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
Dalcroze Eurhythmics with Lisa Parker
Eurhythmics. What is ité It's notoriouslydifficult to explain, because it's so many things. It's really, basically, a connectionof the body to the ear, to music. So you hear music, and you respond physically to it. Andin the process of responding to what we hear, we learn. We learn about music, we learn aboutourselves. We learn to interact with other people. We're creating, we're inventing, we'rehaving to process what we're hearing. So that we develop a whole language, an artistic languageand a cognitive language of music. I got into Eurhythmics at the age of 18, soI've really been doing it effectively all my life. I remember the lightbulb that wentoff for me when I realized that a walking
note was a quarter note. I mean that soundsreally dumb, but for me it was a revelation. Because I suddenly realized that all thishas something to do with me. And I could just climb right in and all the sudden quarternotes and eighth notes they all began to dance on the page for me in a totally new way. Insteadof counting, I was feeling. And that was just a revelation. This is a lesson in meter. In this exerciseI ask the students to step the beat, and to show me the downbeat with some sort of gesture. I do change the meter, because listening isat the heart of everything. The students don't
know when I'm going to do that because I'mimprovising. So you may see a timelag, there may be some students who haven't picked itup yet. But they hear that they're in a new measure. Music moves. It has to move or it isn't music. That's what you experience in a Eurhythmics class. You're moving through space. You'reputting those experiences inside you to draw upon later when you're sitting still at apiano and you're making the music move. Because you know what it feels like to move. Beats aren't all the same. In fact, measureshave shapes and that is determined by the
energy of the beats themselves around a downbeat.So, my exercise was to place them in a bowling alley, and have them experience what theywould do to realize that preparation is the very first thing you do. And that is certainlytrue of music, not all music, but very often music has a preparation which is like an inbreath.And it leads to the downbeat. Its dynamic is a crescendo. It leads to the dynamic whichwe call the crusis. You'll see as they bowl, that they start withthe anacrusis, which is the Greek word for preparation. Then the crusis, which is therelease of the energy. And then the metacrusis which is the follow through.
Sports illustrate this subject so beautifully.You cannot play a sport without that anacrusic backswing, and without a release of energy,and without a follow through. But what is so important in this lesson is to be ableto hear that. So the next exercise that you will see is an exercise of playing tennis,in which they are trying to coordinate their backswing and crusic release with music, witha partner. So they're exchanging phrases. The students have never heard this littlepiece before. They're hearing it for the first time and they're responding with understandingto what they hear. Not all measures have all three energies.Sometimes you have a lot of anacrusic energy,
and this is very exciting music, and there'sno metacrusis until the very end. Sometimes music is very metacrusic and it feels veryitcan be associated with being sad or sleepy or relaxed. Sometimes music is very crusic,lots of martial music is very crusic. We find national anthems and things like that arevery crusic because it's a certain kind of strong energy. Donwbeat energy. The next exercise that you will see, we'renow taking that same subject of feeling the anacrusis, being able to express it, and thenasking them to take a step backwards because the step back will give them the lift. It'slike this gesture. It's a step back and then