I haven't been posting about the piano class much because...well it just isn't very impressive. But I think it is good for beginners (though possibly moves too fast for a TRUE beginner with no music background).
I get panic attacks about finding notes on the keyboard and about reading the notes on the staff (getting my brain to read both treble and bass clef at same time and not mix them up)...and yesterday the instructor asked us to play 2nd or 3rd intervals and say by ear which was which. When I was playing them and could look at the keys while I listened this seemed easy. They sounded different. But as soon as someone else played them and I couldn't look at the keys I was afloat. Like no idea.
This, of course, is not shocking because I have had a hard time with vocal harmonies in the past. I can't hear them and I can't sing them (unless someone shows me what to sing, I practice it, and then I ignore the other person singing). I've also never been great at tuning by ear. Only recently have I begun to hear the "warble" of an out-of-tune note...but I still can't tell if the note is sharp or flat. I even struggle, if you play two notes, to tell you which one is the higher note and which one is the lower note...I have to play them several times and think about it pretty hard.
I'm sure this is a skill that can be learned, but that some people take to it more naturally than others. I'd be on the end of the spectrum that really struggles and would need to work REALLY hard at it and still might never be great at it. I haven't ever really worked at it...and I don't know if I have the patience and interest to work at it.
It frustrates me that people seem to think this is a natural skill and are confused when you can't do it though. It's like they think I'm lying or just not trying hard enough. It pisses me off and makes me feel really insecure.
Everyone isn't good at everything.
I was noticing in class that I'm way better at playing than many of the others. I keep the tempo and play accurately. I can play faster than many. I also was noticing that while I was bored and noodling around because I couldn't get the interval ear training thing...that I would accidentally happen upon melodies that I recognized and could pick them out by ear. It happened like 10 times.
So it isn't that I'm tone deaf...because I can pick out melodies from memory by ear. I can match pitches by trial and error. And to some extent I know when notes are close to each other or far apart. I just can't tell the intervals. I might know that note one is low and note two needs to be a lot higher...but even though I can hear the melody in my head...I'll have to make a guess to match the second pitch. If I guess wrong I'll quickly guess again until I get it.
Learning the keyboard is definitely helpful for learning the relative position of notes. It took me forever to start to learn that on bass/guitar. On the keyboard it is right there in black and white. It's interesting.
I think the class will be useful, but not earth shattering. I don't think I care about being able to play piano...but it does present one with useful basic skill sets.
Showing posts with label voice. Show all posts
Showing posts with label voice. Show all posts
Friday, February 28, 2014
Thursday, January 23, 2014
The Next Level
I've been trying to think of ways to take my playing "to the next level." I've been trying to memorize more difficult songs (it is slow going) as part of this effort. But this week I started trying not to look at my left hand when playing bass. I didn't realize how much I look at it. It's hard to play and not look at it. There's a sweet spot between looking at the music too much (solved my memorizing) and looking at your hand too much (ok sometimes, but best not to be a crutch). I find that in certain live performance situations you can't see the dots on your fingerboard...and you can't see your notes or sheet music. So getting away as much as possible from either thing is a big confidence booster. Plus, if you aren't focusing on those things you can focus on other stuff...like phrasing or dynamics or right hand technique. I'm splitting my time on bass now between playing with a pick (Pixies) and playing without (ska). It has been a real challenge to learn how to stop strings from vibrating when playing with a pick and also to cross strings and also to decide "picking direction" (like bowing or sticking...when to do up strokes and when to do down and when to alternate). Anyway...there's a lot going on lately.
I've also been starting to go back and listen to the original versions of songs that I've been playing for years now to find things that I missed the first time around. Extra vocal harmonies or inflections...grace notes...or things I just flat out got wrong the first time around. That's slow going too...but rewarding to add something new to a song I've been playing forever. Cases in point:
Added a slide pickup from 9th fret to 4th fret right before the last chorus (just after the bridge) in Rascal King (2:38 to 2:41 in video below)
Added backing vocals on the chorus in No 13 Baby (starts 0:34 in video below)
Working to add the breath noise between the first and second verses in Subbacultcha (hard to hear but at 0:38-0:41 in video below)
I've also been starting to go back and listen to the original versions of songs that I've been playing for years now to find things that I missed the first time around. Extra vocal harmonies or inflections...grace notes...or things I just flat out got wrong the first time around. That's slow going too...but rewarding to add something new to a song I've been playing forever. Cases in point:
Added a slide pickup from 9th fret to 4th fret right before the last chorus (just after the bridge) in Rascal King (2:38 to 2:41 in video below)
Added backing vocals on the chorus in No 13 Baby (starts 0:34 in video below)
Working to add the breath noise between the first and second verses in Subbacultcha (hard to hear but at 0:38-0:41 in video below)
Thursday, February 28, 2013
Long Notes
It has always bugged me that I can't hold the last note in Debaser for the full 15 seconds. Likewise, that I have to take breaths during the intro to River Euphrates and its 20 seconds of "ride". Now, I'm learning The Happening and it has 18 second long notes...and you have to do them up to 12 times consecutively. So it is like note-for-18-seconds-big-breath-another-18-second-note...and that goes on for nearly 2 minutes.
