To 7 and any others
maybe for the male voice you've hit on something great. i do know that for sopranos the thinking the note as high as possible with a visual that comes from them---- has worked wonders for those i have coached ---it has extended the top by many notes.
the first thing i do if i am moved to coach someone and believe you me,i have to be moved to do it, as i don't do it daily and don't want to.
anyway the first thing is to see their breathing technique. if they are "high chest breathing" they don't do any singing of songs with me until we get that diaphragm supporting the notes, the vocal chords (used of course to produce the sound), but essentially flowing through the chords as opposed to "singing on them", which can produce nodes and ruin the natural instrument completely if done for a long period of time---i have a diaphragm which is rock hard and i --like you , never think about singing and really never did, but i saw others that were having such problems and knew i could be of help so i analyzed what i was doing.
when you see a singer "high chest breathing" you can see the chest moving in and out---and that singer will not be singing great for a long time--unless that gasping for breath is replaced by a diaphram technique and filling the rib cage with air and keeping those chords as a sound and tonal producer only--- with no undue pressure being put on them.
i like to think of the the chords like a piano. have you ever seen someone so heavyhanded on the keys that the piano has to be tuned incessantly?well, i worked with a pianist like that---but not for long---- and i won't even let anyone who plays like that play on my old piano at home as i think of it as "abusive".
people who "sing on the chords" are creating "vocal abuse", though not intentionally---that's what is happening. books on the "bel canto"method of singing are good, but i think the visual approch to singing and helping the person create their own visual leaves them with a tool for life and a life interdependent of a teacher or coach.
i still don't think you can teach anyone to sing, maybe tolerably, but that doesn't mean much to me--so good there are others to whom it is a "giving" place.for me--i will only coach those who are already good, as i can only work from inspiration.
selfish or not---it's the way i feel and that won't change on this planet or in this lifetime.
maybe it sound braggadoshish---but if they are good--i can get them better--if they are great--i can keep their voice healthy and singing well long after others are not.
if i wasn't sure of this--i would never coach---as i sing better now that at twenty and haven't had a slip of range whatsoever and i'm quite honestly too "into my own voice" to take time with the mediocre.
i know,i know--i sould like a b--ch!!!
nothing worse than pretending or being half interested.
i had a georgeous guy lately ask me to coach him and his voice is just not there and never will be, so i said no.
i do love men--so tells me about music--i'm upfront--even if harsh--i don't compromise that--i never will!!!
i'm glad that p and others are able to be more giving--only inspiration of hearing someone who sings super--- and i can see where i can make a difference---will cause me to be involved at all.
hey p, if you have technique for the below notes---hang on to it!!! i would!!! br
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Jazz Piano Notebook Series
Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
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Volume 2 has 14 jazz piano exercises and tricks of the trade, and quite a bit of it is Calypso jazz piano related material, including some Monty Alexander and Michel Camilo style grooves. Jazz piano education is through the ears, but books like this can help.
Volume 3 contains 12 jazz piano exercises and explorations by the acclaimed jazz piano educator, pianist, author, and recording artist Tim Richards.
Tim wrote the well known "Exploring Jazz Piano" and "Improvising Blues Piano" books and has several others to his name.
Volume 4 is by Jeff Brent, a jazz pianist, composer, teacher, and author of "Modalogy" and other acclaimed jazz theory and education books. In this book Jeff shares detailed analysis of transcriptions of live performances. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the ideas behind his lush chord voicings.
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