Masterclass: Coaching Jim
Uh jimmy jim jim you're up buddy jim people were successful businesses whose businesses have been so successful that they're taking over their lives okay after four excruciatingly long months of waiting may nineteenth finally arrived we were standing on the shore of the big island of hawaii at the city of refuge and two hundred yards out into the bay where dolphins that was the whole reason that my girlfriend shelley and I took the trip so I was trying to play it cool keep all my excitement in as my inner seven year old was right that's what I'm gonna do way so we strapped on our math or flippers I dove in and I was instantly transformed to another world the sunlight sparkling through the water all of these tropical fish the coral stop right here you've got a lot of anyone ugo for two reasons our three reasons one I want to get from the audience what's working very well about what he's doing this far what is it? Contrasts green lets a mayo good movement yeah I contact energy would be h...
ere he's happy to be here doing this what about his transitions in his beats really good that you're going to say omar or order of the story omar said it's great really nicely done two things I want o two other things I want to mention one is when you got over here what happened well that's ok looking down on the worst because he's got the dough and then they couldn't hear you it's also often harder to hear somebody the voice is going this way then he's not going out with when this one so just be careful of that you want to cheat open and if you could find yourself getting caught down here you just cheated open you cheat back cheat open that's one thing the other thing we're gonna do is I'm actually going to follow you around and do uh something similar to what I did for mrs awesome because when you get nervous you don't breathe past your chest you could hear that and so it gets you know it gets a little extra gravelly and it feels like a little tight this is you know what if you're able to sort of loosen this up relax it you're able to breathe deeper into here you will be as nervous you should be able to come out be like it was my my crushes okay so let's start again from the beginning and I want you to breathe deeper and not feel like you have to rush through things if you feel like you're running out of bread then uh you feel like you're running out of breath and just chill man and take a big breath and then keep going okay after four take a big breath before you start after four long excruciating month may nineteenth finally arrived we were standing on the shore of the big island of hawaii right outside the city of refuge can you feel that you're not breathing that much? No no does he look like he's breathing much and your voice is very quiet but when your voices quiet it still needs sound on spring it's very hard for people to hear. So when you whisper you still need sound on your voice so it's, a theatrical whisper is very different than actual whisper and what's happening I don't feel any movement at all not okay and I can feel the beats where I know you want to breathe okay but I feel that this is what this is what I what I see that's it that is much breath and you're using so what we want to do here is not worried too much about the blocking not worried too much about you know the way that you rehearsed it but work on breathing mohr finding the best let's just stand in one spot to do this and I want you take a nice big breath fill my hands here push out here you go good and then you go after four long excruciating my breathe beginning may nineteenth finally arrived and there we were standing on the shore on the big island of hawaii breathe looking out into the bay at the city of refuge in two hundred yards out there were the dolphins that we came to swim with breathe breathe good I was trying to bring real breathing and use the air to speak I was maintaining my cool as my inner seven year old yes I just don't know if it's right there goes that doesn't want to swing with you keep you oh no no see you see what you're doing do you see what you do let it out yeah okay so if you breathe and then start talking there's no love airlines teo talk with because remember the air runs over your vocal chords and the vibration makes a sound so if you don't have air to go over the vocal cords then you can't make much of a sound you were too much air over the book vocal cords then it starts to sound wispy ahs amy was teaching in a previous segment yes, mistress be right here. Okay so now let's try it again I'm gonna put hands on one more time to keep you in this place again and, uh we'll uh we'll try to get okay yeah, I'm gonna swim with those dolphins does one spread out there so I mean take the farm we'll give it a rest so good so I maintain my cool for a moment got my fin strapped on my mask I dove in and I was instantly transported to a different world breathe the sunlight was sparkling across the coral all of these tropical fish breathe and I started swimming out and I noticed the bottom was getting further away and as I got to the edge of the coral reef and saw the drop off, I realized I can't swim well enough teo this last shot you do how do you hear a difference? This last chunk? I feel vibration in my hands before I didn't I feel the vibration here now one of things that you're doing that you don't realize is is constraining your breathing is your breathing in through your nose rather than your mouth? When we speak when we're performing, we don't breathe like you do when you are supposed to be training you in your mouth and out, you know that's not how we we don't breathe through the nose, we breathe in the mouth, so the breath goes and then we speak it's not on then I'll open my mouth that's not how it works, so what you're closing your mouth breathing knows you're having trouble getting it in there creates tension and then you're letting it out before you start to breathe because the tension makes you want to let out some air before you start to breathe okay, so it's remember when and he was working on this waal you know uh what you call it it's the stop scanning yeah, the self talent knew this is tom wright and also you can feel you contain a lot more air because the soft palate needs toe lift to take in the air so and then you have air you see right? Yes. Now, let's try to breathe our mouth open and do your thing from the beginning again but take breaths every time I tell you to take a breath. Okay? Okay. Okay. After four long, excruciating month three may nineteen finally arrived we were standing on the shore on the big island of hawaii right outside the city of refuge looking, breathe, breathe before looking out across the bay and there were dolphins a couple hundred yards out there breathe we took that vacation just to swim with those dolphins. I was maintaining my cool while my inner seven year old was yeah, but those are the ones those those so I have maintained my composure just for a moment got my spin strapped on my mask breathed over henry that was transported to a completely different were open to the audience I could see the sunlight sparkle like coral put it here