How To Sing Like A PRO Open Throat Technique Tutorial Ken Tamplin Vocal Academy
How to sing like a Pro. Hey guys, my name is Ken Tamplin, and welcometo Ken Tamplin Vocal Academy, where the proof is in the singing. Now, in order for me to be able to teach youhow to sing like a Pro, I'd better have achieved professional status myself, and Ialso better show you that I have students that have gone from amateur status to professionalstatus. Now let's be clear on something. Most professionals themselves don't singwell from a technical standpoint.
So just to sing like a Pro doesn't meanyour singing properly or great, but I have to point out that no matter where you getyour information, think about this: the person giving that information, have they achieveda high level of professional statusé And do they demonstrate students that haveprofessional statusé We have over 300 tutorials on my channel, withthe plethora, which means a lot, of students on my channel, many of which have achievedawesome professional status. Now just quickly go to Sara Loera, check outGabriela Guncikova, 10 second songs' Anthony Vincent, Mark Hudson from Dragon Force, Icould go on and on and on with a lot of the
students that have applied my course and achievedprofessional status. Now what does it mean to become professionaland how do we do ité Well it has to do with strength training andthe way we think about the voice and the way we strength train in order to build enoughprofessionalâ€“ism in what it is that we're doing to be able to sing strong with confidencenight after night with consistency. So I have a singing course called How To SingBetter Than Anyone Else, you can check it out on Ken Tamplin Vocal Academy dot com,and I walk you through, stepbystep what it's going to take to help you become aprofessional singer.
Now, to be a professional singer, there'slots involved in this and it's not just only the physical or musical side, there'sa psychological side to this, but I want to show you a few things that you can do thatwill be really, really awesome. Okayé We're just going to run through a coupleof warmup exercises that will help you understand how to clean up the voice. Now, check out my tutorial on diaphragmatic support,check out my tutorial on open throat technique, it's the precursor of what you're goingto need to do, what we are about to do here
at this level. We're going to sing an AA vowel, and theAA vowel scale is going to go like this. Layâ€¦ Ahhhâ€¦ So AA and Ah, and we're going to actuallyslowly go through this to start to strength train the voice, here we go. Ladies, you'll do this up the octaveâ€¦ Layâ€¦
Ahâ€¦ Do this with us in octavesâ€¦ Layâ€¦ Ahâ€¦ Now, going between vowels, AA and Ah helpresiliency and the ability to relax the cords and to, with freedom, be able to go up anddown a scale without feeling tension in the throat, because we want to build strengthfor the sound. Layâ€¦
Teaching Children Piano Teaching Piano Major Scales to Children
So lets set aside, our major and minor, dichotomy,for a second and letés move back to the major scale. As we have discussed, today, understandthat it goes from quot;doequot; to quot;doequot; and it's got these notes in between. Every note hasto be counted for. I have to have an A, I have to have a B, a C, a D, a E, a F and aG. I must have all seven notes, I can't have two of any note, and I must get from A toA, or whatever it is. I will probably have some crazy sharps or flats in there, becauseit's got to sound right. You can use the word right. It's ok to say that quot;this needs tosound correct, this needs to sound like the major scale,quot; there is no other possibility,for what a major scale, sounds like, and that's
ok. There are some absolutes in the worldand a major scale, is one of them. What you also need to have them understand, at thispoint, is the purpose of a major scale. You've figured out that there is a minor, which isa great way just to openup their mind to say quot;oh there are other possibilities, thereare other sounds, there are other qualities, that happen to music,quot; but the major scale,has this particular quality, no other, and it's teaching or it's giving us a set of notes.It's just like a painter. If he's going to paint something, or she's going to paint something,she will take a pallet and put some colors, on her pallet, and those are the colors thatshe's going to use, for her painting or his
painting. He's not going to use colors fromother places because that's not on his pallet, he's only allowed to use, what's on his pallet.Here are your paints, that you're allowed to use, you're allowed to use these colors.CDEFGEABC those are the only colors you're allowed to use. You're not allowedto use a C sharp color or A flat color, none of those are cool. You're only allowed touse those. And that really helps them, give some idea like quot;why are we doing this scaleéWhat does it matteré How does it apply to the music, that I'm playingéquot; because it givesyou colors that you're allowed to use, it gives you colors that sound good, which isreally cool. Again, it goes back to the improv
thing, or the composing thing, it gives themthings. So introducing those and using that vocabulary, to explain why we do the scale,really helps the kids out.
Acoustic Bass Dominant Scales Arpeggios F Bb B Flat Dominant Scale Tips
In this tutorial I'll be talking about the fingeringsfor F and Bflat dominant scales and arpeggios. We're going to start with F. Start with yourfirst finger on F. Second finger on G, I mean fourth finger on G. Open string, first fingeron Bflat, fourth finger on C, open D. First finger on Eflat and then fourth finger onF. Should sound like this. For Bflat we use the same fingering starting on Bflat. Same fingering for the arpeggio.