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I wish it would be forgotten. Again. >> If you do it like that, you can't go. You're not singing by pushing forward now, but by truly exhaling your breath, and you make that forward with your throat. So, what it means is, it's a relaxed state. It's a state where everything is loosened. I wish it would be. >> You have to do it like this. Even if you just hold your breath a little, the sound will become much easier. >> I wish it would be forgotten. Again. >> Ah, good. Now, did you see? This vocal cord changed in just one go. This is truly a compilation of how to open your throat and sing high notes comfortably, but no one mentions this part in this way. Isn't that person naturally talented, so they changed so well in one go? Can't people who are truly tone-deaf and unable to sing high notes not change even if they receive this? If it were all about being naturally talented, that person would have done it all by themselves watching YouTube. But in the end, even that person couldn't do it and came here. The reason that person came is because they said they couldn't sing after singing one or two songs. >> The tone-deaf and those unable to sing high notes that I mentioned earlier. People who have never been able to sing high notes can't do it because they don't know the method, so if you just teach them, they can all do it. Good luck, goodbye. >> That pitch. Yes. >> Right now, not a single one is matching. >> I don't know well. How to match it. >> Hmm. Hmm. >> Let's think about pitch and mistakes later. Let's focus on whether a light tone comes out or not. Yes. >> The broken pieces of your heart. >> So, if you watch today's video until the end, you will be able to learn how to open your throat and sing high notes comfortably. Do you know that? Do you know the movie "Barefoot Ki-bong"? The sound Ki-bong makes in that movie is the ultimate in high-note vocalization. >> What kind of nonsensical thing is that? Why is that the ultimate in high-note vocalization? >> Raise one, raise one more. >> When you listen to that sound, you raise one, and at the end, your throat is open, and the sound is clearly there. In this state, what do we want? A solid sound, right? Now, if you use your breath here, you can sing high notes with your throat open, like "Don't worry, young life, it's okay to fall." >> It's okay. >> Really? That sound is everything. All singers sing like that. >> Now, you who are watching this, you're probably thinking, "This is just another obvious trick on YouTube, right?" >> But if you break this down one by one, it contains months of practice. I really can't teach it any easier or more effectively than this. >> Really? How do you do it? I'm going to tell you now. I can tell you all at once, but there were many people in the comments of the previous video who said they didn't understand what I was saying. >> I'll break it down into three stages and teach it so easily that you'll definitely be able to do it. First, opening the throat. Second, creating vocal cords for high notes on top of that. And the most important third stage, making the sound solid. From now on, I'll explain it step by step, so focus and follow along. Usually, when ordinary people try to sing high notes, they do it with their throats closed, their throats constricted, so even if they try to sing high notes, it sounds unpleasant. Right? So, we're going to imitate Ki-bong's sound. >> Raise one, ha. Raise one, ha. Your throat opens right away, doesn't it? This is the state where your throat is open. Raise one. >> You're doing well. Why are you doing well? >> Ah, is it this? This is mix voice. Raise one, breath. >> Yes, that's it. The breath passes through the throat, and it feels open, right? >> Ah, yes. But. >> Ah, this is a trick, a fake falsetto, isn't it? It's not a successful fake falsetto yet. It's still too weak. >> No, how long has it been since you started? >> Of course, it's still weak. You've only opened your throat. >> It was the first stage. >> So, we're going to hold back the breath that was flowing so smoothly. No, wait. You just opened your throat and made the breath flow well, so why are you holding it back again? >> Isn't this a fake falsetto? >> To sing without closing your throat, the breath needs to be unable to escape. Only in that state can you withstand the vocal cord contact. To hold it back, you don't close your throat, but you create a state where the contact can be maintained. So, because there's not enough pressure and the sound is about to flip, you have no choice but to close your throat to try and hold it back. So, it's not the throat's fault. It's the fault of not being able to create pressure. Now, this is where it gets really important. Watch carefully. Second, vocal cord contact. That is, we're going to create the sound now. Ah, sounds like you're pretending to be charming, like "Ah, honey." >> It's not charming. We're going to make a sound like pretending to be charming. Vocal fry. >> The sound is called vocal fry, meaning you fry the sound, like frying. >> I'll tell you an easy way to do it. If you pronounce "hang," the back of your tongue will touch the roof of your mouth precisely. Hmm. >> In that state, in