I've never been good about doing vocal exercises or breathing exercises or even about practicing my vocal parts. I hate singing in front of people. I also hate trying to mimic someone who has one of the best voices in rock and who I personally look up to a bunch. I mean...I love doing it...I just hate that anyone else has to hear it.
But I recognize too that I'm usually too hard on myself. In point of fact, no one in the world but me cares if I nail these vocals. We do a pretty good job with the songs in general, so I think that the average listener's brain fills in the missing bits. Essentially we sound like them...and they (the listener) don't know the songs as well as we do anyway...so they probably could not tell you how accurate we are.
This morning I went looking for a live clip of Debaser where she holds the note the whole time. I've been on this search before, so I know that there is evidence out there. But this morning the first four examples I found were these. In the first three she bails really quickly. In the last, she tries, but runs out of breath right about where I always do.
This last one I find particularly endearing, because she's doing what I'm doing...which is trying to reproduce the record.
Here's any interesting twist...Charles comes in and covers the breath and drops out when she's got it again. After watching several vids from the Doolittle tour, this seems to be the way that they resolved it. She takes the first 4 bars, he covers the second, then she comes back in. It actually looks like sometimes they traded back and forth for all four times through the progression.
Anyway, the moral of the story is...it's hard. And it doesn't matter. But what else is there in life but to sweat the small stuff?
I've never been good about doing vocal exercises or breathing exercises or even about practicing my vocal parts. I hate singing in front of people. I also hate trying to mimic someone who has one of the best voices in rock and who I personally look up to a bunch. I mean...I love doing it...I just hate that anyone else has to hear it.
But I recognize too that I'm usually too hard on myself. In point of fact, no one in the world but me cares if I nail these vocals. We do a pretty good job with the songs in general, so I think that the average listener's brain fills in the missing bits. Essentially we sound like them...and they (the listener) don't know the songs as well as we do anyway...so they probably could not tell you how accurate we are.
This morning I went looking for a live clip of Debaser where she holds the note the whole time. I've been on this search before, so I know that there is evidence out there. But this morning the first four examples I found were these. In the first three she bails really quickly. In the last, she tries, but runs out of breath right about where I always do.
This last one I find particularly endearing, because she's doing what I'm doing...which is trying to reproduce the record.
Here's any interesting twist...Charles comes in and covers the breath and drops out when she's got it again. After watching several vids from the Doolittle tour, this seems to be the way that they resolved it. She takes the first 4 bars, he covers the second, then she comes back in. It actually looks like sometimes they traded back and forth for all four times through the progression.
Anyway, the moral of the story is...it's hard. And it doesn't matter. But what else is there in life but to sweat the small stuff?
Thursday, February 21, 2013
Vocal Effects
A very nice closeup I stole off FB.
Related, last night I got a rough mix of a few songs that were recorded live from a CJ show recently. The sound guy pulled everything straight off the board. It probably counts as the closest thing to a legitimate recording that we've ever had (or may ever have in the future, since recording really isn't the main concern of a tribute act). He had the effects turned up super high on RS's voice (perhaps borderline too high) and it made RS sound like magic...like an entirely different person. I kept having to remind myself that I was listening to...well US...because it sounded so otherworldly, polished, and...ahem...professional.
I can't say that it did the same for my little vocal bits, but that's probably just me not being able to listen to myself sing without wanting to vomit. But it is worth remembering that the dry ass, bare-bones, shitty quality mic/PA combos (run by no one at all often) that I'm used to singing through probably do me no favors. Nor the shitty rooms. I'm no great singer...and I'm not trying to make excuses...but even the pros would probably sound a bunch worse under the performance conditions in which I find myself.
Monday, May 7, 2012
Where Is My Voice?
So when I joined CJ the comment was made that nobody else in the band could make the noise in Where Is My Mind...I stepped into that first rehearsal, nailed it perfectly, and never looked back. Until this past xmas...when I suddenly became really aware of my vocal chords, and my voice started giving out on the sound. I spend the entire song now just praying for it to end. I don't really do vocal strengthening exercises or warmups...and that's probably part of the problem. It is also possible that the last two years of coughing and clearing my throat has damaged my vocal chords. It is also possible that I am just totally psyching myself out.
