Classical Guitar Lessons Vancouver

How To Sing Better For Guys Part 1

Is Everybody Readyé Well, Alright, then! Let'sGO!!!! Yeah, Yeah, Yeah, Yeah! How to Sing Better for Guys. Welcome to KenTamplin Vocal Academy, where we're going to be discussing How To Sing Better for Guys. Hi, Guys. Ken Tamplin from Ken Tamplin VocalAcademy, and I'm going to teach you a little bit about the voice and voice lessons today. This is Part One in a ThreePart series onHow to Sing Better for Guys. Now, there's a lot of different styles anda lot of different approaches to singing,

so that one subject isn't just how to singbetter for all guys, because it's how to sing better in whatever style you're looking tosing. Well, there are some very basic, nonnegotiables to singing, and I want to point out that mostof the time, not all of the time, but most of the time, guys want to sing harder thangirls. They want to get out there and just belt and wail. .and there's the other side, of R'n'B or Pop guys that are just looking to have somesoul, and some good licks, and some good tone, and good resonance, and stamina, andso forth, AND range, which we all want.

But I want to cover both aspects fairly briefly.I'm going to discuss Rock Singing first, and then I'm going to break into more Pop andR'n'B. So the very first thing is, is that we wantto have awesome posture. You want to sit up straight, or stand up straight, and by theway, when you sit, you lose up to 30% of your strength in your abdomen when you're singing,so I recommend you stand, if you can, but anyway, so you're going to want to stand,and you're going to want to take a breath from your belly, from your abdomen. Insteadof breathing like we do like this, from our chest, we want to breathe from our abdomen,from our belly, and our diaphragm. So you've

heard a lot about diaphragmatic support, soI'm not going to cover that here, I have some tutorials on my website regarding diaphragmaticsupport, and I have an amazing course called quot;How to Sing Better Than Anyone Elsequot;.So anyway, I want to talk about how to sing better for guys, so we're going to start firstwith this bright quot;PINGquot; in an quot;AHquot;vowel. quot;AH. AH.quot; I coined a phrase, it's called quot;IT'sthe LAH!!! AHHH!!quot; and it's that nice, Open Throat, Bright Ping Sound that keeps us fromsort of choking on our vowel sounds or pinching and squeezing as we go up.Now there's a lot to this but I'm going to just go through the basic elements of thisfirst, and then if you're interested, check out

my course, or check out my channel and I covera good amount of this stuff. So, we're going to start with the mean averageof singers, and that would be a baritone. And so we're going to start down in like amidbari or upper midbari range, and we're just going to go through a simple triad scalelike this: Lah, ah, ah, ah, ah, ah, ah.And try to keep the jaw as stable as possible. Try not to move the mandible, or the jaw,keep it in the marble or static or stable position, we're going to continue up a triadscale, like this: Lah, ah, ah, AH, ah, ah, ahhh.Don't forget your breath. Take your breath,

and use your breath, bring in the breath,kind of like you're doing a situp, the feeling of how much strength is required when you'redoing a situp. So let's continue. , Lah, ah, ah, AH, ah, ah, ahhh.Take your breath. Relax the shoulders, relax the arms, relax the neck. let's continue:Nice, bright, Open AH. I don't mean quot;loh, oh, oh, ohhh. or luh, uh, uh, uhh. I meanquot;AHquot;. Lah, ah, ah, AH, ah, ah, ahhh. Do yourselfa favor. Even get out a handheld mirror and look at the back of your throat, and see ifyour throat is nice and wide open, and that your tongue is placed to the base of the jaw,so it's not causing any stricture, or any

How to Play a Toombi Part 1 by Sangtar

Today we'll talk about Toombi. Toombi has a very high status in Punjabi music. As you know in every Punjabi song there are real or artificial Toombi parts. If there is no Toombi, then there is another instrument played in the style of Toombi, on a keyboard or another instrument. The reason behind its status is its ancient origins. It is an old instrument.

But everything that looks like a Toombi is not necessarily a Toombi. We can only call it a Toombi if its body is made from a Toomba (Indian gourd). If it is a big gourd then the instrument is called a Toomba if the size is smaller then it's called a Toombi. But if it is made of wood, when you buy a common Toombi from a music shop, the body is generally made of wood, Technically speaking, then it doesn't remain a Toombi anymore, it becomes an Iktara (one string instrument common in India).

This is also an iktara as it has only one string, but it is also a Toombi, as the body is made from a gourd. And, when we talk about an Iktara, then not just in Punjabi music, it has a very special place in Indian Music. The world's oldest music book NatyaShastar says that the original Veena (stringed instrument) was an 'Iktantri Veena' (singlestring Instrument). Which means it was an instrument not much different than a Toombi.

It does make sense. As humans first made flutes and drums, but when they made their first stringed instrument, of course they didn't say let's string together 352 strings and make a piano. It was for sure a one string instrument. It also means that it was used for classical music as well to play Ragas etc. These days however, players generally play only one or two notes on a Toombi. A few play three notes, the good ones play four and one or two players play five notes.

And the whole octaveé Just forget about it. Perhaps there are rare exceptions. Toombi is actually capable of producing one and half octave. As a Bansuri (Bamboo flute) is capable of producing two octaves, a Toombi is capable of producing one and half octaves. But when people hold it, they hold it in a way that they cannot move their hand from this position. Whenever you learn an instrument,

learn to hold it in a way that you gain full control over it. As I am holding the Toombi now, you can probably tell that it won't be much difficult for me to move my hand like this. If I tie my hand here like a pigeon caught in a net, then it becomes apparent that I can't play more than one or two notes. And yes, how to play a Toombié To play a Toombi…, there are two ways to hold a Toombi. One is like this, and the other like this.

How to Build Chord Shapes on a Guitar Building the G Major Chord on the Guitar

MICHAEL PLUNKETT: Hi. This is Michael Plunketton behalf of Expert Village. Now we're going to go ahead and we're going to take a lookat our G chord shape or we've already seen the shape, but we're going to see how thenotes and the scale degrees lie in there, and we're going to learn how to manipulatethose to make other types of G chords. So, reviewing again, we find that to build theG major chord, we take our 1, 3 and 5 which, in this case, is G, B and D. And if you lookthrough the whole chord, that's all it consists of. It got G, that's our 1, 3 B, 5 D and thenwe've got another one, G here, and another D and then G are 1 in ourI'm sorry5 andour 1 here to fill out the full chord and

that's the shape that we've used before. Again,looking here just to review are the actual scale degrees, and really we want to be ableto think of these one when we're playing them so that way come time to manipulate the chord,we know exactly what notes we want to change. This will save us from memorizing many differenttypes of shapes and still keeping within our CAGED structure. So, we can think G, B, D,G, D, G, the notes themselves, and also the scale degrees, 1, 3, 5, 1, 5, 1, and that's our G major.

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