The “Lift Up / Pull Back” Singing Technique | Robert Lunte | The Vocalist Studio


– Hello, I’m Robert Lunte,
founder of the Vocalist Studio, author of “The Four Pillars of Singing” and producer of the worlds
largest online vocal training, vocal technique program on the planet at thefourpillarsofsinging.com. And this is the composition,
very popular composition that I’ve done throughout the years, called lift up, pull back. Lift up, pull back is a technique that helps new students, beginners, learn how to bridge from your chest voice to your head voice without constricting, without pushing, without breaking. It is not necessarily the end game, mmkay? It’s not really where we wanna go or how we would wanna
bridge the vocal break in the passagio towards the end of our more advanced training
skills or in singing. However, again for beginners, and people that have a
difficulty bridging seamlessly or singing seamlessly from the chest voice to the head voice, this interim technique lift up, pull back is awesome. Now lift up, pull back
shuts down the constrictors. It teaches the body to stop
engaging the musculature that is involved when you’re
pushing and straining. And often times for beginners, for about, the first, well
maybe four to six weeks until you can learn to
shut down the constriction and the strain as you
approach the high notes until you learn how to do
that or you train your voice, to disengage that choke-y musculature, you can’t be ready to work
on the other techniques that teach you and train you how to sound huge and big and
boom-y in your head voice and bridge your passaggio in
a way that works for singing. So what I’m trying to say
is, for a lot of beginners who have to retrain the body
to let go of bad habits first for about four to six weeks and then with lift up, pull back,
then you can come back and begin working on
building a seamless voice. So lift up, pull back is really simple and if you want to practice it, just pay attention to the details here. What I’m gonna do is I’m
going to phonate an onset. Now in TVS an onset just means
the beginning, the start. ♪ Maaaa ♪ Okay, the beginning of
my training note, scale or beginning of my
singing is an onset, kay? Now I will onset on a low G. (plays note) ♪ Maaaa ♪ All right? And then I will proceed with a slow and controlled siren or in classical world they call this a glissando,
a glissando, it just means, (ascending and descending signing) That’s a siren, mmkay? A scale would have intervals in it, a siren is just one
slide-y slide phonation. Okay, so I will onset on
the low G and then train or phonate a slow and controlled siren from the low G (piano note plays) to the high G, an octave
higher which is G4. (piano note plays) All right? As I get higher in frequency, (ascending notes play) As I get higher in frequency, instead of allowing the constrictors and the choking and the
strain-y muscles to get involved and get in the way, and get
sucked into that old bad habit. What I’m going to do is I’m going to gradually relax my
compression on my glottis. I’m gonna just, not too much,
don’t go huuuh, totally open but train a real slow
and gradual relaxation of the vocal chords or the
vocal fold compression. As you are going higher
in frequency as you are ascending in frequency,
you are incrementally opening up the glottis and
letting a little bit of wind a little bit of respiration bleed through. And as you do that, as you
incrementally open the glottis as you’re going higher in frequency, what that does is that removes the strain. It removes the pushing
and the constriction. And as I pointed out before,
it doesn’t sound great. It doesn’t make it sound really amazing. You probably wouldn’t
want to do this in a song. But what it does do is it
shuts down all of that pushing. All right, so watch me do the
lift up, pull back technique. (piano notes play) And I encourage you to
do this in the shower, in the car, walking to
work, standing in the alley, standing in a stairwell,
it doesn’t matter. This is a singer-sizing technique that you should be able
to do just about anywhere. And it would be really great
for those of you that are having a hard time with
constriction and pushing. (piano notes play) (sings ascending notes) Do a track and release onset. (sings ascending notes) All right, do you see that? As I approach the vocal
break instead of fighting it, instead of slapping the
water or hitting my head against the wall and doing this, which will not work, by the way. You can do this for a lifetime,
it’ll never work for you. You’re going to keep
pushing and straining. Instead of doing that I’m going
to do something different. Teach my body how to
take command and control of the vocal chords or of the glottis. Take command and control
of the glottis back and incrementally, subtly,
just open the glottis. It’ll get a little bit windy and yes, yes, it’ll be a little bit
falsetto-ish that’s okay. That’s okay for this technique. And allow myself to bridge
through the vocal break to the head voice without
pushing and straining. Now, that’s a successful
bridge, by the way. The definition of a successful bridge in vocal technique does not include and it has to sound cool, okay? That’s not the definition
of a successful bridge. In my opinion, the definition
of a successful bridge is simply one seamless phonation
from the lower register to the high register
without pushing, choking or sounding like a
quacking duck, all right? The sound cool part is what come, that’s what’s coming after
you learn to do this. Again lift up, pull back demonstration. (piano notes play) I’ll do a damp and a release onset. (sings ascending notes) All right, you’ll notice
that once I open my glottis, my glottis, fancy voice
lesson talk for the space between your vocal chords, okay? Once I open my vocal chords,
vocal folds, glottis. Once I open my glottis
and I kind of get through the passaggio, I get
through the hard part, and I’m in my head voice,
then I bring the glottis back together, bring in the
respiration, anchor the larynx do all the additional
techniques that I’ve learned how to do and bring in the beef. Try to bring in the
muscle and the fullness as much as I can. Once you get to the other side it’s okay to try to build it out
and make it boom-y again. It’s this movement right here,
right, that we’re working on. We’ll do it again. (plays piano notes) We’ll go a note higher to the G sharp. (piano notes play) (sings ascending notes) All right, by the way, lift up pull back is something you have to
practice in both directions. (sings ascending and descending notes) See that, that’s lift up, pull back. Go around the vocal break, run
to the sidelines, go around to the vocal break, don’t
try to plow straight through if you’re somebody that
pushes and constricts. Next example. (piano notes play) (sings ascending and descending notes) Now, on my descending
movement right there, that wasn’t really to much
of a lift up, pull back. That’s kind of what
we’re trying to get to. When you get good at this,
you can then start building a seamless foundation, all right? We’ll go to (plays piano notes) B flat. And this time I’ll do it
without the microphone so that you realize that there’s no effects trickery going on around here. (plays piano notes) (sings ascending and descending notes) See that? All day long,
in the shower, in the car, walking down the street, in the stairwell. You are Mr and Mrs lift
up, pull back a lot, okay? (plays piano notes) One more time, lift up, pull back. Teaching my body to stop
constricting, pushing and straining and getting, not a great bridge yet, but at least a bridge, at
least a smooth movement from my chest voice to my head voice. You’re gonna do it too. (piano notes play) (sings ascending and descending notes) All right, it’s just that simple. As you’re going higher in frequency, you take command and
control of you’re glottis and you subtly five, 10,
15, 20, 25, you subtly, we call it bleeding the glottis. Bleeding respiration, not blood. Bleeding the glottis of respiration as you go through the passaggio
into the head voice and then the same movement back. Do this lift up, pull back
technique as a beginner. Make it part of your regular routine. And make it part of your
singer-sizing routine. In the shower, in the car,
and you will shut down all that pushing and
straining and constriction that you may have been
plagued by, all right? Now lift up, pull back, this technique enjoys a full demonstration
and lesson explanation in thefourpillarsofsinging.com, which is the comprehensive
vocal training program and I look forward to
seeing you in that program because if you wanna learn to bridge, from chest voice to head voice, smooth, seamlessly and belt high and remove all the pushing and
straining in your voice. And believe me, nine out of 10 people can. You can learn to do this,
you just have to have the right techniques and
the right training program that will show you how, okay? If you come on board as a TVS student I promise you, you’ll get progress. All right, look forward
to hearing from you, and make sure that you give me a call if you have any questions.

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