and I was transformed to put it all right here but already I can see the sunlight sparkling off the coral all of the tropicals fish swimming around good so this is this is just a stage thing that you may not realize when you do this they can't see you so you have to cheat cheating open you're cheap you were looking down you put it out here and now they can see your eyes so it's all over it's like in them I was sparkling it was extraordinary now they can see okay if you're like if you're you have a thing right here that you're supposed to pick up get out this way you don't go like this and look at you go and look at it this way because everything you do is manipulated for the audiences benefit what's different about the way he's doing this what feels different what sounds different what looks different if you have a microphone and you want to use it stand up and he was it if not stand and say I want to make give her my should be to mike's make sure they're both ready readily available like in the beginning you're your physical was almost forced and now I feel like you've calmed it down a bit but your voices has replaced it and I'm feeling like you're more you're still really effective but you look more balance before you almost throwing me off yeah yeah yeah yeah it's almost a little minute because the breath isn't there right great yes next how you have a lot more power because you have the excitement but it's also grounded excitement so it's not excitement up here and frenetic you're in control of that's the key that's what's important yes who's next yes words when you use the breath is a lot more clear there's not more clarity to what you're saying so it's just interesting it just happens to be the case that we brought two people up back to back who could be well served by doing some or voice work and one of the reasons that they're ready to do more voice work is because you see that they have done more work not necessary more working everybody else but more their their their materials more structure their material is more rehearsed so now you can start to see you can go to the next level of all. Now I've got the material I've got a good there is well blocked it's good material now I need to make sure that I'm working on this instrument so that I can do justice to the material to the structure to the blocking etcetera right? You feel that? Yeah, definitely good do you do you do you lose your voice much? You feel like sometimes like do you ever feel like you get tight here get nervous? I was feeling yesterday morning after some of the exercise, right so that's because you haven't yet learned how to support right, right, yeah, I can feel myself just needing to be aware of speaking with full lungs instead of speaking at the end of my breath. I can definitely feel the different. Excellent, something that really helps with voice work is physical work, because when you're opening up the body, you will naturally start to move more into the long span, you know, and it's kind of like you can get into more support for the of breath, for the voice, by specifically working with the breath in that way, but it's not separate from your body, right? So and I don't know whether this is or isn't a contributing factor for you, but the more you can, you're gonna love me do cardio, you know, do some active work with your body that gets you breathing deeply, because if your body's used to breathing deeply and the musculature is usedto opening readily, it will be that much more available for you when you call on it, but not weightlifting. No, we weren't allowed the drama school. This was hard for some of us because some of us used to work out a lot and they said, that's it you when you got there, no weight lifting because it shortens the muscles, it shortens and bunches the muscles, they become shorter, you get to the point where you can do both. You you can lift weights, you know how to use. You can keep him open, you know. So people who are experts at this well say, no, no, no, you it doesn't have to get tighter, doesn't have to close you down, but when you're in your training, they want you to be as available as possible so that nothing is getting in your way open first. And you know those days we were young, we were trying to lift a lot of ways to be strong is different than doing, you know, core movement type stuff that is functional type fitness that is not building book it's not putting, you know, maur size around your triceps and making your, uh, throat muscles tighter. Yes, please stand up supporting the voice because after a day of phone calls, I often lose my voice or phil horse or just get really tired from it. Shouldn't I feel like I shouldn't feel that way should be ableto talk all day? Yes, so that happens from overworking here. Right sometimes we mentioned the term vocal fry yesterday I believe at one point it's this sense of when at the end of a sentence often you see at the end of sentence end of the word where there isn't a lot of breast support, it'll get into this just kind of mashing of the vocal chords together that sounds something like this where people could talk for a long time right here with very, very little breath support but don't just keep mashing them right? And so if you're talking a lot of not supporting, you will start to see some hoarseness, some sore throat all of that, the other thing that can cause it is over efforting if you're feeling like you have to be loud to be heard and you're not supporting with breath, then you pull it from here. So how do we support it's? One of those things that takes work outside of the normal time like setting aside some time just to do breath work, setting aside time just to to do some of that opening of the body. The other thing that I'll say is lifting your pelvic floor helps so some of the ladies in the going of course I like lift your pelvic floor so it's something that you see with singers where when they're trying to hit a high note they will get the instruction from their voice teachers too with the must, like you're trying to stop yourself from p m that they just go, whom don't you love me? Did you know we were going to get into this kind of material? You just it's like a little squeeze didn't know I was going to get into the military have a course called lifting little girl, you're fooling floor, right? But in action, that is one technique that will help you in all seriousness. What we do when we do total immersion training is we spend a month on your pelvic floor just on your voice and speech. I'm joking a full month just on your voice and speech where you're where, where your every day working on your voice and speech techniques, it takes time. We just were in new york filming hours and hours and hours and hours of video, and one of the things that amy recorded for the total immersion program is a a specific warm up that you do every single day toe open up all that musculature so you have that video. You can also just put it into your I pod and listen to it, so they always every single day during your training work on that twelve minutes we're not saying do an hour of voice work everyday, we're saying twelve minutes that's it