying to get me to do; use the bones of the face and bright resonators to bring my voice out of my throat and up higher into my vocal resonators - in essence creating Forward Placement.

I've discovered over the last decade of being a professional voice coach myself that Forward Placement is often one of the most misunderstood techniques out there, especially with all the confusion with classical terms like 'masque' - so I've put together a super practical video tutorial on what placement really is and how to do it:

In short, forward placement is simply using a bright, 'forward' vocal tone to bring the voice out of the throat and into the bones of the face so that you can use your vocal resonators more efficiently and sing with ease, power and a pleasantly balanced tone.

Vocal Placement Exercises

One of the most important aspects of vocal placement is a touch of twang - sometimes known as 'necessary twang' for good reason.

Now, I'm not talking about a southern drawl or slack pronunciation, I'm talking about a subtle narrowing of the epiglottis (the AES) that directs your resonance towards the wall of the vocal tract itself while creating a touch of compression to create a bright, forward placement when you sing.

My favourite sound for developing twang is actually "Sing" - if you sustain the NG portion of this sound, you'll notice a very bright buzz around the bridge of your nose, your teeth or somewhere at the front of your face.

The true key to using twang however, is to separate the nasality that comes from an open velar-pharyngeal port on sounds like NG/N from the actual quality of twang that occurs on vowel sounds; which don't involve nasal airflow.

By developing a nicely open vowel in the pharynx by raising the soft palate and focusing on the vowel overtones, you can layer this touch of twang and forward placement over the top of the richness of your voice to create an incredible boost in volume, cut and brightness in your voice.

Along with other bright, forward sounds like NG, N, M, ZZ and EE - it's important than you practice forward placement on your vowel sounds too. I like to encourage my students to practice a "WAA" or "WAH" like a bright cry a child might make, just to get the feel of singing forward on a vowel sound without losing airflow through the nose. You can even combine these sounds into NN-EE-AA or NN-EE-AH to kickstart your placement on the vowels.


The Four Vocal Fundamentals

Forward Placement is one of the key aspects of The Four Vocal Fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

You might be surprised to learn that EVERY single technique, term, trick and concept out there relates directly to one of these four singing basics.

In the way that Masque is simply a way to help you achieve Forward Placement, techniques like Vowel Modification are a way to help you achieve peak Height In The Vocal Tract, and diaphragmatic breathing and compression are just ways to help you sing "All In One Flow"

I'd love to help you master The Four Vocal Fundamentals, so let me show you exactly how to sing with them yourself:

Master The Four Vocal Fundamentals

With the Foundation 101 Singing Course

How To Be A Singer [Technique, Style and Recording Studio Tips]

How To Be A Singer [Technique, Style and Recording Studio Tips]

So you want to be a singer, and a GOOD singer at that - how do you become a great singer?

Great technique is obviously your first port of call if you want to become a great singer. In the same way a racecar driver needs a car, a football player needs to be fit and a doctor needs an encyclopedic knowledge of the anatomy; you need a great foundation as a singer made up of excellent technique and the practical ability to actually use that technique to sing well.

Beyond great technique, there's also a few other important aspects of being a great singer that we're going to talk about, from your approach in the studio to performing show after show with ease, right through to personal style and making unique tonal choices as a singer, but let's start with vocal technique first.

Vocal Foundation - The Four Vocal Fundamentals

I discovered many years ago that absolutely EVERY single technique, tip, trick, method and concept out there actually relates to just four simple vocal fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

Now, you might be asking "what about twang? And compression? And the guy that talks about vowel modification and open throat" - and you're absolutely correct, but, each of these techniques is simply an extension of one of the vocal fundamentals.

Twang helps you achieve Forward Placement, Compression helps you breath diaphragmatically and "All In One Flow" and Vowel Modification occurs when you alter the size and shape of the vocal tract using the soft palate, which raises up and creates Height In The Vocal Tract.

If you've been finding it hard to wade through all the crazy terms, techniques and jargon out there - then you need to simplify by first mastering The Four Vocal Fundamentals.

