tag:blogger.com,1999:blog-28811445669428234652024-03-19T19:45:52.234+07:00Vocal ExercisesAll About Vocal Exercises and TechniquesRobbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.comBlogger36125tag:blogger.com,1999:blog-2881144566942823465.post-12128211192751834282010-10-26T23:11:00.002+07:002010-10-26T23:11:57.592+07:00Voice Training<div class="fullpost"><div class="imgctr">Surely anyone can sing without vocal training?</div>Many people are gifted with natural singing ability, but whether you want to become a professional entertainer, a casual performer, or sing for fun, it is important to learn how protect your best asset and to increase it's potential.<br />
<h2>Can YOU Sing?</h2>Before you pay for tuition, take time to do the following steps <br />
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You will need:-<br />
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A Tape Recorder and Microphone. <br />
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Writing Materials. <br />
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Something to sing with - Use one of your favourite singles/backing track/midi file. <br />
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Record yourself singing along to a song. <br />
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Listen back to your recording. <br />
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Take notes on the following points: <br />
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Are you in Tune with the music? - your notes should match the song. <br />
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Is your voice weak or strong? - shouting is NOT Singing!! <br />
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Are you breathing correctly? - you should not be short of breath <br />
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Do you struggle to reach the notes - pick an easy song to start with! <br />
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Are you gasping for air between phrases - learn to breath in the "rests" between phrases <br />
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Record youself again with another song <br />
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Listen to the difference in your practice recordings as you progress. </div><div class="fullpost"> </div><div class="fullpost"> </div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com4tag:blogger.com,1999:blog-2881144566942823465.post-72050966595240937652010-03-18T11:21:00.006+07:002010-03-18T15:20:53.022+07:00Memahami & Menjiwai Nyanyian ( Interprestasi & Ekspresi )Waw,, rasanya dah lama banget g ngurus blog ini. Sibuk ngurusin usaha yang g karuan ini,, akhirnya tutup juga. Hehhhe,, Sekarang sambil menunggu tawaran lagi dari tempat kerja lama ( mo masuk ke musik lagi ) masih ada 1 artikel dasar yang blom sempet ke tulis kemaren yaitu tentang pelajaran terakhir. Ok, langsung aja ya..<br />
Bagian yang paling sulit dalam proses bernyanyi itu adalah ini “ Interprestasi & Ekspresi “. Nah lo.. kenapa sulit ya?? Ya iya lah,, klo gampang semua orang dah jadi penyanyi kalee. Interprestasi & ekspresi itu adalah Bagaimana menggali untuk memahami sebuah karya yang belum pernah diketahui / dikenal sekaligus menampilkannya dengan penjiwaan yang maksimal sesuai dengan keinginan pencipta berdasarkan tema, masa serta kepribadian pencipta itu sendiri. Jadi jangan asaln yanyi sesuka kita aja. <br />
Ada dua hal yang harus dimengerti oleh seorang yang disebut penyanyi atau pelatih agar dapat memberikan / menyajikan “ interprestasi & ekspresi” yaitu :<br />
I. Kemampuan / pengetahuan Non Musik.<br />
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1. Pengetahuan sejarah secara umum, coz setiap karya selalu diciptakan pada zamannya, yang tidak sama sesuai dengan perkembangan zaman. Pada era apa lagu tersebut diciptakan, dan dalam suasana yang bagai mana, nah,, mrnampilkan suasana yang demikianlah yang harus kalian lakukan.<br />
2. Pengetahuan sejarah musik, berhubungan erat dengan jenis musik yang digunakan pada zaman itu serta kehidupan musik penciptanya. Karena karya tidak pernah berbeda jauh dari kondisi pencipta dan juga kondisi musik dan alat musiknya.<br />
3. Pengetahuan berbahasa yang baik, agar dengan terampil dapat menyusun kalimat lagu dengan kalimat bahasa menjadi satu kesatuan.<br />
<br />
II. Kemampuan / Pengetahuan Musik.<br />
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1. Mengenal alat musik dan sebaiknya dapa memainkannya walaupun dengan sangat sederhana. Kelas2 pemain gitar pinggiran lampu merah jadilah,, yang penting bisa sedikit.<br />
2. Secara terampil telah menguasai tahapan-tahapan seperti diuraikan dalam artikel sebelumnya, untuk mengerjakan pernapasan yang baik, memproduksi duara, membaca notasi memainkan / menyanyikan irama dll sehingga menjadi seorang pembaca puisi terbaik melalui nyanyian.<br />
3. Dapat bernyanyi dengan hati, yaitu harus tenggelam dan berada dalam suasana musik serta menjadi bagian dari musik.<br />
4. Pengungkapan yang menyeluruh, artinya bernyanyi dengan seluruh pribadinyayang ditampilkan melalui gerakan dan ekspresi wajahnya.<br />
5. Menguasai dan dapat menggunakan tehnik-tehnik bernyanyi / musik antara lain :<br />
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- Mengerjakan dinamika, yaitu tanda-tanda seperti : pp, mp, p, mf, f, ff, dst.<br />
- Terampil menghidupkan tempo lagu , misalnya allegro, moderato, andante,serta perobahan yang terjadi saat lagu dinyanyikan, yaitu allargando, rittardando, rallertando, accelerando dll tanpa mengganggu gestur secara keseluruhan.<br />
- Terampil mengerjakan legatura, staccato, marcatosforzato dll.<br />
- Membidik nada dengan baik, meskipun interval nadanya begitu jauh dan begitu rumituntuk dibunyikan.<br />
- Jika harus menggunakan vibrasi harus dapat mengawasinya, agar tidak terkesan dibuat-biat dan dipaksakan,karena mengganggu pada keutuhan nada.<br />
- Mampu untuk mewarnai vocal sesuai dengan karakter lagu yang ditampilkan saat itu, Kare nuansa lagu tidak sama. Misal : nuansa terangm gembira, sedih, sakral dsb.<br />
- Mampu mengelola register suara sendiri, yaitu pada saat “suara dada” dan “suara tengah” tidak mampu lagi menjangkau nada tinggi, dan harus menggunakan “falsetto” ( suara kepala) maka perpindahan register tersebut harus berlangsung dengan indah dan manis.<br />
<br />
6. Pengetahuan menganalisa lagu berdasarkanstrukturnya ( pembuka, isi penutup ) dan berdasarkan harmonisasi, karena lagu yang memiliki irama dan birama yang sama tidak selalu dinyanyikan dengan cara yang sama pula.<br />
7. Jika harus terpaksa memberikan tanda-tanda hiasan / dinamika yang timbul dari aransemen lagu harus mampu memberi warna yang sesuai dengan tuntutan aransemen yang dimaksud.<br />
Dengan memahami hal-hal yang tadi , baik penyanyi atau penonton / pendengar akan menikmati bagaimana indahnya, agungnya, merdunya, manisnya, sebuah karya yang tadinya sangat sederhana jika dilihat dari penulisnya.<br />
Segini dulu yah,, capek ngetik sepanjang ini. Besok kita lanjutin dengan inti dari belajar vocal ini,, yaitu penampilan dan pementasan. O ya, do’ain semoga bias dapet kerjaan lagi ( yang honornya gede ) heheheheh.. Semoga bermanfaat.Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-80734395806777785812010-03-14T22:50:00.001+07:002010-03-14T22:56:39.380+07:00Vocal TechniquesEvery Singer has their own unique style, sound and tone which is worth studying. Watching and listening to the way a professional singer performs provides an insight into the techniques used, but you could spend years trying to emulate the top vocalists or favourite artist. If you intend to be a "tribute" act or have a natural similarity to an existing artist, studying them will be an essential part of your rehearsal program, but to really benefit from your voice, you should concentrate on developing your own natural vocal abilities and style.<br /><br />If you listen to a vocal line, you will see how rare it is to hear a "monotone" or one note singer. When you speak, your voice lifts and drops, increases and decreases in volume, this is referred to as 'LIGHT & SHADE' or 'EXPRESSION' and is the key to making an average song into a highly listenable one. So how do you achieve the same effect in your vocal performance?<br /><br />The answer is to learn about how sounds and shapes are created then integrate this with natural feeling and emotion. Part of a singing teachers job is to provide the student with exercises and techniques plus identify tensions to aid the singer in exploring their own potential and singing in a healthy manner.<br /><br />This can sound a little intimidating or confusing to the complete beginner, who may not understand the meaning behind the terminology or reason for the exercises used. Vocal Scales, learning to breathe, rhythm, dynamics, timbre, correct diction, phrasing and visualisation are methods that teach the singer about the mechanism of singing. <br /><br />There are times when singers try too hard to do it right instead of expressing the song. Singing without considering technique or style during a practice session can release tension, resulting in the subconsious use of correct technique, thereby producing a beautiful tone or emotive quality. Technique is just a means to an end that is forever open, it grows, changes and develops as the singer gains experience and confidence in their own ability.<br /><br /><h2>SIMPLE TIPS</h2> <p>The following tips and exercises should be tried once, they are not 'healthy techniques' to be used on a constant basis, just one off ideas aimed at the exploration of how it feels when using mouth shapes and sounds.<br /><br />Soften your voice to almost a whisper to give it a 'breathy' feel.<br /><br />Practice a cats 'miaow' and 'growl' sound (no really), try it and use the mouth/sound shape to give yourself a sexy 'growl'.<br /><br />Experiment with tongue placement, mouth shapes, raising and lowering the larynx when singing a note or phrase.<br /><br />Visualise the notes hitting the ceiling to get those high notes and the floor to get the low ones.<br /><br />Here are a few exercises you can practice to help achieve light and shade in your voice.<br /><br />Use a phrase to practice with - try using - "I want to WHISPER" "I want to SHOUT",<br /><br />Begin by speaking the phrase normally, record your efforts and listen to your pronounciation and expression.<br /><br />Repeat the phrase 'whispering' the first section and 'shouting' the second.<br /><br />By now you should feel, and hear the way your mouth, throat and breathing create the different sounds.<br /><br />Now 'SING' the whole phrase normally, be relaxed and natural.<br /><br />Finally redo the whole exercise 'singing' the phrase.<br /><br />Try to 'project' your voice forwards and outwards by visualising the note reaching the back of the room.<br /><br />The tune or notes you use are not important, but taking note of how you sound during the exercise is. <br /><br />Once you have tried these ideas, you should be able to identify the shape of the mouth and postion of the tongue that helps to create the sound and tone, which if used correctly can be applied to the songs you perform to create different effects to phrases and words. The aim is to discover methods that feel comfortable, sound good and enable the voice to operate at peak efficiency, if a method causes hoarseness or hurts, then it follows that it causes stress to the vocal chords which could be damaging to the voice. </p> <h2>EXPRESSION</h2> <p>This is the term used to explain 'feeling' in your voice. Putting expression into a song makes it 'come alive' for the listener.<br /><br />When you read the lyrics of a song, do they come alive for you? Can you relate to the theme or story? Speak the lyrics aloud, imagine you are talking to a close friend, how would you say the words to them? If it is a love song or ballad, envisage the person you would like to express those emotions to.<br /><br />Breathing in the right 'gaps' or 'rests' is important as it helps you to hit the right note and put expression into the performance.<br /><br />A bright, confident sound in your voice can be achieved by smiling!<br /><br />This can be applied to any song with a strong emotional theme, the key is to relate to what the songwriter is trying to express and using your natural emotions to enhance the way you perform the song. Sing it from the heart and you won't go far wrong. </p>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-36364072822914283142009-06-11T20:06:00.002+07:002009-06-11T20:13:04.781+07:00Learning Lyrics for Singers<div class="fullpost"><br />Forgotten the lyrics at gigs? Trying to remember the words to a song? Having problems memorizing songs for a show? Need a Hand?