There's another possibility...which is that it is just a really hard thing to do to your voice. And I wonder about this because the way that Kim Deal sings it on the record is not the way she sings it live on tour. I always kinda thought she was taking the easy way out...but maybe it just isn't something you should do to your voice every day for 3 weeks...or in my case...once a week every week.
The case in point...observe:
Here's the version off of the record:
Here it is live in 1988:
Here's how she sings it live in the modern era:
Ok...I just listened to those three things. And I am an asshole. I've been doing it wrong all this time. I sing three notes...high, low, high. She only sings two...high, low. And that's what I noticed that she did live. But I just carefully listened to the record version...and there's only two notes there too. Where did I get the idea that there were three? There is a little bit of the perception that it goes back up at the end...but I don't think that's her voice...maybe just the interplay of the parts. Frankly I lik my way better...but it obviously isn't working for me anymore. So maybe I'll work it up the correct way. Worth noting that she throws her head back and opens her throat...so I think I'm doing that correctly. I've never been able to do it unless I throw my head back and open up to full belt volume. I can't do it quietly or without the music.
There's another possibility...which is that it is just a really hard thing to do to your voice. And I wonder about this because the way that Kim Deal sings it on the record is not the way she sings it live on tour. I always kinda thought she was taking the easy way out...but maybe it just isn't something you should do to your voice every day for 3 weeks...or in my case...once a week every week.
The case in point...observe:
Here's the version off of the record:
Here it is live in 1988:
Here's how she sings it live in the modern era:
Ok...I just listened to those three things. And I am an asshole. I've been doing it wrong all this time. I sing three notes...high, low, high. She only sings two...high, low. And that's what I noticed that she did live. But I just carefully listened to the record version...and there's only two notes there too. Where did I get the idea that there were three? There is a little bit of the perception that it goes back up at the end...but I don't think that's her voice...maybe just the interplay of the parts. Frankly I lik my way better...but it obviously isn't working for me anymore. So maybe I'll work it up the correct way. Worth noting that she throws her head back and opens her throat...so I think I'm doing that correctly. I've never been able to do it unless I throw my head back and open up to full belt volume. I can't do it quietly or without the music.
Friday, March 2, 2012
Winterlong and Pixies Vocals
I worked on the vocal harmonies for Winterlong a long ass time last night. I think I've got it, but I know that the minute RS opens his mouth and I don't have Kim Deal's voice to line up to...I'm gonna be lost. It's frustrating because I am actually working quite hard on it. I think that I should make a recording of just Kim's vocal part and listen to it over and over maybe.
I think something that makes the Pixies harmonies particularly hard is Charles and Kim's ranges. As a young man, at least, Charles had kind of a high range. A sort of "my testicals haven't fallen yet" range. Conversely, Kim has a bit of a lower range for a woman. And then they do this thing where half the time she goes high and he goes low...and the other half the time they reverse it. So there's no hard and fast rule about what they are going to do. People always talk about Charles screaming violently and Kim having this sweet voice...but that's not always the case.
Take Subbacultcha for instance...she's doing this gravelly low thing. That happens on Caribou too...and on the last section of I Bleed. I Bleed is actually a really interesting study. The song starts with him singing low and calm and her singing really high and sweet in a head voice, almost falcetto. Then it shifts and she goes ultra low and he starts screaming higer.
Winterlong is pretty challenging to dissect actually...because they are both kind of in a mid-range. Neither of them is at the extremes like usual. I think that's what gives me such a hard time with Oh My Golly in the Rosa part too...they are closer together.
Last night I sat down to play some Nields tunes. I thought maybe I'd whip one out at a party in April where there's going to be an open mic. These are songs that I sang every day for years...but haven't touched much in the last couple. I was really surprised to notice that the vocals were higher than I remembered...and that the way I'd been singing them all those years was totally out my throat...with no breath support at all.
I'm not an expert on singing and breathing...but when I started singing Pixies I changed the way I sang. I tried to push air from my belly and sing more in my chest...rather than using my throat and head voice. It's weird concepts to grasp and I'm still not sure I use the terms right or do it right...but I call tell the difference. I changed with the Pixies for two reasons...one to get more power and be heard (even with a mic I was having trouble competing with RS's strong vocals and the rest of the band) and the other was that Kim Deal does have this range that is lower than my natural range. So I just needed more air to push the lower notes out. I kind of knew that I did this and that I really struggled with it at the start (my throat hurt all the time those first few months and I was constantly slipping back and forth from head to chest voice...Monkey Gone to Heaven being a great example of a song that can be done either way and it took me a long time to figure out which way to go...I still struggle with that song a little bit even today) but I had kind of forgotten about all that...or maybe thought I hadn't done as much of that as I thought.
But trying to sing the Nields last night was a real eye opener. It THRASHED my throat. It just felt WRONG. Even when I sing in my head voice with Pixies songs...it still feels supported. It doesn't feel like a strain. But the Nields were almost impossible to sing.
