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 Stop Voice Cracking Now Singing Lessons Ken Tamplin Vocal Academy
Stop cracking when singing! How do we do thatéHey guys, my name is Ken Tamplin, from Ken Tamplin Vocal Academy, where the PROOF isin the SINGING! Now, wherever you get your information from,it's important to ask yourself two very specific questions. And the first thing is:the person giving you the information, can they demonstrate it themselves, and demonstrateit well, and do they have students that demonstrate what they're teaching to prove out that whatthey're telling you is the truthé Here at Ken Tamplin Vocal Academy we have over 300tutorials, with dozens of students demonstrating and proving out what we teach, to give you honest, legit information.
With that said, how do we not crack when wesingé Well, why do we crack when we singé I think that's the biggest, most importantquestion. And, to answer that, there's many reasons, but there's two big reasons, andthe first one is physiological. There is a physical strength training of building upto a certain point so that we're strong enough to be able to hold a note. There'sa second part too, which is psychological, which has to do with nerves, and being afraidto sing in front of someone, or being afraid of the high note.Now, I have a singing course called How To Sing Better Than Anyone Else, at Ken Tamplin Vocal Academy , where I walk you through,
stepbystep, all of these different things,on how to strength train, how to think about the notes psychologically so you're notafraid of the high notes or you're not afraid of an audience. I also have some cool tutorials.Check out my Fear of Singing tutorial, it's on YouTube, you'll like that.But the first thing is, I want you guys to go refer back to my tutorial called DiaphragmaticSupport. We're going to do a couple of scales here. I want you to do them with me, but youhave to know how to control your diaphragm first, to be able to relax the chest, and theneck, and the throat, so that you are not choking off the cord, and panicking by thetime you get there, whether you're holding
a note, or worried about singing a high note, or just a phrase that's a little hard to sing. We're going to do three vowels: ooh, oh, and ah. And it's going to go like this.Now, guys, I'm going to do this in a lower register, for the mean average of where mostguys are. Ladies, you'll do this up an octave. La ah ah ooh, oh, ah, ah, ah, ahâ€¦You want to feel the freedom in the throat and the strength in the abdomen, because youknow how to control abdominal strength. Now, in the back of the throat I have another componenttutorial that goes along with this, called Open Throat Technique, where you want to have theback of your throat stay completely open,
your tongue dropped to the base of the jaw:Aw, Oh, Ahhhâ€¦ To where you create the maximum amount of space in the throat, to relieveany kind of tension that could take place there at all.La ah ah ooh, oh, ah, ah, ah, ahâ€¦ Feel the strength coming from your diaphragm.It's the engine that drives your car. La ah ah ooh, oh, ah, ah, ah, ahâ€¦La ah ah ooh, oh, ah, ah, ah, ahâ€¦ La ah ah ooh, oh, ah, ah, ah, ahâ€¦La ah ah ooh, oh, ah, ah, ah, ahâ€¦ Now, if you notice, I'm not going â€œoohoh ahâ€� (distorted and strained) I'm not straining in my throat, becauseI know, I've played this tutorial game enough
to know when I'm coming around the cornerand I lose a life from some bad guy that gets me, that if I have strength in my abdomen,and I've learned how to relax my chest, my neck, and my throat, I know how to getto the next level. So, I cover all of this in my singing course called How To Sing BetterThan Anyone Else. Now, there's one more really important thing,and that is the psychology of how we get to those notes. Now, there's something calledvowel modifications. And in those vowel modifications, we want the throat to feel the path of leastresistance. We don't want the throat to go ooh, oh, ah, and have big changes in thethroat. We want the vowels to be very similar
Native Peoples of Oklahoma Dancing Peoples Song and Dance 531 Powwow Dancing and Singing
gt;gt; Joshua Nelson: Welcome back. I'm herewith Paula Conlon who's an Associate Professor of Ethnomusicology here at the Universityof Oklahoma who specializes in American Indian music. Hi Paula. gt;gt; Paula Conlon: Hi there. gt;gt; Joshua Nelson: Thanks so much for coming. gt;gt; Paula Conlon: It's good to be here. gt;gt; Joshua Nelson: All right, great. Well,thank you again for bringing the many things that you've got too and and just for yourtime. So I wonder if you could talk little
bit just to start us off about how your interestin American Indian music came about. gt;gt; Paula Conlon: Well, I'm from Canadaso, and I grew up in Ottawa, Canada. And so I've been around powwows. And when I was trainedas a musician, I, someone suggested I look at Native American flute. I was trained inclassical flute, and that was that was it. That's what I've done since then. gt;gt; Joshua Nelson: That's your major fieldof focus even though you've studied in other places, like Stomp Dance music, the NativeAmerican flute is is home for you. Is that righté
gt;gt; Paula Conlon: Yeah, but I would alsosay that when I came down here for Stomp Dance, the day I came I was introduced to Linda Alexander.And I had the honor of driving her to somewhere between one and 200 Stomp Dances, and she'smy my Stomp Dance mother gt;gt; Joshua Nelson: All right. gt;gt; Paula Conlon: Basically. So I wouldsayâ€”but that happened after I came here, so. gt;gt; Joshua Nelson: Okay, so you've beenin plenty of time then at the Stomp Dance too. All right, very good. Mostly in Creekcountryé Muscogee Creeké
gt;gt; Paula Conlon: Yes 'cause that wouldbe herâ€”we travel all over Oklahoma, but basically do the rounds for the Creek mainly. gt;gt; Joshua Nelson: Okay, very good. Andyou're an ethnomusicologist. I wonder if you could tell folks a little bit about what thatmeans. How do you go about doing the study that you doé gt;gt; Paula Conlon: Well, I usually say NativeAmerican music specialist. I am, technically, ethnomusicologist, and I would just say it'smusic and culture is what I do. gt;gt; Joshua Nelson: Okay, so you're puttingthe two of them together
gt;gt; Paula Conlon: Yeah. gt;gt; Joshua Nelson: and so in order tostudy the music, there are some component parts to that that you would take a look at.In studying music what do people need to know abouté What what are the issues that you describeé gt;gt; Paula Conlon: Well, I sort of flip iton the students and I play them somethingâ€”especially music majors 'cause they need to learn somenew vocabulary for nonWestern musicâ€”and just say, quot;What do you hearé And tell me whatyou think it is. And then when do you think it's playedé Where is it playedéquot; So you contextualizethe music.
gt;gt; Joshua Nelson: Right, okay. gt;gt; Paula Conlon: Does that, does that makesenseé gt;gt; Joshua Nelson: I think I follow you.So at that point when you're starting to talk about where and when it's played, then youstart to introduce some questions about culture. gt;gt; Paula Conlon: Yes. gt;gt; Joshua Nelson: Okay. gt;gt; Paula Conlon: And who is playing thismusicé And what and then eventually what are the features, I mean what are you hearingin the musicé