Carnatic Music Lessons Melbourne

How To Sing Like A PRO Open Throat Technique Tutorial Ken Tamplin Vocal Academy

How to sing like a Pro. Hey guys, my name is Ken Tamplin, and welcometo Ken Tamplin Vocal Academy, where the proof is in the singing. Now, in order for me to be able to teach youhow to sing like a Pro, I'd better have achieved professional status myself, and Ialso better show you that I have students that have gone from amateur status to professionalstatus. Now let's be clear on something. Most professionals themselves don't singwell from a technical standpoint.

So just to sing like a Pro doesn't meanyour singing properly or great, but I have to point out that no matter where you getyour information, think about this: the person giving that information, have they achieveda high level of professional statusé And do they demonstrate students that haveprofessional statusé We have over 300 tutorials on my channel, withthe plethora, which means a lot, of students on my channel, many of which have achievedawesome professional status. Now just quickly go to Sara Loera, check outGabriela Guncikova, 10 second songs' Anthony Vincent, Mark Hudson from Dragon Force, Icould go on and on and on with a lot of the

students that have applied my course and achievedprofessional status. Now what does it mean to become professionaland how do we do ité Well it has to do with strength training andthe way we think about the voice and the way we strength train in order to build enoughprofessional–ism in what it is that we're doing to be able to sing strong with confidencenight after night with consistency. So I have a singing course called How To SingBetter Than Anyone Else, you can check it out on Ken Tamplin Vocal Academy dot com,and I walk you through, stepbystep what it's going to take to help you become aprofessional singer.

Now, to be a professional singer, there'slots involved in this and it's not just only the physical or musical side, there'sa psychological side to this, but I want to show you a few things that you can do thatwill be really, really awesome. Okayé We're just going to run through a coupleof warmup exercises that will help you understand how to clean up the voice. Now, check out my tutorial on diaphragmatic support,check out my tutorial on open throat technique, it's the precursor of what you're goingto need to do, what we are about to do here

at this level. We're going to sing an AA vowel, and theAA vowel scale is going to go like this. Lay… Ahhh… So AA and Ah, and we're going to actuallyslowly go through this to start to strength train the voice, here we go. Ladies, you'll do this up the octave… Lay…

Ah… Do this with us in octaves… Lay… Ah… Now, going between vowels, AA and Ah helpresiliency and the ability to relax the cords and to, with freedom, be able to go up anddown a scale without feeling tension in the throat, because we want to build strengthfor the sound. Lay…

Learn to Play Bansuri Part 7 Legato and Staccato Notes

Today we'll discuss an entirelynew concept. That in how many ways you canplay the musical notesé On the basic level, there are onlytwo ways to play the notes. There are joined (tied) notes, and there are separated notes. The joined notes are knownas ‘Legato' notes, and the separated notes areknown as ‘Staccato' notes. And.

the same rule applies to the flute. Now the legato notes and staccato noteshave their own characteristics. First we'll see what does legato meané It means that when you blow into theflute, it is continuous… while we change from one noteto the other. However, this doesn't mean that thepitch glides between the notes. That is up to you. The legato notes could have the glideeffect, or they could be without it

but there should be no accentbetween them. There could be a jump in pitch, but there would be no accent in playing. What it means is that when we play atied note on a Sitar we pluck once and then pressthe next note, same on a toombi. In fact on any instrument. On a violin the bow will not stopbetween legato notes.

While singing there will be no accentbetween these notes. This is the basic identityof a legato note. I'll show you how to play legatonotes on Bansuri, Sa Re, Sa Re, Sa Re Tied, without any gliding (slur) effect, it will sound something like this. ♪ ♪ And, if we are to play staccato notes,

One characteristic of a staccato notesis that these could also have rests, because there is an accentafter each note. Musical rest means if the note is this long, it can be played for the entire length,Or you can play for half of the time andstay quiet for the next half. But if we were to play staccato noteswithout rests, as we played the legato noteswithout sliding the pitch.

if we play staccato noteswithout rests, Sa Re, Sa Re. How would that soundé ♪ ♪ So the Legato Notes… ♪ ♪ Staccato notes… ♪ ♪

Mario Garza Mridanga Drum

gt;gt;Mario Garza: This is a traditional Bengalidrum from India. It's called a mridanga. It's been around since the 1400s. I was never a musician or musically inclined.However one day, a friend of mine tells me these are Indian drums and I want you to learnthem, I'm pretty sure you can pick them up. Just by the suggestion, I picked up adrum, and just laying my fingers on them it took about a month I became very fluentwith it. It just expanded from there. Indian music, like other Eastern music, isvery different than Western music that we hear in the US or even Mexico. When I firstheard percussion music with different mathematics

and different aesthetic sounds like (bangsdrum) that, you never hear it. So when I got introduced to it, it immediately grabbed myattention. I though, I got to learn this. I learned simply by YouTube tutorials and internet. There is groups of people I practice with.This is the new age: new technology, new lifestyle. So since I'm learning it from the internet,I'm playing with people who bring in other electric instruments – American instrumentslike a guitar or a drum set. I add in the other types of cultures with this new cultureI'm learning. I get to walk around this beautiful campus.I walk from class to class. I carry it with

me. I'm a student and the title in itselfjust grants me to not have anyone question me like Oh, you keep carrying that drum around.Well of course, I want it to be my trade. I want to learn it. I want to appreciate it.People come up to me all the time. gt;gt;Martin Castanon: When I walk to my morningclasses, I see him walking and he has the drum and he's playing it. It's prettycool. gt;gt;Mario Garza: Since it's so foreign, itgrabs their attention by sight. But since the music and the sounds are so aesthetic,it grabs them. gt;gt;Martin Castanon: I actually like the musica lot. I don't really hear anything like

that around here. I want to learn to playthat drum. gt;gt;Mario Garza: This could be a trade in itself:the making, the music, the education behind it, and the knowledge, especially with allthe celestial education you can learn from it since it touches very intimately with religion.I can follow this drum and make it a lifestyle. I'm submerging myself into another culture,whole new diet, whole new lifestyle. And it's a potential occupation as well. You get toturn other people on to everything else, like I am. So if I introduce them to music andthey get pleased and any slight interest is ignited, then it's reason to celebrate.

This drum encompasses culture. The drum itselfis culture: the make of it, the sound of it, the style, the mathematics behind rhythms – everything is embodying a culture. So how it found its way over to South Texas andfound me is amazing.

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