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
Developing Timing And Feel Rhythm Guitar Lesson 10
Hi! I'm Nate Savage and welcome to tutorial10 of the Rhythm Guitar QuickStart Series. We're going to continue our focus on yourstrumming hand by working on developing your timing and feel. Now, this is one critical areaof musicianship that's really important for you to develop.If your timing is good, people are going to enjoy listening to you and they're goingto enjoy playing with you too. If your timing is not so good, people won't enjoy listeningto you as much and they'll be a little bit frustrated when they're playing with youtoo. One of the key elements to developing your timing is using a metronome or practicingwith a metronome. You can use the jam tracks
I've supplied for you here too but it'simportant that you have some constant beat to keep you on track. And you know, sometimes players don't even realize that they have timing problems until they get in a situation where it'sreally obvious and embarrassing for them. Don't let that be you. Work on your timinghere. Get it down so when you need it to be sharp, it will be sharp.I'm going to teach you a great exercise for developing your timing and feel. In orderto play that exercise, you need to be familiar with note subdivisions and by that I meanquarter notes, eighth notes, eight note triplets and sixteenth notes.For this lesson, we're going to be using
a jam track that's just drums. We're goingto be using that as our metronome. It's 70 beats per minute for this lesson but ifyou want to use a metronome, you can use that too. This loop is in 44 time and you'regoing to count along with it â€“ 1, 2, 3,4 1, 2, 3, 4, and those numbers are basicquarter notes or our foundation beat or pulse. You can strum along with quarter notes usingall downstrokes or alternating down and upstrokes but being able to follow beat and really lockin with it is the first step to developing your timing and it's the first step to playingthis exercise. So listen to the drum beat when you're playingthrough this and try to lock in with that
drummer and just be right on the beat andhave all your strum spaced evenly. Here's what it'll sound like. Work on this until you feel very comfortable staying with that beat. You can even pullout a metronome and try going slower tempos or faster tempos, it's up to you but justreally lock in on that beat. One tip that I want to give you here is if you're movingsome other part of your body, whether it's nodding your head or tapping your foot, that'sreally going to help you stay in time. The next time in our little exercise is tobe able to switch from quarter notes to eighth notes and back and forth. And if you'renot familiar with eighth notes, you're basically
going to be doubling up how much strummingyou're doing. If you're counting 1, 2, 3, 4, those are quarter notes. To count eightnotes, you're going to stick some ands in between each number and double the amountof strumming, so 1 and 2 and 3 and 4 and. When you transition from quarter notes toeight notes, odds are you're probably either going to start dragging behind the beat orrushing ahead of the beat. So you want to keep listening for that beat and when you changefrom quarters to eighths, just try to lock in with that beat and keep all your strummingas evenly spaced as possible. So, when you switch to eighth notes, I'd reallyrecommend using alternating down and up strumming.
It's a little bit easier to keep up with.So here's how this would sound, starting with quarter notes switching to eighth notes andthen going back to quarter notes. You can do this for as long as you want for each subdivision.It's really up to you and how long it takes you to feel comfortable with switching between each one. If you've hung in there with me so far onthis exercise, you're doing a great job. Now we're going to get to the tricky partof the exercise. We need to be able to play eighth note triplets now. That's our nextsubdivision. Eighth note triplets are three evenly spaced strums per beat. If you'venever counted triplets before, like I said
The Elements of Music Rhythm Part 2 of 4 StudyBass
StudyBassers. The first element of music to talk about is rhythm. Rhythm is all about *when* musical events happen in time. And, I would say that that rhythm is the most essential of all of the elements just because when we hear sounds at random, we don't usually think of that as music. But, as soon as we organize those sounds into time that's when we start to feelthat it it sounds like music. So, let me give you a quick example of what I mean. So by itself most people don't hear thathis music.
But, as soon as we organize that sound into time, then it starts to sound like music to us. So sound has to be organized in time for us to perceive it as music. If there's no rhythm, then there's no music, righté Well let's look at some different features of rhythm and how the bass is involved with them. So at the the core of rhythm is the BEAT. Well, what is the beaté Well the beat is the steady pulse of the music
that's constantly flowing in the background. And, you know sometimes the beat is very obvious to you because you'll hear instruments are accenting the beat. But then, other times it's not as obvious even though it's always flowing in the background. So sometimes the instruments might accent notes inbetween the beat, or there might be silence. But that pulse is still continuing in the background. So the next aspect of rhythm is meter.
Meter is just how we count, or divide, the beat. So the word meter means to measure, and in music meter means a measurement of beats. So the most common meter divides music into groups of four beats. So we call each one of those groups of four beats a MEASURE of music. So you hear people count all the time: 12341234. So that be keeps repeating butwe only count to four and then we start over. There are lots of possible meters in music.
We don't just count in four. You could count in 3, 4, 5, 6, 7.17. Any number is is possible, but I think what you'll find is the most common meters are the ones that people find easy to dance to. So 3 and 4 and 6, those are all very comfortable and predictable for people. Now in the band the whole band agrees on a meter. And they help set the feel of that meter. But the bass has a particularly important role in it
because in most styles of music westress or accent somehow beat one. And, when we do that it helps it helps us feel and count the meter. Tempo is how fast or slow the beat of the music is moving. And, we measure tempo in beats perminute, or BPM. So a dance song might be a 120 beats per minute, or a slow ballad might be 60 beats per minute. A really fast jazz song might be 300 beats per minute! It's going to depend on the style of music and the song itself.