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Found 11 results

  1. Hello singers! Please give me your honest opinion and take your time for constructive criticism if needed. I did my best and have just recently switched over to softer music! Here it is, its a little about 1 minute
  2. Dear all, It has been a while that I have visited this forum. I have been very busy with my studies—having completed my BA in Musicology and currently finalising my MA in Applied Musicology. I did keep on working on my singing, however. Yesterday, “The Music of the Night,” a song that I auditioned with at the Conservatory of Rotterdam over a decade ago and that I had used for my singing lessons with many different teachers, was one I had never actually performed—until now! Indeed, there appears to be balancing issues with volume between me and the piano. On the other hand, I asked several attendees whether they felt there were problems with it, but they all did not notice them live. While I do think we could work on balancing our instruments, I believe the recording is augmenting the issue quite a bit. I am really satisfied with the performance—especially my acting abilities, intonation, enunciation, and stage presence. I could be more confident with the fermata notes just doing them as long as I want, rather than thinking I might do them too long (I think the “soul”-note [2:32] is great, the “be”-note [3:44] is just about right, the ”night”-note [5:20] is executed pretty well, but could easily be five seconds longer). I could also definitely stabilise and pronounce my “ring” more. Manolito Mystiq
  3. WOMEN VS. MEN WHY MEN DON'T HAVE A CHANCE WITH LOVE SONGS! I sang this beautiful classic love song by Handel at the University of Miami "back in the day". Although I doubt as nicely as Richard Lewis does on this performance. While enjoying Richard's rendition, it suddenly dawned on me the following... Take the most beautiful man and compare him to the most beautiful woman in a beauty contest, and no gent has ever had a chance. In spite of our merits guys, we just are not as "inspiring" for eyes to gaze upon in regards to physical attraction. And that is ok, that is the way nature has set it up. But to my point... "Humankind" doesn't write songs like this about men... only women get songs like THIS. Oh sure, there is the occasional Pat Benatar, "Fire & Ice" or Tammy Wynette's "Stand By Your Man", we do get a few bones tossed our way fellas, but let's be honest, we never get songs like "Faithfully" by Journey, or "When I Was Your Man" by Bruno Mars, or song like "Where'er You Walk" that has been playing for hundreds of years. Guys get, "You Broke My Heart" songs... but women truly get LOVE songs of such great adoration from us smitten clunky fumbling males. In Summary, the power of female attributes, which certainly would include aesthetic beauty, arguably has inspired a greater inspiration to write the greatest love songs through the ages. Thus, nature, or evolutionary biology of the sexes, influences observable and apparently evident differences art of love song composition. I just find that to be an interesting observation. This song by Handel is what?... 400 years old? Chances are, prior to it being published at the time, it likely existed in an earlier version as a folk song that people ( or guys...), sang around the camp fire, or to try to serenade a woman. Guys, Listen to this song and follow the lyrics and tell me that you have never felt this way about a woman? BTW... ladies in case it isn't obvious, this is a compliment to you and yours.
