Vocal folds video

Vocal folds video of the voice in action

I was introduced to this vocal folds video by another singing teacher as it shows what happens to the voice as a student sings higher and higher. Note how the vocal cords get stretched longer and longer gradually as the pitch ascends. Though you can’t see it, the vocal cords are also getting thinner in depth to allow for the change in pitch to be continue.

I found this video to be an eye-opening experience to how icky the inside of the human voice looks, but how it generates such a beautiful sound. Check it out! If you have any questions about this, leave a comment and I’m happy to chip in if I can help.

http://www.youtube.com/watch?v=ajbcJiYhFKY

Dirty Loops Cover of Adele’s Rolling in the Deep

A white Swedish Stevie Wonder, a bass player who looks like he should’ve been holding the bass chair for a jazz tribute version of Evanescence, and a drummer who thinks that just one groove is just not groovy enough. That’s the line-up for Dirty Loops, and they will blow your mind!

Check it!

While he might pull faces like he’s trying to pass a kidney stone, this guy has some killer vocals.

Adam Ben Ezra – Flamenco Upright Bass

Someone on a music forum I’m a member of posted this a while back. Phenomenal talent doing something I’ve not knowingly heard or seen ever before. Not much else to say other than, be inspired by someone pushing the boundaries of their art form and creating something new, vibrant and exciting.

Songwriting: Nashville Tuning

If you’re a songwriter, then you are often looking for that next “new” sound to spark off your creativity and churn out a few new songs. Or perhaps if you’re recording lots, you’re looking for a way to repurpose old instruments to fill out a track. Either way, Nashville tuning is DEFINITELY worth you checking out.

Over Christmas a few years back I got myself a ukulele. It’s been a longtime coming but I finally succumbed, and I love the sound of it.

One of the things that gives the ukulele its distinct sound is its very specific tuning. It is tuned very similar to the highest 4 strings on a guitar (typically up 5 semitones), but the 4th string (which would otherwise be the lowest tuned string) is actually tuned up a whole octave. This means that the 3rd string is the lowest tuned string. This is called “re-entrant tuning”, presumably because the string closest to you “re-enters” the same range as the upper strings, rather than going lower.

What this achieves is a very VERY chimey sound, because the 1st string and 4th string are only one whole note apart, and so both strings are generally sounding in a similar range to one another.

What about guitars?

As it happens, a similar sound can be achieved with guitars by doing exactly the same thing – changing out lower strings to be tuned higher than normal.

There exists a tuning called ‘Nashville tuning’, where the lowest 4 string are replaced with lighter gauge strings and are tuned a whole octave up. It’s like taking a set of 12 string guitar strings, and stringing up a guitar using only the octave strings.

What this achieves is a very chimey shimmery sound with a standard guitar. The tuning is still the same (sort of), except for certain strings being tuned up an octave, which means all your old chord shapes and strumming ideas will work the same, they’ll just sound different.

Good ol’ Justin Sandercoe illustrates this nicely.

Watch from the beginning for a full explanation, or skip to 2m 35s and 5m 00s to hear strumming samples.

What about playing with other guitars?

Good question! This video from Wechter Guitars highlights where Nashville tuned guitars can really come into their own when used in conjunction with a normal tuned guitar. For example, whether performing live or recording, you can double up the guitar part and enhance the sound massively without actually needing to change key or anyone having to learn new parts that fit around the solo part.

Nashville tuning – check it out! You may just find a new sound that sparks your songwriting, or gives a tired recording a fresh vibrant edge.

ADDENDUM: I found a nice variation on this that I discovered a few months after initially writing this post. The problem I found with Nashville tuning was it made for a good SECOND instrument, or recording along with some instruments, but not for a live solo instrument. It was just too thin in my opinion.

So instead, I restrung the D and G strings with B and E gauge strings (ideally slightly thinner) and tuned them up an octave (octave D and octave G). If you’re concerned about that full minor third increase, try downtuning your whole guitar a half or whole step, that should relieve the concern.

What this does is create REALLY nice separation between the lowest two strings (E and A), giving a pronounced “bass” part. Then, because of the re-entrant approach to the middle strings, you have the option to play closed-voicing chords with very dense clusters of notes that otherwise wouldn’t be possible. It also leaves a nice hole in the mids for a strong vocal to sit.

Try it out, you may find it gives you the fullness of standard tuning but with the sparkle, chime and creative opportunities of Nashville tuning.

How to make it as a singer? Define your expectations

Want to make it as a singer?

