Chords for Voice Teacher Reacts to Disturbed's cover of The Sound of Silence
Tempo:
86 bpm
Chords used:
F#m
A
D
E
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey, my name is Sam Johnson and I am a voice teacher.
I'm going to be reacting to and analyzing Disturbed's cover of The Sound [F#m] of Silence.
In the darkness [E] my old friend, I've come to talk with [F#m] you again.
Because a vision [D] softly [A] creeping, left its seeds [D] while I [A] was sleeping.
And [D] the vision that was planted in [A] my brain [D] [F#m] still [A]
remains within the sound [F#m] of silence.
[N] Nice.
So he's singing pretty low in his range right now.
The best way to do that is just by relaxing.
It doesn't look like he's pushing to try to get lower or anything, and it's not extremely low.
But he's relaxing into it, which allows him to have this really full, big sound.
Even though, like, low notes are kind of hard to project.
He's using his microphone to do the projection.
He's letting it be a very [A#] easy and clear sound [F#m] without pushing into it.
[F#] In restless [E] dreams I walked [B] alone, narrow streets of [F#m]
cobblestone.
Beneath the halo [D] of a street [A] lamp, I turned my collar [D] to the [A] cold and damp.
[D] When my eyes were stared by the flash of a neon [A] light [F#m] that split [A] the night [E] and touched the sun.
He has such a warm voice.
[F#] Oh, silence.
[F#m] [F#]
[E] And in [F#m] the naked [E] light I saw.
That's a pretty vowel.
[Gm] It was kind of round.
It was more like so versus so.
And that let him maintain this feeling of [E] roundness rather than brashness that open, wide vowels sometimes give.
Ten thousand people, [F#m] maybe more.
People talking [D] without [A] speaking.
People hearing [D] without [A] listening.
People writing [D] songs and voices.
Never [F#m]
[A] share.
And [F#m] no one dare disturb [E] the sound.
Their name is [F#m] Disturb. A silence.
Fool's eye, you [A] do not [E] know.
Silence like a [F#m] cancer grows.
Hear my words and [D] I'm a high teacher.
I love that the notes are moving up and down, [N] but his mouth is not really moving much.
It's like the same mouth that he's using for low notes.
He's keeping it in the same position when he goes to high notes.
And so you hear the note go up and down and it slightly changes in timbre because he's not adjusting his mouth to try to maintain a completely even timbre.
But I love it because it's keeping things super balanced.
He's not trying to get to these high notes.
He's just opening his mouth and what was working for his low notes, he's [A] allowing that same property to work for his high notes.
Take my arms and [D] I'm a [F#m] high teacher.
So with that one, he started it on an A [N] and an A is a pretty high note, but he actually didn't go very loud with it, which is why he was able to get that tone.
And then he put a little bit of distortion on top of it.
It wasn't screaming into distortion.
The main thing that was allowing this to happen was actually how clear and how connected his voice was when he was singing that A.
And then it's just a little effect on top, but it's relaxing into the effect, which is why if he pushed and then just started getting like way too loud, he wouldn't have that kind of control.
On some of his louder screams, I'm sure that he relaxes into it and then leans into it.
And that's the difference is it's a lean rather than a push.
We don't want to push and force anything.
It's just getting more intense, but the same balance [A] of air and muscle is there.
[D] But my world
Like [A] synopsis
It's very small.
[F#m] [G#m] [A]
Echoed in the [E] waves
[F#m] Of silence
And the people [E] bowed in praise
Yeah, see, it doesn't sound like it's on the [N] cord.
It feels like it's above somehow, and it's not actually going to kill him if he was just going.
You feel that immediately.
That's not what he's doing.
He's doing it in a different way that's allowing him to make this sound [E] and have a sustainable voice.
[F#m]
[D]
[A] If [F#m]
[D] [A] you listen, you can still hear that cord closure.
You can hear that same buzz that he was getting on his clean stuff.
It's just got a little bit of distortion on top of it.
But the good singing that he's doing is not going away.
It's all because he's singing well that he's able to do this.