  4. WOMEN VS. MEN WHY MEN DON'T HAVE A CHANCE WITH LOVE SONGS! I sang this beautiful classic love song by Handel at the University of Miami "back in the day". Although I doubt as nicely as Richard Lewis does on this performance. While enjoying Richard's rendition, it suddenly dawned on me the following... Take the most beautiful man and compare him to the most beautiful woman in a beauty contest, and no gent has ever had a chance. In spite of our merits guys, we just are not as "inspiring" for eyes to gaze upon in regards to physical attraction. And that is ok, that is the way nature has set it up. But to my point... "Humankind" doesn't write songs like this about men... only women get songs like THIS. Oh sure, there is the occasional Pat Benatar, "Fire & Ice" or Tammy Wynette's "Stand By Your Man", we do get a few bones tossed our way fellas, but let's be honest, we never get songs like "Faithfully" by Journey, or "When I Was Your Man" by Bruno Mars, or song like "Where'er You Walk" that has been playing for hundreds of years. Guys get, "You Broke My Heart" songs... but women truly get LOVE songs of such great adoration from us smitten clunky fumbling males. In Summary, the power of female attributes, which certainly would include aesthetic beauty, arguably has inspired a greater inspiration to write the greatest love songs through the ages. Thus, nature, or evolutionary biology of the sexes, influences observable and apparently evident differences art of love song composition. I just find that to be an interesting observation. This song by Handel is what?... 400 years old? Chances are, prior to it being published at the time, it likely existed in an earlier version as a folk song that people ( or guys...), sang around the camp fire, or to try to serenade a woman. Guys, Listen to this song and follow the lyrics and tell me that you have never felt this way about a woman? BTW... ladies in case it isn't obvious, this is a compliment to you and yours. View full articles
  5. Singing Secrets From The Ancient Past Are DEAD! https://www.thefourpillarsofsinging.com/reviews/. Visit the world's highest rated vocal training program! One of the problems with “Bel Canto” is that it is a term that a lot of voice teachers use because it sounds interesting. “Bel Canto” sounds serious or, as if it is the ultimate in singing techniques or possesses the secrets of singing from a time long forgotten! Unfortunately, “Bel Canto” has become a “buzz” word that people use to impress students, simply stated. “Bel Canto” just means beautiful singing? It essentially is referring to a style of singing that has a lot of legato in it, that came from a specific region of Italy in the 18th century. Thats it, there is nothing magical about “Bel Canto”, unless you are led to believe that it is something more then what you could get with any other good teacher. Don’t believe me? Here is wikipedia’s definition. Wikipedia States: Bel canto (bel-canto) (Italian, “beautiful singing” or “beautiful song”), along with a number of similar constructions (“bellezze del canto”/”bell’arte del canto”), is a term relating to Italian singing. It has several different meanings and is subject to a wide variety of interpretations. “Bel Canto” and is unfortunately used as a marketing “buzz” word too often and in many regards, there is nothing particularly unique about it. I can call many of the things I teach at The Vocalist Studio, “Bel Canto” and so can many other good teachers. Any good teacher that teaches legato and appoggio and beautiful resonance can call themselves “Bel Canto” or could claim that they are teaching “Bel Canto”. So this simple less is, do not be fooled that “Bel Canto” means something “high brow” or a set of techniques that come from the ancient past when people were more wise and magical. The truth is, there has never been a time in the history of voice training where there has been more innovation, understanding and great techniques to help singers then the present. I would much rather be training my voice in the present era, then in the ancient past. For sure! Bel Canto is not a rare, ancient method of singing that supersedes anything that The Four Pillars of Singing is not already offering, or any other great vocal training program. Be careful not to get bamboozled by the “Bel Canto” buzz word hype. https://www.thefourpillarsofsinging.com/reviews/
  6. Singing Secrets From The Ancient Past Are DEAD! Wikipedia States: Bel canto (bel-canto) (Italian, “beautiful singing” or “beautiful song”), along with a number of similar constructions (“bellezze del canto”/”bell’arte del canto”), is a term relating to Italian singing. It has several different meanings and is subject to a wide variety of interpretations. “Bel Canto” and is unfortunately used as a marketing “buzz” word too often and in many regards, there is nothing particularly unique about it. I can call many of the things I teach at The Vocalist Studio, “Bel Canto” and so can many other good teachers. Any good teacher that teaches legato and appoggio and beautiful resonance can call themselves “Bel Canto” or could claim that they are teaching “Bel Canto”. Singing Secrets From The Ancient Past Are DEAD! https://www.thefourpillarsofsinging.com/reviews/. Visit the world's highest rated vocal training program! One of the problems with “Bel Canto” is that it is a term that a lot of voice teachers use because it sounds interesting. “Bel Canto” sounds serious or, as if it is the ultimate in singing techniques