<br /><br />Sooner or later, anyone who wants to become a singer has to tackle the task of learning the lyrics or words to the songs they intend to perform. Easy huh? Well it should be, but some people don't know where (or how) to start and others forget the words at a crucial moment in the song - for these and all others who need a bit of help & guidance we have created this page!!<br /><br /><span class="red-text">Q. Do I need to learn the words?</span><br />A. If you are singing for fun, then it isn't necessary to learn the lyrics, however if you wish to become a singer and perform on stage or seek a recording career, then learning the words that make up the storyline for the song is essential. Think about it...... How would you feel if you saw your favourite artist reading the lyrics to one of their top hits from a piece of paper clasped in their hands? Hmmm, not too professional.<br /><br /><span class="red-text">Q. What are the benefits of learning the lyrics?</span><br />A. Well, to start with, memorizing the words to a song allows you to concentrate on singing the song instead of trying to remember the words! Carrying a songbook or lyric sheet around hampers movement, preventing the singer from expressing themselves and making them appear nervous, even when they aren't!<br /><br /><span class="red-text">Q. I've seen singers performing with a book on a stand - can't I do that?</span><br />A. Of course you can. Although what you may have seen is the singers 'track list' or 'pad' which contains sheet music for the musicians and songs listed in order of preferance for the bands reference.<br /><br /><h2><a id="memorizing">Learning the Words</a></h2> <p>It's important to understand that everyone has their own way of learning - what may work for one, may not work for another. There are several methods that can be used to help you learn the words to songs, try each method and combine one or more styles until you find what works for you.<br /><br />Visual learners find it easier to have a printed copy to learn from and writing or typing out the words several times helps them to memorize the lyrics.<br /><br />Auditory learners learn best from using practice tapes or practicing with an accompanist. 'Hearing' how the song is performed and singing along to the music provides a guideline for the singer which helps them to memorize the words.<br /><br />Kinaesthetic learners find imitation, practice, touch and movement the best way to learn. Associating movements with the song can help to provide imagery, although more repetitions may be required as people who use this method have the most trouble memorizing music.<br /><br />The best methods for learning the words to a song are repetition and 'Mnemonics' which is another word for memory tool. Mnemonics are methods for memorizing information that can be difficult to remember. A simple example is the '30 days hath September' rhyme. The principle of mnemonics is to use as many of the best functions of your brain as possible to store information.<br /><br />Learning songs that are written in a foreign language can also be achieved by using the same methods. It also helps to hear the song performed by an artist singing in their native dialect. This aids the student in achieving the correct pronounciation and diction. Learning the meaning of the words will make them easier to recall and helps the singer to perform with more feeling.<br /><br />Don't put off memorizing until the last minute! When performing there are lots of distractions and if you are dancing or moving its easy to forget the words you should be singing! At first you need to concentrate hard to recall the lyrics so the more you repeat them the easier it becomes. You should keep at it until recalling the words becomes automatic, then you will ensure that even if you suffer from nerves or are distracted on stage you will remember the song!<br /></p><p><br /></p><h2><a id="lyrics-exercises">Lyrics Exercises</a></h2> <p>Choose a short phrase then talk and sing the words repeatedly until you can sing it without looking at the music. Repeat this with the second phrase then put them both together, repeating from memory, keep doing this until you can repeat the whole song. When a large amount of songs need to be memorised for a theatrical show or opera performance, learn the ones you like the least first!<br /><br />1. Read and repeat the words in short bursts - little and often is more effective than trying to cram it in over several hours.<br /><br />2. Make notes about the songs theme and imagery.<br /><br />3. Make a tape of yourself speaking and singing the lyrics.<br /><br />4. Speak and sing the rhythm of the song.<br /><br />5. Write or type the words whilst repeating them.<br /><br />6. Associate foreign words with ones you already know.<br /><br />7. Learn the words whilst playing a practice track in the car or when doing odd jobs.<br /><br />8. Learn the lyrics in reverse order (last verse first) and repeat the words at various times during the day.<br /><br />9. Repeat the song every day, singing or saying the words out loud.<br /><br />10. Use vivid, humorous and exaggerated images or symbols to help associate the words<br /><br />11. Associate each word with an image, combining these to create a journey through the song.<br /><br />12. Memorise the words without the music then put it together with the music.<br /><br />13. Try to 'hear' the song and the words in your head whilst watching tv or listening to another song.<br /><br />14. Your brain keeps working at night so run through what you have learnt before you go to sleep.<br /><br />15. If you have a practice tape, play it at low volume as you are falling asleep.<br /><br />16. When learning 'harmonies' or 'backing vocals' record a tape of your part alone and one with all the other singers parts. Practice to your part then along with the other singers parts.<br /><br />17. Practice a verse whilst doing something repetative (like washing up!)<br /><br />18. Keep copies of the song everywhere! In the car, bathroom, by the telephone and practice the words whenever you can.<br /><br />19. Carry a portable tape player and headphones with you where ever you go - listen to it on the bus, during tea breaks and during lunch breaks.<br /><br />20. Reward yourself with a treat when you have successfully memorised the words and can sing it through in front of friends without referring to the words.<br /><br />Once you have learnt a song, review it often to keep it fresh and reinforce the memory.<br /></p><p><br /></p><h2><a id="tips">Tips for Readers</a></h2> <p>There are some singers who have real problems memorizing lyrics, to the point that they just cannot sing the song without referring to the words. Perhaps the singer deputises for others and requires a larger than usual repertoire of songs.<br /><br />Whatever the reason the singer feels they need to have reference material on stage, there are a few things that can be done to avoid appearing amateurish and unprofessional.<br /><br />Learn to 'read ahead' of the music. Quickly scanning the words ahead of the point that you are currently at allows you to look at the audience whilst singing - instead of at the music!<br /><br />Try not to look at the words or sheet music unless you are really stuck! If you only need to look at the words occassionally for reference, put the music stand or sheet music at the side of the stage. Wander over between songs to take a quick look, keep talking to the audience or take a sip of water whilst you do this so that it appears natural and not as if you are really brushing up on the words!<br /><br />Learn to 'improvise' or replace the words with your own if you forget the originals - it's not as professional and if you are performing a well known song then members of the audience will notice, but singing something rather than stopping altogether is more likely to 'jog' the memory and help you to pick up the song at a point you remember (like the chorus).<br /><br />When using a music stand, avoid putting it right in front of you. Place it as far away from you as possible to the side most comfortable for reference and angle it slightly towards you.<br /><br />If you are short sighted and unable to avoid placing the stand right next to you, lower it so that the audiences view is unhampered. Write the lyrics out in large print and place them in plastic 'anti-glare' pockets. You can purchase ready made folders with these attached in most stationary shops.<br /><br />Try using 'Cue Cards' - one singer I know writes the first word or line of each verse and chorus onto a large card that is placed at the side of the stage. Reading the line enables her to remember the rest of the verse or chorus.<br /><br />Cue Cards can also be used for audience participation - if you have real problems learning the words - write them out in large print onto a card, place them on a stand angled slightly towards the audience and invite them to join in!!<br /><br />Become a Karaoke Jockey - reading the lyrics from the screen is expected! </p><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-37949336221129281152009-04-12T09:44:00.002+07:002009-04-12T09:45:38.582+07:00Performance BluesFirst, the most important question: Do you still love to sing?<br /><br />I know it sounds obvious, strange, etc. to ask this - but it comes from my own experience; I went back to a coach after a year, and her comment to me after our session together was "It's obvious you really enjoy singing now - that you couldn't live without doing it. A year ago, I wouldn't have said that - a year ago it seemed like it was WORK for you, and that you didn't particularly like doing it." That doesn't mean I DIDN'T do it when it seemed like work - or that I didn't keep doing it, because obviously I must have to get from that point to the point where it's now obvious to lots of people (my voice teacher commented on it just this week) that I LOVE singing, and even during my worst crises in vocal confidence (like one I'm experiencing at the moment) I still love singing - I just don't necessarily love the way I sing.<br /><br />If you still love to sing, then ask yourself do you love what you're singing? Sometimes I'll get so fed up with a piece of music, it will be torture to have to practise it even one more time.<br /><br />Again, you've made a commitment to sing certain repertoire for this recital. If there are one or two pieces you really can't stomach any longer, is it possible for you to make substitutions - and do you have any other pieces that are in good enough shape for you to substitute? If you can't change the programme, you'll have to change your mindset - which is tough, I know.<br /><br />If you really can't honestly say you still love to sing, that doesn't mean you shouldn't sing. It just means that you'll have to work around that problem too. Ask yourself WHY you don't love to sing - is it the act of singing you dislike, or is it your voice at this stage in your vocal technique, or is it the repertoire you've been working on for too long? If you can honestly say it's the very act of singing you're tired of, then getting through this recital should be a piece of cake. You'll have decided that you don't care about the outcome because you don't mean to continue being a singer - so who cares how well you sing those recital pieces. They will be your swan song in this area, so you might as well go out with a whimper as a bang.<br /><br />Somehow I don't think this is the case, however. So what you probably really don't want to do is (1) sing the music you've got to sing - or (2) work as hard as you think you have to to sing as well as you want to. Here are some ideas for psyching yourself back to a level of excitement that can carry you through:<br /><br />1. It's not an academic recital or an exam. It's a performance. It's meant to entertain the listeners. As for any other considerations, screw them. Think of this as a Carnegie Hall gig, not an academic requirement. The fact that a by-product reward will be an academic credit is totally irrelevant. You are a PERFORMER not an academic - act and think like one.