Some people live for fortune Some people live just for the fame Some people live for the power Some people live just to play the game Some people think that the physical things define what's within And I've been there before But that life's a bore It’s all full of the superficial Some people want it all But I don't want nothing at all If it ain't you baby If I ain't got you baby Some people want diamond rings Some just want everything But everything means nothing If I ain't got you Some people search for a fountain That promises forever young Some people need three million roses And that's the only way to prove you love them Handed the world on a silver platter And what good it brings With no one to share With no one who truly cares for me Some people want it all But I don't want nothing at all If it ain't got you baby If I ain't got you baby Some people want diamond rings Some just want everything But everything means nothing If I ain't got you Some people want it all But I don't want nothing at all If it ain't you baby If I ain’t got you diamond rings Some just want everything But everything means nothing If I ain't got you You, you, you, you If I ain't got you You, If I ain’t got you ******
“Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater Music by Walter Lloyd Gross, Lyrics by Jack Lawrence The evening breeze caressed the trees tenderly. The trembling trees embraced the breeze tenderly. Then you and I came wandering by and lost in the site were we. The shore was kissed by sea and mist tenderly. I can’t forget how our hearts met breathlessly. Your arms open wide then closed me inside. You took my lips, then you took my love so tenderly. “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to Omegabone.com. There are three systems that function together to make up the voice. In this video I will be discussing articulation. Thank you for joining me. So today’s exercise is Row your Boat. First I want you to write out the lyrics skipping a line in between each. Row Row Row your boat gently down the stream mer-ri-ly, mer-ri-ly, mer-ri-ly mer-ri-ly life is but a dream. Okay. Then I want you to identify the pure vowel sound. Instead of Row you are going to write: Oh, Oh, Oh, Oh, Oh Oh because Row your boat all have the base pure vowel Oh, Okay?
Row Row Row your boat Oh, Oh, Oh, Oh Oh Gent-ly down the stream Eh, ee, ahuh, uh ee Mer-ri-ly, mer-ri-ly, mer-ri-ly mer-ri-ly eh lh ee, eh lh ee, eh lh ee eh lh ee Life is but a dream ahee ih uh uh ee Okay then sing through the whole song with just the vowels okay and try to have not too much movement. Okay because a lot of times when we add consonants we tend to and we don’t need to do all of that. That is the point of this exercise is to keep everything in a small compact place Okay. Now I am going to add the consonants now remember the final R is going to be omitted Okay so where as you are going to sing the R for Row you’re not going to sing the R for your you are just going to sing you.: Row, row, row your boat (r)oh, (r )oh, (r )oh, (y ) oh (r) (b) oh (t) Gent-ly down the stream (j) eh (n) (t)-(l)ee (d)ahuh(n) (th)uh (s)(t)(r)ee(m) Mer-ri-ly, mer-ri-ly, mer-ri-ly, mer-ri-ly (m)eh-(r)lh-(l)ee, (m)eh-(r)lh-(l)ee,(m)eh-(r)lh-(l)ee (m)eh-(r)lh-(l)ee Life is but a dream! (l)ahee(f) ih(s) (b)uh(t) uh (d)(r)ee(m) Now this exercise can be done for any song and whenever you feel like you are not as clear um not being understood as well you want to go through this exercise and um clean up the diction and make sure you that you can hear every sound okay every sound that you are supposed to hear. “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to omegabone.com. There are 3 systems that function together to make up the voice. In this video I’ll be discussing articulation. Thank you for joining me. So now that we’ve identified where the pure vowel sounds lie in the mouth we need to connect them to consonants. What are consonants? Consonants are the sounds you make when you close your mouth at various points. Depending on how you create the sound, whether the vocal folds vibrate or not determines the classification. Voiced, or voiceless. When the vocal folds vibrate the consonant is voiced like M, “M-Mary”. 🎶M-Mary🎶 okay. Voiceless consonants don’t have a pitch like C, the vocal folds don’t vibrate, cat, “C-C-C-C-C-Cat” 🎶C-Cat🎶 To make pitch you have to use the vowel, okay. I’m not going to go through each and every letter because every letter has various sounds and you know. But 3 letters of particular concern are S and Z, and the letter R. Now, when S or Z is at the end of a word, try not to overemphasize the sound. You don’t want to sound like a snake. It should be like a beat or a quick articulation. Take the word caress, you don’t want to say 🎶Caress-sss🎶 you want to say 🎶Caress🎶, okay just the very end. The American R should not be sung in most genres. Country music, southern gospel, they sing it, but outside of that you sound country. Take the word Together, you’re going to omit the final R. You’re going to sing together. Yes, I know Together is country. Let’s stay together sounds country. But when you sing it, 🎶Let’s-let’s stay together🎶 I didn’t sing the R, but you heard the R, you knew the word Together. But if I were to sing 🎶Let’s-let’s stay together🎶 Also when R proceeds another consonant like in the word Heart, again you’re going to omit the R. 🎶You make me smile with my heart🎶 Instead of heart you sing hot like h o t instead of h a r t. 🎶You make me smile with my heart🎶 The idea is to omit the final R or if it proceeds another consonant. Now, these are not hard and fast rules, this is just something to consider when you’re singing. You can do whatever you want obviously, but these are some of the things I subscribe to.
