Music Theory with Tak I.

Tak I., residing in New York, is a singer, a profound improvisor, and a certified voice teacher from Somatic VoiceWork(TM)The LoVetri Method. He was one of the 3 finalists of the MCG Jazz Vocal Competition-The Gentlemen Sing (2013) in Pittsburgh. Also being one of the winners of the JFA Jazz Vocal Competitions(2013) in New York. Performing as a singer being Tak's main career, he has had the privilege to teach over 200 singers in the past 8 years. Back in Japan, he was a voice teacher at the BMF Music Factory, teaching voice and performance. In 2008, he was the Voice Teacher/Director in the Tsurumi-Musical. He has also taught/coached many chorus groups, gospel choirs, and has had many private students. In 2012, he was the producer/vocal director of a full album by singer M. Arthur Maeda. FAQs What are the lessons going to be like? What I do will vary depending on what your goals will be. I won't be going over all the scientific aspects of voice function for a singer that wants to sing better at karaoke. Nor will I not set a long term goal, for a singer that's preparing for a gig in a week. The most regular voice lesson example will be constructed as the following. - A brief warm up in relaxed pitch. - Warm ups using lip trills/tongue trills/straw exercises/humming. - Accessing head/chest registers. - Relaxation of the voice, balance of the registers, and on to strengthening the voice. - Working on songs. - Applying the basic voice functions to songs. - Working on short lines in songs for appropriate articulation, emotion, groove, and voice function. - A verbal description of what to work on in short term and long. For the beginning session, look here. How often should I come to lessons? This will vary on your goals, and also your financial situations. My most demanded singers come every week, and others usually come every other week. There are also singers that come in before their gigs/auditions for preparation. If you are serious and going to be practicing everyday, I would suggest coming every week. So that we can re-adjust the voice on its way. How are you going to coach me on songs? Aside from the function of the voice, my first goal is, to have you sing as "honest" as possible. Specifically speaking, I will have you speak out a short line of the lyrics, in the same emotional way of that you would sing it. Then sing it again. Was that sang/spoken in the same emotional mood? What are those emotions you felt in it? If you were to hear that as an audience, will you share the emotion that you just delivered? "What is it you feel at the bottom your heart, and is it what you just sang?" Can I do a recording at your studio? Yes. I usually set this as a goal for amateur singers. My studio has a pretty serious recording system. The finished recordings will be handed to you mixed/mastered for you to enjoy yourself, and also to let your friends hear you. Music tracks will be either karaoke's found online, or bought online. I do have the equipment to make a full track with piano/guitar/drums/bass/synth and more, but this will be very pricy. I do not recommend it unless you are using it for auditions or demo related matters. How do I practice? I will build a series of exercises aiming for specific goals that we agree on. I will inform you in what the exercises are intended for, and precautions when practicing on your own. Practicing with the recorded lessons are also recommended at first. What genres do you teach? Jazz, R&B, Soul, Pops, everything besides Classical. I did start out singing Classic, but it is no longer my profession. What tunes should I transcribe for working on improvisation? What ever YOU love, and feel you could listen to 24/7. If you're not turned on by it, its probably not something you should transcribe. The important thing is to transcribe something that has emotional effect on "YOU". I can make a dozens of suggestions on transcribing material, but it is essential for it, having some kind of connection to your musical desires. DO NOT transcribe a solo, just because it is said to be a great solo. Although transcribing something above your musical understanding, can be useful, "IF" YOU FEEL INTEREST in that solo. Meaning, listening to a certain solo, you don't really know whats happening, but you are feeling a lift in emotion.