So I guess I'm making progress even though it feels slow. Progress towards being able to sing like Kim Deal anyway...and maybe away from being able to sing like the Nields. It makes me wonder if the Nields just have higher ranges, but do all the breath support stuff...or if they just don't use chest voice at all.
I think something that makes the Pixies harmonies particularly hard is Charles and Kim's ranges. As a young man, at least, Charles had kind of a high range. A sort of "my testicals haven't fallen yet" range. Conversely, Kim has a bit of a lower range for a woman. And then they do this thing where half the time she goes high and he goes low...and the other half the time they reverse it. So there's no hard and fast rule about what they are going to do. People always talk about Charles screaming violently and Kim having this sweet voice...but that's not always the case.
Take Subbacultcha for instance...she's doing this gravelly low thing. That happens on Caribou too...and on the last section of I Bleed. I Bleed is actually a really interesting study. The song starts with him singing low and calm and her singing really high and sweet in a head voice, almost falcetto. Then it shifts and she goes ultra low and he starts screaming higer.
Winterlong is pretty challenging to dissect actually...because they are both kind of in a mid-range. Neither of them is at the extremes like usual. I think that's what gives me such a hard time with Oh My Golly in the Rosa part too...they are closer together.
Last night I sat down to play some Nields tunes. I thought maybe I'd whip one out at a party in April where there's going to be an open mic. These are songs that I sang every day for years...but haven't touched much in the last couple. I was really surprised to notice that the vocals were higher than I remembered...and that the way I'd been singing them all those years was totally out my throat...with no breath support at all.
I'm not an expert on singing and breathing...but when I started singing Pixies I changed the way I sang. I tried to push air from my belly and sing more in my chest...rather than using my throat and head voice. It's weird concepts to grasp and I'm still not sure I use the terms right or do it right...but I call tell the difference. I changed with the Pixies for two reasons...one to get more power and be heard (even with a mic I was having trouble competing with RS's strong vocals and the rest of the band) and the other was that Kim Deal does have this range that is lower than my natural range. So I just needed more air to push the lower notes out. I kind of knew that I did this and that I really struggled with it at the start (my throat hurt all the time those first few months and I was constantly slipping back and forth from head to chest voice...Monkey Gone to Heaven being a great example of a song that can be done either way and it took me a long time to figure out which way to go...I still struggle with that song a little bit even today) but I had kind of forgotten about all that...or maybe thought I hadn't done as much of that as I thought.
But trying to sing the Nields last night was a real eye opener. It THRASHED my throat. It just felt WRONG. Even when I sing in my head voice with Pixies songs...it still feels supported. It doesn't feel like a strain. But the Nields were almost impossible to sing.
So I guess I'm making progress even though it feels slow. Progress towards being able to sing like Kim Deal anyway...and maybe away from being able to sing like the Nields. It makes me wonder if the Nields just have higher ranges, but do all the breath support stuff...or if they just don't use chest voice at all.
Wednesday, January 18, 2012
Breathing and Singing
I keep remembering that I'm not doing breathing exercises and then promptly forgetting again. Really this would help my singing and my emotional life...so I ought to fucking just do it. Seriously, it takes less than 5 minutes a day.
I've noticed more so than lack of power that my voice waivers. I can't hold a note on pitch...it sounds weak and variable. The breathing thing (especially if I used a note on the exhales) would fix that.
I've noticed more so than lack of power that my voice waivers. I can't hold a note on pitch...it sounds weak and variable. The breathing thing (especially if I used a note on the exhales) would fix that.
Thursday, September 1, 2011
Lately
I am feeling better about my contribution to FLIPS. I was pretty down on the whole thing, particularly my vocals, but it seems to be getting slowly better...though I'm not putting in nearly the effort that I ought to be with practicing. It just isn't as much fun as the Pixies.
Blondie has caused physical problems with my right hand because I'm trying to push to hard and fast too soon. My technique is for crap. I basically haven't been practicing at all while I try to calm down both my carpal tunnel/tendonitis and also my depression at realizing that I am going to have to take a few of the songs down a notch. I'm hurting myself and not having any fun...so what the fuck. Make them easier to play by a hair. It makes me sad, cause this whole project was about me learning to play these songs right and do things that I couldn't do before. But it just isn't worth all the injury and self-hatred and frustration. I give up. I'm doing it the easy way.
TD has also been on my poop list. It isn't that much fun anymore either. It is a strained scene on many levels...which I knew going in...but now that I know the songs as well as I'm gonna know them it feels a little boring. So I don't practice and then the songs go to hell and then they aren't fun to play cause I suck at them.