or possesses the secrets of singing from a time long forgotten! Unfortunately, “Bel Canto” has become a “buzz” word that people use to impress students, simply stated. “Bel Canto” just means beautiful singing? It essentially is referring to a style of singing that has a lot of legato in it, that came from a specific region of Italy in the 18th century. Thats it, there is nothing magical about “Bel Canto”, unless you are led to believe that it is something more then what you could get with any other good teacher. Don’t believe me? Here is wikipedia’s definition. Wikipedia States: Bel canto (bel-canto) (Italian, “beautiful singing” or “beautiful song”), along with a number of similar constructions (“bellezze del canto”/”bell’arte del canto”), is a term relating to Italian singing. It has several different meanings and is subject to a wide variety of interpretations. “Bel Canto” and is unfortunately used as a marketing “buzz” word too often and in many regards, there is nothing particularly unique about it. I can call many of the things I teach at The Vocalist Studio, “Bel Canto” and so can many other good teachers. Any good teacher that teaches legato and appoggio and beautiful resonance can call themselves “Bel Canto” or could claim that they are teaching “Bel Canto”. So this simple less is, do not be fooled that “Bel Canto” means something “high brow” or a set of techniques that come from the ancient past when people were more wise and magical. The truth is, there has never been a time in the history of voice training where there has been more innovation, understanding and great techniques to help singers then the present. I would much rather be training my voice in the present era, then in the ancient past. For sure! Bel Canto is not a rare, ancient method of singing that supersedes anything that The Four Pillars of Singing is not already offering, or any other great vocal training program. Be careful not to get bamboozled by the “Bel Canto” buzz word hype. https://www.thefourpillarsofsinging.com/reviews/ View full article
  7. Hi guys, I'm super new here and I thought i'd start a classical technique thread since no one has seemed to have posted in this sub-forum yet. I'll start with posting a little something I've done. SHOW AND TELL !!!!!!! This was from a few weeks ago. I need to work on my breathing near the end. https://soundcloud.com/arfoo/nessun-dorma-rehearsal
  8. www.vocalizing.com By Karen Oleson and Timothy Strong The genesis for this article comes from a workshop I was asked to present for a local chapter of NATS (National Assoc. of Teachers of Singing). It is only in very recent history, that performance studies in vocal jazz have been offered in academic settings. Prior to this if one wished to be a jazz singer they learned by listening to, following and copying other singers and experimenting and performing at every opportunity. Now that jazz styles have been codified it is easier for modern educators to expose jazz singing to students at almost any age. It can be confusing for both student and teacher to try to translate the voice building techniques and exercises needed to produce desired results for both classical and jazz singing. The vocal choices one makes for singing jazz are quite different from a classical singer. My students love singing jazz and are thrilled when they are accepted into their jazz choir or ensemble but are challenged to bridge the differences between techniques. So what are these differences? Can we bridge these diverse techniques? Can they be compatible? Have we been allowing style differences to interrupt the goal of voice building? The following chart suggests some of the presumed differences in vocal technique and style. Classical Technique Voice Quality: Resonant, full bodied, clear. Breath Management: Fundamental building block for voice development. Opera singers need to sing for hours over symphony orchestra with no mic(rophone). Articulation: Pure vowels, clipped consonants, years of study in at least four languages Range: Wide range, 2 1/2 to three octaves, top notes of prime importance no matter what voice type. Flexibility: Desirable for keeping voice fresh and healthy. Necessary to negotiate challenging cadenzas. Registers: Blended, seamless connection between registers Posture: Very important consideration for breath management and voice projection. Dynamics: Requires large dynamic range from pp to ff. Messa di voce important study for voice building. Vibrato: Used extensively, integral part of the vocal quality. Jazz Technique Voice Quality: Can be earthy or breathy. Close to speaking voice. Breath Management: Singers also required to sustain long phrases and scat. But since the sound doesn’t need to as resonant, or as powerful, learning nuances of mic technique becomes essential. Articulation: Very close to speaking voice. Diphthongs are used according to singers’ choice. Range: Ranges of more than an octave unnecessary but often desired. Vocal improv takes the singer to the extremes of the voice both low and high. Flexibility: Desirable for improvisation. Registers: Breaks in voice often dramatically emphasized. Posture: Appearance often cool, dispassionate Dynamics: Fewer vocal extremes required. Vibrato: Often used minimally and at end of phrases. Classical Style Pitch: Often taught to come in on top of pitch, but to sing in middle of pitch. Rhythm: Precision is important. Runs done as meteronomically accurate as possible. Rubato done at specific places in music