In the sunset, [D] the birds of the prophets are
Riding on the subway [A] walls
[F#m] And tenement [E] [A] halls
[E] [F#m] Whisper [E] in the silence
[F#] [F#m]
Of silence
Nice, and a little vibrato comes in.
I [N] actually love that vibrato at the end.
It was really smooth.
It sounded like a pretty balanced vibrato because vibrato, all that it is, is a little oscillation.
And if it gets way too wide or way too fast, then things start feeling weird.
Or even if it gets way too slow, his sounds like just relaxing into it.
Vibrato generally just kind of comes if you're singing everything else really well.
Sometimes you have to trick yourself into it after you have everything else balanced.
But with him, he's singing things really well, so it's just relaxing into it.
It's straight tone that's actually an indicator of tension in the voice in some place.
Not that it's bad.
I mean, you have to to get a straight tone sound.
And a straight tone sound is not bad.
A straight tone sound is necessary and it's [E] really important in a lot of genres.
And if you're able to go from a straight tone into a vibrato, that's pretty cool.
But what happens is you're just like releasing that little bit of tension [G] that was allowing you to keep the straight tone when you go into the vibrato.
That's one reason that sometimes when people are singing straight tone, it sounds a little bit off pitch.
And then they start letting the vibrato come in and it tunes on top of it.
Because that's all it took was [N] relaxing a little bit for the note to tune into the right frequency.
So yeah, it sounds like he is very in control of his instrument.
It doesn't look like he's pushing at any point or like anything is a struggle or a guess of whether he's going to be able to make the sound.
Sometimes that's what happens when people start adding a lot of distortion.
Because they just they add the distortion by pressurizing and by increasing things.
And by just like screaming and yelling rather than having this controlled just effect.
And it's really cool to go back and forth between that effect and the really nice clean stuff that he's doing in this song.
I like it a lot.
Thank you for watching.
Please like and subscribe.
Go check out my Patreon if you haven't seen it yet.
There's a link in my description.
And if you want to sign up for voice lessons with either Skype
I'm going to be reacting to and analyzing Disturbed's cover of The Sound [F#m] of Silence.
In the darkness [E] my old friend, I've come to talk with [F#m] you again.
Because a vision [D] softly [A] creeping, left its seeds [D] while I [A] was sleeping.
And [D] the vision that was planted in [A] my brain [D] [F#m] still [A]
remains within the sound [F#m] of silence.
[N] Nice.
So he's singing pretty low in his range right now.
The best way to do that is just by relaxing.
It doesn't look like he's pushing to try to get lower or anything, and it's not extremely low.
But he's relaxing into it, which allows him to have this really full, big sound.
Even though, like, low notes are kind of hard to project.
He's using his microphone to do the projection.
He's letting it be a very [A#] easy and clear sound [F#m] without pushing into it.
[F#] In restless [E] dreams I walked [B] alone, narrow streets of [F#m]
cobblestone.
Beneath the halo [D] of a street [A] lamp, I turned my collar [D] to the [A] cold and damp.
[D] When my eyes were stared by the flash of a neon [A] light [F#m] that split [A] the night [E] and touched the sun.
He has such a warm voice.
[F#] Oh, silence.
[F#m] [F#]
[E] And in [F#m] the naked [E] light I saw.
That's a pretty vowel.
[Gm] It was kind of round.
It was more like so versus so.
And that let him maintain this feeling of [E] roundness rather than brashness that open, wide vowels sometimes give.
Ten thousand people, [F#m] maybe more.
People talking [D] without [A] speaking.
People hearing [D] without [A] listening.
People writing [D] songs and voices.
Never [F#m]
[A] share.
And [F#m] no one dare disturb [E] the sound.
Their name is [F#m] Disturb. A silence.
Fool's eye, you [A] do not [E] know.
Silence like a [F#m] cancer grows.
Hear my words and [D] I'm a high teacher.
I love that the notes are moving up and down, [N] but his mouth is not really moving much.
It's like the same mouth that he's using for low notes.
He's keeping it in the same position when he goes to high notes.
And so you hear the note go up and down and it slightly changes in timbre because he's not adjusting his mouth to try to maintain a completely even timbre.