SSW isn't playing out at all and hardly practicing and I'm actually relieved for both. Another case of knowing the tunes...getting bored...not practicing...starting to suck at the tunes...and growing to hate it.
So...
In summary...most of the stuff that I am doing isn't fun anymore.
And maybe that's why I haven't been around the blog much lately. Of course, I'm also trying to quit drinking and that makes everything feel different too.
But you know what is still fun? Pixies. Just really the best thing ever. We haven't been playing much because of all the other stuff going on...but I really hope that we get back to it after Halloween. I feel like I do a good job and that the band sounds good and that people enjoy it and that even if I know the songs that I still like playing them. It feels easy and fun but still like I'm accomplishing something.
For no good reason at all...right in the middle of playing in 5 bands...I've started trying to learn to play Breeders tunes with an eye towards making an all-me ep like I used to make in the old days. Even dusted off the multitracker and got it working. Just a pointless exercise with so much else to do. But it is fun. And I miss that.
Not sure what post-Halloween holds...feels like a turning point though. I need to power through and not make any rash decisions in the interium. There's a lot of change happening in my brain of late and probably best to just hold the line and try to be gentle with myself.
Blondie has caused physical problems with my right hand because I'm trying to push to hard and fast too soon. My technique is for crap. I basically haven't been practicing at all while I try to calm down both my carpal tunnel/tendonitis and also my depression at realizing that I am going to have to take a few of the songs down a notch. I'm hurting myself and not having any fun...so what the fuck. Make them easier to play by a hair. It makes me sad, cause this whole project was about me learning to play these songs right and do things that I couldn't do before. But it just isn't worth all the injury and self-hatred and frustration. I give up. I'm doing it the easy way.
TD has also been on my poop list. It isn't that much fun anymore either. It is a strained scene on many levels...which I knew going in...but now that I know the songs as well as I'm gonna know them it feels a little boring. So I don't practice and then the songs go to hell and then they aren't fun to play cause I suck at them.
SSW isn't playing out at all and hardly practicing and I'm actually relieved for both. Another case of knowing the tunes...getting bored...not practicing...starting to suck at the tunes...and growing to hate it.
So...
In summary...most of the stuff that I am doing isn't fun anymore.
And maybe that's why I haven't been around the blog much lately. Of course, I'm also trying to quit drinking and that makes everything feel different too.
But you know what is still fun? Pixies. Just really the best thing ever. We haven't been playing much because of all the other stuff going on...but I really hope that we get back to it after Halloween. I feel like I do a good job and that the band sounds good and that people enjoy it and that even if I know the songs that I still like playing them. It feels easy and fun but still like I'm accomplishing something.
For no good reason at all...right in the middle of playing in 5 bands...I've started trying to learn to play Breeders tunes with an eye towards making an all-me ep like I used to make in the old days. Even dusted off the multitracker and got it working. Just a pointless exercise with so much else to do. But it is fun. And I miss that.
Not sure what post-Halloween holds...feels like a turning point though. I need to power through and not make any rash decisions in the interium. There's a lot of change happening in my brain of late and probably best to just hold the line and try to be gentle with myself.
Friday, April 1, 2011
The Marathon
On Wednesday CJ played through the proposed 46 song setlist for April 16th. Two 23 song sets. I didn't think it would be that big of a deal because we normally have 2-3hour rehearsals. But about 15 songs into each set I had to pee in a painful way. About 10 songs from the end I felt physically exausted and like I literally might fall down. The next day I noticed my left shoulder was kind of sore (from the bass strap). I almost, not quite, got a blister on my left index finger. There was some friendly debate at the end of rehearsal about whether this is such a hot idea.
It's not a hot idea...it's a HAWT idea.
I hope we go through with it. I've got about two weeks to build stamina. It is essentially two hours of music. It'd be cool to play the set every night from now until the show, but I can't imagine that I'm gonna find the time to do that. I suppose that when you are training for a marathon you don't run 26 miles every day for two weeks leading up to it.
And I gotta moderate my liquid intake day of show. Subtle balance between keeping the throat lubricated enough to sing for two hours and my bladder exploding.
It's not a hot idea...it's a HAWT idea.
I hope we go through with it. I've got about two weeks to build stamina. It is essentially two hours of music. It'd be cool to play the set every night from now until the show, but I can't imagine that I'm gonna find the time to do that. I suppose that when you are training for a marathon you don't run 26 miles every day for two weeks leading up to it.
And I gotta moderate my liquid intake day of show. Subtle balance between keeping the throat lubricated enough to sing for two hours and my bladder exploding.
Wednesday, March 30, 2011
The Next CJ Gig and Kim Deal Sang Plenty
So on the heels of my personally devastating performance last week, we are preparing for our biggest show yet on April 16th. Of the 51 songs we've laid hands on over the last 12 months, it looks like we will shoot to play about 44-46 of them in a single night. This totally blows away the ACTUAL Pixie's record of playing 33 songs in a single night.
