Keyboard Lessons Melton

How To Sing Like Your Favorite Artist pt2

Hello, and welcome. I'm Ryan Higa, professional singer and vocalstiloligerizerist. You might remember me from How To Sing Like Your Favorite Artist part 1. Well this one's completely different. It's not as good. With that being said, welcome to How To Sing Like Your Favorite Artist part 2. Remember that scary movie quot;The Grudgequot;é Make the sound that the little girl in quot;The Grudgequot; makes.

(groaning) Just sing like you normally would sing. ♪ When I met you in the summer! ♪ .and add the little Grudge girl sound. ♪ When I met you in the summer. ♪ ♪ To my heartbeat sound. ♪ ♪ We fell in love. ♪ ♪ As the leaves turned brown. ♪

grunting noises In order to sound like The Weekend, you have to literally make your face frozen to the point where it's numb and you can't feel it anymore. ♪ I can't feel my face when I'm with you. ♪ And once you get the frozen face down, all you have to do is act like you're sad and depressed.

♪ I'm just tryna get you out the friend zone. ♪ And if people can't hear you, just use a megaphone. ♪ I only call you when it's half past. ♪ In order to sound like Fetty Wap, just sing as if you just got hit in the nuts. Or for girls to relate, just make the sound you make when you cut wind. You know, when you get the wind knocked out of you, you make the sound that's like stressed inhale and then just sing like that. Fetty Wap.

Auuugh! ♪ Baby won't you come my wayé ♪ grunting You know when you're yawning and you still try to talk; that sound it makesé yawning All you have to do is sing, while you yawn. yawning ♪ You and me we made a vow. ♪

♪ You say I'm crazy. ♪ ♪ And you don't think. ♪ laughing You know when you're a little kid where you're on the verge of crying but you do your best to try and suck it upé You know, the borderline where you're trying to fight back your tears, because you know once you start crying, you're not gonna be able to stop.

21st Century Piano Bar Scott Bradlee at TEDxOrangeCoast

(Piano music) Hi, I'm Scott Bradlee. When I was in third grade I was cast as a piano playerfor my school play. Now, back then I knew how to play exactly one song. So, my role was essentiallyplaying that song over, and over, and over again. So around the sixth or seventh rendition,

I decided to have a little fun,try a little improv. So I stopped. I turned to the audience and I said, quot;Any requestséquot; So, there were no requests that day,but I was not discouraged. And a few years later I heard New Orleans jazz for the first time. And as I heard all the horns improvising melodies around each other, it made me think of like a bunch of old friends

just having a very lively conversation. Now I really didn't know much about what jazz was at this time, but that didn't really matter to me;I knew that this music had this amazing communal aspect to it that I couldn't find anywhere else, and I knew that it was a conversation that I wanted to join. (quot;New York, New Yorkquot; melody) So fast forward to 2006.

I had spent the last decade refining my craft as a jazz pianist, and I was ready to move to New York City, the music capital of the world. So, I was about to get discovered, righté Wrong! Unfortunately for me, it was the music capital of the worldbecause everyone was a musician.

I soon received an unsolicited education about the harsh realitiesof life as a musician. The city was full of great jazz musicians and there just simply wasn't enough work to go around. When I did have a gig, I was treated largely as background musicor at best, a museum piece from a bygone era. The general public couldn't find any relevance

in the type of music I was playing,and I couldn't say I blamed them. I realized that I had to make a choice: either accept this and roll that music to a sideand begin to find a quot;real jobquot;; or find a way to get people excited about my music. Now, I always had a long standing fascination with the idea of performing concerts in venues that were neverintended to host music.

Maria Bezaitis The surprising need for strangeness

Translator: Joseph GeniReviewer: Morton Bast quot;Don't talk to strangers.quot; You have heard that phrase uttered by your friends, family, schools and the media for decades. It's a norm. It's a social norm. But it's a special kind of social norm, because it's a social norm that wants to tell us who we can relate to and who we shouldn't relate to.

quot;Don't talk to strangersquot; says, quot;Stay from anyone who's not familiar to you. Stick with the people you know. Stick with people like you.quot; How appealing is thaté It's not really what we do, is it, when we're at our besté When we're at our best, we reach out to people who are not like us,

because when we do that, we learn from people who are not like us. My phrase for this value of being with quot;not like usquot; is quot;strangeness,quot; and my point is that in today's digitally intensive world, strangers are quite frankly not the point. The point that we should be worried about is, how much strangeness are we gettingé

Why strangenessé Because our social relations are increasingly mediated by data, and data turns our social relations into digital relations, and that means that our digital relations now depend extraordinarily on technology to bring to them a sense of robustness, a sense of discovery, a sense of surprise and unpredictability.

Why not strangersé Because strangers are part of a world of really rigid boundaries. They belong to a world of people I know versus people I don't know, and in the context of my digital relations, I'm already doing things with people I don't know. The question isn't whether or not I know you.

The question is, what can I do with youé What can I learn with youé What can we do together that benefits us bothé I spend a lot of time thinking about how the social landscape is changing, how new technologies create new constraints and new opportunities for people. The most important changes facing us today

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