But I love it because it's keeping things super balanced.
He's not trying to get to these high notes.
He's just opening his mouth and what was working for his low notes, he's [A] allowing that same property to work for his high notes.
Take my arms and [D] I'm a [F#m] high teacher.
So with that one, he started it on an A [N] and an A is a pretty high note, but he actually didn't go very loud with it, which is why he was able to get that tone.
And then he put a little bit of distortion on top of it.
It wasn't screaming into distortion.
The main thing that was allowing this to happen was actually how clear and how connected his voice was when he was singing that A.
And then it's just a little effect on top, but it's relaxing into the effect, which is why if he pushed and then just started getting like way too loud, he wouldn't have that kind of control.
On some of his louder screams, I'm sure that he relaxes into it and then leans into it.
And that's the difference is it's a lean rather than a push.
We don't want to push and force anything.
It's just getting more intense, but the same balance [A] of air and muscle is there.
[D] But my world
Like [A] synopsis
It's very small.
[F#m] [G#m] [A]
Echoed in the [E] waves
[F#m] Of silence
And the people [E] bowed in praise
Yeah, see, it doesn't sound like it's on the [N] cord.
It feels like it's above somehow, and it's not actually going to kill him if he was just going.
You feel that immediately.
That's not what he's doing.
He's doing it in a different way that's allowing him to make this sound [E] and have a sustainable voice.
[F#m]
[D]
[A] If [F#m]
[D] [A] you listen, you can still hear that cord closure.
You can hear that same buzz that he was getting on his clean stuff.
It's just got a little bit of distortion on top of it.
But the good singing that he's doing is not going away.
It's all because he's singing well that he's able to do this.
In the sunset, [D] the birds of the prophets are
Riding on the subway [A] walls
[F#m] And tenement [E] [A] halls
[E] [F#m] Whisper [E] in the silence
[F#] [F#m]
Of silence
Nice, and a little vibrato comes in.
I [N] actually love that vibrato at the end.
It was really smooth.
It sounded like a pretty balanced vibrato because vibrato, all that it is, is a little oscillation.
And if it gets way too wide or way too fast, then things start feeling weird.
Or even if it gets way too slow, his sounds like just relaxing into it.
Vibrato generally just kind of comes if you're singing everything else really well.
Sometimes you have to trick yourself into it after you have everything else balanced.
But with him, he's singing things really well, so it's just relaxing into it.
It's straight tone that's actually an indicator of tension in the voice in some place.
Not that it's bad.
I mean, you have to to get a straight tone sound.
And a straight tone sound is not bad.
A straight tone sound is necessary and it's [E] really important in a lot of genres.
And if you're able to go from a straight tone into a vibrato, that's pretty cool.
But what happens is you're just like releasing that little bit of tension [G] that was allowing you to keep the straight tone when you go into the vibrato.
That's one reason that sometimes when people are singing straight tone, it sounds a little bit off pitch.
And then they start letting the vibrato come in and it tunes on top of it.
Because that's all it took was [N] relaxing a little bit for the note to tune into the right frequency.
So yeah, it sounds like he is very in control of his instrument.
It doesn't look like he's pushing at any point or like anything is a struggle or a guess of whether he's going to be able to make the sound.
Sometimes that's what happens when people start adding a lot of distortion.
Because they just they add the distortion by pressurizing and by increasing things.
And by just like screaming and yelling rather than having this controlled just effect.
And it's really cool to go back and forth between that effect and the really nice clean stuff that he's doing in this song.
I like it a lot.
Thank you for watching.
Please like and subscribe.
Go check out my Patreon if you haven't seen it yet.
There's a link in my description.
And if you want to sign up for voice lessons with either Skype
Key:
F#m
A
D
E
F#
F#m
A
D
Hey, my name is Sam Johnson and I am a voice teacher.
I'm going to be reacting to and analyzing Disturbed's cover of The Sound [F#m] of Silence.
In _ _ _ _ _ _ _ _ _ the darkness [E] my old friend, _ I've come to talk with [F#m] you again. _ _
Because a vision [D] softly [A] creeping, _ _ left its seeds [D] while I [A] was sleeping. _
And [D] the vision _ that was planted in [A] my brain [D] _ [F#m] still [A] _
remains within the sound [F#m] of silence.