<br /><br />2. Let the PERFORMER in you take over. Think about each of the pieces you are performing - not in terms of what aspect of technique or musicianship you chose them for to impress your professor and get a good grade. Think about each of the pieces in terms of its entertainment value. Are the words interesting? If so, work more with the text - think about its meaning and how you will get it across to the audience. Think about the few but critical physical gestures or facial expressions that the words suggest to you that you will use to help convey your meaning to the audience. If there are some dazzling musical moments, have fun with them - if there's a killer of a run that you have flogged yourself to death to be able to negotiate, now's the time to really SHOW OFF - have fun with it. Wow the listeners! If there's a stratospheric high note, MILK IT! Don't approach these pieces strictly academically - ENJOY the show-off stuff, just the way you would do if you were being paid to sing it at the Met or Carnegie Hall for an audience of devoted fans.<br /><br />3. Experiment with new ideas as you sing through the pieces. Have you tried taking things faster/slower? Have you thought about different ways of phrasing - emphasizing different words, or putting commas in different places - obviously where it makes sense, but usually there are five different ways to say a sentence, each of which will have a subtly different meaning. Work with the text in this way, and by changing little emphases in the text, you'll find you change little emphases in the music. Tape record yourself as you play with this and see what might work even better than the way you've been doing it a thousand times already.<br /><br />4. Work on the least secure pieces the most. These are the ones that worry you the most, but also the ones that will seem the least stale, and the ones where you will feel a greater sense of accomplishment as your efforts improve them between now and performance time. This may seem like obvious advice, but there really is no reason to sing through the pieces you already have down pat and perfected to the best of your current abilities more than two or three times between now and the performance.<br /><br />5. Think about the THEME of your recital - is there some unifying idea you're getting across? Be creative - think about the message you're trying to convey with your selections. If nothing obvious comes to mind, Be imaginative. This will get you thinking in new ways about stale old pieces.<br /><br />6. Start planning for all the new music you'll start working on the minute this recital is over. This recital is a beginning not an ending - a stepping off point for your next phase of musical and vocal development. Don't think you don't have the luxury to put a little mental energy in what comes next - if you can get excited about the five arias you've been wanting to start work on as soon as this bloody recital was over, you can use that excitement to propel you through the recital towards that reward. Hell, even sing through a few new pieces - ONCE - just to see how wonderful they feel in your mouth and body. A kind of preview of things to come.<br /><br />7. Decide what you're going to do with the recital pieces once you've done the recital. Do you like any of them enough to keep them in your repertoire? As audition pieces? If so, you might want to start thinking about the next time and the context in which you will perform them. Maybe the programme of this recital was dictated by academic exigency. But if there are three songs on the programme that you can imagine doing again, Think about the recital programme you'd LIKE to include them on - something with a theme that means something to you, or focussing on a composer/group of composers you really love - and PLAN to do that recital - a recital purely for the joy of performing. Again, having a goal BEYOND the current recital is a really good way to keep the energy flowing.<br /><br />8. Don't forget to invite your friends to hear your academic recital. An audience who you know is predisposed to love you will applaud a lot and give you all the strokes you may not feel you're getting from that poker-faced academic committee who sit in the back taking notes. Forget about that bunch - they aren't having any fun...which is no reason why you shouldn't. Indeed, it's all the more reason to have fun - because if you just get up there and sing for the joy of it, I guarantee you'll sing better than if you worry yourself to death over how you're doing.<br /><br /><br />By Karen MercedesRobbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com1tag:blogger.com,1999:blog-2881144566942823465.post-4345445011697557882009-02-20T11:00:00.001+07:002009-02-20T11:02:38.958+07:00Breathing Techniques<div style="text-align: center;"><span style="font-size:78%;">by Dennis Anderson<br /></span></div><br />The most important aspect of good singing technique is AIR. Singers must control their breathing or they become fatigued quickly and their singing suffers. These exercises will produce immediate results, and permanently improved performance if practiced on a daily basis. I have never yet seen a singer--regardless of the style--who didn't make instant improvement by doing these exercises.<br /><br />Start by taking a deep breath, filling your lungs all the way down to the abdomen (not just the top half of your lungs). Then let it out very slowly in a constant stream. Imagine that you're exhaling through a very thin straw and the air is going out so slowly that you don't appear to be breathing at all--like playing "possum." It may help to picture a candle out in front of you, and your breath is moving so slowly that the flame doesn't flicker as you exhale.<br /><br />Do this ten times.<br /><br />Now do five more. But on these next five breaths, pick a nice comfortable note and hold it through the entire breath. Don't let it change in pitch or volume--make it seem like a key being held down on an organ. Be sure that each note is a comfortable pitch--somewhere in your normal speaking register. Low notes are good because they help the throat relax. Use a different pitch for each breath. Don't try to belt out high notes. That strains the vocal chords.<br /><br />Now do five more of these, gradually CHANGING the volume for each note from zero up to a medium volume and back to zero over the entire duration of the breath. Always choose a different pitch for each breath and NEVER let the pitch go flat or sharp. In the case of these last five breaths all that is changing is the volume, and that should be changing at a rate that is undetectable.<br /><br />For the last set of five breaths (this is now a total of 25 that you'll be doing) do everything you just did in the previous five, but change the timbre of your voice at a faster rate than the volume is changing. This is done by "sweeping" through the vowels: a,e,i,o,u. Make the change gradual in any order you wish. It'll sound like Tibetan chant, so if anyone asks tell them you've converted to Buddhism and you're atoning your spirit.<br /><br />You may be asking yourself how this helps you and why results are immediate. The answer is remarkably simple. By concentrating on keeping your pitch constant you focus in on what your body needs to do to sing on pitch. Let's face it, pitch is the most common and important concern of any singer. Another side benefit of doing this exercise is that it pumps extra oxygen into your brain. The brain likes oxygen. In fact, the brain can't function without it. So more oxygen makes you think better and focus more clearly on the task you have at hand: SINGING.<br /><br />When you're on the mic remember to keep the abdomen tight (imagine you're going to lift a piano) and the throat relaxed (like yawning), allowing plenty of air to move. If you need higher notes you get them with more air, not by squeezing off your neck muscles (a common mistake make by singers who burn out before they're ready to quit). Test this by imagining you see a friend across a busy street and you need to get his attention. Holler out "hey". You'll notice that you do this in a very relaxed way with lots of air. That's how to hit those notes that are right on the edge. RELAXED throat, pushing the air out with the abdomen.<br /><br />One last thought: believe it or not, TALKING is more of a strain on your voice than SINGING (if you're doing it right). In fact, Broadway singers are under contract to not utter a single word on the day of the show until after the performance ends. So . . . if you want to be a successful singer you have to learn to breath, learn to focus, then shut up and sing!Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com2tag:blogger.com,1999:blog-2881144566942823465.post-2141191330386117762008-12-16T23:09:00.000+07:002008-12-16T23:10:43.837+07:00Breath Control for SingersBreathing is the single most important element in singing. In order to control your voice you have to put out exactly the amount of breath you need for the sound you want. That breath needs to be as focused as a laser beam. How you exhale controls the quality of the sound, the volume, the pitch and the tone. How you inhale governs how you exhale.<br /><br />Most people, as they walk around in their daily lives, inhale into their upper lungs i.e., their shoulders go up as does their chest. When the air is in your upper lungs, you don't have the kind of detailed control you need. A singer (or a swimmer or runner--anyone who has to control their air) should fill their lower lungs. This means that instead of a breath that is vertical, with your body expanding upwards, the breath should be horizontal, expanding outwards.<br /><br />Put one hand on your abdomen and the other hand on your back, both at about waist level. Inhale by filling your lower lungs with air so that your stomach sticks out. Your hands should move apart, the air filling the space between them. As you exhale let your stomach go back in gently. Think of your stomach as a balloon that inflates and deflates. Your chest shouldn't move, not even an eighth of an inch. As you get better at this, your back will also move out when you inhale. Try putting your thumbs one on each side of your spine, at about waist level. Relax your shoulders. Now inhale into your thumbs.<br /><br />Once you put the air in the right place, you must learn to control it with your diaphragm. The diaphragm is a muscle that sits below your lungs and causes them to fill and empty. If you exhale out all of your air down to the absolutely last drop, you will feel your diaphragm under your rib cage as it pushes up against your lungs. On the outside of your ribs you will feel your abdominal wall pushing in; inside your ribs your diaphragm pushes up. Not only does your diaphragm need to be strong enough to push hard when you want lots of power, but it needs to have even more control and strength when you want to sing a fast and accurate lick, or a big jump in pitch, or very, very quietly. Building the strength and control of your diaphragm begins with proper breathing.<br /><br />To strengthen the diaphragm, again put one hand on your abdomen and the other hand on your back. Inhale into your abdomen and exhale forcibly so that your stomach muscles push in and the air comes out rapidly. Repeat this--inhale, abdomen out, exhale forcibly, abdomen in--thirty times picking up the tempo as you get comfortable with it. Breathe through your mouth. As you go faster you may find that you've fallen back into the old habit of breathing vertically again. In that case, stop and start over by breathing slowly and gently into your lower lungs until you have the feeling again.<br /><br />Initially you may feel that you can't get enough air, but that is because your lung capacity is small from disuse. All infants breath into their lower lungs, but as we age and our stress levels increase, our breathing tends to move upwards. With practice you will find that your lower lungs stretch out and that your ribs in the back will loosen up and make room for the larger inhalation.<br /><br />Be patient with yourself. After breathing vertically thousands of times a day all the years of your life, a new way to breathe takes lots of concentration. Remember that your voice is an instrument like any other. It takes time to learn to play it--time and patience and practice.<br /><br /><div class="fullpost"> <br /><br /><br />Copyright 1990 by Lis Lewis, used with permission. The Lis Lewis Singers' Workshop, has clients at RCA, CBS, and Warner Bros. and many more. <br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com1tag:blogger.com,1999:blog-2881144566942823465.post-69073337163357876742008-11-05T15:02:00.001+07:002008-11-05T15:05:36.368+07:00Accessing Head Voice<div class="fullpost"> <br />Head voice is not just for tenors, IMO. I believe that all singing voices are entitled to this healthy aspect of vocalism, and that it can be learned by almost all who study and practice to learn it, and by many just by playing around. 