Singing Lessons – Metal Bite Resonance – Rob Halford – Rock the Stage NYC

Singing Lessons – Metal Bite Resonance – Rob Halford – Rock the Stage NYC

Head Voice Resonance with some teeth – Part 2 takes us into pharyngeal contractions to help achieve a more Rock & Metal “bite” (or twang for you Pop singers out there) to your upper notes. Oddly enough John Denver helps me demonstrate the technique…yup John Denver folks.

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42 thoughts on “Singing Lessons – Metal Bite Resonance – Rob Halford – Rock the Stage NYC”

  1. Hey RTSNYC ! cool lessons , you know your stuff . if metal gets lean for ya
    , we’ll get you some shoe polish (not for your shoes) and get you a calypso
    gig down Trinidad way .

  2. Im wondering if you have a video on a head voice technique or whatever
    called pianissimo?? Also thank you for helping me with the dynamic of my
    voice its become much more stronger now 🙂

  3. When I try to use this kind of resonance my larynx has a tendency to rise
    quite a bit. So in the end my head tone becomes more piercing but at the
    same time I feel it thins out a lot. Instead of sounding “metal” it sounds
    whiny and weak… Why is that and can one have a relatively low larynx and
    at the same time add twang? Thanks.

  4. Kevin Richards Rock the Stage NYC

    high larynx and pharyngeal twang are two different things – unrelated. If
    you’re larynx is raising that’s a whole other issue. You’ll have to train
    that larynx to stay down before trying this.

  5. Kevin, as I watched this, I noticed it’s also a very poignant demonstration
    of the difference between falsetto, and head voice, as you are going from
    lighter falsetto sound to the addition of resonance.

  6. Herping Derping

    This sounds alot like what I do when im singing King Diamond and Deep
    Purple songs, seems like I need to start using this exercise to improve..
    thanks !

  7. so the difference between falsetto and head voice is that in falsetto our
    vocal fold are not “together” and pass too much air through them as we make
    the “h” sound?

  8. Kevin Richards Rock the Stage NYC

    Not the “H” sound because the consonant “H” is an unvoiced consonant
    meaning the vocal folds are wide open – there is NO connection at all. But
    yes the difference between falsetto & connected head resonance is a matter
    of vocal fold connection.

  9. but how does Rob get that added distorted effect on his notes in head
    voice? like listen to the song resurrection which is a prime example. It
    sounds too distorted to be vocal fry, and it sound less distorted than when
    you use the soft pallet technique to add a distorted sound. Maybe I’m
    wrong. Is there a specific way to achieve that sound in head voice? I can’t
    find any videos anywhere that explain how halford is doing this.

  10. Kevin Richards Rock the Stage NYC

    only Halford could tell you that – and even then he may not be able to
    describe how he does it. Its natural in his voice – no specific technique
    one can learn. The techniques of rasp/distortion/scream come close to that
    sound but never quite sound exactly like natural rasp or scream in a
    singers voice because they are probably using a couple of things at once to
    produce the distortion and a “technique” can only focus on one thing at a

  11. Néstor Toimil

    Hi!!! Let me try to add some light into this. I just entered a Judas Priest
    tribute band, and the guys are pleased by how I do it, how I try to do that
    sound: For that kind of register, since probably the ScreamingForVengeance
    days, halford uses a different approach to head voice, like coltt218 says,
    with more distortion and rasp. What I do is taking the usual high head
    voice and add some kind of screech into your voice, like imitating an old
    woman (sounds ridiculous, I know). It actually works!

  12. Néstor Toimil

    Also, it doesn’t hurt my throat at all, but only if I take a glass of water
    in between 1 or 2 songs. If you want I can cover the song Resurrection to
    show you kinda how it sounds 🙂 Also sorry for my sucky english, I’m from
    spain and just 18 😛 cheers!!

  13. Please let me ask you sth again 🙂 I got it, understand it and feel it, I
    can give you a twang if u ask me to or turn on the resonance in any scream
    so my metal screams are not bad – the thing is with my band we’ve started
    to turn my high, sharp voice on during verses (stanza) and there’s a
    problem because I can”t hold that twang all the time especially because of
    consonants and my vocal breaks and sounds annoying (not falsetto but not
    metal also). What should I focus on? What’s wrong?

  14. Right (and thanks again for the answer) but like I said if it’s starting to
    sound too high, thin and annoying instead of steady and powerful (and still
    I mean in stanza where’s A LOT OF words and consonants) is it a problem
    with what? Breath support? Lack of focus? I just don’t know what am I doing
    wrong and it’s very stressful, the band is tellin me it’s ok but I know and
    I hear it’s not. And the crowd will can tell too because they’re not naive
    or focused on anything else when they listen to u

  15. Kevin Richards Rock the Stage NYC

    Its the way you are looking at your lyrics. You are looking at them as
    stumbling blocks instead of stepping stones. Its too lengthy to write hear
    but you need to look at your lyrics as a way to help you support your
    voice. Consonants like L,M,N,R,W,D are all consonants that can help you
    support the melody. Treat every consonant like you would a D and B – on and
    off quickly an onto the vowel. The vowels are what carries the melody so
    emphasize those and get off the consonants quickly.

  16. I swear I’ll repay for each word you wrote to me on youtube, I mean – thank
    you so much, I REALLY DO appreciate your time and I’m really grateful for
    all of this. I’ll try to fight with it but believe me – I just hope that
    one day singing will no longer be a fight or set of complexes anymore… I
    forgot how it is to love to sing because of lovin’ my idols if you know
    what I mean. Thank you once again and I’ll probably try to bother you again
    and again soon 😉

  17. I have 2 videos on my channel where I sing high, the ending scream of
    Stryper “In god we trust” and part of Halfards – Betrayal, what do think
    about those videos and would you give me some advice. I am a diamond in the
    ruff, and I have not taken any pro-lessons, ever.

  18. Wow I haven’t heard that calypso tune in eons. I listened to some clips of
    JD singing it and I forgot what a great voice he had. Even in the live
    clips his singing is crystal clear. Where does the falsetto start?
    “odelay-dee-doo-doo-doo-doo” At the dee? his transition into the falsetto
    part is very smooth and his voice still sounds rich with falsetto so its a
    little hard to tell…. BTW, thanks for all the info on these clips. I’m
    not even a singer (guitarist) but I appreciate the info.

  19. Kevin Richards Rock the Stage NYC

    Yup it starts right in that spot. JD had a beautiful light, tenor voice
    which was very under appreciated in his time. And he sounded almost exactly
    the same live as he did on record – even as he got older. Shame the way he
    died though but he lived life to the fullest.

  20. Mark Slaughter was great at this – Ashes to Ashes “Sweet evil woman I walk
    through your fiiiiiiiiieeeeaaahhhhhhh” Didn’t know how to describe it,
    until now. Great tip and explanation.

  21. Jesus Popcornius

    This technique applied to chest or low mixed voice sounds beautiful..
    Sometimes I have this in my voice and makes it sound naturally reverbed and
    virtualised in some way.. It helps a lot as I want to learn Ozzy Osbourne’s
    unique technique of singing.. I’ve figured out that he has literally
    mastered all the nasal and pharynghal resonance and “metal bite” in a flat
    non falsetto voice.. It would be great if you told me some exercises to
    master this stuff…

  22. Mr. Richards, could this technique be used to create that kind of Axl Rose
    effect on its own, or would it be a combo of techniques? if so, which ones?

  23. For the rest of the story on this and fast acting exercises that help you work with your body’s natural breathing and sound-making design, use my book and CD series Contemporary Vocalist Volume One.

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