_ [N] Nice.
So he's singing pretty low in his range right now.
The best way to do that is just by relaxing.
It doesn't look like he's pushing to try to get lower or anything, and it's not extremely low.
But he's relaxing into it, which allows him to have this really full, big sound.
Even though, like, low notes are kind of hard to project.
He's using his microphone to do the projection.
He's letting it be a very [A#] easy and clear sound [F#m] without pushing into it.
[F#] In restless [E] dreams I walked [B] alone, _ _ narrow streets of [F#m] _ _
cobblestone.
_ Beneath the halo [D] of a street [A] lamp, I turned my collar [D] to the [A] cold and damp.
_ [D] When my eyes were stared by the flash of a neon [A] _ light [F#m] that split [A] the night [E] and touched the sun.
He has such a warm voice.
_ [F#] Oh, silence.
[F#m] _ [F#] _ _
[E] And in [F#m] the naked [E] light I saw.
That's a pretty vowel.
[Gm] It was kind of round.
It was more like so versus so. _ _
And that let him maintain this feeling of [E] roundness rather than brashness that open, wide vowels sometimes give.
Ten thousand people, [F#m] maybe more.
_ _ People talking [D] without [A] speaking.
_ _ People hearing [D] without [A] listening.
People writing [D] _ songs and voices. _ _ _ _ _ _ _
_ _ _ _ _ Never [F#m]
[A] share.
And [F#m] no one dare _ disturb [E] the sound.
Their name is [F#m] Disturb. A silence. _
_ _ Fool's eye, you [A] do not [E] know.
_ _ Silence like a [F#m] cancer grows.
_ _ Hear my words and [D] I'm a high teacher.
I love that the notes are moving up and down, [N] but his mouth is not really moving much.
It's like the same mouth that he's using for low notes.
He's keeping it in the same position when he goes to high notes.
And so you hear the note go up and down and it slightly changes in timbre because he's not adjusting his mouth to try to maintain a completely even timbre.
But I love it because it's keeping things super balanced.
He's not trying to get to these high notes.
He's just opening his mouth and what was working for his low notes, he's [A] allowing that same property to work for his high notes.
_ Take my arms and [D] I'm a [F#m] high teacher.
So with that one, he started it on an A [N] and an A is a pretty high note, but he actually didn't go very loud with it, which is why he was able to get that tone.
And then he put a little bit of distortion on top of it.
It wasn't screaming into distortion.
The main thing that was allowing this to happen was actually how clear and how connected his voice was when he was singing that A.
And then it's just a little effect on top, but it's relaxing into the effect, which is why if he pushed and then just started getting like way too loud, he wouldn't have that kind of control.
On some of his louder screams, I'm sure that he relaxes into it and then leans into it.
And that's the difference is it's a lean rather than a push.
We don't want to push and force anything.
It's just getting more intense, but the same balance [A] of air and muscle is there. _
_ [D] But my world
Like _ _ [A] synopsis
It's very small.
[F#m] _ [G#m] _ [A] _
Echoed in the [E] waves
[F#m] Of silence
_ _ And the people [E] bowed in praise
_ Yeah, see, it doesn't sound like it's on the [N] cord.
It feels like it's above somehow, and it's not actually going to kill him if he was just going.
You feel that immediately.
That's not what he's doing.
He's doing it in a different way that's allowing him to make this sound [E] and have a sustainable voice.
_ [F#m] _
_ _ _ _ _ _ _ [D] _
_ [A] _ _ _ If _ [F#m] _
[D] _ [A] _ you listen, you can still hear that cord closure.
You can hear that same buzz that he was getting on his clean stuff.
It's just got a little bit of distortion on top of it.
But the good singing that he's doing is not going away.
It's all because he's singing well that he's able to do this.
In the sunset, [D] the birds of the prophets are
Riding on the subway [A] walls
[F#m] And tenement [E] [A] halls
[E] _ [F#m] Whisper _ [E] in the silence _ _ _ _
_ _ _ [F#] _ _ [F#m] _ _ _
_ _ _ _ Of silence
Nice, and a little vibrato comes in.