I believe SO MUCH in this simple but effective approach to great singing that I'm just going to show you how to do it right now. Watch this video to learn more practical information in less than 10 minutes than you've probably learned over weeks, months or even years of trawling through YouTube videos and "voice coach reacts" style videos:

Master The Four Vocal Fundamentals

With the Foundation 101 Singing Course

Stylistic Choice - Find Your True Voice

When I first teach my students The Four Vocal Fundamentals and show them how to sing with consistency, more range and power than they ever imagined and a healthy approach - they often ask how to make unique stylistic choices as a singer while still keeping with this healthy and consistent approach.

And this is where The Four Vocal Fundamentals really SHINE.

With a rock solid foundation, you can make all kinds of changes to the way you sing your vowels, vowel choice, placement, tone and registers, delivery, articulation and any aspect of your singing while also staying within the bounds of the healthy foundation you started with.

I know that when I first started learning how to sing and took classical singing lessons, I just HATED that covered, dark, rounded tone that I was made to sing with - so I went away from the lessons and didn't do it.

What I didn't realise, is that the healthy and 'open' approach I had been shown can be altered in many ways to achieve a more contemporary and even aggressive and intense tone with ease.

Want to sing with distortion? It's easy - simply alter your compression and focus on forward placement.

Want to sing blues and R'nB? Even easier - use that natural flow of air to help you achieve fluid runs.

Want to sing Metal with a CRAZY range? Easier again - just modify your vowel overtones as you ascend.

Stylistic choice is really the thing that we love most about our favourite singers - Steven Tyler, Adele, Chris Cornell, Layne Staley, Janis Joplin; these singers all make a hefty dose of style changes that give themselves the unique and relatable tone that they are so known for.

Master those fundamentals first and you'll be able to make healthy and informed choices about your vocal style.

In The Studio

Live singing is a different beast to studio singing - while consistency is really key to both, great studio singing needs to have an extra level of efficiency and professionalism. Your fans aren't going to be too fussed about how you hit that A4 while doing a cartwheel over the drum riser - but if your singing sucks on the album, there won't be any fans there at the show in the first place to hear you sing.

I have many students who are in the process of recording and releasing albums - I like to set tangible goals for my singers so that they have a serious goal to work towards, in many cases heading into the recording studio for the first time.

When it comes to studio singing - preparation is your new best friend.

Lead sheets, lead sheets, lead sheets - putting together lead sheets for your songs is one of the best ways to ensure you absolutely nail your songs in the first few takes without the need to do overdub after overdub to fix your flubs.

If you're struggling with a specific word or pitch, then you need to work out what base vowel you're singing, what modification you need to use, how it's placed, the level of compression and any stylistic choices you're making on the line. A lyric like "I love you so" might be written on your lead sheet as "AH oo/l-OU-v ee/y-OU s-OH", or even "I love you s-OH" if that's the particular word you're struggling with - you can even write the overtone modification above the word and make notes about compression on your lead sheet.

While the live setting is more spontaneous and almost anything goes (obviously, consistency is also the key to being a great live singer), nailing your songs in the studio while you're paying someone $100 an hour to record you comes with an added level of stress and pressure; so make sure you're prepared and make sure you've written out lead sheets for any potential issues you might be anticipating so that you can hit the nail on the head in your first few takes.


Great Live Singing

While we're talking about great live singing, let me tell you exactly what changed everything for me as a singer - you could say the number #1 most important thing you'll ever learn as a singer;

There are four register overtones for each vowel you sing.

I know, I know - it's not the fancy marketing hype you've become accustomed to on those YouTube videos where people tell you they're "better than everyone else" and that "every other method will damage your voice" and "my open throat technique is the only one that works", but that's just how we Aussies roll - it's the blunt truth or nothing, so prepare to take notes and learn more in this next video than you've probably ever learned in your whole time researching singing online.

I believe so much in The Four Vocal Fundamentals approach to singing that I'm just going to SHOW you how to modify your vowels correctly to achieve each of the four vowel overtones you need for your base vowel sounds. Seriously, this is more than you'll learn in most of those expensive vocal courses out there (you can also watch the full video HERE to see a "before and after" of my own voice before and after I learned what I'm about to share with you)

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to hear my "before and after" and learn how you're going to build a big voice too!

Sign up to your 3 Part Vocal Plan here:


Vowel Modification Singing Tips [That Changed My Life]

Vowel Modification Singing Tips [That Changed My Life]

Vowel Modification seemed like such a crazy mystery when I first started learning how to sing - it always seemed like I was just shouting "OH!" and making weird sounds instead of making my voice sound any better, until I learned the vowel modification singing tips that I'm about to share with you.