*** “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to omegabone.com. There are 3 systems that function together to make up the voice. In this video I’ll be discussing articulation. Thank you for joining me. So now that the lungs have passed the air through the voice box into the mouth, we have to deal with the articulation. What do we do with the tones once they’re here? How do we convey a message? Sometimes it’s just an Ooh, sometimes it’s just an ah, sometimes we have consonants, now how do we produce those things? You have the tongue, you have your teeth, you have the roof of your mouth which is broken into 2 parts which is also called the palate. You have the hard palate and if you run your tongue back further you have the soft palate. You have your lips, you have your nose. You have your cheeks, your forehead, you have your eyes. All of these help focus your sound. And depending on the shape of your face, that’s going to affect your sound. Just as everyone looks different, everyone’s going to have a different sound. And if you want to have the most impact with your audience you need to take advantage of your own unique sound. You don’t need to sound just like Beyonce, you don’t need to sound just like Mariah Carey. You need to sound like you. You need to look like you, you need to embrace your story, your message.
What I would like for you to focus on in this video is the placement of vowels in your mouth, A, E, I, O and U. Now, the sound of those pure vowels, not diphthongs A which is two sounds. You have the A and the E to make A. Just the pure vowel sound, just the A, just the E. Where is that in your mouth? Well the most forward sound is the E. Now, when you make the E, I don’t want E back here, I want E here. I want everything to project forward. You don’t want to lose any sound out the sides of your face. You want all your sound to be projected straight ahead. So E, and in the same place and the same position I want the Ooh. The only difference is your lips are going to be more circular. Whereas they’re more square for the E, for the Ooh you’re just going to round them a bit more. Then there’s the Eh right behind the OoH. E, Ooh, Eh. Where you lower your jaw just a little bit to make a little more space. Behind the Eh is the Oh and then the Ah. So Ah, Oh, Eh, Ooh, E. E, Ooh, Eh, Oh, Ah. Just feel where that is and feel the differences so that when you connect the vowels with consonants, you’ll know how much space you need. The higher the pitch, the more space you need. The lower the pitch, the more space you need. The extremities need a lot of space, and the pitches in the middle don’t need as much space. Because I’m speaking I don’t need to have that much space in my mouth. But if I was singing I would need to have a whole lot more. *** “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to omegabone.com. There are three systems that function together to make up the voice. In this video I’ll be discussing tone production. Thank you for joining me.