'Finding' a head voice is most problematical for those who have sung by forcing... by trying to sing high with the same registration as they use for the lower part of the voice. Next after that in difficulty (IMO) is the singer whose singing habits are very light, wispy tones. Over time, these singers have become used to expect that their voices should feel a certain way when they sing, and those expectations (and their associated mental images and physical sensations) are habit. <br /><br />To learn to sing head voice, which is a co-ordinated use of the musculature of the voice, the student must progressively replace their habits (and expectations) with new, practised ones. The expectations (and images) seem to play leapfrog with the muscle coordinations during this time, in something like 6 week cycles, in my experience. The teacher guides the process by (in my approach) moving the student's mental image by asking the student to make sung sounds that are a little different, maybe even experimental. <br /><br />The earlier discussion about lip trills, 'wonky' falsetto-like whoops and hollers are reasonable examples, based on the student's starting point. For example, for the 16-yr-old bass with nothing above middle C, and altogether too much 'muscle' feeling and concept in the tone, the teacher might start with messa di voce (cresc-decresc) patterns, and coax the singer to include softer dynamics into the student capabilities. The very act of trying this, over time, will induce a gentleness of thought which will allow the voice to rebalance a little, dropping some of the weight at the softer dynamics. <br /><br />From there, the student must learn how to move the voice from pitch to pitch without 'selling up' the higher pitches. Its remarkable that, after all the 'performance' weight has been removed, that a given voice will move nicely up, readjusting the balance of registration in a nice gradual fashion. <br /><br />At a certain point in this development, I think the teacher gets the sense, partly by watching, partly by listening, that the singer is ready for a breakthrough to a head voice co-ordination. Its commonly felt that many fine singers have a noticeable sensation transition as their voice moves into head voice on the way up, or when coming out of it. These sensation transitions can be substantial, but as a general rule singers work to 'allow' such a transition to occur without adding unnecessary extra work and tension in the throat, jaw and tongue regions. Under the guidance of a good teacher, the student will learn how these sensations change note to note as the teacher assists them in finding their right 'sound' in that area, and begin to accept the fact that these new sensations, and their accompanying sounds are 'right' for their voice. <br /><br />From an exercise point of view, I think that low tension, well supported 'leaps' across the change region allow the voice to 'go wonky' a little, and spontaneously respond to the pitch change in the student mental concept. With a little, non-judgemental vocal play, the student can 'find' a nicely co-ordinated head voice. I think its best to expect it to occur accidentally, spontaneously, as any 'control' mental images that the student is using, or concerted efforts to 'make' it happen, seem to induce just enough restricting tension to prevent the spontaneous reco-ordination. <br /><br /><br />by Steven Fraser<br />http://www.vocalist.org.uk/accessing_head_voice.html<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com1tag:blogger.com,1999:blog-2881144566942823465.post-32423083953156103962008-10-22T07:08:00.001+07:002008-10-22T07:18:25.841+07:00Charisma<span style="font-weight: bold;" class="red-text">What is Charisma?</span><br />The dictionary describes Charisma as 'A rare personal quality attributed to leaders who arouse fervent popular devotion and enthusiasm'. 'Personal magnetism or charm'. 'A personal attractiveness that enables you to influence others'.<br /><br />Charisma, Allure, Stage Presence, Charm, Positive Energy or X Factor is an indefinable 'something' that identifies a unique or captivating performer. You may not know what it is but you can tell whether a singer has it when you see it!<br /><br /><span style="font-weight: bold;" class="red-text">Do I Have Charisma?</span><br />Everyone has charisma to varying degrees, some people need to nurture and develop their talents and abilities whilst others are unable to tap into their potential unless the circumstances are right for their character. For instance, an individual who is normally considered quiet may 'come alive' on stage to produce an exquisite or exciting performance whereas another may sparkle in an office environment.<br /><br /><span style="font-weight: bold;" class="red-text">Can I Develop Charisma?</span><br />There are certain qualities and skills that can be learnt or nurtured but charisma is more than just a set of techniques and requires personal magnetism or natural expressiveness from within the performer.<br /><br />First impressions count, how you look and carry yourself both onstage and off may be the first thing that the audience sees.<br /><br />Articulation and communication skills are important - if you cannot be understood then the audience will not relate to your music. Eye contact with members of the audience is essential - but trying to maintain this throughout a complete performance is unrealistic - especially when the artists are using a stage as looking down causes the head to drop and constricts the throat! (Tip: Look slightly above their heads and occasionally glance at individuals). Talk to the audience, introduce songs, allow your personality to come through even when using a script. Include movement, gestures and facial expressions to draw the audiences attention to your performance.<br /><br />Observing & listening to others - let the audience feel how important they are to you. Take time to talk and listen to those who come to see your act off-stage as well as on-stage!<br /><br />Persuasiveness, understanding plus the ability to adapt and motivate others are skills that every good band leader, musician and singer should aim to aquire if they wish to work with others successfully.<br /><br />Losing yourself in the moment allows the audience a glimpse of the person within. Letting people see that you are enjoying yourself creates warmth and honesty in the performance.<br /><br />These skills are present in most people to varying degrees, it is not enough to learn them by rote, the individual should find time to search within themselves and work on developing positive qualities as part of their natural growth as an artist.<br /><br />The performer can never have too much 'practice' - that doesn't just mean doing the same things repeatedly, but also to explore, experiment and integrate new methods with natural abilities and techniques.<br /><br /><br /><br />http://www.vocalist.org.uk/charisma.htmlRobbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-53055741638985338462008-09-24T13:33:00.000+07:002008-09-24T13:34:39.252+07:00Sing With ConfidenceFeel too nervous to get up and have a go? - you are not alone - many professional singers suffer with nerves before they sing live!!! Want to sing with confidence? Try the following tips!!<br /><br />1. The most difficult part is getting up to sing in front of an audience for the first time - once you have achieved this it will become easier each time you perform!!<br /><br />2. Karaoke and jam nights are great for gaining confidence! No-one cares if you forget the words or mess up the songs so you can relax, have fun and get used to singing in front of an audience.<br /><br />3. Ask a friend or group of friends to get up and sing with you - pick a song that you can have a laugh with!<br /><br />4. Don't worry about making a fool of yourself or how you sound - just have a go!<br /><br />5. Choose a song you know really well - avoid tunes that are difficult to sing until you are more confident about your voice and performing in front of an audience.<br /><br />6. Take a deep breath, exhale, look ahead and smile as you take the stage - even if you feel terrified this will help you look confident.<br /><br />7. As soon as you get on stage relax your shoulders and clear your mind of everything except the song you are going to sing.<br /><br />8. If you are really nervous, concentrate on at a point just above the audiences head or if singing karaoke concentrate on the television screen and your singing rather than looking at the audience!<br /><br />9. If you know the song really well but are still nervous of performing in front of a crowd, then focus on an object slightly above the audience instead of their faces.<br /><br />10. Find yourself shaking when you are singing? Then move around a bit - swing your hips and bop around - it'll help you to forget your nerves and make you look confident.<br /><br />11. Got a really awful voice & know it - but still want to have a go? Pick a song that everyone can join in with, a track that is funny or make up funny words, pull faces or use props - you'll sound great & the audience will laugh with you - not at you!!<br /><br /><div class="fullpost"><br /><br />Article © Vocalist.org.uk<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com2tag:blogger.com,1999:blog-2881144566942823465.post-83224514050742227432008-09-19T22:12:00.004+07:002008-09-19T22:26:09.939+07:00Microphone Techniques<div class="fullpost">Few singers practice their microphone technique enough, which results in some fantastic voices being overlooked due to poor sound quality or bad technique when performing live.<br /><br />How do you prevent this without the aid of a sound engineer or years of experience? Simple! - Practice makes perfect and if you have the facilities to set up a P.A. and tape recorder at home or use a rehearsal studio you have a distinct advantage!! Even if you don't have this equipment, you can still experiment with amplified sound by using your home stereo or karaoke machine and a microphone. The quality may be extremely poor and muffled (depending on how good the system), but you should still be able to get a basic idea of mic positioning and distance with a little practice.<br /><br />Obvious points to remember when using amplification of any kind:<br /><br />Pointing the microphone towards a speaker when you are too close causes a high pitched noise called FEEDBACK.<br /><br />Having the volume too high will cause FEEDBACK and DISTORTION.<br /><br />Incorrect wiring & connections can cause electric shocks, equipment breakdowns, horrible humming or even pick up the radio!<br /><br />The most common mistake is holding the microphone too close or too far from your mouth. This results in your singing sounding muffled and distorted, too distant or no vocal sound at all. With a little practice this is easy to rectify and should become a part of your rehearsal routine.<br /><br />Set your volume controls so that the backing track is lower than your singing.<br /><br />To avoid distortion, ensure the mic is held no closer than 2 to 3 inches from your mouth during normal singing. You will have to experiment a little as the distance is dependant on the individuals natural power and ability to project.<br /><br />Gradually move the microphone away as you continue to sing and listen to the effect - at what point does the vocal sound start to fade? - That is your furthest point to remember. The optimum distance for clarity is between the shortest and furthest points.<br /><br />There are times when you will be using more volume, hitting higher or lower notes or almost whispering. Practice using different distances and positions to see how using the mic creates different effects.<br /><br />Avoid moving the microphone closer to your mouth when aiming for high or more powerful notes and practise using the microphone to enhance or lessen certain effects until it becomes second nature.<br /><br /><strong>Hiding Faults</strong><br />Microphones can be used effectively to hide as well as enhance a singers faults. One of the most common techniques used to hide a lack of sustained breath control is to hold the microphone away from you when starting a sustained note and bringing it closer to the mouth as the note diminishes. To the audience the note appears to maintain it's volume, although it is important to keep on pitch and not attempt to hold the note for longer than is comfortable!