Now, before we talk about vowel modification, it's important that you first understand what "vowel" really means when it comes to great singing.

For example, In my speaking accent as an Aussie, my vowels are something like "AYE, EEY, EYE, OWE, YOU" for A, E, I, O, U - no doubt pronounced and spoken differently in your accent. These highly articulated and pronounced speech sounds simply aren't designed to make use of your full range, tone of sustained resonance  - they're just for quick, efficient communication in speech.

But when you actually SING, your vowels are actually formed in the resonant space in the pharynx - and this is why great singers always make use of "the international singer's accent" or more correctly "accent neutral" singing where their speaking voice and accent are bypassed in place of their natural resonance.

And this is why I had so much trouble when I first started learning how to sing - I was basically just changing the pronunciation of my speech vowels to mimic what I thought I could hear my teachers doing when they were actually altering the size and shape of their vocal tracts to allow different vowel and register overtones.

There are actually FOUR register overtones for each vowel that you sing.

So when we modify our vowels, we're not just changing the pronunciation of our speech vowels and literally singing a different vowel sound - we're just making subtle alterations to the shape of our vocal tract to bring out a different overtone within the frequencies of the vowel while also allowing a shift between the two vibratory mechanisms of the voice, the 'body' of the fold and the 'edge' of the fold, often called Chest and Head voice respectively.

A great example of this is with the most common vowel you're likely to sing, the AH vowel - which is formed by lowering the tongue to a concave in the base of the mouth, raising the soft palate to allow resonant space and keeping to a vertical embouchure of the mouth rather than a wide horizontal smile. Now, ascending from this sound - you might get to a D4 or so with a bit of a push, but it's obvious that something needs to change for you to sing higher in full voice without busting a nut in the process - you guessed it, we need to modify our vowel.

Keeping in mind that vowel modification (actually, sung vowels in general!) are formed in the pharynx and sung with sustained resonance rather than a syllablic speech delivery - we need to raise the soft palate a touch more and allow a little width in our tract while also allowing a shift away from full weight in the body of the folds towards a more balanced mix coordination that involves less of the body of the vocal fold and more use of the CT muscle to 'stretch' the folds.

As we alter the tract and fold coordination around this first break period in your voice, that natural sounding AH vowel that probably sounds something akin to the word "Hard" in a wide open Boston accent saying "Paaak the Caah" (park the car), the change in size and shape in your vocal tract alters the vowel overtone from "Hard" to "Hawed" - now, if you sound like you're just pronouncing like a pirate, then that's exactly what you're doing - you're pronouncing instead of modifying your vowel.

In my experience as a professional voice coach for over a decade, I've noticed that many singers take the ball and run with it with specific pieces of information, especially this first overtone shift in the voice and try to take this sound as high as possible in chest voice - all the while wondering why they sound shouty and they struggle to sing past an E4 without yelling, flipping and breaking.

Remember, there's actually FOUR vowel overtones for each vowel sound that you sing - if you're just changing your vowel from AH to AW, then you're only opening up into that first overtone rather than making full use of your frequency and tonal range as a singer. I see this all the time with singers who struggle to sing EE vowels, like the word "Free" - instead of modifying their vowel properly, they just change the vowel completely into EH so the word sounds like "Fray" without actually modifying their EE vowel properly.

Now, before I throw any more text at you, I want to SHOW you exactly how to modify your vowels properly to achieve each register overtone so that you can connect chest and head voice, sing in full voice no matter what register or range and ultimately improve your singing voice out of sight. Make sure you watch the video below to learn exactly how I modify my vowel sounds to extend my naturally low baritone range into the four octaves I now enjoy (you can watch the full video HERE to also see a "before and after" of my own voice before and after I learned what I'm about to share with you):

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to learn how you're going to build a big voice too using Vowel Modification and register overtones!

Sign up to your 3 part Vocal Plan below:


What Do All The BEST Singing Programs Have In Common?

What Do All The BEST Singing Programs Have In Common?

Best Vocal ProgramSo you're looking for the BEST singing program out there.

They all have pretty good reviews, right?

The guy from the course sings pretty great on YouTube, right?

The techniques and jargon they use sound pretty technical and scientific, right?