So how do we make sound? Air comes from the lungs and passes through the voice box. You can see it on a man very clearly with his Adam’s apple or even see it when I swallow. [Swallows] You see it came in a little bit? And inside the voice box you have vocal folds that open to take in air, to close to keep things out of the lungs like food when you’re swallowing, and they are barely open to produce sound. The vocal folds loosen and tighten depending on the pitch, and that’s caused by the trachea opening and closing. When someone’s promising, “Oh I can extend your range, you know, a whole octave,” what they’re really doing is helping you work your extremities that you may not have worked before. You’re not really increasing, you’re not really gaining because it’s all based on anatomy. You know, men have a larger range than women because they have a bigger neck. They have more space to stretch their vocal folds. Like take two singers, Mariah Carey and Rihanna. Mariah Carey has a larger neck than Rihanna. So Mariah Carey has the ability to sing more notes than Rihanna. So all you really can do is work with what you’ve got. But, in talking about the larynx you’re really not working it at all. This needs to be so relaxed. This should be, you don’t want to have any tension here. You don’t want to be manipulating this at all. This is so delicate, it’s so tender, let it do its thing. It knows, you know, a baby can scream and holler for an hour straight, because I promise both of mine have done that. You know, and not been hoarse and not have any kind of vocal noids or vocal fatigue with no problem. So the voice knows what to do, let it do it. In these two exercises I want you to get a mirror with your eyes open and I want you to look at what it looks like to yawn. And I want you to be cognizant of your ears, your mouth, the back of your mouth, the front of your mouth. I want you to be cognizant of your eyes, your eyebrows, your neck, your shoulders. What does it feel like? Your lungs, I want you to feel what it feels like to yawn. I’m not going to do it because it’s rude. I don’t want you to cover your mouth, I want you to look inside your mouth, I want you to be fully aware of everything that happens. Your nostrils, behind your nostrils, your hard and soft palate. I want you to feel all of that. I then I want you to feel what it feels like to swallow. I want you to do both. And when you sing you need the same sensation as the yawn. Not for the easy notes, you don’t need that much space or that much energy. But for your top notes and your bottom notes you’re really going to need to be able to recall what your body does for a yawn. So I want you to open it all up, create as much space as you can for the yawn, and your eyes are going to water, that’s fine. But eventually you’ll get to the point where you won’t water and it won’t be so involuntary, the reflexes that happen with the yawn. So go ahead and yawn. And then I want you to swallow. [Swallows] And you see how everything closes up? You don’t want that. And you don’t want that much control over the singing, okay. But you want the space, you want the air, you want the life. “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to omegabone.com. There are three systems that function together to make up the voice. In this video I’ll be discussing breath production. Thank you for joining me.
How do the lungs work? They pull in air and they push it back out. They pull in air and they push it back out. But they don’t do that by themselves, they also use the ribcage, the muscles in between each rib. They use the abdominal muscles and they use the diaphragm which sits above the stomach. Now, you don’t actually manipulate the diaphragm. You actually manipulate the intercostal muscles in between each rib and the abdominal muscles, and those help to make the diaphragm relax and contract. And when it’s relaxed, it’s actually up, and when it contracts it flattens out and this helps with the suction of air into the lungs and expelling, pushing the air out of the lungs. And when it’s contracting your stomach moves out of the way because it’s pushing, if this is your stomach it pushes your stomach out. For this video I’d like you to do three exercises. The first is standing with your knees slightly bent with your body bent over and your arms hanging above your head. I want you to concentrate on your ribcage and I want you to feel a sense of openness. I want you to let your ribcage fall open, as if you have an umbrella inside your body lifting up your ribcage, giving you space. Take in a deep breath. Next I’d like you to lie on the floor with your knees bent and your feet flat. This is to move your behind out of the way and to allow your shoulders to line up properly with your back. They should be flush with the floor. This raises your sternum and keeps your shoulders from moving so that you’re not breathing like this. [Breathing] That’s wasted energy. I want you to remember what it felt like when you were bent over and you had all that space with your ribcage. I want you to feel the energy coming from your legs to help you breathe, because when you’re standing you’re going to need to pull the energy from your feet, from your legs, from all the parts of your body so that you can support your tone. For the last exercise I’d like you to stand all the way upright with your hands above your head with one sheet of paper. I don’t want the paper like this, I want the paper like this. And I want you to remember what your shoulders felt like and your ribcage lifted, and take in that deep breath. [Breathes] Don’t let this collapse. I want you to pull the energy from your legs and I want you to breathe. [Breathes] Now, if you practice this, this allows you to be more aware and more conscious of your body, because you’ll feel your shoulders, you’ll feel the muscles in your shoulders, you’ll feel things that you might not have ever, you know, paid any attention to before. And these are the things that are going to help you take in all the breath you need to hit those high notes, to hit those low notes, to dance and sing at the same time. Breath is the key to all of that. *** “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater
Welcome to omegabone.com. In this video I’ll be discussing things to look for in a good voice coach or vocal teacher. Thank you for joining me. Some things to look for in a voice teacher are he or she needs to have a good ear to hear when you’re out of tune or not. Though you should be able to hear that yourself, but your teacher needs to have that as well. You need someone that understands the human anatomy and what processes produce good sound and a good tone. Your voice teacher needs to have a good personality, it needs to be somebody that you can get along with. Someone that is honest that will tell you the truth that if you don’t sound good, if you’re not up to muster, but also can tell you when you’re really great because sometimes you might second guess yourself and you just need someone that’s honest. You need someone that isn’t going to talk your entire lesson about dumb stuff, “Oh Brad Pitt did that, this other student did that.” Your teacher needs to instruct and needs to give you space to sing and get feedback and not waste your time or your money. Now, it used to be the case that your teacher needs to accompany you, but with technology being where it is you can have play along tracks, you can have all sorts of things that can accompany you. You can have, I have programs on my computer where I can type the music in and it will play it back. I can, you know, make it faster, make it slower, make some parts faster, make some parts slower. So you don’t, your teacher doesn’t necessarily have to accompany you, but the teach needs to have some way of accompanying you if he or she physically doesn’t do it him or herself, or you can hire an accompanist. Another option is to go to a voice class where you have group instruction, and then great thing about that is you have a built in audience. So that you hear what the teacher says, you learn from what other students do and you can have the opportunity to perform. And then you can work out some issues that you can’t work out in a studio, in a private studio where you need the energy of an audience to feed your knowledge about a particular song or a particular issue. The most important thing I think a voice teacher should be is supportive and excited about you and your voice. If your teacher doesn’t think much of you, you’re not going to do very well. If your teacher constantly is negative about you and your potential, you’re not going to do very well. You need to go to someone that thinks that you can do something. And you might have a host of problems, but your teacher needs to be able to see the potential in your voice. They need to see something, they need to see some kind of spark. And if your teacher doesn’t see that, you need to find another teacher.
I’ve had 3 voice coaches since college and I didn’t leave those coaches because they weren’t any good, I had just ended up moving. So the coach I have now lives 20 minutes from me and she’s excellent. She’s fun, she’s just as silly as I am, but she works just as hard as I do. And right now she works even harder than I do because I really don’t have that much strength right now. You know, because my son is only 5 months old and so tending to a new born is exhausting work. Some more things to look for in a good vocal teacher are one, you like the way the teacher sounds. If the teacher has the same style as you, that’s a good person to teach you how to sing better. Take Martina McBride for instance, she is a fantastic singer. I mean she is a singer’s singer. She has a beautiful tone, she has lots of emotion, her pitch is impeccable. I mean she’s just ooo, just juicy. But I wouldn’t study with her because she sings country and I’m more interested in Jazz, R&B and, and now back into classical music. So there’s lots of things that I can learn from her, but, which leads me to my next point, your teacher needs to have attained a goal that you want to attain. I don’t want to be a country star. Actually I don’t want to be a star at all I just want to be a working singer. You need to set a goal and set a timeframe for that goal, and your teacher needs to help you attain that goal in that timeframe. My teacher and I have decided that we want to get me working within a year. And so next summer I should have a job, working for a company as a singer. So Martina McBride isn’t going to help me do that, and can’t help me do that. One, she doesn’t live in my area, two, she sings country and there are no country clubs here in my area. So, but my teacher works where I want to work so she can help me attain that goal. Which leads me to my next point. Your teacher should have connections and networking opportunities. Your teacher should have other students that you can do concerts with or programs or recitals with. Because typically when you’re starting out you don’t have enough repertoire to fill a whole program. And so having other students to fill that space is good, they can also bring more audience members because they’ll bring their friends and family, you’ll bring your friends and family and everyone will make enough money so that you can pay the, the supporting musicians. *** “Learn to Sing with Omega” has singing lessons about diction and warming up, music lessons about scales and chords, and professional tips and tricks about health and beauty. Learn every thing you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. All voices are welcome: Soprano, Alto, Tenor, Baritone and Bass. All Styles are welcome: blues, classical, jazz, dance, disco, funk, gospel, rock, r&b, spiritual, and theater |
Categories
All
omegabone.com“Learn to Sing with Omega” is everything you need to be a better singer. Sing higher, sing lower, sing louder and sing longer with Omega Bone, the authentic American voice. |
RSS Feed