How to Sing Lower 3: Overtone Control Subharmonics

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Hey guys here is the 3rd episode of my series! This one is a bit more advanced, so it’ll take a little bit of practice to get this concept down. I’m working on some pretty cool videos for the future in this series, hope you enjoy them!
Take care ✌

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16 thoughts on “How to Sing Lower 3: Overtone Control Subharmonics

  1. Alexander Wilson says:

    Brilliant addition to the series! I’ve been thinking bout this a lot
    lately, the interactions with overtones and jaw/tongue placement all that.

  2. I’m lost on these last two tutorials…they aren’t really necessarily
    showing you how to do it. I’m mean the first one helped with you saying to
    sing the note an octave up and then almost slipping back to vocal fry but
    not quite, and that’s all I really have still 😕

  3. Kevin Straws says:

    I’ve been practicing for over a week now and I’ve been progressing well.
    Because of my accent, I passed this tutorial lol.

    I have a question though. My subharmonics sound “squeezed” when I hit notes
    from A1 up. Is it because A1 to about D2 is my lower chest voice range or
    am I doing something wrong? I wanted my unresonant lower chest notes to
    become resonant upper Subharmonic notes, but it sounds like a broken film.
    A flat to about F# I feel okay with the sound. But higher than A flat is
    sucks. Halp lol

  4. Master Of Morse says:

    I’m managing to relax my voice to the point where the vocal fry comes in
    and I can control it pretty well, I’m sitting at the minute at a D2 chest
    voice and with the vocal fry / subharmonic it goes down to a Bb1 Am I doing
    this right? I just played your Volga Boatmen and mine sounded similar to
    yours (I mimicked it). I don’t know if this is just vocal fry or

    Anyway, you’ve come so far, I mean 100 subscribers and over 2000 views on
    some videos!! Keep it up man :D

  5. LosAnggraito says:

    hey man, first off – you’re amazing! I’ve been practicing and seeing vast
    improvements. My question is: my “comfortable” chest voice stops at an E2.
    Now, using your technique, I’m singing more and more in my subharmonic
    register, but does that mean there will always be a disconnect from that
    register (Bb1) to my natural stop (E2)? Because I can’t use your technique
    to sing an Eb2-B1. Any suggestions to connect those missing notes? (sorry
    if this question is confusing)

  6. Asrean gaming says:

    hey man! first off of any lessons on this you by far you have the best
    videos on it, so good job!. But im having a problem when I’m using what I
    conceive the sub-harmonic feeling to be I’m not getting a good tonal output
    is sounds a lot like a vocal fry ,which its not, you can still distinguish
    the tones but there not full and are very “poppy” so what could i do or
    anyone who is having the problem as myself do to better the tone produced?

  7. Luka Kvavilashvili says:

    You’re awesome, you sing overtone notes which is pretty impressive and I
    have never heard of subharmonics which adds a lot of opportunities. I can
    get to C2 with no problems, some days I hit B1 but some days I cant, but it
    gets more frequent, I went from hitting b1 once a week to hitting it almost
    every day. With vocal fry I get to D1 or E1, I go lower but can’t tell
    since it’s really messy there. But singing in subharmonic range sounds
    really clean and natural. How low do you think I’ll be able to get with
    this technique?

  8. Elijah Fiest says:

    i have a similar chest register to you but my subharmonics lock in around a
    G2 and lower instead of the B flat 2, is that strange or simply just how my
    voice works?

  9. randyjsing says:

    I’m still experimenting with this–keep posting vids…I’m learning quite a

  10. Brian Gantick says:

    I have a question about bridging here. Let’s say I’m starting at a c3 in
    chest and my chest voice ends at d2. I want to sweep down the whole octave
    from full chest voice down into a c2 in subharmonic register. Is this
    possible? Or do I have to stop at d2 and move my chest voice back up to c3
    to get that octave subharmonic? I guess what I’m asking is if you connect
    this seamlessly like you can when connecting chest and head voice? Thank

  11. nicholas evans says:

    David, I have been practicing your techniques and I’ve been doing them for
    a few days now and I’m going along fairly well, but I’m not completely sure
    if I’m doing it right. so if you see this is there any way that I could
    send a recording to you on facebook or something so you could give me some
    sort of idea if I’m doing this right?

  12. David Soto says:

    +David Larson How do you get such a deep, rich sound? I’m finding that I
    can slip into my subharmonic range, but don’t get that “whole” sound that
    you do.

  13. pure chest tone sounds much heavier and stronger, see what I’m talking
    about on my site nic val. appreciate the effort

  14. I have for certain moments used this technique, but since I am a bass
    oktavist naturally to begin with it puts me at a sub Contra double A, last
    key on the oiano, which is too low to be used in most situations

  15. Billie Lee Ñan says:

    as kargyra is produce with the vestibular folds and subharmonics are just
    the vocal folds, have you ever tried to combine them?

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