and according to era of music and composer. Attack: The onset of the pitch is executed gently. Letting the breath lead. The pitch needs to be precisely in tune. Musical Accuracy: Do not deviate from composers apparent intent. Sing rhythm and pitches according to what is written in the score. Improvisation: Improvisation is dictated according to current trends. Improv is allowed only in certain styles and periods of music Other features: Acting and presentation skills are important in classical singing. The quality of the sound, communicating the text and music are prime considerations. Jazz Style Pitch: Sing on lower part of pitch. Enter or scoop from under pitch. Rhythm: Fluidity within the meter is allowed and desired. Sing against or after the beat. The pause is strictly kept by the drummer so that the rest of the group can play with the rhythm. Attack: Sometimes hard onset in used, other times soft. Enter from below pitch, strong blues influence. Musical Accuracy: The whole point of singing jazz is to be a co-creator with the composer in that particular moment in time. Next time it will be different (hopefully). Improvisation: Scat syllables and improvisations are influenced by current trends. Improv is the name of the game. Other features: Presentation is secondary to listening and responding to other participants while performing. Everything is new, so that cultivating awareness of what's going on around you is of primary importance. Being in the musical moment. The chart shows how singers make choices about how they use their voices depending on the style of music. So how does this affect their training? How do we bridge these diverse techniques and can they be compatible in voice building? Most music educators will agree that we want our students to sing well, no matter what the style. Breath management is an essential part of voice building and good singing. However, because classical singers sing without a mic and have to maintain a fuller resonance they are unable to play with the subtle vocal nuances that the jazz singers enjoy. The microphone assists the jazz singer in singing with a breathy tone, growling, and singing very lightly if they wish. Still, all of those choices need breath management. Articulation is an important ingredient for both types of singing. The jazz singer can be more speech-like and casual in their approach. Ex. My = ma-i. They can play with diphthongs according to their will. Classical singers are more formal in their use of language most often stay longer on the first half vowel of a diphthong. Ex. My=mah-i. It might seem that clarity of text and understandability should have priority but both classical and jazz singers may sacrifice this for a certain type of vocal sound. Classical singers spend years learning to blend the natural occurring register breaks in the voice. Although somewhat important in the jazz singer, it is minimal. The mic can assist the jazz singer with this so that they are able to play with subtle qualities and ranges that wouldn't be heard if a classical singer tried it. Today when students enter my private studio, I ask them about their musical goals. As they are exposed to voice building techniques their goals may change but the important thing for us is to help them find their way efficiently. I've experienced having younger students wanting to be country singers develop into prize winning classical singers. I've also encountered classical trained singers who were relieved to find that there are other techniques that would help them sing musical theatre or jazz. If they are interested in both aspects of singing, the lesson time needs to be subtly managed to address different musical goals. They will need to educate their ear about pitch, vibrato, and the volume of sound and resonance of the voice. A classical singer needs to hear their voice in a natural acoustical environment without artificial support. Jazz singers needs to become accustomed to hearing themselves through amplification. As pointed out in the chart, the use of vibrato, dynamics, pitch onset, voice coloring, rhythm, and many other aspects of these two diverse styles are for the most part at odds with one another. When these considerations are pointed out to the students, they have a better chance of making appropriate choices without confusion and with an appreciation of the differences. Our studio has developed publications that present voice building exercises encompassing various musical styles.* In the example presented below, the purpose of the exercise is rich and deep: ear training, pitch accuracy, flexibility, and singing in contrasting styles. In my opinion, you get the best of both worlds here - a classical warm-up, learning to sing in a major and then a minor key (great ear training), and then scat improv in both major and minor keys. With this exercise, you have an opportunity to show off your classical voice and quickly switch to jazz. These contrasting styles require different ways of using your voice. The classical style requires a more fully resonant sound including vibrato, whereas in jazz vocals, a more speech like quality is appreciated. In conclusion, clear and meaningful communication as to the differences in vocal usage and styles can make all the difference in your students’ abilities to enjoy and perform different styles of music. I have found that presenting them with practical models for bridging the gap can do wonders for their understanding and enjoyment of music making.
