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 enoughprofessionalâ€“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. Layâ€¦ Ahhhâ€¦ 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 octaveâ€¦ Layâ€¦
Ahâ€¦ Do this with us in octavesâ€¦ Layâ€¦ Ahâ€¦ 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. Layâ€¦
Learning to Sight Sing Part II Rhythm Lesson 2 Counting in Common Time
Welcome to SonicFit's quot;Learning to Sight Singquot; tutorials. This is Tutorial 2 of Part 2:Learning to Count in Common Time. In the quot;Note Durationquot; tutorial, we used a timeline to demonstrate note values smaller than a whole note. In common time, each new whole note corresponds to a new unit on the ruler. We call this a measure. A measure contains many notes of differing note values as long as the total duration adds up to a whole note. 4 quarter notes can complete a measureâ€”even a half and 2 quarters, or any similar combination. Measures on the staff are separated by bar lines. A bar line is a vertical line connecting the top and bottom lines of the staff. At the start of the staff, a clef isused to orient pitch. A time signature is used to orient rhythm and meter.
Common time can be indicated with the C after the clef. While it is easy to understand common time in terms of a whole note filling a whole measure, in practice, musicians orient more to the beatâ€”which is the quarter note. We count 4 quarter note beats in each measure: 1, 2, 3, 4. This will be explained further in thequot;Time Signaturequot; tutorials. If the quarter note is 1 beat, then it follows that the half note is held for 2 beats, and the whole note is held for 4 beats. Some teachers have students practice singing note values mnemonically. For example, saying quot;taquot; for quarter notes, quot;halfnotequot; for half notes, and quot;hold that whole notequot; for whole notes. At SonicFit, we are skipping over this pedagogical stuff and jumping straight to count singingâ€”where we place the notes in the meter.
In this example, we would count sing: 1, 2, T4, 1, 2, T, 4, 12T4. The first thing that you probably noticed is that I'm saying quot;Tquot; instead of quot;3quot;. This is just to have a word with a crisper attack. quot;Tiquot; instead of quot;Thrquot;. You hopefully also noticed that, for notes lasting more than one beat, I said all of the included numbers staying on the same pitch where the note began. In this way, I continue to mark the beats passing by in time. In writing out how to count sing, use the dash sign to connect held beats. In count singing, you approach each new note with two questions. First, ask quot;How many beats does each note getéquot; In this case, since it's a half note, it gets 2 beats.
Second, you consider where the note starts and ask quot;Which beats are thoseéquot; In this case, since it starts on beat 1 and lasts for 2 beats, it gets beats 1 and 2. Then, we move to the next beat and ask the same two questions. The next beat is a quarter note, so it gets 1 beat. The next available beat is beat 3, so that where it goes. Going on, the next note is a quarter note. It lasts 1 beat, and the available beat is beat 4. Next, we see a bar line indicating thatwe're into a new measure. The first two notes a quarter notes, so they get one beat each. They would go on beats 1 and 2. The next available beat is beat 3. The third note, being a half note, lasts for two beats, so it goes on beats 34.
At the bar line, check that theprevious measure is complete. The first note of the new measure is on beat 1,so if you have something different, you've probably made a mistake in the previous measure. Try to figure out the final two measuresbefore they're shown on the screen. As you become proficient with count singing, you will no longer need to isolate each note with our two questions. Instead, you'll batch notes together and process the information with an instant understanding of how the notes fit in the measure. You are now ready for the Writing in Counts Exercise at Level 1. All of the examples are in common time and use only quarter, half, and whole notes.
The Secret to Improving Your Rhythm and Time by Chick Corea
One really good exercise that I thinkmost musicians, a lot of artists, a lot of people use this, it's a really good wayto check your own judgment to see how to improve your judgment. Because it's yourjudgment you're working with. So one way to do that is it's an easy way to apprentice.What you do is you find a recording of a passage or song or an artists, that has the kind oftime and rhythm that you like, you say â€œWow, that's cool. I wish I could be thatâ€�whatever. That fluent or that smooth or that swinging or that whatever. What ever yourconcept is.You say,â€œBoom. I wish I couldquot; see languages,â€� it's so hard to describe.â€œI wish I could do that.â€� So, what you
do is you take that as a model. And for thefirst step in practice is try to duplicate it. Just mimic it completely. See if you canfind out by mimicking it, what the points in it are that you like, technically. Youcan mimic it. I used to do that with Bud Powell's music. And I tried to mimic his motion. SoI get the flow of his rhythm and so forth. That's step number one. And then turn therecording off and play it yourself and see if that has helped you get the groove andimprove. That's one way to do it. That'sI'm going to give you the ultimate exercise ina second. But that's one way to do it, when you're on your own in your practice room.Another thing that I wanted to say is another
method that musicians use that is really great,that I think is really valid, is that you record yourself. Use a sequencer or use a recorderof any kind or tutorial, use an actual tutorial recorder. And record yourself playing something.Something that you would like to judge whether on what level it is. What you need to improveand then play it back and look at it or listen to it and go, â€œWell that's too much thisway and it needs more of that.â€� So now practice more of that toward whatever your ideal is.Because the tricky thing is, only you're going to know when you reach a point where you go,â€œOh yeah, thats pretty good.â€� Who else is going to tell you thaté Who, that matterséYou're not looking for admiration at this
point. You're looking for, you've gotto know. So you've got to start trusting your own judgment. Now the ultimate exerciseis not only in improving time, but improving anything that you'd like to improve as amusician, is what I called, what is generally known as the apprenticeship system. Apprenticeship.Now when you're an apprentice, you find a â€œmaster,â€� to work with. It could beanyone. It could be your next door neighbor who plays a little bit better than you. Ora friend. Or whoever it is who's got an ability that you think you would like to havetoo. And you go play with him, you go work with him, you go collaborate with, you gomake music together and this is how anyone
learns a trade, or anyone learns the piano,or how anyone learns an instrument. You go and play with other musicians that can helpyou understand the area that you're trying to learn in and so forth. That's calledan apprenticeship. Work with a band, work with another musician. Always with the ideathat you want to learn something and you're there to assimilate what positive things yousee and learn from them. And that is the ultimate, â€œsecretâ€� of improving your time, yourrhythm.