this is not fry this is what you ask for this is not fry [Music] and even this is not all fry there's more going on the term fry tends to be overused as a general description for vocal distortion or grit or rasp and it a lot of times I've seen this over and over again creates a conflict when students are trying to learn these techniques because they think that fry fry fry practicing that is the sole thing that's going to help them get to all these other sounds but I can promise you because I've already
done the work that you're not going to get to a place like this so you don't [Music] feel or like this oh give them a platform for doing something evil and now look at me wrong cuz I'mma mess you up for assuring me doesn't it feel so familiar no by just using fry let me show you how fry when used as part of the picture and other techniques and sensations are introduced in concert with the use of fry and normal singing you can go way beyond the limitations of thinking in pure fry and discover lots
of other ways to engage your voice start by just talking in fry uh like this towards the bottom of your register very unsupported so you get the sensation of it now add a little bit more to it but still try to keep it broken up this is true vocal fry loose primary cord engagement and find that balance where you start to push into normal phonation based on the breath pressure and then try to live in the middle of it ah you hear like a tone and fry at the same time now try to do this
in your head voice but I'm going to mess with my resonance and my placement nasal and food in head voice and I'm going to bring a little bit of chest in here and there notice as I experiment with different placements while bringing fry in and out there's a complexity to the fry that seems to happen this is where we have to stop thinking about just using fry to get our distortions because remember what I had you do earlier where it was fry if we try to add too much pressure or loudness to our fry it
ends up going away and this is where lots of people get frustrated because it's like well I can do fry quietly but as soon as I want to make it a fry scream it doesn't work we have to think about the use of compression a lot of times and in the demonstrations at the beginning a lot of times what you're really hearing in a confident distorted voice isn't fry or may include a little bit of fry but is primarily the result of healthily placed compression yes compression if I work on holding back air and honing
the coordination that allows me to engage above my voice box Hey with lots of different placements I can actually add fry underneath that yes disengage loose coordinations like we were just practicing but I'm compressing that and this creates that vibrant dynamic aggressive sound hey oh yeah done in head voice yeah oh yeah and it's high too right it's It's sparkly it's brash it's strangely warm at the same time oh yeah now if all these things that I'm spontaneously queuing up with my voice seem daunting to you they don't have to be click the link below
in the pinned comment or video description and join my free course and I'll help you learn how to bounce around with your voice to lean into sensations that help you create variety and engagement with your voice you'll be able to do things you never thought possible we also have to consider the difference on a sensation basis between constriction which is what allows compression and tensing you see when we're compressing correctly we're allowing the areas above our vocal cords false cords can be involved the retinoid cartilage even a degree of the epiglotus when used in concert
with other constrictions those are ways that we're able to distort notes but if we're so focused on fry being the thing that we're using to distort notes we end up tensing up in ways that minimize the effectiveness of our attempted constriction in other words we have to be relaxed enough to add intensity in the right parts of our vocal tract too tense cuz I'm just thinking fry [Applause] and when I and when I try to constrict or compress over that I find myself like pulling my neck in different places it just it just doesn't work
however if I focus on healthy constriction compression in different parts of my range first and then engage the fry sensation think about it in that order that opens up the path to freely compressing and getting sort of the sound that I want constriction first fry next no no no no no no no no no head voice no no no no add some compression add some compression more compression now fry there it sounds wonderful there's all sorts of dynamics there's there's multi-levels of complexity in the breakup that's how we want to be dialing this in think
healthy relaxed constriction first and then the fry behind it this goes for all out screaming too yeah so the next time you're tempted to exclusively lean into the term or sensation fry when trying to pull something out of an artist singer that you really like think about what I've demonstrated here practice this range of techniques yes use fry but don't only use fry make it the last step not the first consideration for more help with your airflow and your support all of the things necessary to use your voice in these free ways click the link
below in the pinned comment or video description and join my free singing course i'll help you pull things out of your voice you never knew were there and for more on specifically fry screaming try this video