My voice, rattled by self doubt and about six months of coughs and colds, is kind of trashed.
Last night I sat down to work on some of the tunes that give me particular trouble vocally. I was recalling all the interviews I've read with Kim Deal about how people were sad that she "wasn't allowed to sing" more and how she's basically said, screw that, I was the bass player. So I mapped out the list into 1)sing lead, 2)sing backing, 3)don't sing.
All those people who complain that Kim Deal "wasn't allowed to sing more" can go to hell. She's singing all the freaking time. I should be so lucky to have to sing less and just play the bass. That'd be lovely. There's only 12 of the 51 songs that I don't sing at all on (and I think she does sing on a few of these, like Something Against You...live, or Wave of Mutilation...studio, I just don't). I sing lead on 3 songs. And most of the other 36 songs I have a backing vocal that is usually pretty key to the song...on a few I'd even call it a "shared lead vocal" (like I Bleed or Subbacultcha).
People, as always, are stupid.
My voice, rattled by self doubt and about six months of coughs and colds, is kind of trashed.
Last night I sat down to work on some of the tunes that give me particular trouble vocally. I was recalling all the interviews I've read with Kim Deal about how people were sad that she "wasn't allowed to sing" more and how she's basically said, screw that, I was the bass player. So I mapped out the list into 1)sing lead, 2)sing backing, 3)don't sing.
All those people who complain that Kim Deal "wasn't allowed to sing more" can go to hell. She's singing all the freaking time. I should be so lucky to have to sing less and just play the bass. That'd be lovely. There's only 12 of the 51 songs that I don't sing at all on (and I think she does sing on a few of these, like Something Against You...live, or Wave of Mutilation...studio, I just don't). I sing lead on 3 songs. And most of the other 36 songs I have a backing vocal that is usually pretty key to the song...on a few I'd even call it a "shared lead vocal" (like I Bleed or Subbacultcha).
People, as always, are stupid.
Thursday, February 24, 2011
Silver
I've been missing that Kim Deal sings the low part on this song. Trying to pick it out now.
Second version on the video above has just her low vocal. Awesome.
A nice modern live version with clear vocal:
Second version on the video above has just her low vocal. Awesome.
A nice modern live version with clear vocal:
Wednesday, July 21, 2010
Singing Class Week 4
Nothing much new this week. My main take home point was the instructor telling me I should work on the "gugs" and strengthen and extend the top end of my "belting" or "speaking" range.
Wednesday, July 14, 2010
Singing Class Week 3
We continued with the exercises as per her cd. Essentially the cd IS the class.
I've made a point to interject questions...and try to get feedback whenever possible...because that seems to be the real value here. Otherwise I could just listen to the cd and not come to class.
Yesterday one of the people who sang was the girl who has a theatre voice...like Broadway musical type stuff. She's been talking alot about "head voice" versus "belting voice" and the "break" between the two...and I've only been vaguely sure what she's been talking about. Yesterday was great because the instructor had the girl sing a song first in her "head voice" and then in her "belting voice." So I could see the difference. And then I asked...which is better? Do you use both? Etc.
Essentially...the "head voice" is what I think people like RS call "falcetto"...it's higher in your range. "Belting voice" is lower in the range. I've always assumed the "belting voice" was more desireable...but apparently this is counter to classical teaching. Classical voice instructors WANT you in your head voice. Which seems weird to me. The "belting voice"...that which is more in your natural speaking range and is more powerful seems like it would be better. And there's the whole issue of the part of your range that falls between these two places...the transition...or "break"...and how to navigate that.
So the real life example for me is "Levitate Me".
Live version 1988:
From album:
At 0:30 in the live video (0:32 in recorded version)...where he sings "If all and all is true"...that's a place that RS has struggled with. It's too high for his "belting voice" and he hasn't wanted to sing it in his "head voice" ("falcetto to him). I would argue that Black Francis actually DOES sing this part in falcetto in the live version above. But from the discussion about it I figured out that I naturally drifted to my "head voice" for this bit. I then forced myself to do it in my "belting voice" instead and found I was able to do it. And in this illustration...yeah the head voice sounds sweeter and more classical and the belting voice is a little nastier and more rock and roll. But both work. Both are in pitch. And, yeah, the belting voice is more Pixies-esque. But that said...he (Black Francis) never sings this song live anymore as far as I can tell. So he could belt it maybe in his 20s...but not so much in his 40s. So RS, who's pushing 40, shouldn't feel too bad.
My personal issues continue to be with difficulty in feeling how to breathe properly. But I think it is just practice. Which I'm not doing enough of.