Instead of me telling you some BS about how "my course is best" or that I'm "better than everyone else" or even why my singing program is different - instead, I'm going to tell you what all the BEST singing programs out there have in common.

Now, I'm not going to go through each course out there and give them a four out of five, or two out of five - I'm just going to tell you generally what the BEST vocal courses out there should be offering you.

Speech Level Singing, CVT, Estill Vocal Method, Robert Lunte, New York Vocal Studio, The Vocalist Studio, Ken Tamplin Vocal Academy, Felicia Ricci, Chris Liepe, Roger Love, Melissa Cross, Singing Success - which singing program is the best?

Without getting into specifics, I'll tell you right now that each of these methods is great; if you're looking for exactly what they are offering.

If you want to sing BIG, POWERFUL rock songs, then SLS really isn't what you're looking for - but if you're a casual singer, or you're into very light pop music, then SLS is probably perfect for you.

If you want to sing with a very balanced mixed tone and have the ability to sing many styles and bring out the released, resonant character of your instrument, then KTVA isn't what you're looking for - but if you want to belt the utter crap out of absolutely everything ALL the time, then KTVA might just be what you're looking for.

On the flipside, I'm definitely not a 'pop' guy by any means - so if you want to learn musical theatre, Ed Sheeran or Disney songs, then I'm probably not your guy - but if you're looking for a balanced mixed voice, an extensive connected range, an intense but controlled delivery and a healthy voice for a lifetime; then BVS is exactly what you're looking for.

But I digress, instead of these short generalisations about these popular methods, let me share with you exactly what each GREAT vocal program out there has in common:

Vocal Foundation

Regardless of which method you choose, I guarantee that every single singing program out there starts with Vocal Foundation, whether they phrase it in that way or not.

Lip trills. 

Basic resonant sounds.




Chest and head voice.

There might be tons of importance put on these basics, or they might just be brushed over with a few quick lip trills - but they ALL start with Vocal Foundation in some way or another.

We all know that diaphragmatic breathing is important for great singing, right? And that resonance is important too? And vowels play some part as well? And we've got 'two' voices (at least to begin with) called "Chest" and "Head" voice?

But how do you assure you've got a handle on these ever important Vocal Fundamentals before moving on to all of the fancy stuff, the marketing terms, the compression, the vowel modification and all the fluff that probably made you pull the trigger on one of these methods in the first place?

I'll tell you something that does set Bohemian Vocal Studio apart;

The Four Vocal Fundamentals

I discovered many years ago that absolutely EVER technique, concept, term, trick and tip out there relates directly to one of these four simple Vocal Fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

You can go through any of the vocal programs that we mentioned above and you might catch a glimpse some of these fundamentals;

Ken Tamplin puts extreme importance on vowel modification - which is simply a way to alter the size and shape of your resonant space within the pharynx, aka Height In The Vocal Tract.

CVT and it's variants talk about "edge" which is simply a way to categorise twang and brightness in your tone, aka Forward Placement.

Estill method teaches various vocal onsets, which is simply a way to ensure that you are breathing and phonating "All In One Flow"

SLS uses bratty NAY and NG sounds, which is simply a way to encourage Forward Placement.

Now, you can buy any or all of these singing programs to varying degrees of success, or even build a powerhouse voice in line with the teaching and singing style preferred by the coach. You could even buy all four singing methods above and get yourself a solid grasp on The Four Vocal Fundamentals - I personally spent over $15,000 on vocal courses, books and singing lessons in my early days.

But if you're absolutely serious about getting to the root of your vocal mechanism and start building a ROCK SOLID vocal foundation for your voice with the only method that specifically teaches you The Four Vocal Fundamentals as the basis of your vocal foundation and has been doing so for over a decade, then you're about to learn more in a ten minute YouTube video than you've probably learned over many years trawling through free lessons on google and YouTube for years - or even many of the expensive courses we just spoke about.

Let me show you exactly how to sing with a rock solid vocal foundation once and for all:

Master The Four Vocal Fundamentals

With the Foundation 101 Singing Course

What Is The Best Way To Learn How To Sing?

What Is The Best Way To Learn How To Sing?

Singing itself is relatively easy - but learning how to do it well can be extremely difficult and frustrating.

There's courses. Teachers. Coaches. YouTube. Google. Reddit. More Courses. Even MORE courses... need I go on?

