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The Kurt Rosenwinkel Forum » Tag: Singing - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: Singing - Recent Posts en Tue, 26 Jul 2016 12:11:31 +0000 SoulEyes on "Blending Voice and Guitar signal together" http://www.kurtrosenwinkel.com/forum/topic/blending-voice-and-guitar-signal-together#post-14074
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Sat, 25 Apr 2015 13:19:37 +0000
SoulEyes 14074@http://www.kurtrosenwinkel.com/forum/ <p>Hi everybody,<br /> I like singing/humming along with what I play and it always seems to make me play more musically. I also love the sound when the guitar and voice blend together. In live situations my voice would need to be amplified to create that effect since I don't sing very loud. I don't really want to use a traditional stand/ mic/ p.a. setup because I have no direct volume control and I also feel like the mic stand gets in the way of moving freely. </p> <p>I have seen Kurt use a lapel/headset type of mic and I'm pretty sure he had it connected to his guitar amp. I think this would work great for me, too. But I have no idea how to do this. How do you connect the mic to your setup and control the volume to fit the guitar volume. Do you need a preamp? Can you recommend me some mics? I am kind of lost.... Does anybody have experience with this? Would love to get some input!<br /> Thanks. </p>
aramaya on "Ear Training for Instrumentalists by Matt Glaser" http://www.kurtrosenwinkel.com/forum/topic/ear-training-for-instrumentalists-by-matt-glaser#post-13774
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Tue, 25 Nov 2014 15:50:27 +0000
aramaya 13774@http://www.kurtrosenwinkel.com/forum/ <p>I teach theory and ear training at a small college, and have had some great success getting students to hear chromatically<br /> in about 3 months of work. In my opinion and experience from teaching, if you can sing/hear a major triad,<br /> you can hear the rest of the pitches.</p> <p>From root, 3rd, and 5th you can fairly easily hear the other pitches. 2 and 7 pull towards 1; 4 pulls to 3; and 6 drops into 5.<br /> Once you have this established from the major scale, then work on singing a b7 and b2 (again resolving to 1),<br /> and then #4 and b6 (resolving to 5). The only pitch you haven't learned is the b3, which is in the minor triad.</p> <p>We are at the end of the 1st semester and pretty much my entire class can sing all qualities of triads (Aug, maj, min., dim.), all 7th chords (maj7, 7,-7, -7b5, dim7), all major scale modes, and Harmonic/Melodic Minor. They can also sight sing this stuff<br /> using wide leaps (ex. 1,6,2,7, 9, 3,1)</p> <p>These aren't people who came in with any significant training,anyone can do this in my opinion if it is presented in the right way. The problem students have with hearing larger intervals is the perceived no man's land between for instance the Root and 6. If you hear the triad, this is easily solved, and you are ultimately only listening for half steps and whole steps with their proper resolutions in tact. </p>
Poparad on "Ear Training for Instrumentalists by Matt Glaser" http://www.kurtrosenwinkel.com/forum/topic/ear-training-for-instrumentalists-by-matt-glaser#post-13772
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Mon, 24 Nov 2014 15:07:42 +0000
Poparad 13772@http://www.kurtrosenwinkel.com/forum/ <p>The more and more I play, the more I realize that I can get all I need out of transcribing recordings. Transcribing changes is great for your harmonic ear, lines for your pitch. Try singing the line back first before playing it on an instrument or writing anything down. See if you can transcribe a simple solo entirely with your voice and paper. Books can be useful at the very beginning, but pretty quickly, even the best books become a distraction from learning real music in real situations. The more practical you can make your practicing, and the less removed it is from a real performance, the better results you'll get. </p>
Jason Sioco on "Ear Training for Instrumentalists by Matt Glaser" http://www.kurtrosenwinkel.com/forum/topic/ear-training-for-instrumentalists-by-matt-glaser#post-13771
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Sun, 23 Nov 2014 20:46:09 +0000
Jason Sioco 13771@http://www.kurtrosenwinkel.com/forum/ <p>I discovered a book on the internet called Ear Training for Instrumentalists by Matt Glaser. I tried many ear training methods and softwares and they all failed to give me a good ear. The book contains 6 cds and I like the content of what's on it, but maybe they are just hyping me up to buy their product. The ear training method that I find most effective are those methods that have singing on it or singing what you play. This book has singing in it.</p> <p>Is this book a cure to give me a good ear or is it another scam? Anyone here using this book or have heard of this book? </p>