I [N] actually love that vibrato at the end.
It was really smooth.
It sounded like a pretty balanced vibrato because vibrato, all that it is, is a little oscillation.
And if it gets way too wide or way too fast, then things start feeling weird.
Or even if it gets way too slow, his sounds like just relaxing into it.
Vibrato generally just kind of comes if you're singing everything else really well.
Sometimes you have to trick yourself into it after you have everything else balanced.
But with him, he's singing things really well, so it's just relaxing into it.
It's straight tone that's actually an indicator of tension in the voice in some place.
Not that it's bad.
I mean, you have to to get a straight tone sound.
And a straight tone sound is not bad.
A straight tone sound is necessary and it's [E] really important in a lot of genres.
And if you're able to go from a straight tone into a vibrato, that's pretty cool.
But what happens is you're just like releasing that little bit of tension [G] that was allowing you to keep the straight tone when you go into the vibrato.
That's one reason that sometimes when people are singing straight tone, it sounds a little bit off pitch.
And then they start letting the vibrato come in and it tunes on top of it.
Because that's all it took was [N] relaxing a little bit for the note to tune into the right frequency.
So yeah, it sounds like he is very in control of his instrument.
It doesn't look like he's pushing at any point or like anything is a struggle or a guess of whether he's going to be able to make the sound.
Sometimes that's what happens when people start adding a lot of distortion.
Because they just they add the distortion by pressurizing and by increasing things.
And by just like screaming and yelling rather than having this controlled just effect.
And it's really cool to go back and forth between that effect and the really nice clean stuff that he's doing in this song.
I like it a lot.
Thank you for watching.
Please like and subscribe.
Go check out my Patreon if you haven't seen it yet.
There's a link in my description.
And if you want to sign up for voice lessons with either Skype
I'm going to be reacting to and analyzing Disturbed's cover of The Sound [F#m] of Silence.
In _ _ _ _ _ _ _ _ _ the darkness [E] my old friend, _ I've come to talk with [F#m] you again. _ _
Because a vision [D] softly [A] creeping, _ _ left its seeds [D] while I [A] was sleeping. _
And [D] the vision _ that was planted in [A] my brain [D] _ [F#m] still [A] _
remains within the sound [F#m] of silence.
_ [N] Nice.
So he's singing pretty low in his range right now.
The best way to do that is just by relaxing.
It doesn't look like he's pushing to try to get lower or anything, and it's not extremely low.
But he's relaxing into it, which allows him to have this really full, big sound.
Even though, like, low notes are kind of hard to project.
He's using his microphone to do the projection.
He's letting it be a very [A#] easy and clear sound [F#m] without pushing into it.
[F#] In restless [E] dreams I walked [B] alone, _ _ narrow streets of [F#m] _ _
cobblestone.
_ Beneath the halo [D] of a street [A] lamp, I turned my collar [D] to the [A] cold and damp.
_ [D] When my eyes were stared by the flash of a neon [A] _ light [F#m] that split [A] the night [E] and touched the sun.
He has such a warm voice.
_ [F#] Oh, silence.
[F#m] _ [F#] _ _
[E] And in [F#m] the naked [E] light I saw.
That's a pretty vowel.
[Gm] It was kind of round.
It was more like so versus so. _ _
And that let him maintain this feeling of [E] roundness rather than brashness that open, wide vowels sometimes give.
Ten thousand people, [F#m] maybe more.
_ _ People talking [D] without [A] speaking.
_ _ People hearing [D] without [A] listening.
People writing [D] _ songs and voices. _ _ _ _ _ _ _
_ _ _ _ _ Never [F#m]
[A] share.
And [F#m] no one dare _ disturb [E] the sound.
Their name is [F#m] Disturb. A silence. _
_ _ Fool's eye, you [A] do not [E] know.
_ _ Silence like a [F#m] cancer grows.
_ _ Hear my words and [D] I'm a high teacher.
I love that the notes are moving up and down, [N] but his mouth is not really moving much.