  9. www.vocalizing.com By Karen Oleson and Timothy Strong The genesis for this article comes from a workshop I was asked to present for a local chapter of NATS (National Assoc. of Teachers of Singing). It is only in very recent history, that performance studies in vocal jazz have been offered in academic settings. Prior to this if one wished to be a jazz singer they learned by listening to, following and copying other singers and experimenting and performing at every opportunity. Now that jazz styles have been codified it is easier for modern educators to expose jazz singing to students at almost any age. It can be confusing for both student and teacher to try to translate the voice building techniques and exercises needed to produce desired results for both classical and jazz singing. The vocal choices one makes for singing jazz are quite different from a classical singer. My students love singing jazz and are thrilled when they are accepted into their jazz choir or ensemble but are challenged to bridge the differences between techniques. So what are these differences? Can we bridge these diverse techniques? Can they be compatible? Have we been allowing style differences to interrupt the goal of voice building? The following chart suggests some of the presumed differences in vocal technique and style. Classical Technique Voice Quality: Resonant, full bodied, clear. Breath Management: Fundamental building block for voice development. Opera singers need to sing for hours over symphony orchestra with no mic(rophone). Articulation: Pure vowels, clipped consonants, years of study in at least four languages Range: Wide range, 2 1/2 to three octaves, top notes of prime importance no matter what voice type. Flexibility: Desirable for keeping voice fresh and healthy. Necessary to negotiate challenging cadenzas. Registers: Blended, seamless connection between registers Posture: Very important consideration for breath management and voice projection. Dynamics: Requires large dynamic range from pp to ff. Messa di voce important study for voice building. Vibrato: Used extensively, integral part of the vocal quality. Jazz Technique Voice Quality: Can be earthy or breathy. Close to speaking voice. Breath Management: Singers also required to sustain long phrases and scat. But since the sound doesn’t need to as resonant, or as powerful, learning nuances of mic technique becomes essential. Articulation: Very close to speaking voice. Diphthongs are used according to singers’ choice. Range: Ranges of more than an octave unnecessary but often desired. Vocal improv takes the singer to the extremes of the voice both low and high. Flexibility: Desirable for improvisation. Registers: Breaks in voice often dramatically emphasized. Posture: Appearance often cool, dispassionate Dynamics: Fewer vocal extremes required. Vibrato: Often used minimally and at end of phrases. Classical Style Pitch: Often taught to come in on top of pitch, but to sing in middle of pitch. Rhythm: Precision is important. Runs done as meteronomically accurate as possible. Rubato done at specific places in music and according to era of music and composer. Attack: The onset of the pitch is executed gently. Letting the breath lead. The pitch needs to be precisely in tune. Musical Accuracy: Do not deviate from composers apparent intent. Sing rhythm and pitches according to what is written in the score. Improvisation: Improvisation is dictated according to current trends. Improv is allowed only in certain styles and periods of music Other features: Acting and presentation skills are important in classical singing. The quality of the sound, communicating the text and music are prime considerations. Jazz Style Pitch: Sing on lower part of pitch. Enter or scoop from under pitch. Rhythm: Fluidity within the meter is allowed and desired. Sing against or after the beat. The pause is strictly kept by the drummer so that the rest of the group can play with the rhythm. Attack: Sometimes hard onset in used, other times soft. Enter from below pitch, strong blues influence. Musical Accuracy: The whole point of singing jazz is to be a co-creator with the composer in that particular moment in time. Next time it will be different (hopefully). Improvisation: Scat syllables and improvisations are influenced by current trends. Improv is the name of the game. Other features: Presentation is secondary to listening and responding to other