I've made a point to interject questions...and try to get feedback whenever possible...because that seems to be the real value here. Otherwise I could just listen to the cd and not come to class.
Yesterday one of the people who sang was the girl who has a theatre voice...like Broadway musical type stuff. She's been talking alot about "head voice" versus "belting voice" and the "break" between the two...and I've only been vaguely sure what she's been talking about. Yesterday was great because the instructor had the girl sing a song first in her "head voice" and then in her "belting voice." So I could see the difference. And then I asked...which is better? Do you use both? Etc.
Essentially...the "head voice" is what I think people like RS call "falcetto"...it's higher in your range. "Belting voice" is lower in the range. I've always assumed the "belting voice" was more desireable...but apparently this is counter to classical teaching. Classical voice instructors WANT you in your head voice. Which seems weird to me. The "belting voice"...that which is more in your natural speaking range and is more powerful seems like it would be better. And there's the whole issue of the part of your range that falls between these two places...the transition...or "break"...and how to navigate that.
So the real life example for me is "Levitate Me".
Live version 1988:
From album:
At 0:30 in the live video (0:32 in recorded version)...where he sings "If all and all is true"...that's a place that RS has struggled with. It's too high for his "belting voice" and he hasn't wanted to sing it in his "head voice" ("falcetto to him). I would argue that Black Francis actually DOES sing this part in falcetto in the live version above. But from the discussion about it I figured out that I naturally drifted to my "head voice" for this bit. I then forced myself to do it in my "belting voice" instead and found I was able to do it. And in this illustration...yeah the head voice sounds sweeter and more classical and the belting voice is a little nastier and more rock and roll. But both work. Both are in pitch. And, yeah, the belting voice is more Pixies-esque. But that said...he (Black Francis) never sings this song live anymore as far as I can tell. So he could belt it maybe in his 20s...but not so much in his 40s. So RS, who's pushing 40, shouldn't feel too bad.
My personal issues continue to be with difficulty in feeling how to breathe properly. But I think it is just practice. Which I'm not doing enough of.
Wednesday, July 7, 2010
Singing Class Week 2
We went through more breathing exercises and vocal warmups and then two of us (me included) presented songs we wanted to work on. I sang "The World's a Mess It's In My Kiss" by X...which has always been a song I thought that I ought to be able to sing but have struggled with to the point of telling the boys we couldn't do it. I sang it a cappella in front of about 10 strangers. Eyes closed as is our way. It came out pretty good, really. I don't feel like the instructor really helped me with it, though. She made some comments about belting a certain word and reminded me to breath from the belly...but no reall constructive criticism or suggestions.
The breathing is the key to it all...and I really struggle with it. I don't know if I'm just not used to the kind of breathing we're doing...or if my considerable girth makes it hard to expand by belly and ribs. I just naturally breath shallowly and into the top of my chest...and I don't really push with my abdominal muscles at all when I sing. But that's what I'm supposed to be doing. It's hard to get the hang of. I probably should practice every day on the floor. One more thing to remember to add to life's obligations.
The breathing is the key to it all...and I really struggle with it. I don't know if I'm just not used to the kind of breathing we're doing...or if my considerable girth makes it hard to expand by belly and ribs. I just naturally breath shallowly and into the top of my chest...and I don't really push with my abdominal muscles at all when I sing. But that's what I'm supposed to be doing. It's hard to get the hang of. I probably should practice every day on the floor. One more thing to remember to add to life's obligations.
Wednesday, June 23, 2010
Throat Sprays
I asked about sickness-related throat care at class last night and she highly recommended throat spray...not just during sickness...but as overall throat health care maintenance. She suggested Zand brand, which she said is only available at one store in the area out in Middleton. I've been using Herb Etc's Singer's Saving Grace for a long while, and while she said this was good too, she warned against using sprays with propolis, because it is a numbing agent.
Preparing for the Next Singing Class
So the next singing class isn't for two weeks due to schedule conflicts, but I've volunteered to be one of the first few people to work on a song. I think I'm going to do "The World's A Mess" by X. I thought I'd need help with Pixies songs...but the main lingering problem with those isn't my power...it's my tendancy for my harmony vocals to drift to the melody (and go off key in the process). I plan to ask her about that too...but it feels slightly off topic for the course. And...part of the reason that happens is because I can't hear myself, which is partially about power.
The X song has pissed me off from the start. I thought I could sing it in the beginning, but the more that I worked on it, the worse that it got. Eventually, I had to ask the band to abandon it. And that's annoying. So I want to learn what I'm doing wrong.
From 1983-ish
And 2004...no doubt with less drugs
And more versions:
The X song has pissed me off from the start. I thought I could sing it in the beginning, but the more that I worked on it, the worse that it got. Eventually, I had to ask the band to abandon it. And that's annoying. So I want to learn what I'm doing wrong.
