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Learn easy on me by Adele Singing GuitarThis song from Adele brings together a certain number of difficulties. The first problem is the height of the notes. Indeed, it is a relatively high level Adèle song compared to these previous songs. So, if you are a boy I invite you to sing this song an octave lower or otherwise entirely in head voice.
If you are a girl and the song seems too high to you, remove the height issue as well and first concentrate on the technical elements of the song. In this course, I provide you with “Easy on me” at different heights to practice. Goes gradually up to the correct original version. Don't change version (height) until you are comfortable on the one you are working on!
Beyond the pitch we find a characteristic of Adèle's singing which is to move abruptly from one register to another, from the chest voice (or mixed) to the head voice and vice versa. Adèle, as usual, often ends her sentences in the head register. Like an athlete, always remember to warm up before singing with breathing exercises and vocalizations!
For a singer, the difficulty will be to sing without distorting your voice too much. Indeed, we are not looking for a rock effect here and very quickly it could sound ACDC to the voice. So if you are a man, look for a clear and precise mixed voice as much as possible. Your voice will necessarily be a little more placed in the mask than a singer (placement like JJ Goldman, Klaus Mein de Scorpio, etc.).
The intro features 4 basic four chords that are played in rounds:
C (C), Am (A minor), Em (E minor), F (F major).
These are chords that we find at the beginning of verse 1 and also distributed throughout the song.
Pay attention to the notes C, D, F which start from the first phrase on the 'the-re-ain't'.
We find this movement on “in thi-s” and “that-I'v-been”. Note, that as usual Adèle multiplies the chest-head and/or mixed-head passages. Therefore, all the underlined words in the text must, as far as possible, be sung in head voice! Which gives a very Jazzy and velvety side to Adèle's singing. In the same way, do not hesitate to use a laryngeal vibrato and not an abdominal vibrato (with the larynx not with the stomach to put it simply). On the head voices you can also add breath and have a very light voice. On the first two phrases the starts are essentially on the fourth beat.
From the fourth phrase we will sing crescendo until “let me”. The idea is to build more and more intensity until the climax “Baby, le me”. Take your breath before the “Goal”. You should only breathe after “drowning” and “baaby”. Obviously, the “in…in” is in head voice.
A typical example of Adèle's technique. Here we will always switch abruptly between the mixed chest voice and the head voice. Here is a concrete example:
– “Go” is in mixed chest voice
– “ea-ea-ea-ea-sy.” is in head voice
– “I’m being ba-” in mixed chest voice
– “-by” is in head voice
The first phrase starts on the fourth beat. The second and third phrases on the 2nd sixteenth note of the 4th beat.
The “I” of the fifth phrase is on the 4th sixteenth note of the 3rd beat (“had” is on the 4 therefore)
– “So” is the 4th beat and “go” is on the “and” of the same beat
– “sy” and “on” are on the 4th sixteenth note and “me” on the “et”.
– The whole sentence is in head voice
As before, the underlined text is in head voice!
We find the same attack on the first phrase with the same melodic movement of “there” on the 4th beat. Pay attention to the rise of “no room” in head voice, the word is cut into 4 parts and ends with an ascending and descending legato.
On the second phrase the “for” is sung in exactly the same way as the “that” in the 2nd phrase of the 1st verse. Adèle stretches the “for” as if she were adding a “the” or an “a” at the end. In fact this makes the connection with the “thing”.
“you – ou -ou”: pay attention to this rise in note which starts on the fourth beat and which is followed by “de-ny-yy: this word is divided into four and for now here we are going to support and push our voice . Chest/mixed voice well open at mouth level.
The following sentence echoes the previous one. Pay attention to the cut of “How hard I” sing like this: “Aw – o- har – d – I”. For the rise in chest/mixed “Trie-ie-ied” we find the same last 3 notes as the “deny” above.
The next 3 phrases (starting from “I changed who I was”) crescendo like the last 3 phrases of verse 1. Remember to push “both” “but” and especially the 2 notes of “u-up”. In these 3 sentences you will only catch your breath between “but” and “now”.
It is almost identical to the first chorus. The 5th phrase is different: no “I” so “had” directly on the 4th beat.
The last phrase also differs from chorus 1. We still have two eighth notes on “So” and “go” but the notes are lower and especially in the chest. The word “easy” is in the head voice and fits like this:
The “on me” is a sudden break in mixed chest and occurs on the 4th sixteenth note of the 3rd beat.
Here is the worst of the worst! I named the bridge of the song!
Already here the notes are much higher and mostly in mixed chest.
We attack on the first beat with a super sustained and projected “a”! Be careful not to attack too much with your larynx-glottis: I invite you to imagine an “h” in front so as not to tighten your attack. The idea is to push your air in sync with the sound coming out. Pay attention to the 3 notes in the head voice on “goo-oo-ood” the “in” makes the connection with the mixed chest voice behind. You are free to choose whether you do it in the head or directly in the mixed chest. The main thing is to move from one to the other. So we have on this sentence:
chest(mixed) -> head -> chest(mixed). Additionally, pay attention to your grades and related s on “cautions”
In the following sentence what is underlined is in head voice and we cut it out like this:
And the hi – i – i – i – yeu -ist – ho-oo-oops
On the 3rd phrase of the bridge pay attention to the speed of the “but-I-kown”: 2 sixteenth notes (on the 2nd beat) and “know” is on the beat. “Now” is a descent divided into 5 notes.
The last sentence of the bridge features a rise in head voice on “even show:
The first phrase is the same as in the other choruses.
The 2nd sentence doesn't start the same way. On the previous ones we were on the 2nd sixteenth note of the 4th beat while here we are ON the 4th beat.
In the same way the attack of the next one is different: the “I” is on the 4th sixteenth note of the 3rd beat and therefore the start of the “didn't” is ON the 4th beat, On this same phrase the “to ” in head voice rises higher on a 2nd note.
The 4th sentence is also very different.
We have a head voice on feel and two melodic note movements that you need to pay close attention to! Suddenly returns to mixed chest and supporting well on “world around” then leading on “me”.
The next two phrases are exactly the same as in chorus 1.
The last sentence is also different than before.
We attack the “so go” on the 4th beat and we have two sixteenth notes. We have the “easy” cut into 5 notes.
The “on” starts on the 4th double of beat 3 and the “me” on the and of the following beat 4. This phrase should be sung in a very light head voice and breathy if you can.
To simplify the playing of chords, it is recommended to use a capo in fret 5. There are five chords for Easy on me by Adele: C major, A minor, E minor, F major, G major and D minor .
If the F chord is too difficult, it is advisable to use a simplified version. It is important to play each chord for a measure of four beats, playing them in rounds. In this simplified version, the transition chords found on the fourth beat have been removed. Thus the chords of Easy on me by Adele are played in rounds: played on the first tempo of each measure and last four beats.
If you want to add the transition chords later, as well as the guitar rhythm, it is recommended to refer to the course Easy on me guitar.
After a little song by Adele why not a little song with vocals also but by Lady Gaga with this course Learn Always remember us this way ?
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