Many students say they want to “make it as a singer”

“Make it as a singer”

“Make it as a singer”

“Make it as a singer”

Just saying it over and over won’t make it happen. Do you know HOW to make it as a singer? Would you even know if had been able to make it as a singer without defining some expectations along the way?

While the bulk of the service I provide to students is voice lessons, I’m also passionate about musicianship, artistry, and enabling artists’ individuality.

A number of lessons have happened in the last few weeks where students have expressed a desire to ‘move forward’ from where they, be that developing their own musicality, finding their own sound, or finding a niche in the musical market.

Listen to yourself…

One of the most common things I’ve heard said by musicians and performers alike, even before I started teaching, is:

‘I just want to quit everything to try and make it, so at least I can say I tried’.

Now, I can’t even begin to describe how much of a can of worms that statement encompasses. As a problem solver at heart, I can’t help but try to look at a situation and take account of the angles and work out some logical ways to move forward. I also like to reap rewards for work, without killing myself. Small, easily implemented changes, that move you to towards your goal are therefore key. So let’s look at this statement and work out how to tackle the points it raises.

Firstly…

What on earth does ‘making it‘ look like?

It’s a phrase most musicians have heard or even said themselves, but what does it actually look like? The answer is, it’s different to EVERY person. Do you want to put out a CD a year? Do you want 23 million Twitter followers? Do you want to only have to make music for a living and make music you want to make? None of those are wrong or right, but you need to know what it is you want to do.

What is important is that you work out on a fundamental level what it is you want to achieve with your efforts.

What do you want to do? What are my expectations?

For example, for years I used to think I wanted to be a session musician. I wanted to get paid to be creative, to spend all day crafting sounds, doing clinics on how to be the best musician, blah blah blah. But it was so ill-defined as a concept, so incoherent on a fundamental level that there was no way I could even assess the way to move forward to achieve that goal.

However, over time I started to understand more about what excited me as a musician. I realised that I am not a needy musician. Give me an instrument, and I’ll entertain myself for hours, days, months, years, decades. And I love sharing my discoveries with others and inspiring them, and seeing them build on that knowledge. I’m happy just making and exploring music. I don’t really need an audience to feel satisfied in that department. Don’t get me wrong, I love performing, but to me it’s secondary to the joy I feel when just making music.

Define your expectations on a fundamental level

I realised that what I wanted for myself was this:

To keep becoming a better musician, and to have the chance to impart what I learned that to others.

I hope you can see these expectations don’t define a job, or industry, or even whether that was done part time or full time, or whether I even got paid for it. All I’d worked out was what I wanted, what my expectations truly were. THAT was a fundamental understanding that rocked my preconceptions of what I should be doing.

Where do I go from here?

Once I understood this, once I grasped that WHATEVER I did just needed to give me that and I’d feel satisfied in my career, suddenly it was less about ‘which is the ONE right direction?’, but it became a useful tool to ensure I didn’t go in directions that would prevent me from achieving that goal, and only to consider the various directions that satisfied those requirements.

Your Turn

On the basis of this, I want to ask you: do you understand what it is you want? Go back through the headings above and try and go through the same process I went through. Understand what it is you want and enjoy, and boil it down into a 10-15 word definition of expectations. I don’t want a job description, I want a 10-15 word statement of what you want, of what will satisfy you as a musician/artist. This statement can describe a variety of different jobs.

If you can do that, then you will know what ‘making it’ looks like. You can bolt on additional statements like number of recordings, Twitter followers, etc, but this is the fundamental point to deal with.

However, if you don’t know how to boil it down like that, you have not defined your expectations, and you have set yourself up to fail. You certainly are not ready (in my opinion) to drop whatever you’re doing right now and try to ‘make it’. Not because you won’t do well, or experience success, but you won’t know when you’ve arrived at the place you want to be, because you don’t even know where you want to be.

Book of Mormon – ‘I Believe’

I have a lot of students who love musical theatre. Personally I love some songs but as a genre I often find it quite contrived. For example, people feeling sad so they burst into a showstomping number expressing how sad they feel. So, yes… that’s not so realistic.

HOWEVER! certain musicals really grab me. Blues Brothers being a great example, as it’s about a band. And comedic musicals really grab me.

The latest one to grab me is ‘Book of Mormon’. This was written by the same guys responsible for Southpark, so its suitably tongue in cheek as a musical. A student of mine happened to study alongside with someone on the current tour of Book of Mormon and they made me watch it – I was in stitches.

This particular song – ‘I Believe’ – is a statement of facts from the Mormon faith. This song is absolutely killer as both comedy and a piece of music. I love it. I hope you do too.