From 1983-ish
And 2004...no doubt with less drugs
And more versions:
Singing Class
Originally this blog was about the drums. Then I added bass stuff cause...well it's still the rhythm section. Now I'm adding voice...cause...well it's my fricking blog.
Attended my first "Singing for Screamers" class last night with MDP. I wasn't sure if I'd like the class. The last two classes I took through continuing music education I was pretty disappointed with. The instructors seemed knoweledgable...but unprepared to teach. Disorganized. I felt like they were wasting my time. I wanted them to have an outline...materials to hand out...a direction to head. But they wandered aimlessly. Which, frankly, I could do on my own. My second concern was that I've always kind of disliked the band that MDP is in. I don't like the style of music they play and her stage demeanor is...well...just not my cup of tea. I wondered if I'd be able to take a class from her effectively.
Time will tell, I guess, but if the first class was any indication...this will be useful and relatively pleasant.
MDP was VERY well organized. She's been teaching related classes for 8 years (though this is the first time with this particular focus). She had a study cd all ready for us (at a cost of $15, which I don't begrudge her, but the course description ought to mention that you will be required to purchase this). And it wasn't just a generic cd, it was one she'd crafted just for our topic. I'm sure it draws heavily from the cds that she uses in her other classes, but at least she took the time to reorganize the material and put a new cover on it.
She got right down to business. Gave us a brief, but detailed, background on how she came to teaching...and took all of our info on where we're at and what we're trying to do. She really listened to what each person said and tried to tailor her response comments to their situation. She gave us a good idea how to prepare for each class (listen to the cd...and that we should prepare a song to work on) and told us what to do if we arrive to class early, which she highly recommended.
She's a little new-age-y...which isn't my favorite...but I think she's appropriately applying it to the philosophy of singing...which is tied in closely with the breath. She talked about singing out of your third eye...which was a red flag for me...but when I mentioned this to RS he said that other vocal coaches that he's had in the past have talked about "singing out the top of your head"...which is essentially the same thing. So this must just be part of the shpeal.
Her demeanor was good. Very casual. Very..."anybody can sing...singing is awesome...we're gonna help you reach your potential."
So...yeah...high hopes. Obviously it is only a 5 week class...so there's only so much we can accomplish...but the cd effectively extends the class for as long as we choose. And she teaches other classes (and perhaps private lessons) so if I find it to be useful, there's a way to revisit.
In any case, the first session has revived my faith in the UW continuing music education program...and in music instruction in general.
Attended my first "Singing for Screamers" class last night with MDP. I wasn't sure if I'd like the class. The last two classes I took through continuing music education I was pretty disappointed with. The instructors seemed knoweledgable...but unprepared to teach. Disorganized. I felt like they were wasting my time. I wanted them to have an outline...materials to hand out...a direction to head. But they wandered aimlessly. Which, frankly, I could do on my own. My second concern was that I've always kind of disliked the band that MDP is in. I don't like the style of music they play and her stage demeanor is...well...just not my cup of tea. I wondered if I'd be able to take a class from her effectively.
Time will tell, I guess, but if the first class was any indication...this will be useful and relatively pleasant.
MDP was VERY well organized. She's been teaching related classes for 8 years (though this is the first time with this particular focus). She had a study cd all ready for us (at a cost of $15, which I don't begrudge her, but the course description ought to mention that you will be required to purchase this). And it wasn't just a generic cd, it was one she'd crafted just for our topic. I'm sure it draws heavily from the cds that she uses in her other classes, but at least she took the time to reorganize the material and put a new cover on it.
She got right down to business. Gave us a brief, but detailed, background on how she came to teaching...and took all of our info on where we're at and what we're trying to do. She really listened to what each person said and tried to tailor her response comments to their situation. She gave us a good idea how to prepare for each class (listen to the cd...and that we should prepare a song to work on) and told us what to do if we arrive to class early, which she highly recommended.
She's a little new-age-y...which isn't my favorite...but I think she's appropriately applying it to the philosophy of singing...which is tied in closely with the breath. She talked about singing out of your third eye...which was a red flag for me...but when I mentioned this to RS he said that other vocal coaches that he's had in the past have talked about "singing out the top of your head"...which is essentially the same thing. So this must just be part of the shpeal.
Her demeanor was good. Very casual. Very..."anybody can sing...singing is awesome...we're gonna help you reach your potential."
So...yeah...high hopes. Obviously it is only a 5 week class...so there's only so much we can accomplish...but the cd effectively extends the class for as long as we choose. And she teaches other classes (and perhaps private lessons) so if I find it to be useful, there's a way to revisit.
In any case, the first session has revived my faith in the UW continuing music education program...and in music instruction in general.
Subscribe to:
Comments (Atom)
