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Week 2
Blues Week
Blues Vocals
Gaye Adegbalola
To Blues Week Vocal Students,
One of the most unusual aspects of the blues genre is that you don¹t
need a “good” voice or a “fine” voice. What you need is experience. . . and
the honesty to bare one's soul to share that experience.
The blues is about the “here and now” -- concrete solutions to concrete
problems. It is the poor person's psychiatrist. It is about finding
comfort in a shared experience. It is about making it through the night.
It is about finding humor in the pain. It is about survival.
Each person's voice is unique. Each person’s experience is unique.
Therefore, as instructor, I can only share those things (techniques and
songs) that work for me which, in turn, can give you ideas to develop for
yourself.
I teach two distinctly different classes which are described below. The
techniques class is for all levels and has no limit on the size. Some of
the songs are of a “mature” nature (as many blues songs tend to be). The
performance class is for the more serious vocalist -- someone who is
performing or wants to perform on stage. It is limited to 12 students.
Both classes will have handouts which will cost approximately $2.00 each to
cover my costs. A blues vocal DVD will be available in the bookstore for
$30.00.
BLUES VOCAL TECHNIQUES CLASS (in the a.m.)
To sing the blues is to lay your soul bare to tell a PERSONAL story
which is simultaneously a UNIVERSAL story. This class focuses on techniques
which might enhance the telling of the story -- starting with "freeing up"
and "energizing." Other techniques include breathing, phrasing, repertoire,
shading, growling, slurring (up and down octaves), dialoguing, squeezing
notes, nasal sounds, personalizing, and more. This class will NOT address
pitch or rhythm.
If time permits, there will be listening sessions to hear examples of
the techniques studied.
PERFORMANCE OF BLUES VOCALS (in the afternoon)
This class will be very student centered. Students will perform and
will be given immediate feedback in specific areas -- stage presence, pitch,
rhythm, body language, believability, projection, the “goosebump” factor,
etc. I will foster an environment for all participants to receive and give
constructive criticism. By observing each other's strengths and weaknesses,
one should learn how to more effectively evaluate one’s own performance.
For the afternoon class, STUDENTS MUST PREPARE (know words and his/her own key)
to one or two standard BLUES SONGS for performance. (Please, no "Summertime.")
KEEP THEM SIMPLE -- that is, they should NOT have a zillion chord changes or, if
they do, you should bring sheet music. Our accompanist, on piano, should be
able to work with you so that you will not
need to play an instrument. This will allow you to focus on your vocals. Only
if your instrument is second nature to you should you play.
Sometimes in the past students have said they don’t know any blues songs. If
that is the case, you should select from the following list of well known tunes:
Drown in My Own Tears (RayCharles or Aretha Franklin versions are good)
Stormy Monday (written by T-Bone Walker, but any version okay)
Cherry Red (Pete Johnson, Big Joe Turner)
Nobody Knows You When You¹re Down & Out (Bessie Smith)
It Ain't Nobody's Business (Bessie's is good or most any version)
Mighty Tight Woman (Sippie Wallace and/or Bonnie Raitt)
It Hurts Me Too (Elmore James)
Thrill Is Gone (B.B. King)
Ball and Chain (Big Mama Thornton or Janis Joplin)
Since I Fell for You (most any version)
These songs are not hard to find. I encourage you to find your own song,
a song that fits you, but these are indeed classics and will work fine in
this class.
If time permits, topics such as stage fright, voice care, monitor and
mic selection/usage, feedback, selecting your set list, etc., will be
discussed.
TO ALL STUDENTS:
A FINAL TIP: GET SOME SLEEP BEFORE YOU COME. It will be a wonderful experience
-- learning-wise and jamming-wise and people-wise. And you will learn the
meaning of why West Virginia is called ALMOST HEAVEN!
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