participants while performing. Everything is new, so that cultivating awareness of what's going on around you is of primary importance. Being in the musical moment. The chart shows how singers make choices about how they use their voices depending on the style of music. So how does this affect their training? How do we bridge these diverse techniques and can they be compatible in voice building? Most music educators will agree that we want our students to sing well, no matter what the style. Breath management is an essential part of voice building and good singing. However, because classical singers sing without a mic and have to maintain a fuller resonance they are unable to play with the subtle vocal nuances that the jazz singers enjoy. The microphone assists the jazz singer in singing with a breathy tone, growling, and singing very lightly if they wish. Still, all of those choices need breath management. Articulation is an important ingredient for both types of singing. The jazz singer can be more speech-like and casual in their approach. Ex. My = ma-i. They can play with diphthongs according to their will. Classical singers are more formal in their use of language most often stay longer on the first half vowel of a diphthong. Ex. My=mah-i. It might seem that clarity of text and understandability should have priority but both classical and jazz singers may sacrifice this for a certain type of vocal sound. Classical singers spend years learning to blend the natural occurring register breaks in the voice. Although somewhat important in the jazz singer, it is minimal. The mic can assist the jazz singer with this so that they are able to play with subtle qualities and ranges that wouldn't be heard if a classical singer tried it. Today when students enter my private studio, I ask them about their musical goals. As they are exposed to voice building techniques their goals may change but the important thing for us is to help them find their way efficiently. I've experienced having younger students wanting to be country singers develop into prize winning classical singers. I've also encountered classical trained singers who were relieved to find that there are other techniques that would help them sing musical theatre or jazz. If they are interested in both aspects of singing, the lesson time needs to be subtly managed to address different musical goals. They will need to educate their ear about pitch, vibrato, and the volume of sound and resonance of the voice. A classical singer needs to hear their voice in a natural acoustical environment without artificial support. Jazz singers needs to become accustomed to hearing themselves through amplification. As pointed out in the chart, the use of vibrato, dynamics, pitch onset, voice coloring, rhythm, and many other aspects of these two diverse styles are for the most part at odds with one another. When these considerations are pointed out to the students, they have a better chance of making appropriate choices without confusion and with an appreciation of the differences. Our studio has developed publications that present voice building exercises encompassing various musical styles.* In the example presented below, the purpose of the exercise is rich and deep: ear training, pitch accuracy, flexibility, and singing in contrasting styles. In my opinion, you get the best of both worlds here - a classical warm-up, learning to sing in a major and then a minor key (great ear training), and then scat improv in both major and minor keys. With this exercise, you have an opportunity to show off your classical voice and quickly switch to jazz. These contrasting styles require different ways of using your voice. The classical style requires a more fully resonant sound including vibrato, whereas in jazz vocals, a more speech like quality is appreciated. In conclusion, clear and meaningful communication as to the differences in vocal usage and styles can make all the difference in your students’ abilities to enjoy and perform different styles of music. I have found that presenting them with practical models for bridging the gap can do wonders for their understanding and enjoyment of music making. View full articles
  10. Hi all,   I've just signed up to see if you could let me know what you think of my recordings on my website - www.davidirelandsings.com. They're not great quality, but it'll be nice to hear what you think!   All the best,   David