Throat Tuning Part 1

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Uploaded by on Aug 9, 2009

Robert Dick kicks off his instructional video series with a lesson on Throat Tuning. He shows how to use the voice to insure that "bad days" are banished!

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Music

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  • This is really important for guitarists too.

  • Thanks for this. Much appreciated.

  • I've been practicing this and also singing in harmony when I play for a longer time than I want to admit. It is a great exercise, but not one I thought a real expert would endorse. I am pleased to know that when I futz around trying to sing in tune with myself, I actually am practicing and not goofing off for my own amusement. I'm working, I'm working!!!!

  • I have long held this theory, very glad to see it backed up.

    I have personally found that a lot of technical problems I encounter are completely eradicated when I play on the alto-flute because my natural voice is baritone range (two G's below middle C is my lowest comfortable note).

    That means that when I play on the concert flute I have a tendency to use head-register vocally, because middle C would be the second harmonic of my vocal range.

  • @roberthlubnaomi Yes. There is the piccolo fute (colloquially known to most as the piccolo), the concert flute (flute), alto flute, bass flute, and contrabass flute.

    There maybe some I've forgotten.

  • Thank you, thank you, thank you-at the risk of sounding like Gomer Pyle! After working this for 15 minutes, there is WAY more "spin" in my sound. I'm a doubler-sax, clar., flt. I've subconsciously known this was the case on sax for years BUT NEVER consciously realized it until seeing your video. I always found if I played an unintentional note in improv, it lacked "snap" in the sound. The connection must be the voice-the "inner" voice, if you will. Brilliant, Mr. Robert Dick!!Thanks so much!!

  • hm.. does flute has this one thing like saxaphone? bas, tenor, soprano?

  • thank you for your careful, clear, and enjoyable presentation. well done!

  • Robert-this is truly astounding information. Some of the time I do this, being a fan of your work since I attended one of your masterclasses in 1988. It's so great to be able to consciously control and use this technique! I am indebted to you. Dinner on me next time I'm in New York. Best wishes, Adan Provencio, San Diego, Ca.

  • This is a truly AMAZING technique that greatly and instantly improved my tonal quality. I had never thought about it. (Oh, how I hated those "bad days".) I can't thank you enough.

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