falsetto. >> From there, [music] from there, coming down from there, it will be around the back of your nose. That's where the vocal fry is properly engaged. Be careful, there are three points where vocal fry can be engaged. The back of the mouth. And. Hmm. The back of the mouth. Hmm. The throat. >> Don't do the back of the mouth and throat. Here, it thickens. >> Exactly. It has to be at the back of your nose. >> Ah, yes. It really feels like something is being fried here, at the back of my nose. >> Right? This sound accurately touches the part of the vocal cord that we need to use for high notes. >> Right? So, since that fry creates the high-note vocal cords, the thin vocal cord contact, we can connect it directly to high notes. To the sound. In fact, if you've been following our academy videos for a while, even with just this much explanation, you should be able to sing high notes comfortably. But there will be people who still can't do it. Then something is wrong. In fact, it's meaningless to move on to the next stage without being able to engage the fry or feel it. So, we're going to make sure we get this right. I'll quickly explain how to practice for different types of problems. Those who can't do it, pause the video for a moment and try it slowly. First, when the tongue is curled. If you look in the mirror, your tongue won't be stuck to your lower lip, but will be curled up, blocking your throat. So, you need to push your tongue tip forward with an "R" sound in the "ae" vowel. Second, when it stops after a short sound. "Ae." Those people are not pushing the breath continuously, so instead of thinking of maintaining it, just keep exhaling. "Ae." And third, when you open your mouth like this, like this, and there's external force in your cheeks. If you do that, you can't attach thinly. Because there's force, if you gather it with an "o" vowel, the upper part will be better secured. The back of your nose. And finally, fourth. If you still can't do it, just close your mouth and try. You'll feel it right away. So, now we'll connect the fry sound to high notes with the throat open. "Don't worry, young life, it's okay to fall." You have to be able to do it like this. The fry must be connected to the sound. Ah. >> If it's like this or like this, it's not good. >> Hmm. I understand, but is it still a fake falsetto, a trick? >> I told you there's a third, most important stage left. >> Ah, right. >> The most important third stage. You have to turn that falsetto-like sound into a solid sound that can be used in songs. Usually, you only know the one-dimensional method of making a solid sound by putting force in your throat, like this. That's why you close your throat. As a result, even if you set up high notes well with vocal fry, you end up going this way because you do this. So, usually, people think, "Do I have to be naturally talented for this? Is it because they're talented?" and they're stuck in that cycle. You have to do it properly. So, to make the sound solid, you don't create solidity in your throat, but you forcefully exhale your breath momentarily, and with that force, you make your vocal cords solid. So, how do you exhale forcefully? When I said "raise one" earlier, it's not just "raise one," but you go with a momentary push. You just need to maintain that momentary contraction. Ha, not "ha," but "ha, ri." [music] Keep doing it like this. >> Steady. >> Right. Now, look. "Ha, ha. Don't worry, young life, it's okay to fall." You have to keep pushing hard like this. >> You can't let go in the middle. >> Ah, right. Then you'll just close your throat in the middle. And that student I consulted with earlier, I just taught them that one thing, and they changed because of it. >> I wish it would be forgotten. Again. >> One. >> One. >> Raise. >> Raise. >> Come. >> Come. >> Right. You have to approach it by using only that. >> I wish it would be forgotten. Again. >> Did you see? This person also changed this much in just one lesson. If you still think you have to be naturally talented, or that it's about talent, you don't need to come. But the reason they think that is because they haven't grasped the exact method yet, and their throat is constricted, and their high notes haven't been resolved, so they can't help but think that way. We showed you everything earlier. It changes this much with just one lesson. Most one-day classes just pick a song and say, "You can sing this a little more like this," or "It would be better to sing this more in this direction." They don't tell you why your vocalization has problems, or what specific exercises you need to do to solve them, or provide fundamental solutions. So, if you truly think you're tone-deaf, or if you really want to sing high notes but find it too difficult and can't do it, apply for a lesson through the link in the pinned comment, and I will definitely change it for you. It's limited to six people per month, and there are so many people on the waiting list that the price will be increased starting next month. Decide for yourself whether your singing life will change after taking lessons or remain as it is now. If you're ugly, you should at least sing well. If you can't sing, you're worse than a hoe. [music]