<br /><br />The distance and placement of the microphone also affects the sound and tone of the voice as heard by the listener. Some microphones are designed to pick up sound from any direction, (known as omni-directional) others are designed to pick up sound from a limited area. There are several different microphone types, referred to as dynamic, cardoid, supercardoid, condenser.... to learn about these in more depth read the DAT-Heads FAQ and articles listed further down the page.<br /><br /><strong>Vocal Effects</strong><br />Using a microphone allows the singer to employ various vocal effects to enhance a recording or performance including: Adjusting airflow through the nose, opening the throat to provide more resonance, glottal attack, soft-palate edge (with vibration of the uvula), good enunciation and diaphragmatic pulsation (like a pant).<br /><br /><strong>Avoiding Pop's & Hisses</strong><br />Certain consonants create sounds that when electrically amplified become abrasive or detract from the intended effect. B's & P's can sound over-exaggerated causing a 'pop', whilst the natural sibilance of C, S & Z can produce a hissing sound. These are problems that can be avoided by using a combination of correct diction and mic technique.<br /><br />When using a microphone for the first time, the natural instinct is to place it in right in front of your mouth, but with todays technology, most microphones are extremely sensitive and capable of picking up sound from any direction, moving the microphone further from your mouth, angling it to one side or lowering the mic and angling it more towards the ceiling will lessen the sensitivity by just enough to prevent the pops and hisses, the adjustment can be quite fine depending on the EQ & gain settings plus equipment type and quality.<br /><br /><strong>Common Problems with Microphones</strong><br />Despite improvements in technology, Radio microphones can be the cause of many a singers nightmares with mini cab or police transmissions blasting out over the speakers, cut outs and dodgy batteries causing distortion. Small microphones attached to clothing can easily work loose causing loss of sound and even hand held radio mic's left on while backstage can pick up discussions or noises that you would rather remain private! Even the humble lead mic if left on in a stand will pick up footsteps or other loud vibrations from the stage and floor. If using a radio mic, always use check the batteries before use, keep a couple of spare batteries handy, make sure arials or leads are not twisted or bunched up and have a lead mic available in your kit bag for emergancies. Switch off all microphones during breaks or when not in use.<br /><br /><strong>Which Mic?</strong><br />Everyone has their own personal preferance, but omni-directional microphones are pretty common for live work and although they lack the sensitivity of some other microphones, they have the advantage of being robust and capable of picking up sound from any direction. There are lead and wireless versions, both of which can be hand-held or placed in a stand. Head-set mic's are useful for dancers or singers who want to have complete freedom of movement but are 'fixed' in front of or to one side of the mouth, this means that the singer is unable to manipulate the microphone.<br /><br />Before purchasing a microphone it is worth trying out several types. A mic that makes one singer sound great can make another sound bassy or tinny and although this may be due in part to the EQ settings or effects used, it can also be due to the microphone response. Most recording studios carry several microphones to cater to all types of vocalist and singer/songwriters may find that purchasing a microphone for 'live' performance and one for 'recording' solves a few clarity problems.<br /><br /><a href="http://www.shure.com/ProAudio/Products/WirelessMicrophones/us_pro_SLX2-Beta87A_content">Find Here Your Favorite Microphone</a><br /><br /><br /><br />http://www.vocalist.org.uk/microphone_techniques.html<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-38341747408858236662008-08-18T21:32:00.001+07:002008-08-18T21:34:53.370+07:00Vocal Health 4<h3>Things Singers Should Avoid</h3><br /><br />Going to go into the normal nag about smoking although you should try to avoid anything that is likely to dry out your voice before a performance, so here are a few tips on what to avoid before & during your show:-<br /><br />1. Orange or Citrus Juice and caffeinated drinks - can affect your throats lubrication.<br /><br />2. Milk & other dairy products - furs up the throat, avoid drinking Milk, Cream, Tea and Coffee prior to singing.<br /><br />3. Dry Ice Machines - The chemicals used dry up the throat. If the effect is an essential part of the show use a Fog Machine with cooler (water & glycerine based) or Haze Machine (chemical based but non-toxic). Both can still affect the voice if inhaled, make sure you have plenty of water to lubricate the throat.<br /><br />4. Eating heavy meals prior to a gig - the food doesn't have time to digest and sits heavily in your stomach. This makes it harder to control breathing, vocal reach and projection.<br /><br />5. Smoke filled environments - pretty impossible to do if your playing pubs n clubs but do what you can by taking a wander outside for fresh air during the breaks.<br /><br />6. Asprin - can contribute to tinnitus and vocal chord hemorrhage<br /><br />7. Excessive loud talking and yelling - can lead to vocal strain<br /><br />8. Coughing and clearing your throat - swallow or sip water instead.<br /><br />9. Alcohol - although a small drink may help to relax you, alcohol may numb the chords and too much will cause lack of control (vocally & otherwise!!)<br /><br />10. Sing out of your range - save the top notes for when you can sing them correctly and don't over-reach or you could end up damaging your voice!<br /><br />Pace yourself at a gig - move vocally demanding songs to the middle or end of each set to allow your voice to warm up beforehand (a vocal warm up before the gig is also advisable) and then rest your voice during the breaks.<br /><br />Treat allergies and infections promptly and rest your voice when ill. Drink plenty of water during the day to keep your body hydrated and voice lubricated, 8 - 9 pints is recommended. (Beer doesn't count!). Keep a bottle of water at the side of the stage!<br /><br /><br /><br />http://www.vocalist.org.uk/things_singers_should_avoid.htmlRobbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-9847995498042676482008-08-12T09:05:00.002+07:002008-08-18T21:36:05.680+07:00Vocal Health 3<div class="fullpost"><strong>Hearing Sensitivity</strong><br /><br />How sensitive is your hearing? Believe it or not many singers find that certain sounds/noises are extremely irritating and sometimes painful to listen to. Personally I find anyone singing off key makes me feel physically sick, some singers find certain frequencies and decibels irritating like high pitched laughter, screams and loud noises, some to such an extent that the ears experience a 'ringing' sound, ear popping or stuffiness for some time afterwards or more severly cause bleeding of the ears.<br /><br />If you have auditory problems or sensitive hearing you can take a few precautions to avoid irritation.<br /><br />- Wherever possible - avoid the noise that irritates!<br /><br />- Use Earplugs to lessen the sound<br /><br />- When rehearsing use a large room with an open window to allow the sound to dissapate<br /><br />- If you have to use a small room try and deaden the walls so that the sound does not 'bounce' (egg boxes, carpet tiles or foam are suitable).<br /><br />- Avoid aspirin--it causes tinnitus.<br /><br />- Avoid practising your singing after Swimming and make sure you dry your ears thoroughly<br /><br />- Don't sing with a viral infection unless absolutely necessary<br /><br />- Avoid drinking Alcohol<br /><br />If this is an ongoing problem and you are encountering regular occurances of tinnitus, stuffines, ear popping, intense pressure, or bleeding from the ears make an appointment to see your Ear Nose & Throat Doctor as soon as possible. You may need a TYMPANOGRAM which is a test to see how the ear responds to pressure.<br /><br /><br />http://www.vocalist.org.uk/hearing_sensitivity.html<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-5161504488514588752008-08-01T08:40:00.007+07:002008-08-01T09:49:16.312+07:00FRASERING ( Menyanyikan Kalimat Lagu Dengan Utuh )<div class="fullpost">Huruf Vokal dan Konsonan yang disusun menjadi sebuah<i> Kata</i>, dan kemudian kata disusun menjadi <i>Kalimat</i>. Setelah sebelumnya kita memahami tentang artikulasi, nah sekarang giliran kita pelajari tentang bagaimana "<i>menyanyikan kalimat lagu / lirik dengan baik" </i>supaya kalimat lagu tersebut dapat memberikan, menjelaskan tema dan menyampaikan berbagai pesan dari sebuah karya kepada pendengar / penonton pada saat bernyanyi.<br /><br />BERNYANYI adalah menampilkan NYANYIAN / LAGU maka setiap pelaku harus :<br />1. Memahami arti setiap kalimat yang dinyanyikan.<br />2. Memahami tujuan/pesan/karakter dari pada nyanyian secara keseluruhan.<br />3. Menyadari bahwa susunan nada-nada yang ditulis untuk dinyanyikan adalah suatu kesatuan, artinya tidak terpenggal-penggal dari sudut susunan melodinya.<br /><br />Ketiga unsur diatas dipadu menjadi satu, untuk dapat menampilkan : "Bagaimana membaca kalimat tanpa lagu dan Bagaimana menyanyikan kalimat lagu tanpa teks"<br /><br />a. Kalimat bahasa.<br /> Untuk menghayati isi kata-kata, perlu juga dipedomani aturan “TATA BAHASA” yang kita miliki untuk mencari :<br /> 1. Mana kelompok kata yang merupakan satu kesatuan, yaitu: -bahwa setiap pemenggalan kalimat harus mengandung arti yang sebenarnya dan disesuaikan dengan melodi dan irama.<br />2. Mana kata pokok/thema yang perlu penegasan/penonjolan dan diucapkan<br /> lebih keras kemudian diberi tanda dinamika.<br />3. Pada bagian kata mana aksen harus dimunculkan atau ditonjolkan.<br /><br />b. Kalimat musik.<br /> Kalimat musik terdiri dari “nada-nada” yang merupakan “motif” atau “thema” yang mengungkapkan suatu ide musik, misalnya:<br />1. Kelompok nada: yaitu dimana ditemukan beberapa nada yang berulang dinyanyikan.<br />2. Puncak lagu : yang biasanya selalu terdapat pada nada tertinggi pada sebuah lagu.<br />3. Tekanan nada : yang didalam musik ditentukan oleh irama, dan biasanya terdapat disetiap awal birama.<br /><br /> c. Kalimat yang dinyanyikan.<br />Biasanya terdapat dua bentuk kalimat yang dinyanyikan, yaitu:<br />1. Nyanyian Recitative : yaitu dimana pernan kata-kata lebih menonjol dibanding dengan peranan melodi.<br /> 2. Nyanyian Melismatis: peranan melodi lebih menonjol dari pada melodi, dan terdapat satu kata yang dinyanyikan dengan serangkaian nada.<br /><br />Menyanyikan kalimat lagu dengan utuh, tidaklah sesederhana “membaca kalimat” karena disamping pemahaman arti kalimat yang harus diucapkan dengan sejelas mungkin karena gangguan-gangguan lain akan timbul pada saat bernyanyi, karena adanya tanda-tanda dinamika dan lain-lain yang harus dikerjakan bersamaan dengan pemenggalan kalimat, antara lain:<br />- Ketidak mahiran dalam pengambilan dan penggunaan nafas selama bernyanyi.<br /> - Adanya istilah-istilah musik yang mendukung sebuah karya pada saat diciptakan, seperti:<br /> 1. Legato, yang biasanya menimbulkan pemborosan dalam hal pernafasan<br /> 2. Deoresendo dan Oresendo, yang memaksa penyanyi untuk memperluas dan mempersempit wilayah bunyi pada saat penyanyian dilaksanakan.<br /> 3. Staccato, pemenggalan suku kata karena tuntutan melodi yang tidak dikuasai, tanpa menghilangkan keutuhan kalimat ssecaara keseluruhan.<br /> 4. Accelerando dan Rittardando, percepatan dan perlambatan tempo pada pada satu penggalan kalimat , serta pada puncak nada tertinggi atau terendah yang berbanding terbalik dengan pernafasan dan persiapan nafas yang masih tersisa untuk digunakan. <br /><br /> Dari beberapa tantangan dan hambatan yang ada, maka untuk mendapatkan “frasering” yang baik dan utuh. Keseluruhan aspek/tahapan diatas harus benar-benar dilatih lebih dahulu kemudian diterapkan “sepanjang nyanyian” sehingga tujuan “BAGAIMANA MEMBUAT KALIMAT LAGU, MEMBERI ARTI, dan MAKNA, akan tercapai dengan baik.