It's not really a lack of information and guidance that makes learning how to sing so difficult, it's really the contradictory and confusing information out there that can make your head spin.

Support your voice. Don't support your voice. Modify your vowel. Pronounce your vowel. Don't sing vowels. Sing with resonance. Glottal onsets are great. Glottal onsets will ruin your voice. You don't need placement. Placement is the most important thing you'll ever learn... again, need I go on?

When I was first learning how to sing, I went to a lot of different singing teachers with the thought that "more is best" and that learning from so many different people and approaches would average out to a seriously great voice.

I was wrong.

My voice still sucked - even after I spent over $15,000 on singing lessons.

Maybe it was just me. Maybe my voice just sucked. Maybe I just didn't have what it takes to be a good singer in the first place?

I really started to question whether I was wasting my time and I should just give up once and for all.

Does this sound familiar?

After trying absolutely everything I possibly could to build a better singing voice - from courses and books right through to lessons with some of the best voice coaches out there; and I'd just had enough of the whole thing.

And here I am now with a decade of professional voice coaching experience under my belt, a hard rock album out everywhere, a new album in the works and students all around the world smashing their own vocal goals and giving me all kinds of amazing feedback;

Kegan is a vocal magician... Foundation 101 is amazing!


Kegan has helped me get all the way to recording my first full album!


If you want to sing Rock at the highest level, choose BVS.


Kegan is the master of vocal training... Period.


Top-shelf Sing-Ninja wisdom


So what exactly changed for me as a frustrated singer who couldn't tell head voice from mixed voice, vowel modification from placement, resonance from onsets and the larynx from the soft palate?

Honestly, it was wiping the slate clean and starting from scratch with a rock solid vocal foundation.

No tricks, no workarounds - just a great vocal foundation.

A strong foundation for your voice works in exactly the same way as rudiments work for a drummer; the base fundamentals that make up all of your rhythms, beats, fills and patterns. But when it comes to singing, we're really talking about the base setup of your vocal mechanism and your rudimentary understanding and application of how to actually use your voice.



Foundation 101 - The Four Vocal Fundamentals

After spending so many years fighting my voice and trying to manipulate my folds into sounding better - when I really just lacked a base understanding of how the voice really works; I finally found the key to great singing and a proven method that ultimately gives you results.

The Four Vocal Fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

And that is absolutely IT.

No modes. No curbing. No edge. No aggressive marketing - just a solid, practical approach that really works.

Realising that absolutely every single concept, technique, trick, term and method out there relates directly to one of these four basic vocal fundamentals, I've been able to show proven results time and time again with my students - and of course my own voice.

If you're serious about taking your voice to the next level with the proven approach that has helped me take less than an octave of range into 4 full octaves of power, a killer tone; and a whole ton of students now making their own albums, nailing show after show and reaching above and beyond their goals as singers, then you absolutely MUST master The Four Vocal Fundamentals.

Let me show you exactly how to sing with The Four Vocal Fundamentals;

Master The Four Vocal Fundamentals

With the Foundation 101 Singing Course

How To Improve Singing Tone [This REALLY Works]

How To Improve Singing Tone [This REALLY Works]

Singing tone - What is it? Why is it bad? How do you improve it?

Many different aspects of your voice make up the holy grail of great tone - or a tone that sucks.

  • Nasality
  • Depth
  • Consistency
  • Range
  • Overtones
  • Placement
  • Balance
  • Tension/Strain
  • Freedom
  • Register
  • Voice type
  • Singing style
  • Vocal line

As you can see, it's not a clear cut "good tone" or "bad tone" situation where you hit the good tone switch and suddenly you're Adele or Robert Plant - vocal tone is quite a complex makeup of many different aspects of your vocal foundation right through to vocal style and the vocal line you're singing.

If your vocal tone sucks - them SOMETHING is 'off' in your foundation, and you're likely not using your unique instrument in the way it sounds best.

Think about these singers:

  • Stevie Nicks
  • Joe Cocker
  • Axl Rose
  • Layne Staley
  • Amy Winehouse
  • Robert Plant
  • Ozzy

Would Ozzy Osbourne sound great singing for Fleetwood Mac? No. Would Stevie Nicks be right for Alice In Chains? No. Does Axl Rose even HAVE a nice sounding voice? Or Joe Cocker for that matter?