It's like the same mouth that he's using for low notes.
He's keeping it in the same position when he goes to high notes.
And so you hear the note go up and down and it slightly changes in timbre because he's not adjusting his mouth to try to maintain a completely even timbre.
But I love it because it's keeping things super balanced.
He's not trying to get to these high notes.
He's just opening his mouth and what was working for his low notes, he's [A] allowing that same property to work for his high notes.
_ Take my arms and [D] I'm a [F#m] high teacher.
So with that one, he started it on an A [N] and an A is a pretty high note, but he actually didn't go very loud with it, which is why he was able to get that tone.
And then he put a little bit of distortion on top of it.
It wasn't screaming into distortion.
The main thing that was allowing this to happen was actually how clear and how connected his voice was when he was singing that A.
And then it's just a little effect on top, but it's relaxing into the effect, which is why if he pushed and then just started getting like way too loud, he wouldn't have that kind of control.
On some of his louder screams, I'm sure that he relaxes into it and then leans into it.
And that's the difference is it's a lean rather than a push.
We don't want to push and force anything.
It's just getting more intense, but the same balance [A] of air and muscle is there. _
_ [D] But my world
Like _ _ [A] synopsis
It's very small.
[F#m] _ [G#m] _ [A] _
Echoed in the [E] waves
[F#m] Of silence
_ _ And the people [E] bowed in praise
_ Yeah, see, it doesn't sound like it's on the [N] cord.
It feels like it's above somehow, and it's not actually going to kill him if he was just going.
You feel that immediately.
That's not what he's doing.
He's doing it in a different way that's allowing him to make this sound [E] and have a sustainable voice.
_ [F#m] _
_ _ _ _ _ _ _ [D] _
_ [A] _ _ _ If _ [F#m] _
[D] _ [A] _ you listen, you can still hear that cord closure.
You can hear that same buzz that he was getting on his clean stuff.
It's just got a little bit of distortion on top of it.
But the good singing that he's doing is not going away.
It's all because he's singing well that he's able to do this.
In the sunset, [D] the birds of the prophets are
Riding on the subway [A] walls
[F#m] And tenement [E] [A] halls
[E] _ [F#m] Whisper _ [E] in the silence _ _ _ _
_ _ _ [F#] _ _ [F#m] _ _ _
_ _ _ _ Of silence
Nice, and a little vibrato comes in.
I [N] actually love that vibrato at the end.
It was really smooth.
It sounded like a pretty balanced vibrato because vibrato, all that it is, is a little oscillation.
And if it gets way too wide or way too fast, then things start feeling weird.
Or even if it gets way too slow, his sounds like just relaxing into it.
Vibrato generally just kind of comes if you're singing everything else really well.
Sometimes you have to trick yourself into it after you have everything else balanced.
But with him, he's singing things really well, so it's just relaxing into it.
It's straight tone that's actually an indicator of tension in the voice in some place.
Not that it's bad.
I mean, you have to to get a straight tone sound.
And a straight tone sound is not bad.
A straight tone sound is necessary and it's [E] really important in a lot of genres.
And if you're able to go from a straight tone into a vibrato, that's pretty cool.
But what happens is you're just like releasing that little bit of tension [G] that was allowing you to keep the straight tone when you go into the vibrato.
That's one reason that sometimes when people are singing straight tone, it sounds a little bit off pitch.
And then they start letting the vibrato come in and it tunes on top of it.
Because that's all it took was [N] relaxing a little bit for the note to tune into the right frequency.
So yeah, it sounds like he is very in control of his instrument.
It doesn't look like he's pushing at any point or like anything is a struggle or a guess of whether he's going to be able to make the sound.
Sometimes that's what happens when people start adding a lot of distortion.
Because they just they add the distortion by pressurizing and by increasing things.
And by just like screaming and yelling rather than having this controlled just effect.
And it's really cool to go back and forth between that effect and the really nice clean stuff that he's doing in this song.
I like it a lot.
Thank you for watching.
Please like and subscribe.
Go check out my Patreon if you haven't seen it yet.
There's a link in my description.
And if you want to sign up for voice lessons with either Skype