<br /><br />Jadi intinya seperti ini, sebelum menyanyikan sebuah lagu ada baiknya kita tulis dulu liriknya dan kemudian kita perhatikan dimana tempat tempat untuk mengambil nafas dan dimana huruf-huruf yang boros dengan nafas. Minimal pemenggalan kata untuk menarik nafas adalah 2 bar. Contohnya seperti ini : kamu pernah dengar kan lagunya Kerispatih ( Tapi Bukan Aku ). Lirik pertama, "<span><span style="color:#3366ff;">Jangan lagi... kausesalai... keputusanku</span>"</span>. Sesimpel yang kamu dengar itu ada dua kali pemenggalan. Tapi itu salah, kamu harus menyanyikan keseluruhannya dalam satu nafas. Namun untuk pemula dapat dipenggal menjadi dua nafas"<span style="color:#3366ff;"><span> Jangan lagi....</span></span><span>-</span><span> </span><span style="color:#3366ff;"><span>Kausesali... Keputusanku... </span></span>" atau "<span style="color:#3366ff;"><span>Jangan lagi... Kausesali...</span></span> -<span style="color:#3366ff;"><span> keputusanku...</span></span>" . Kemudian kita juga harus paham bahwa ada satu kalimat atau kata yang g boleh terpotong sama sekali. Coba perhatikan bagian kedua " <span><span style="color:#3366ff;">Khianati rasa... Demi kei..nginan semu..</span></span>" Nah bagian kalimat "<span><span style="color:#3366ff;">Demi keinginan semu</span></span>" itu sama sekali tidak boleh ada penarikan nafas dan tidak boleh terpenggal karena "<span> <span style="color:#3366ff;">keinginan</span>"</span> adalah satu kata. klo terpisah maka kata itu g akan mempunyai arti.<br /><br />Demikian deh buat kita pahami, makanya klo seorang penyani itu mempunyai buku lirik lagu bukan hanya karena dia g hafal, tapi karena Setiap lagu memang harus dipelajari baik-baik kalimatnya. Juga dari situ kita bisa paham dengan arti dan makna dari lagu tersebuat sehingga bisa menjiwai lagunya. Nah, hal ini yang akan kita pelajari di artikel berikutnya. O ya, buat teman2 yang ingin cari lirik lagu dan mengkoleksi lagu yang lagi populer ato yang biasa dinyanyiin dikafe bisa klik <a href="http://lirik-populer.blogspot.com/">disini</a> : <a href="http://lirik-populer.blogspot.com/" target="_blank"><br /><img border="0" alt="Lirik Populer" src="http://i290.photobucket.com/albums/ll254/x-over/lirik-1.jpg" /><br /></a><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-83783419510043021002008-07-30T16:42:00.001+07:002008-07-30T16:44:45.942+07:00Vocal Health 2<div class="fullpost"> <strong>Glottal Attack</strong><br /><br />The 'Glottis' is an opening situated at the upper part of the windpipe and between the vocal chords. It affects the modulation of the voice by contracting or dilating. During the swallowing action, it is covered by an erect cartilage at the root of the tongue known as the 'Epiglottis'.<br /><br />'Glottal Stop' is the sound produced by the sudden explosive release of breath from behind the closed glottis and the term 'Glottal Attack' describes the percussive pulse from vocal cords as in a slight grunt. Three types of glottal attack are commonly recognised: breathy, normal and hard.<br /><br />'Hard Glottal Attack' describes the action of the vocal folds slamming together quickly and forcefully before sound begins, causing an increase in muscular tension in the laryngeal area. It is considered a form of vocal abuse which can occur during excessive throat clearing, coughing or at the beginning of vowel sounds and frequent use can cause damage to the vocal folds (also referred to as vocal chords) including lesions and nodules.<br /><br />Techniques employed by voice and speech therapists to eliminate hard glottal attack include:<br /><br />Chant Talk<br />Similar to a religious chant, this technique is performed using a soft glottal attack (SGA) along with a recorded voice or the therapist, who gradually introduces normal speech as the patient progresses.<br /><br />Chewing Technique<br />Practice the motions of chewing in an exaggerated manner and then gradually, over time, add random sounds, words, phrases, sentences, and conversation while slowly reducing the degree of exaggeration of the mouth movements. This exercise helps to release excess and produce natural tension in the vocal tract and laryngeal area and if done correctly encourages mouth opening and reduction of tensions in the jaw.<br /><br />Yawn Technique<br />Practice yawning accompanied by a vocal sigh. This helps to produce a relaxed sound (often referred to as phonation) by creating normal muscular tension in the laryngeal area.<br /><br />Laryngeal Massage<br />Massage is used to help reduce tension and the voice is no exception! A therapist will show the patient the correct method of massaging the laryngeal area on the neck to aid in reducing muscular tension.<br /><br />/m/ Warm Up<br />To warm up the vocal folds, the consonant 'M' is spoken or sung before words. This helps to produce a gentle airflow through the larynx as the sound (phonation) begins. Read Sharon and Kellie's article on eliminating hard glottal attack, which has some excellent examples of exercises used with clinical patients.<br /><br /><br />http://www.vocalist.org.uk/glottal_attack.html<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-87233537913634321502008-07-25T21:56:00.003+07:002008-07-25T22:26:58.724+07:00ARTIKULASI ( Pengucapan Yang Benar Dan Jelas )Wah,, dah lama neh g posting lagi,, lagi sibuk juga. Ngurusin konter yang g kunjung berhenti dari masalah terutama tagihan. hehehehe... Oke, saya lanjut aja ya<br /><br />BERNYANYI adalah “berbicara” melalui syair lagu yang memiliki notasi/melodi/irama dan birama, dan didalam syairnya terkandung pesan, cerita, ikrar dl, yang harus disampaikan kepada penonton/pendengar dan harus dapat dimengerti apa tujuan dari pesan itu.<br /><br />Jika kita hanya bernyanyi sendiri (solis) masih dibantu dengan mikrofon, nah tapi jika bernyanyi lebih dari satu orang, kemudian diiringi oleh musik tertentu, akan lebih sulit untuk memahami setiap kalimat/kata yang dilantunkan jika “<i>ARTIKULASI</i>” tidak dilatih dengan baik. Sehingga penyanyi dan penonton sama-sama tidak dapat menikmati penampilan penyanyi, karena akan berakibat pada :<br />- terganggunya keindahan lagu.<br />- pengertian syair menjadi kabur.<br /><br /><strong>So,, Bagaimana Ngatasinnya???</strong><br /><br /><div class="fullpost">Sebelumnya kita udah bahas mengenai Vocal dan Konsonan, dan cara-cara pengucapan sebuah kata / kalimat lagu. Suku kata atau kata, jikapada saat membaca atau berbicara, memiliki aksen aksen tertentu dan tekanan pada bagian-bagian terrtentu. Maka pada saat bernyanyi, tekanan/aksen tersebut harus mengabdi pada melodi lagu<br /><br />Pada saat memulai kalimat lagu, yang menjadi perhatian kita adalah “huruf” apa yang pertama diucapkan, sehingga penyanyi dapat mempersiapkan ‘ucapannya”sesuai dengan cara pngucapan masing masing huruf. Karena jika tidak demikian, icapan menjadi tidak jelas, karena terburu-buru untuk mengucapkannya<br /><br />Harus diperhatikan beberapa konsonan, yang jika diucapkan akan mengakibatkan pemborosan pada “nafas” misalnya konsonan [H] dan konsonan [S]. Jika kedua konsonan ini ada pada saat awal lagu, upayakan segera menutupnya dengan “vocal” yang mengikutinya. Demikian juga jika kedua konsonan ini ada ditengah kalimat lagu, akan lebih merepotkan karena tujuan kita untuk menyambung kalimat lagu menjadi terganggu.<br /><br />Jika pada awal lagu dimulai dengan huruf “VOCAL”, misalnya INDONESIA RAYA dsb, Harus diupayakan agar “vocal” ini diawali dengan konsonan tertentu, misalnya dengan konsonan [M, N atau H] agar tidak terkesan meledak pada saat mengucapkannya.<br /><br />Memberikan perhatian khusus pada pengucapan beberapa konsonan yang hampir sama, antara lain:<br /> a. antara M dan N serta NG<br /> b. antara G dan K<br /> c. antara T dan D<br /> d. antara B dan P, yang hanya dibedakan oleh besar kecilnya ledakan yang dicipyakan pada saat mengucapkaannya.<br /><br />Menyambung kata dan suku kata, menjadi satu kesatuan yang diucapkan denga mengalir, khususnya jika terdapat dua konsonan sejajar atau berdekatan. Jangan sampai salah satunya tertinggal atau tidak terucapkan.<br /><br />Bila satu kata ditutup dengan huruf nasal/sengau, maka sebaiknya konsonan sengau tersebut diucapkan secara singkat pada saat akan mengakhiri kalimat, atau sejenak menjelang awal istirahat berikutnya. Dengan kata lain, penahanan bunyi diberikan pada vocal yang mendahuluinya.<br /><br />Berhati-hati lah dengan konsonan semu, yang timbul pada saat memulai kalimat atau mengakhiri kalimat yang disebabkan oleh beberapa faktor, agar dihindari dengan baik. Misalnya pada pengucapan :<br />a. besok menjadi mbesok<br />b. sebab menjadi sebabh<br /><br />Konsonan R, M, N, dan NG serta beberapa konsonan lainnya yang menutup kata, sering tidak terdengar diucapkan, khususnya pada ending lagu. Jangan menutup bunyi sebelum konsonan ini terucapkan dengan benar. Misalnya : <br />- dengan menjadi denga<br /> - lahir menjadi lahi<br /> - bersyukur menjadi bersyuku<br /> dst<br /><br />Adanya huruf dipotong atau umlaud, yaitu dua buah vocal yang berdekatan, misalnya : AU-OE UI-AI dst, seharusnya tidak dipisahkan mengucapkannya. Akan tetapi harus disambung dan ditekan/aksen diberikan pada vocal pertama, sedangkan vocal berikutnya hanya melintas saja, yang ditandai dengan pergeseran alat <i>artikulasi</i> pada saat mengucapkannya.<br /><br />Vocal yang dinyanyikan dengan beberapa notasi yang biasa disebut “<i>legato</i>” harus dijaga agar keutuhan & keberadaan setiap nada tetap terdengar dengan jelas. Untuk mengatasinya dapat dilakukan dengan menambahkan konsonan “H” secara samar-samar (tidak terdengar keluar) pada setiap perpindahan nada atau <i>notasi</i> dsb.<br /><br />Nah,, selamat berlatih buat teman teman semua... Yang rajin yah..<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-9144693268744457382008-07-24T09:01:00.002+07:002008-07-24T09:08:47.886+07:00Vocal Health<div class="fullpost">Sooner or later we all succumb to an illness that affects our ability to perform. So where do you go to find information and solutions on anything from the common cold through to serious vocal problems?<br /><br /><strong>Colds, Flu, Hoarseness and Voice Loss</strong><br /><br />There have been several questions about what to do when contracting viral infections and the subsequent hoarseness and voice loss so I thought it would be helpful to include a section here for anyone suffering!! I am Not a Doctor or Medical Practitioner and advise professional attention should always be sought, however as a regular sufferer of Flu, Laryngitis, Pneumonia, and Bronchial complaints I can provide a few tips!! Regardless of the infection contracted or even if you experience hoarseness and loss of voice through strain/stress the following should aid in prevention and/or recovery.<br /><br />Drink plenty of Water.<br /><br />Avoid Tea, Coffee, Cream & Alcohol before singing as these can have a dehydrating effect.<br /><br />Take Vitamin C tablets or eat fruits/vegetables rich in Vitamin C to aid your bodies natural defenses. Hot Lemon & Honey or Blackcurrant both contain vitamin C and anti-viral properties and fresh ginger has natural anti-inflammatory properties - grate a little ginger and add it to hot water, sweeten with honey if required.<br /><br />REST!!<br /><br />Severe, violent coughing can injure the vocal folds. Cough Syrup and Lozenges can help, Vocalzone are good and reliable sources have informed me that Slippery Elm lozenges and other products are used by some singers to soothe the throat in the US. Triogesic Tablets relieves conjestion, prevents coughing and is available from most Chemists although it should not be taken with any other paracetamol products or decongestants and should be avoided by pregnant or nursing mothers and Dextromethorphan based products also help to suppress coughing although some people may experience dizziness.<br /><br />Hot Water Steam Inhalation, with or without a few drops of Eucalyptus, Peppermint or other Essential Oil helps to clear the sinuses. Many proprietry brands like Karvol, Olbas Oil and Vicks Vaporub use aromatherapy oils as their main ingredient but you should be careful using these products as menthol can have a drying effect.... use sparingly.<br /><br />Do NOT attempt to Sing and avoid Talking until all medication is finished to allow the inflammation an opportunity to reduce.<br /><br />On recovery start with some gentle humming for 5-10 minutes at a time and slowly build up to a few vocal exercises in your mid-range gradually expanding the range over several days. The rate of recovery will depend on the severity of illness and how experienced a singer you are. Any recurrance of hoarseness stop and rest the voice for another couple of days.