Within the context of their bands, their vocal style, their unique instruments and the way they enjoy singing - each of these singers is absolutely CLASSIC.

Can you argue that Guns 'n Roses are one of the greatest and biggest bands of the last 30 years? Ozzy has been world famous for his sinister sounding whine for FIFTY years now. And who doesn't love Rumours? Stevie Nicks' voice is an institution.

By focusing on your vocal tone without context, is easy to think that your voice sucks, and that you've got a bad tone.

Guess what? Stevie Nicks is excessively nasal. Joe Cocker was basically shredding his voice to pieces. Axl isn't really using his 'full' voice when he sings in that nasal whine. Amy Winehouse was all over the shop live. Ozzy is definitely an acquired taste. Even Adele has had issues with her voice.

Still think your voice doesn't cut it? 

I've found the most common reason for a vocal tone issue is really inconsistency in your voice. I'm going to venture a guess that SOMETIMES, just SOMETIMES you hear something nice and unique in your voice when you sing - and this is why you're so determined to become a better singer, right?

That inconsistency that makes your voice move in and out of good and bad like the needle on a fuel gauge is really the cause of much of your tonal issue - and likely creates a bit of strain and tension at times for good mesure.

I'm right on the money there - aren't I?

Let's cut to the chase - I've spent the last decade of my life helping singers just like you develop better sounding voices by developing a stronger and more consistent foundation so they can;

  • Connect chest and head voice into one long range
  • Improve their tone
  • Sing with power
  • Master the vowel overtones
  • Place their voices better
  • Sing ANY song
  • Sing better than they ever have before - or even thought they could.

When it comes to a great vocal tone, foundation really IS king.

And when it comes to building a great foundation - The Four Vocal Fundamentals are the kingdom.

Check out the video below and I'll show you exactly how to build a rock solid foundation for your voice so you can start improving your tone and increasing your range today:


The #1 Most Important Thing To Learn

If you're not quite ready to hit the link above for me to help you master The Four Vocal Fundamentals, that's okay - there's one more thing that you need to learn.

I promised you vocal hacks - but I'm going to do one better than just sharing some cheap throwaway trick. In fact, this is the #1 most important thing you will EVER need to learn as a singer.

Vowel Overtones.

FOUR overtones in fact.

There are FOUR overtones for each vowel sound that you sing - in simple terms meaning that the tonal quality of each vowel actually changes depending on the register that you're singing in:

  • Chest Voice
  • Chest Mix
  • Head Mix
  • Head Voice

For example, an AH vowel like you would use for the word "Hard" which occurs when you lower the middle of the tongue to a concave in the base of your mouth migrates into a subtle AW like "Hawed" as the soft palate raises up into the vocal tract and alters the space, resulting in a subtle change to your vowel overtone. This wider tract shape then opens up higher into a narrow space that alters the sound to OU like "Heard" and finally OO like "Hood"

Now, if you were just to push and yell "Hard" as high as you can - your voice is going to shout, yell, break, flip and it's going to be chaos.

Learning how to alter your register overtones by modifying your vowel in the right way really is key to increasing your range and improving your tone.

Now, I'm not just going to TELL you how important this is, I'm going to show you exactly how to do it yourself in this video:

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to hear my "before and after" and learn how you're going to build a big voice too!

Sign up to your vocal plan below to master the remaining Vowel Overtones:

5 Steps To Better Singing [That Drive Real Results]

5 Steps To Better Singing [That Drive Real Results]

I recently detailed how I spent over $15,000 on singing lessons, vocal courses and learning how to sing better - finding an approach that drove REAL results was quite elusive.

When it comes to a vocal course or singing lessons, you're not actually looking for hours and hours of exercises, or a complicated scientific program, or an anatomical guide - you're just looking for results.

And what ARE "results" when it comes to singing anyway?






Here's the kicker - we all possess a unique instrument, and we're all looking for different results.

A guy with higher voice probably isn't looking to extend their range; they're looking to improve their tone. 

A guy with a lower voice is probably happy with their depth of tone; so they're looking to increase their range.

On the flipside, female singers are looking for something altogether different to most male singers, in the same way an Opera singer would baulk at sounding like a "rock guy" like me, and vice versa.

So how do you find a vocal program that drives the results that YOU are looking for?