Gesture on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13685
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Mon, 03 Nov 2014 15:38:03 +0000
Gesture 13685@http://www.kurtrosenwinkel.com/forum/ <p>Thanks! I'm about 30 pages into the book and i have the feeling it will be very useful for me. While studying jazz and being constantly overwhelmed with information it's good to have something like this book that really digs deep into the fundamentals of music. </p>
laruenickelson on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13684
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Mon, 03 Nov 2014 01:50:44 +0000
laruenickelson 13684@http://www.kurtrosenwinkel.com/forum/ <p>Not really sure how to explain.....in a way it's a more organic way to hear music. A lot of singing but also integrating other things as well...like singing and playing the bass notes and tapping all at the same time. It seems really basic...and it is but I feel working out of this book has made my hearing much deeper and more complete...best book I ever bought. I have even had people tell me they have noticed a difference playing with me so I would say it had a positive effect. </p>
Gesture on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13681
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Sun, 02 Nov 2014 09:23:48 +0000
Gesture 13681@http://www.kurtrosenwinkel.com/forum/ <p>IDK about steve vai singing along with his playing but I do know that he used to transcribe Frank Zappa's music which greatly increased his hearing.<br /> The donelian ear training exercises which are discussed on this forum are great but might be a bit 'dry' for some. It's basically singing scales / chords in many different ways.<br /> I find transcribing straight to paper a great way to train my ears. It's a lot of fun and it teaches you vocabulary and other stuff that you wouldn't get from just singing.<br /> Still definitely (sight)sing because you'll want to be able to sing everything before you play it on your instrument.</p> <p>Thanks for the book link larue I just bought it. I was a bit surprised to only find text though. Could you shortly explain how the book works? </p> <p>Cheers </p>
laruenickelson on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13679
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Sat, 01 Nov 2014 15:56:27 +0000
laruenickelson 13679@http://www.kurtrosenwinkel.com/forum/ <p>I would say so.<br /> Check out this book---I believe I have improved more in the past year or so since I got the book than in the previous 10. A lot of singing ideas</p> <p><a href="http://www.glenlyonbooks.com/order.htm" rel="nofollow">http://www.glenlyonbooks.com/order.htm</a> </p>
Gia5 on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13678
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Sat, 01 Nov 2014 12:10:05 +0000
Gia5 13678@http://www.kurtrosenwinkel.com/forum/ <p>I agree, singing is a powerful tool.<br /> You could try this exercise (I was told John Patitucci does it): sing all the seven modes from the SAME root, without an instrument.<br /> When you get good at it, you can move to the modes of melodic and harmonic major. </p>
Jason Sioco on "Is singing the most effective ear training method?" http://www.kurtrosenwinkel.com/forum/topic/is-singing-the-most-effective-ear-training-method#post-13677
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Fri, 31 Oct 2014 23:10:18 +0000
Jason Sioco 13677@http://www.kurtrosenwinkel.com/forum/ <p>It has been proven for hundreds of years, that singing is the most effective method of ear training. There is a big disconnection between you and the music. To make music live inside of you, you need to internalize the tones. We internalize the tones by singing and the tones get connected to your brain. </p> <p>One playing technique that is used by players named Steve Vai, Janek Gwizdala, and Victor Wooten is singing what you play. That means you sing a melody, and the instrument follows simultaneously to what you are singing.</p> <p>I started this approach in my ear training regimen on October 26, 2014, I never missed a day and I believe I am going to the right direction.</p> <p>So the most effective ear training methods are transcribing and singing. I transcribe everyday as well.</p> <p>I could be wrong, but I am interested in what you have to say. </p>
piggyfly0000 on "Evolution of ii - V - I" http://www.kurtrosenwinkel.com/forum/topic/evolution-of-ii-v-i#post-10725
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Sat, 26 Jan 2013 20:30:38 +0000
