Music Lessons Newton Ma

How to Sing Valerie Amy Winehouse Cover Tori Matthieu Ken Tamplin Vocal Academy

Hey guys welcome back again to Ken TamplinVocal Academy, where the proof is in the singing. I'm here with my amazing student, Tori Matthieu,and we're doing takedowns of different songs today. We're going to do Amy Winehouse.The song's called Valerie. We'll do it first. We'll talk about it after, likewe always do. Let's rock! Amy Winehouse. Whooh! Nice job, girl! Man, that was good.Thank you. All right, so basically, we're doing a lotof different stuff, from Alicia Keys, Stevie Wonder, Amy Winehouse… And what's interestingabout this is not so much that we're just doing a bunch of cover songs, but it's howTori finds herself in the song, and actually

represents that art with her own touch, herown flair, but to be able to sing in a lot of different styles, because what this doesis to give you a lot of tools for your toolbox for singing. So, we're going to be working upon, actually, some original material, too, so be watching out for that. Anyway, this is KenTamplin Vocal Academy. If you like what you see here, please like and subscribe to mytutorials. Also, I have a killer course, you can check it out here. It's called “HowTo Sing Better Than Anyone Else� and I have a singer's forums. It's free. There areover 6000 members you can join at Ken Tamplin Vocal Academy, and just come by and say hi,and get your vocal questions answered. So,

until next time, Tori Matthieu, Amy Winehouse,Valerie, and Rock!.

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

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