Private Singing Lessons Essex

How To Sing Like Your Favorite Artist pt2

Hello, and welcome. I'm Ryan Higa, professional singer and vocalstiloligerizerist. You might remember me from How To Sing Like Your Favorite Artist part 1. Well this one's completely different. It's not as good. With that being said, welcome to How To Sing Like Your Favorite Artist part 2. Remember that scary movie quot;The Grudgequot;é Make the sound that the little girl in quot;The Grudgequot; makes.

(groaning) Just sing like you normally would sing. ♪ When I met you in the summer! ♪ .and add the little Grudge girl sound. ♪ When I met you in the summer. ♪ ♪ To my heartbeat sound. ♪ ♪ We fell in love. ♪ ♪ As the leaves turned brown. ♪

grunting noises In order to sound like The Weekend, you have to literally make your face frozen to the point where it's numb and you can't feel it anymore. ♪ I can't feel my face when I'm with you. ♪ And once you get the frozen face down, all you have to do is act like you're sad and depressed.

♪ I'm just tryna get you out the friend zone. ♪ And if people can't hear you, just use a megaphone. ♪ I only call you when it's half past. ♪ In order to sound like Fetty Wap, just sing as if you just got hit in the nuts. Or for girls to relate, just make the sound you make when you cut wind. You know, when you get the wind knocked out of you, you make the sound that's like stressed inhale and then just sing like that. Fetty Wap.

Auuugh! ♪ Baby won't you come my wayé ♪ grunting You know when you're yawning and you still try to talk; that sound it makesé yawning All you have to do is sing, while you yawn. yawning ♪ You and me we made a vow. ♪

♪ You say I'm crazy. ♪ ♪ And you don't think. ♪ laughing You know when you're a little kid where you're on the verge of crying but you do your best to try and suck it upé You know, the borderline where you're trying to fight back your tears, because you know once you start crying, you're not gonna be able to stop.

Americans Watch Geordie Shore For The First Time

What is ité Is there a place called Geordie Shoreé (techno music) A Geordieé Is it like a derogatory name for themé Like I thought it was fake at first because it sounds soclose to Jersey Shore. Hey that's awful andeveryone's watching it.

We should do our version. This program contains strong language, sexual scenes. Whaté That is the most politewarning I've ever heard. (laughs) There's the Snooki. This is the English languageé

I'm thankful for the subtitles. (laughs) Oh. Oh whoa you saw a dick. Oh shoot. Balls were out minute one. Gus being in the houseit was bound to happen. Gasping in the house it bound to happen.

I mean he looks like hecould be from the Shore. (glass breaking) Whoa. Whoa. (bleep). I'm lying there bangin' this blondie. I didn't understand a word of that. Can we also just backtrack and talk about like how we just saw a dické Like on TVé

I don't think you couldget away with that here. No we don't get balls. No we don't get balls. We don't even get boobs. Don't give us a (bleep)attitude ya dafty! Ya dafty (bleeps). (laughs) Aw yeah. That looks like JWoww.

And that looks like Pauly D. They're all shirtless. It's exactly like Jersey Shore. (loud bang) Whoa! A fight just broke out. Get him! Blonde Jerry, Jerry, Jerry. Get him, get him. Wait why is there. Is there a tenté

Sound Comfort in Classrooms Essex Study Experiences

Sound comfort in classroomsEssex Study Experiences Welcome to the Sweyne Park School in Rayleigh, Essex. My name is Simon Smith and I'm the learning environment leader here. We've been working on acoustics in school classrooms for a number of years, about five years as part of the Essex Study. We've found that the work has had a fundamental effect on the quality of teaching and learning. We work with mainstream children and we work with children with hearing impairments.

We are absolutely committed to the importance of acoustics in school classrooms. We want to share that work with you. So we'll show you one or two of the classrooms, the treatments we've done and you can make some decisions for yourself. In our study this has been our control classroom. Or as we call it, just an ordinary classroom. The building was constructed in 1957. Apart from a little bit of paint and some new furniture, it's pretty much the same as it was when it was constructed. Its reverberation time is just over a second.

So now we need to see what it is like with some children in here. So, this is the classroom without any acoustic treatment. It's quite hard to work in here. Not many teachers enjoy the experience. And you do find with the pupils that you're repeating yourself quite a lot. You're having to use quite a stern voice to attract their attention in the first place. But it's a room with no treatment. Hopefully, we're going to see that we've improved things from this point onwards. This is the first of our treated classrooms.

Essentially, the treatment is a suspended ceiling with a plasterboard ceiling tile. The reverberation time in here is about 0.8 of a second in the middle range of frequencies. This meets the minimum standard for a British classroom. This is the classroom that meets the minimum standards but it's not really a nice place to teach. The children can very easily get distracted by one or two that aren't concentrating. I can get distracted by other noises noises from outside in the corridor they all have an effect. You have the windows open on a hot sunny day: you find that the children

are turning around to see what's going on. I have to use a much more severe tone of voice to get everyone's attention in here. The sound builds up. It's not comfortable and before you know it, you've got quite a din going on in here. Noone can really understand and hear what's going on. I have to repeat myself. The children are putting their hands up. Not because they don't understand, because they simply didn't hear. This is our classroom that has been treated to the very highest standards. Again, a 1950's shell, a suspended ceiling, which consists of a 40 millimeter high absorbency tile and an extra base pad of a 100 millimeters that covers the whole ceiling.

The performance of this room is about 0.4 of a second across a broad range of frequencies. This complies with the British Association of Teachers of the Deaf recommendations. If I'm explaining a task in this classroom, Everyone can hear first time. The children don't put their hand up to ask you to explain something again. They've heard with clarity. They've been able to concentrate on what you've been saying because the distracting noises that might be coming from outside or from other children going into bags after pencil cases, don't have the same level of influence. And if you do have a pupil that's a bit too chatty, you can very easily pick out the

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