piggyfly0000 10725@http://www.kurtrosenwinkel.com/forum/ <p>I just realized something. Once again, I approached music the wrong way. I just finished reading an article on Brad Mehldau's website. In one of his articles he writes, "When a jazz musician blows an uninspired solo, he or she dies right in front of us – and we die with them, of boredom. When a jazz musician blows a great solo though, he or she avoids dying a creative death in real time, right in front of us, for all to see. It is a victory and it’s a thrill – it’s the jazz Sublime." My dissatisfaction comes from a lack of inspiration. Basically, I think I'm not getting out of any of these exercises because I am not inspired as of now. I now understand your satisfaction with your sound is NOT a product of all of the exercises you have done. I think I will only feel good about my playing when I play something out of true inspiration.... right???? hahah </p>
Sandemose on "Evolution of ii - V - I" http://www.kurtrosenwinkel.com/forum/topic/evolution-of-ii-v-i#post-10724
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Sat, 26 Jan 2013 05:58:06 +0000
Sandemose 10724@http://www.kurtrosenwinkel.com/forum/ <p>I like working with intervals, like for instanse, sixts and make my way through a song being consistant in playing only sixts. Like in Autumn Leaves, you might play Bb-G (Cm), B-Ab (F7), C-A (Bbmaj), D-Bb (Ebmaj). Then I pick another interwal, now I work quite much with 4ths. I like the stuff Kurt talks about in the Gdansk clinic. Work hard with the basics. Learning stuff so you can play it by heart.</p> <p>Off topic: I realized that I memorize tunes better when I first play through it a couple of times, making a simple bass note/chord arrangement (if possible) of the tune (Alice in wonderland is the latest), and then I transpose it a major 3rd up or down, trying to play the song just by ear, using different sting sets and chord stuctures. It gets much better internalized. I realized this when I played with this great singer, and she wanted to play a song a major 3rd down. The song totally opened after a few turns.</p> <p>Best, Sandemose </p>
piggyfly0000 on "Evolution of ii - V - I" http://www.kurtrosenwinkel.com/forum/topic/evolution-of-ii-v-i#post-10722
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Fri, 25 Jan 2013 18:44:14 +0000
piggyfly0000 10722@http://www.kurtrosenwinkel.com/forum/ <p>I completely agree that learning jazz is very circular. I actually decided to work on my triplet feel today haha. </p>
fakejake on "Evolution of ii - V - I" http://www.kurtrosenwinkel.com/forum/topic/evolution-of-ii-v-i#post-10721
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Fri, 25 Jan 2013 18:28:56 +0000
fakejake 10721@http://www.kurtrosenwinkel.com/forum/ <p>I started out pretty much the same way as you described, practicing arpeggios and targeting guide tones. Learning a couple of lines also helps a great deal. Recently I started to work on triad pairs which instantly give you a more modern sound when playing over 251s.<br /> As with anything in learning an instrument, it's a circular process. I guess you'll always come back to practicing arpeggios and outlining the changes, and each time you grasp more of the underlying concepts and language.<br /> I'm far from being a good or accomplished player, still I play way better than I ever thought I would when I first started out listening to and playing Jazz, so I guess there is hope.... </p>
piggyfly0000 on "Evolution of ii - V - I" http://www.kurtrosenwinkel.com/forum/topic/evolution-of-ii-v-i#post-10720
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Fri, 25 Jan 2013 17:42:03 +0000
piggyfly0000 10720@http://www.kurtrosenwinkel.com/forum/ <p>Hi all, </p> <p>I'm a few years into playing jazz, and I wanted to hear your <em>personal</em> thoughts on ii - V's. When I started playing, a teacher suggested I should outline the changes of a standard and connect the last note of an arpeggio with another note &lt; a whole step of the next arpeggio. This exercise was great in the beginning but limited my playing in the end. Then I started thinking about tension and release while I paid attention to the rhythm and feel of the music. I tried not to think too much about the "theory" behind my lines. This approach was liberating in a sense, but I still outlined the chords and incorporated some passing notes to phrase my lines. Then, someone suggested I should sing what I would play before I placed my hand on an instrument. I suck at singing, so it helped a little bit. I'm still dissatisfied and need some advice. Can you guys tell me how you started off thinking about ii-Vs, and how you approach them now? </p>