Hey, everybody! Welcome back again to Ken Tamplin Vocal Academy, Where the Proof is
in the SINGING! I am broadcasting to you here from hualtulco, Oaxaca, Mexico. I'm down here for a
couple months getting some r r and and you know present some videos to you guys so uh next up
is more of our demosh-a-thon and i'm gonna take on stranger got a lot of requests for this one
fabulous piece i just want to dive right into it let's do this here we go
to know who i
now i don't want to stop too much because some of you guys can let it play but you guys already know
the song you've already heard it so i'm here to to get some critique and some analyzation through
this so um now first thing is it just sounds like somewhere between john williams and hans zimmer
greatness as far as this movie cinematic movie songwriting so it
sounds like some giant movie theme which is already awesome i love his approach
he has all this you know controlled air and beautiful warmth in his sound and he doesn't
forfeit the harmonic structure of the girth and the roundness and the warmness of his voice okay
so he kind of starts there but as you know it picks up
a bit so let's go continue to dive in here we go
by the way that's not the exact notes but it's based off of a harmonic minor scale
so we hear a lot of this sound come obviously from the east
um but um it's kind of weird because i'm not sure how this scale made its way around the world
but if you listen to flamenco guitar you'll hear this harmonic minor sound and yes you can
play phrygian dorian lydia mixolydian all these different scales but predominantly harmonic minor
okay and what's really fascinating to me is it doesn't matter if you're in russia or kazakhstan
you can hear this harmonic minor structure but you also hear it in the indian cultures
right and you hear it in the arabic cultures in the arabic world so the middle east
so somehow this sound made its way around the world for sort of this haunting ghostly
melody melodic sound but yet when it's added to a melodic minor and it goes to major keys
it gives this sense of release so you go from a minor sound to a major sound to a miter side
and it really tugs on your emotions and your heart strings uh within the
context of the way it's the the structure of the chords or set up so check this out
so don't close your eyes and don't try
right so you disney fans get red kids you know the song um it has that same kind of sound
right so i'm not so it's this big epic almost disney-esque and i'm not saying disney as in
childish i mean disney has an epic you know kind of sound so he goes
through this has this nice real low little voice here so it's fine
now can you kind of see this like the prince of egypt
right you guys i forget the name of bachelor baklar whatever the name is the
the city was in front of egypt right anyway um bachelor shooter should know this but you get
that sense of like kind of like you know in india you know excuse me um the middle east
arabia i meant to say not india excuse me so it has that kind of flavor to it too as it's going on
don't know who i am
now i'm gonna back this up i wanna play it again
and i wanna cast a vision for you guys okay check this out
i just think we kind of missed the mark man this should be like this huge metallica background
thing just crushing it with the background and you believe it or not he's not that far away
from a rock sound i know he's using a lot of belcanto and in an operatic style of the
sound but could you imagine if there was a big beefy band and metallica was backing this up or
i don't care who you know iron maiden or something it'd be pretty cool i think
is
if i had the space to begin again right then dickinson you got deal on the other side no way
y'all ever taken me out now
i don't know why i'm so excited with this stuff but i do here we go
oh
have these great metal screens in the background right man maybe
have this operatic voice come in man this would be a killer a killer piece for someone
to redo you know that what's the guy that um that does all the guitar stuff anyway yeah
just i don't know something we do this a metal version this would be awesome
underneath
way to begin
couldn't you like just imagine even if he kept with the same vocal tone he doesn't even really
have to change it that much just lean into it a little bit more for just a little bit of grit
right and have this big beepy rock band behind it this thing would kill it man i mean you could
get the opera crowd excited you could get the pop crowd excited he already already has his
his worldwide fan base so we can get all the fans around the world that's already
into his operatic sound but you could re get the whole rest of the populations
into pop and rock and metal you know just whatever i think that'd be pretty awesome
killer killer breath control so could you imagine
i mean literally it's a metal screen isn't it it's a heavy metal screen
done operatically which is exactly what i teach i teach this kind of sound
that he's using i've taught this for three decades now how you employ a operatic appraggio approach
a classical classically trained approach all we have to do using this sound is lean
into it a little bit more to get a little more distortion yeah you know to kind of
that sound in order to be able to intensify it and have it be a little more rock and roll but
anyway this was awesome i love the melody i love the approach i love the
sensitivity at the beginning all of the emotional exchange the beautiful notes the orchestra
killer job one of his one of his best pieces out there i really love this piece so
anyway gang thank you for joining me and i've got more on your way stay tuned
bye