<br /><br /><br />I realise that this is easier said than done, especially when an important gig is due!! However, weighing the importance of the booking against the potential damage to your vocal health is a must..........<br /><br />Recommended for all singers to lubricate the vocal chords are Vocalzone throat pastille. Recommended for relief of irritations due to excessive speaking, singing (professional, amateur or karaoke) or smoking and aid in soothing dry irritated throats. The website allows direct ordering by credit card.<br /><br />The National Center for Voice and Speech has an excellent site providing information on Frequently Prescribed Medications and Effects on Voice and Speech with more than 200 of the most frequently prescribed medications in the U.S. listed in alphabetical order with additional information about each medication and any known effect on voice or speech.<br /><br /><br />http://www.vocalist.org.uk/vocal_health.html<br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com2tag:blogger.com,1999:blog-2881144566942823465.post-47329970333545209622008-07-06T00:02:00.007+07:002008-07-06T13:09:00.561+07:00Menyanyikan Nada Dengan Tepat ( Intonasi )<p class="MsoNormal"><br /></p><p class="MsoNormal">Kebanyakan orang biasa bisa bernyanyi lagu apa saja, baik di tempat kerja event sekolah,ataupun acara acara tertentu, mereka memberanikan dan menobatkan diri mereka sebagai seorang PENYANYI. Tapi, selalu gagal membidik nada jika dihadapkan pada suatu latihan atau perlombaan tertentu seperti lagu lagu baru yang belum pernah didengar, namun tersedia pada reportator atau partitur.</p><p class="MsoNormal"><br /></p><p class="MsoNormal">Akibatnya, mereka hanya bisa menyanyikan sebuah lagu yang telah ada dalam bentuk cassette dan dilatih hanya secara lisan dengan mengandalkan pendengaran saja. Efek sampingnya juga masih banyak terdengar nada <i>fals</i> pada saat mereka bernyanyi. Intinya seh mereka hanya ingin jadi penyanyi dengan jalan pintas dan instant.</p><p class="MsoNormal"><br /></p><p class="MsoNormal">Ok, sebagaimana kita ketahui, notasi terbagi menjadi dua jenis, yaitu :</p><ol start="1" type="1"><li class="MsoNormal"><i>Notasi Balok</i>, yang ditulis dengan simbol dan diberi nama dengan huruf, dan diletakkan didalam 5 buah garis yang disebut paranada.</li></ol><p class="MsoNormal">Notasi ditulis dengan huruf yaitu :</p><p class="MsoNormal">C – D – E – F – G – A – B – C ( <i>diatonis</i> )</p><p class="MsoNormal">dan</p><p class="MsoNormal">C – Cis/Des – D – Dis/Es – E – F – Fis/Ges – G – Gis/As – A – Ais/Bes – B – C </p><p class="MsoNormal">( yang disebut tangga nada <i>chromatic</i>, dimana jarak tiap nada ½ laras ).</p><p class="MsoNormal"><br /></p><ol start="2" type="1"><li class="MsoNormal">Notasi Angka, yang ditulis dalam bentuk angka :</li></ol><p class="MsoNormal">1 – 2 – 3 – 4 – 5 – 6 – 7 – 1 (<i> diatonis</i> )</p><p class="MsoNormal">dan </p><p class="MsoNormal">1 – (<s>1</s>/<s>2</s> ) – 2 – ( <s>2</s>/<s>3</s> ) – 3 – 4 – ( <s>4</s>/<s>5</s> ) – 5 – ( <s>5</s>/<s>6</s> ) – 6 – ( <s>6</s>/<s>7</s> ) – 7 – 1</p><p class="MsoNormal"><br /></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal">Notasi seperti tersebut diatas mempunyai nilai tertentu, yang selalu dikaitkan dengan IRAMA dan BIRAMA, yang telah disepakati dan berlaku umum.<span> </span><i>Birama</i> yang kita tahu antara lain :</p><p class="MsoNormal"><br /></p><p class="MsoNormal">2/4 – 3/4 - 4/4 – 6/4 – 9/4 – 6/8 dst,</p><p class="MsoNormal"><br /></p><p class="MsoNormal">Masing masingnya menjadi batasan untuk menentukan dan mengetahui ketukan yang terdapat didalamnya.</p><p class="MsoNormal"><br /></p><p class="MsoNormal">Untuk dapat menyanyikan notasi lagu dengan benar , kita harus membiasakan diri untuk membaca, memainkannya dengan suara sendiri dan memahami<i> interval – interval</i> atau jarak antara nada yang ditulis. Makanya solusi yang terbaik itu adalah dengan banyak banyak latihan.</p><p class="MsoNormal"><br /></p><span>Sebagai bahan untuk kita latihan, saya telah menyajikannya dalam posting yang berbeda. Dapat kamu pelajari dimulai <a href="http://vocalexercises.blogspot.com/2008/06/pelajaran-no-1-4-nada-notasi-1-2-3-4-by.html">dari sini</a> sampai pelajaran yang berikutnya. Memang ini adalah pelajaran yang rumit dan agak membosankan, tapi percayalah dengan latihan ini tanpa kamu sadari PITCH CONTROL kamu akan jauh lebih baik. Dan ini akan menjadikan kamu seorang penyanyi yang profesional. SELAMAT MENCOBA</span>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-8173658217214582062008-06-24T22:08:00.002+07:002008-06-24T22:15:14.897+07:00Vibrato for Beginners ( part 2 )Step 3: Controlling Vibrato<br /><br />It is essential to view vibrato in the context of rhythms. Play the following exercises on your instrument first using a legato articulation. Once youíre comfortable with the rhythms remove the legato articulation and sustain a single long note while pulsating vibrato in the rhythms given.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfgSEJ9l74LUUM6N806k3noOkJTxKdZC7cThYRon5DQeB2H_QJ4eaems8o3SQ9i3sjlJaZAMYJ1XRvFMhj39zPCE6Y-eldPrO_K83Gk62XtZp7lKHewMn8IOkW3M-xvrUyNSY8rZwC-Y/s1600-h/1.JPG"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfgSEJ9l74LUUM6N806k3noOkJTxKdZC7cThYRon5DQeB2H_QJ4eaems8o3SQ9i3sjlJaZAMYJ1XRvFMhj39zPCE6Y-eldPrO_K83Gk62XtZp7lKHewMn8IOkW3M-xvrUyNSY8rZwC-Y/s400/1.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5215465563130138434" /></a><br /><div class="fullpost">STEP 4: Which rhythmic feel do I use for vibrato?<br /><br />There are some general guidelines to choosing the type of vibrato used in compositions.<br /> • Jazz and Swing- tend to use a triplet or eighth note vibrato. Vibrato tends to sound slightly ìlooserî with less even pitch pulsations.<br />• Classical- Tend to use an eighth note or a sixteenth note vibrato. In these styles the vibrato tends to be more regulated with more even pitch pulsations.<br /> Using vibrato is one of the many ways that musicians express emotion through their playing. The most important guideline to follow when using vibrato is to make sure that it sounds good! Feel free to take liberties with rhythmic feel and the velocity of vibrato if it reflects how you feel and sounds good.<br /><br />Step 5: When Do I Play Vibrato?<br /><br />When youíre first learning to use vibrato and make it habit, I suggest using it virtually all of the time. Here are the guidelines I give my students.<br />Use Vibrato when...<br />• The note is held 2 beats or longer<br />• The note occurs at the end of a phrase, is not short,<br /> and is followed by a rest.<br />• Any other place where you feel it might be appropriate<br /><br />STEP 6: How do I make Vibrato a Habit?<br /><br />The greatest challenge that a student musicians faces when learning vibrato is remembering to use it. Often, student musicians are overwhelmingly focused on playing the correct notes and rhythms. The simple way to ensure that vibrato becomes a habit is to WRITE IT IN EVERYWHERE IT WILL BE PLAYED!<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-3499466017800260102008-06-24T14:34:00.004+07:002008-06-24T15:03:31.955+07:00INTONASI Lessons ( 1 )<div class="fullpost"><br />Pelajaran No : 1 ( 4 Nada )<br /> Notasi : 1 2 3 4<br /><br /> By : Wiro. A. Sanie<br /><br />1. I 1 2 3 4 I 1 2 2 1 I<br />2. I 1 2 4 3 I 1 3 3 1 I<br />3. I 1 3 2 4 I 1 4 4 1 I<br />4. I 1 3 4 2 I 1 2 1 2 I <br />5. I 1 4 2 3 I 1 3 1 3 I<br />6. I 1 4 3 2 I 1 4 1 4 I<br /><br />7. I 2 1 3 4 I 2 1 1 2 I<br />8. I 2 1 4 3 I 2 3 3 2 I<br />9. I 2 3 1 4 I 2 4 4 2 I<br />10. I 2 3 4 1 I 2 1 2 1 I<br />11. I 2 4 1 3 I 2 3 2 3 I<br />12. I 2 4 3 1 I 2 4 2 4 I<br /><br />13. I 3 1 2 4 I 3 1 1 3 I<br />14. I 3 1 4 2 I 3 2 2 3 I<br />15. I 3 2 1 4 I 3 4 4 3 I<br />16. I 3 2 4 1 I 3 1 3 1 I<br />17. I 3 4 1 2 I 3 2 3 2 I<br />18. I 3 4 2 1 I 3 4 3 4 I<br /><br />19. I 4 1 2 3 I 4 1 1 4 I<br />20. I 4 1 3 2 I 4 2 2 4 I<br />21. I 4 2 1 3 I 4 3 3 4 I<br />22. I 4 2 3 1 I 4 1 4 1 I<br />23. I 4 3 1 2 I 4 2 4 2 I<br />24. I 4 3 2 1 I 4 3 4 3 I<br /> <br />Cara Latihan :<br />a. Bacalah notasi dari tempo yang lambat untuk melatih pernafasanmu. Dari kiri ke kanan 4 ketuk, kanan ke kiri 3 ketuk, kiri ke kanan lagi 2 ketuk, dan balik lagi 1 ketuk.<br />Contoh : 1…2…3…4… (nafas 4 ketuk) 1…2…2…1… (nafas 4 ketuk) 1..2..2..1.. (nafas 3 ketuk) 4..3..2..1.. (nafas 3 ketuk) 1.2.3.4. (nafas 2 ketuk) 1.2.2.1. (nafas 2 ketuk) 1221 (nafas 1 ketuk) 4321<br /><br />b. Baca notasi dari atas ke bawah dengan satu ketukan, kamu awali dari tempo yang lambat dengan satu tarikan nafas. Kemudian balik lagi baca keatas. Ulangi dengan tempo yang lebih cepat untuk memastikan ketepatan nada kamu. Jika belum sanggup untuk membaca satu pernafasan kamu dapat membacanya dari 1 sampai 18 dan di sambung dari 7 sampai 24. Latihlah terrus agar kamu bisa membacanya dengan stu pernafasan sampai ke 24.<br /><br />c. Bantu latihanmu dengan salah satu instrument yang kamu punya. Tapi ingat instrument hanya untuk mengecek ketepatan nada, jangan dibunyikan bersamaan dengan suara kamu. Ucapkan nada dulu, baru bunyikan instrument kamu.<br /><br />d. Dari satu latihan ini kamu dapat banyak point, bisa pernafasan, tempo, dan intonasi.. Makanya banyak berlatih disini, dan saya akan teruskan nulis tentang pelajaran selanjutnya. Ok, selamat mencoba. :D<br /><br /><br /><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com1tag:blogger.com,1999:blog-2881144566942823465.post-81834053831415904802008-06-24T14:08:00.004+07:002008-06-24T14:28:22.538+07:00Vibrato for Beginners ( part 1 )<div class="fullpost">Vibrato is the most common note inflection in music. Even though vibrato is extremely common, student musicians often find that generating a consistent and steady vibrato is quite challenging. The following exercises will help you generate and gain control over your vibrato. strive to make vibrato a habit. The use of consistent quality vibrato will make you sound more musical, emotional, and mature.<br /><br />STEP 1: What is vibrato?<br /><br />Vibrato is a rapid pulsation of pitch that is used as an inflection on a note. There are many ways to play vibrato.<br />• Diaphragm or Throat Vibrato occurs when a musician<br /> uses his or her air stream to produce controlled<br /> pitch pulsations.<br />• Slide Vibrato occurs on trombone when a musician<br /> uses small slide movements to produce controlled<br /> pitch pulsations.<br />• Finger Vibrato occurs on valve instruments when<br /> movement of the right hand above the valves creates<br /> actual movement of the instrument producing<br /> controlled pitch pulsations.<br />• Lip Vibrato occurs on many wind instruments when<br /> tiny embouchure movements create controlled pitch<br /> pulsations.<br /><br />I teach, recommend, and use lip vibrato on saxophone. I recommend lip vibrato because over the years my students have found it easy to learn and control. Feel free to choice any type of vibrato that is suitable to your instrument.<br /><br />STEP 2: Generating a lip vibrato<br /><br />On saxophone, generating a quality vibrato can be as easy as speaking. I prefer to teach students using word phrases to help them remember key concepts.<br /><br />1. Say ìDoo-woo-woo-woo-woo etc.î The ìDooî sound is the legato articulation that begins the note. Many wind players prefer to use a ìTî sound for articulations. If you prefer to use ìTî sounds for articulations, say ìToo-woo- woo-woo etc.î The ìwooî sound represents the physical motion that your embouchure will make to generate vibrato. The motion is small but rhythmically consistent. When you attempt to play vibrato, do not actually say ANTHING! Your vocal chords are not used. Simply use your lips to imitate the sound of ìDoo-woo-woo-woo-woo etc.î or ìToo- woo-woo-woo etc.î<br /><br />2. Practice holding out long sustained notes and while pulsating the pitch. Donít worry about controlling the rhythmic pulsations yet, just get used to the feeling.<br /><br />3. Experiment with using vibrato in different registers of the instrument. It can feel quite different in the low register versus the high register.<br /><br /><br />Copyright ©2004 by JazzPath Publishing, Cambridge, MA 02238<br />International Copyright Secured Printed in U.S.A All Rights Reserved<br />www.jazzpath.com<br /><br /><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-86837973110250813472008-06-18T12:32:00.005+07:002008-06-18T13:52:33.179+07:00VOKAL & KONSONAN ( Bag. 2 )B. KONSONAN<br /><br /> Konsonan lebih kita kenal dengan istilah huruf “mati”, yaitu seluruh huruf selain dari huruf vocal yang telah dibahas sebelumnya. Terdiri dari 21 huruf dan ditambah konsonan ganda, seperti: NG, KH, yang kalau digunakan “harus dibaca seperti satu huruf”.<br /><br /> Yang menjadi perhatian adalah:<br /><br /> MENGUCAPKAN HURUF KONSONAN PADA SAAT BICARA ATAU MEMBACA TIDAK SAMA PERSIS SEPERTI BERNYANYI. KARENA MEMBACA KALIMAT MUSIK, SELURUH HURUF KONSONAN MEMPUNYAI CIRI DAN KARAKTER MASING-MASING, YANG DIRASAKAN PADA SAAT MENGUCAPKANNYA MELALUI ALAT-ALAT ARTIKULASI. <br /><br />Contohnya:<br /><strong>M</strong> kalau dibaca menjadi <strong>eM</strong><br /><strong>K</strong> kalau dibaca manjadi <strong>Ka</strong><br /><strong>S</strong> kalau dibaca menjadi<strong> eS</strong> dst.<br /><br /> Sedangkan dalam bahasa musik/vocal, yang lebih ditonjolkan adalah pergerakan atau aktivitas yang terjadi pada alat-alat bunyi didalam rongga mulut, ketika hurluf <i>konsonan</i> itu diucapkan.<br /><br /> Inilah informasi dari keseluruhan huruf konsonan, yang antara satu dengan lainnya. Memiliki karakter yang berbeda, meskipun perbedaan itu sangat kecil sekali, dan hampir tidak terasa pada pendengaran.<br /><br /> Tugas kita adalah menonjolkan karakter dari setiap konsonan dengan jelas, pada saat membaca kalimat lagu.<br /><br /><strong>M</strong> : Bibir lemas dan santai, saling menyentuh dengan ringan, mulut sedikit<br /> didorong kedepan, tapi tidak ada tekanan. <br /><br /><strong>N</strong> : Lidah menyentuh pangkal gigi atas dengan ringan, bibir atas dan sisi rongga bibir atas dan sisi rongga hidung sedikit diangkat, rongga mulut agak dibesarkan.<br /><br /><strong>R</strong> : Ujung lidah digetarkan hingga menyentik pangkal gigi atas dan sedikit gigi bawah.<br /><br /><strong>NG</strong> : Ujung lidah ditempatkan dibelakang dan diatas gigi atas bagian depan, pojok (bagian belakang dari lidah) diangkat dan bergerak sejauh mungkin. lakukan <strong>NG</strong> seperti mengucapkan (singing- sangsung).<br /><br /> Catan :<i> Konsonan <strong>M</strong>, <strong>N</strong>, & <strong>NG</strong>, disebut juga dengan bunyi nasal dan juga<br /> bunyi / huruf yang bernyanyi.</i><br /><br /><strong>L</strong> : Lidah melengkung tepat dibagian belakang gigi atas, tidak melebar dan<br /> mengendur tetapi tangkas dan menipis lembut agar udara dapat melintas dari sisi-sisinya.<br /><br /><strong>V</strong> : Gigi atas menyentuh sedikit bibir bawah dan bibir atas sedikit dinaikkan.<br /><br /><strong>F</strong> : Gigi atas lebih ditekankan pada bibir bawah.<br /><br /><strong>J</strong> : Gigi saling berdekatan, bibir agak direntangkan, lidah rileks dan ujungnya hampir menyentuh gusi gigi atas.<br /><br /><strong>Z</strong> : Sama seperti membunyikan <strong>[S]</strong> namun sedikit lebih berat.<br /><br /><strong>Y</strong> : Dimulai dengan formasi<strong> [I]</strong> dan bongkokkan lidah, seolah hanya memberi sedikit ruang pada mulut bagian atas.<br /><br /><strong>C</strong> : Bagian sisi lidah ditempatkan tegas menyentuh bagian samping gigi atas, ujung lidah menyentuh pusat gusi atas.<br /><br /><strong>H</strong> : Langit-langit bagian yang lunak sejenak memperkuat hembusan nafas ke sasaran yang dituju.<br /><br /><strong>SY</strong> : Ujung lidah bekerja terbalik tetapi cenderung naik kemulut, gigi atas menutup tanpa menyentuh gigi bawah, dan bibir bawah bergerak ke atas.<br /><br /><br /> KONSONAN LEDAK.<br /><br /> Disebut konsonan ledak, karena pada saat membunyikannya seakan akan<br /> diiringi oleh ledakan kecil.<br /><br /><strong>P,B</strong> : Ujung bibir diledakkan melalui tekanan udara yang dibentuk, [B] dicapai dengan getaran ringan dari pita suara.<br /><br /><strong>T</strong> : Ujung lidah ditempatkan (bukan diletakkan) menyentuh gusi tepat diatas gigi. Begitu lidah memetik dan lepas dari posisi, ledakan kecil dari udara dihembuskan.<br /><br /><strong>D</strong> : Ujung lidah secara ringan menyantuh gusi atas, jentikannya diawali oleh<br /> desakan udara, lidah melepas diri dari tekanan.<br /><br /><strong>K</strong> : Posisi punggung lidah bagian belakang menempel pada langit-langit bagian belakang, mendapat desakan udara dan melepaskan diri.<br /><br /><strong>G</strong> : Posisi lidah sama dengan membunyikan <strong>[K]</strong> tetapi desakan udara<br /> mengeluarkan bunyi.Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-61796821808974114372008-06-17T22:29:00.015+07:002017-11-24T17:38:38.846+07:00Free Minus One Download<div class="fullpost">
Music Minus One is a simple concept. It is simply a standard music recording which is played with one part missing. The idea is that you as a performer supply the missing part and play (or sing) along with the recording, hence the term "music minus one".<br />
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This is all of my colections,, specialy for you. This songs is good for live performance. just download, and test your voice now.<br />
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Internet saya buat upload agak lemot, jadi saya akan update lagunya tiap hari. Ditunggu yah..</div>
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Maaf,, Link Error..</div>
Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com8tag:blogger.com,1999:blog-2881144566942823465.post-68355527399404657222008-06-16T11:21:00.003+07:002008-06-16T11:48:47.008+07:00VOCAL & KONSONAN ( Bag. 1 )<div class="fullpost"><br /><br />Ada dua puluh enam huruf yang kita kenal, dari semuanya terbagi menjadi 2 bagian, yaitu:<br />a. VOCAL, yang terdiri dari [ A – E – I – O – U ]<br />b. KONSONAN, selain dari hurup vocal diatas.<br /><br />Huruf vocal disebut juga dengan “huruf hidup” dan konsonan disebut “huruf mati”. Sekarang saya akan menjelaskan dulu mengenai huruf vocal,, kembali ke SD lagi.<br /><br /><strong>A. </strong><strong>VOCAL </strong>(kita tidak menyebutnya lagi huruf) tapi <i>vokal</i> saja.<br /><br />Didalam berkomunikasi (berbicara, bernyaanyi, dan membaca) <i>vocal</i> sangat penting peranannya karena:<br /> - Dapat menghidupkan bunyi bagi konsonan lainnya.<br />- Dapat memberikan arti yang jelas bersama atau kepada konsonan.<br />- Digunakan menjadi dasar pengucapan bagi konsonan.<br />Misalnya: H dibaca ha<br /> M dibaca em<br /> K dibaca ka dst.<br /><br /> Kalimat vocal ini memiliki karakter, bunyi dan ciri masing masing baik dalam cara pengucapannya man perlakuannya.<br /><br /><strong>1.</strong> <strong>Vokal [A]</strong> <br />- Dibunyikan dengan menjatuhkan rahang bawah sejauh mungkin, bukan dengan<br /> membuka kesamping.<br /> - Gigi atas dan bawah tidak dilindungi atau ditutupi oleh kedua bibir atas dan<br /> bawah, bibir atas dan bawah harus kelihatan.<br /> - Lidah diletakkan rata serta ujungnya menyentuh gigi bawah.<br /> Setelah dibuat dalam posisi demikian bunyikanlah vocal [A] dengan santai.. (tapi jangan pake H yah.. Kasihan disekelilingnya Bau.. hehe)<br /><br /><strong>2. Vokal [E]</strong><br /> Sama dengan posisi pada saat mengucapkan (A) tetapi dengan mengurangi<br /> luasnya mulut sepertiga dari ucapan [A].<br /> - Kedudukan gigi atas dan bawah tetap dijaga.<br /> - Rongga mulut dan<i> tenggorokan</i> tetap dipertahankan seperti pada vocal [A].<br /> - Awas, jangan sampai bibir tertarik kesamping karena akan mengakibatkan warna [E] yang sedikit gepeng.<br /><br /> Khusus untuk vocal [E] ada tiga karakter bunyi yang digunakan sesuai dengan<br /> Kondisinya masing masing, bagi yang dari mEdan hilangkanlah kEbiasaan mEmbaca sEpErti itu. ( maap ye, becanda ) perbedaannya seperti ini:<br /> - M e r d e k a : kedua [E} nya tidak sama tajam dan kedapnya.<br /> - G e l a n g g a n g : vocal [E] sedikit lebih redup dibanding dengan dibanding<br /> vocal [E] pada kata sempat.<br /> Vocal [E] jika dirasakan dan diraba, getarannya akan terasa “<i>dipelipis</i>”.<br /><br /><strong>3. Vokal [I]</strong><br /> Dengan tetap mempertahankan posisi rongga mulut dan tenggorokan pada saat mengucapkan vocal [A&E], pada saat mengucapkan vocal [I] dikurangi sepertiga atau dua pertiga dari [A] dengan sedikit mendorong sudut bibir kesebelah dalam.<br />Dengan bentuk mulut seperti corong, dapatkan pasisi [I] seperti pada kata kata: ini, kini, disini, tinggi, diri.<br />Hindari juga pengucapan [I] seperti pada kata tengik, nyindir dll.<br />Jika diraba dan dirasakan maka vocal [I] akan bergetar didepan mata.<br /><br /> Harus diperhatikan benar-benar, pada saat membunyikan [I] harus dibayangkan bahwa bunyinya melintas diantara kedua mata, kemudian seperti berbunyi di<i> ubun-ubun</i>.<br /><br /><strong>4. Vokal [O]</strong><br /> Berawal dari bentuk vocal [A] tetapi merubah bentuk bibir menjadi lonjong<br /> seperti corong, vocal [O] dapat dibunyikan dengan manis. Diupayakan sebulat atau<br /> selonjang mungkin, sehingga akan terdengar bunyi vocal [O] seperti pada kata<br /> toko, pohon, lorong.<br /> Hindari vocal [O] seperti pada kata jengkol, tongkol, karena jika demikian<br /> posisi mulut atau lidah akan berubah. Pada saat membunyikan vocal [O] kita akan merasakan bunyi dan getarannya di leher.<br /><br /><strong>5. Vocal [U]</strong><br /> Seperti pada posisi pengucapan vocal [O], vocal [U] dibunyikan dengan memperhatikan :<br /> - Mulut lebih dipersempit sedikit, dan bibir sedikit lebih didorong kedepan.<br /> - Dapatkan vocal [U] yang sempurna, seperti pada kata busur, sungguh, dll,<br /> dimana bunyi tidak didominasi bunyi [U] yang utuh melainkan terkesan lebih<br /> boros dalam hal nafas.<br /> - Hindari bunyi [U] yang menjurus ke [O] kecuali pada nada-nada rendah seperti ada <i>BASS</i>.<br /> Jika dirasakan dan diraba, maka vocal [U]akan terasa bergetar diatas tengkuk.<br /><br />Lanjut ke Konsonan besok..<br /><br /><br /><br /><br /><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0tag:blogger.com,1999:blog-2881144566942823465.post-81661917957055191692008-06-13T08:06:00.005+07:002008-06-16T07:53:13.680+07:00RESONANSI ( Menggemakan Suara )<div class="fullpost"><br />Lanjut lagi dari pembahasan kita sebelumnya tentang Pembentukan Suara. Kali ini saya akan menjelaskan sedikit tentang <i>Resonansi. </i>Disekolah pernah belajar kan dulu?. Resonansi adalah souatu upaya untuk membuat suara bergema / bergaung indah, bukan hanya sekedar kuat atau keras seperti berteriak. Atau dengan katalain, bagaimana memperluas wilayah bunyi yang ditimbulkan getaran.<br /><br />Gema itu harus terdengar indah dan teratur, sehingga apa yang kita ucapkan dapat dimengerti oleh pendengar.<br /><br />Kita contohkan aja dengan:<br /><br />a. Garpu tala yang yang dipukulkan dan yang dipegang saja, akan lebih luas wilayah bunyinya jika setelah dipukulkan ditempelkan di atas meja yang menjadi ruang gema dari getaran garpu tala tersebut.<br /><br />b. Tali gitar yang dipetik dengan bantuan tongkat kayu akan lebih besar / luas wilayah bunyinya jika dipetik diatas badan gitar sendir, karena kotak / badannya itulah yang menjadi ruang gemanya.<br /><br />c. Bertepuk tangan dengan membungkukkan kedua telapak tangan, akan lebih luas wilayah bunyinya dibanding jika kedua telapak tangan itu rata atau sejajar. Karena lengkungan telapak tangan telah menjadi ruang gema.<br /><br />Nah.. Didalam menggemakan suara, seluruh alat-alat <i>artikulas</i>i seperti tersebut diatas menjadi alat-alat <i>resonansi</i>, namun terpusat pada tenggorokan dan mulut / rongga mulut, yang selalu harus diperluas dan senantiasa terbuka luas sepanjang penyanyian.<br /><br />Beberapa cara yang dapat dilakukan untuk memperluas ruang resonansi anntara lain:<br /><br />a. Bersenandung mmmmm, dengan memperhatikan:<br /> - bibir sisi luar dikatupkan ringan, tidak menjepit.<br /> - gigi atas dan bawah tidak di rapatkan.<br /> - lidah diletakkan rata dan ujung lidah menyentuh gigi bawah.<br /> - rahang bawah di jatuh santai dan ringan.<br /> - rongga mulut dan tenggorokan harus dibuka seluas mungkin seperti gaya sedang menguap.<br /><br />b. dengan berfantasi, atau membayangkan “bagaimana membuat sesuatu gerak<br />imitasi” jika kita sedang memakan buah yang harum dan airnya banyak (wuih,, Uenak banget... ). Bayangin aja seolah2 kamu mang lagi makan itu. ( jadi mau makan yang beneran neh ).<br /><br />c. meniru gaya binatang buas yang sedang mengaum menghadapi mangsanya.<br /><br />Sedikit lebih rumit untuk melatihnya, karena mungkin sulit menutup mulut dan meluaskan rongga dalam mulut.<br /><br />Dengan latihan yang tekun pasti dapat meningkatkan resonansi untuk mendapatkan wilayah bunyi yang lebih luas, walaupun pada saat lagu dinyanyikan lembut atau keras.<br /><br />Rgds,<br /><br /><br /><br /></div>Robbyhttp://www.blogger.com/profile/06827083225356805198noreply@blogger.com0