The key is actually to develop a rock solid Foundation for your voice.

And the key to developing a rock solid foundation for your voice is mastering The Four Vocal Fundamentals;

  • Height In The Vocal Tract
  • Forward Placement
  • "All In One Flow"
  • Mixed Tonality

With a firm grasp on these four intrinsic vocal fundamentals, you can then focus your attention on the unique results you're looking for by GROWING each element of the voice.

Want a better tone? Work on your resonant space and placement. Want more range? Vowels are key. Struggling to connect? Mixed Voice is key.

These four simple but powerful vocal fundamentals give you a roadmap for driving REAL results in your singing - not just wasting time drilling scales and exercises with no change in your ability to actually sing.

The very first vocal fundamental is:

#1 - Height In The Vocal Tract (Raise The Soft Palate)

Raising the soft palate to create resonant space and access your upper vowel overtones is absolutely KEY to better singing.

Let me name a few singers off the top of my head that raise their soft palate when they sing;

  • Chris Cornell
  • Bruce Dickinson
  • Paul Rodgers
  • Aretha Franklin
  • Adele
  • Layne Staley
  • Jon Bon Jovi
  • Myles Kennedy
  • Ray Charles
  • Robert Plant
  • Ozzy Osbourne
  • John Fogerty
  • John Denver

^ Can you really argue with so many great singers?

Learn to raise the soft palate properly for a serious boost in your range, tone, vocal health, power, placement and SO many other ways that it will help your singing.

Not sure how to raise the soft palate? Watch this video on The Four Vocal Fundamentals to learn how to do it the right way;

#2 - Forward Placement

I had a few singing teachers in my time as a student that told me to "sing more nasal" - obviously resulting in an ugly, nasal tone. At the time I didn't understand (and now I'm questions whether they truly understood) that forward placement is all about resonating within the bones of your face to bring the voice out of the throat rather than true nasality caused by an imbalanced tone and an open velar-pharyngeal port.

Throw a pair of headphones on and listen really closely to your favourite singers - they're "Bright" sounding, yes?

You just discovered forward placement.

If you haven't already, check out the video above to learn exactly how I help my own students develop a powerful yet balanced forward placement.

#3 - "All In One Flow"

I know, I know - it sounds like I'm just running through The Four Vocal Fundamentals again, right? Well, that's seriously IMPORTANT they really are, they bear repeating twice.

The idea that you need to "support" your voice really used to confuse me;

Are you meant to push?

How do you support without 'lifting' or pushing?

Am I meant to hold my breath?

These are all valid questions, but, an easier way to develop support in your singing is to focus on singing "all in one flow" instead of forceful, choppy or breathy.

If you're an aspirate singer, focus on singing on one sustained release of air rather than a gush on your onset.

If you're a pushy/clampy singer, focus on maintaining sustained airflow as you sing a line or ascend in range.

Hence "All In One Flow" - and it's pretty easy to learn too! Check out that video above to learn exactly how I help my own students develop "all in one flow" breath support for healthier, easier, more POWERFUL singing.

#4 - Mixed Tonality

I had a few singing teachers through the years that told me that "mixed voice isn't a real thing" - and maybe we're talking semantics here, but learning how to sing in Mixed Voice has absolutely changed my life as a singer.

Can't connect chest and head voice? The solution is Mixed Voice.

Flipping into falsetto? The solution is Mixed Voice.

Pushy, shouty and yelly? The solution is Mixed Voice.

Want to BELT really powerfully? The solution is Mixed Voice.

Strain and Tension past your first break? The solution is Mixed Voice.

I'm sure you get it by now - Mixed Voice really IS a real thing, and I want to show you exactly how to do it in this exclusive Mixed Voice Singing Lesson.

#5 - Register Overtones

Learning to modify your vowels correctly to discover and develop your register overtones really is one of the most important things you will EVER learn as a singer.

This is actually what "natural singers" are able to do from day one that the rest of us aren't really skilled at without training and practice - honestly, it's the secret sauce to great singing, an extensive range, endless power and tone for days.

Watch the video below to learn how I modify my vowels to achieve the correct register overtones for each vowel sound when I sing:

Having BIG DREAMS as a singer means you need a BIG VOICE to match - watch the video above to hear my "before and after" and learn how you're going to build a big voice too!

Sign up to your vocal plan below: