[0:01]How to false chord part two. Basically, the total focus of this is going to be getting away from a breath distortion into full muscular control of the false chords. Um, yeah, that's pretty much it. Um, before I get into it, same disclaimer as always, I'm a vocal student, not a vocal coach. This is where I am currently in my vocal journey. Uh, it might be helpful if you're around the same spot, uh, to hear some of the things that help me figure out a little bit more about screaming. Um, so for this one we're going to work more with isolating the false chords and isolated false chord sounds, but I also want to talk about uh, why you don't have it at the beginning. Isolated false chords sound like this. Yeah. Why don't I lead with that? Because there's a thousand ways that you could imitate that sound incorrectly and just hurt yourself. I don't think that the sound of isolated false chords is particularly useful. It's only it's useful once you know how to do it consistently and you check in and make sure how it feels to you, but as someone who's not making it, it's you're not going to learn how to do it just by listening and trying to imitate. Uh, because you could make that sound a thousand different ways with your vocal chords, with your apoglotus, with some mix of all of them. So there, I slave false cord sound. Take it or leave it, doesn't really matter that much. Um, but you will want to be producing this sound and coming at it from a different angle. So, uh, what we're going to do, if you've watched the other video, awesome, you'll be able to jump right in. If not, hopefully you'll still be able to to catch up. But, what I want you to do is think of the breath distortion scream, the one we had before. I want you to think of that as a, have you ever seen a a cross fit pull up? Where they're just like swinging their bodies to do the pull-up and they're like yanking their bodies and flapping above the above the bar. That is across fit pull-up they get made fun of for a lot. Um, and they're using they're using momentum and they're not necessarily using the wrong the right muscle groups, but they're still getting above the bar. I want you to think of a breath distorted false cord scream kind of like that. You're you're you're using momentum in this case instead of momentum, we're going to say wind shear. You're using momentu, wind sheer to get above the bar, in that case to activate the false chords, right? And so you are achieving the goal that you're looking for. You are activating the false chords, you are making that sound, right? You are getting above the bar, but there are better ways to get above the bar. And the reason you start with a breath distortion is because everybody starts with a breath distortion. Um, even some of the people who had commented and gave me some awesome sources by the way, uh about about getting away from breath distortion. If you look at their videos when they first teach you how to engage the false cords, it's going to be like clearing your throat or it's going to be like a grunt. Or I saw one that was like vrooming like a car, like to get the false chords activated, right? So you're not going to be able to get away from breath distortion at first. So you may as well learn a breath distorted scream. Um, and think of it that way. Did I describe before, think of it more like throat singing because that's going to prepare you for a gentler kind of stimulation of the false vocal chords. So, what we're going to do, if you want to do it, right, we're right now with the breath scream, with the breath distortion, we're working with the whole throat. And we're trying to narrow it down and only use the muscles we need instead of relying on the wind shear. So, if you already know, uh, like a Kagaya, I'm probably butchering that. Um, but if you already know a throat singing with just the false chords, awesome, start from there. We'll come back to that. If you have something like I talked about in the first video that uses more of your vocal chords, it's more of a full on breath distorted sound like and you still have some vocal chords in there. The best way that I found to eliminate that, you could do the vroom, you could do the clearing your throat. Uh, the best way that I found to do it was to do like a gritty southern brother. Yeah, brother. Yeah, brother. And you're going to start activating narrow, feeling it narrowing down to only one part of your throat that's being used, that's going to be the false chords. Another thing to know, at first it's uncomfortable. It's honestly kind a little bit painful. So don't over practice until you get it done until you've like got it very comfortable. Don't over practice. Do it, make the sound for a couple seconds, stop, give it a couple minutes, do it again because unlike the other one, this one hurts at the outset and then it becomes much more comfortable and easy and free flowing at the end, but it hurts more at the outset to to truly lock down the isolating and isolate the false chords. So, um, however you choose to do it, you're going to think you're using your full throat here. You're going to make the room sound. Yeah, brother. And you're going to try to feel it right there. Like I said, it's not going to be super comfortable at first. You can do the even the clearing throat, although that one's the probably the most uncomfortable. And you're going to move away from And you're going to spend before you even try screaming, you're going to spend a lot of time around there.
[6:47]And you're going to spend it doing it with as little air as possible, with as little pushing as possible until you truly feel that you have control that you can do clean. Uh, distorted.
[7:06]Just like that where you've got that sort of vibrating sound. You should be able to hold it out for a lot longer than a breath distortion, too.
[7:21]Right? Um, so you want to move away from that where you're not feeling the wind sheer activating it and you're truly beginning to muscularly choose when the false cord comes in and when it doesn't. Right? And then after that, what I like to do, for me personally, I found that the best way to move it into a scream is to start with a gutteral because of the tongue. For some reason, it's pesky and it wants to go back and block you and make it feel more like you're choking instead of doing the other. So, when you're practicing, either like stick out your tongue, or, you know, if you want to scream, do it like a gutteral.
[8:10]Make your gutteral faces while you're doing that that uh throat singing, that throat singing sound. Now, when you are, when you have that down and you're comfortable with that, what you're going to want to do is you're going to want to project it. But you don't want this to be a breath distortion and now that you've got your, hopefully by now you've got your false cord isolated. Uh, and not through just hearing a sound and imitating it, right? You'll be able to feel it in your voice, you'll be able to know, you know, because you could imitate and fake, right, in any sort of ways. It's a lot harder to fake. So I would shoot for that. Shoot for that. Shoot for the throat singing because you'll know that's correct. Um, instead of just imitating, oh, this is what false chord sound like in isolation. Well, yeah, but so what, right? You want to know how it feels. Um, and so that's the in my opinion, the best way to sort of isolate them. So you've got that, you've got that throat singing.
[12:45]You don't need to be pushing harder or distorting more from there. All you need probably is a thicker falsetto. So if you reach that point, you're going to take your throat singing.
[13:04]You're going to shape it like a scream because you want it to be scream. I like I think the gutterals are the easiest to start because it gets your tongue out of the way.
[13:42]And then start working with that at mid-range, at high-range, you know, start throwing in mids. So under the tongue to stick out. pick a higher falsetto note.
[14:47]And try moving around throughout all of those, doing highs, doing mids, doing lows, don't get lazy. And do not once you start moving from once you've decided to move, you're going to stop doing the breath distortions, you're going to start doing muscular control false cords, do not go back. Even though it feels like you may lose some progress because now you don't scream, now you just throat sing, that's okay. Because the upgrade is very important, but bad habits remaining from breath distortion are going to make it a lot harder for you. I know you it sucks because you got to start with breath distortion because nobody really knows how to find the false cords without them. Everybody that I've ever seen, even the ones who move away from it, which is a good thing, uh, you got to use a breath distortion to start. So I understand you can watch my first video if you want to see more about the breath distortion, but once you've decided and you're able to start moving away from breath distortion towards the true false cord muscular control, don't go back. Don't start regressing. Um, I think that's it. A good way you'll be able to tell that you're doing better and you're not doing a breath distortion is it shouldn't mess with your falseto, right? Because a breath distortion uses a lot of your throat with wind shear. And so it it might cut off your falsetto or it might make it hard to fry afterwards. So make sure you can still make sure you still have access if you're doing fry screams that you can alternate between the two. And that'll be a good metric for whether you're doing it right. Hopefully this helps. Uh, if not, I can always make another one.
