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  1. If you listen to the first part of this video where Jenifer Lopez gives a speech to hear fellow song writers. Infact you will find it more like a Nazi political meeting where she is commanding her fellow comrades to come together in these hard time of mass suppresion for humanity and come together and lie to us all even further. In the same way the media have lied to the rest of humanity to keep us all distracted and deluded so they steel our democracy and wealth as they take away our sovereign nations in favor of a new world order (one world government) Indeed listing to music is an escape from reality that they decided to give us just as much as movies and soaps the news. Anyway hear are the highlighted points from her speech that would indicate that as a pop start she is cut from the same cloth as all the political scum that supposable rule us all, and that this lady Jenifer Lopez is indeed working for or interbreeded with the illuminarty Its about the music the words and the voices and how they move and inspire us and through our life's At this particular point in history our voices are needed more then ever (and listen to them aplord her like they know exactly what she wants) This is the time that artists go to work, there is no time for dispear, no place for self pity. We do language that is how civilized nations heal! hear to the new voices (har har, what she implied was hears to the new world order) PS did you know that Madonna is 9th cusin to George W Bush
  2. Hey guys and gals check out this video when I did a masterclass a couple years ago for VocalizeU students (teachers as well but not on site), 90 min rasp/distortion etc. Hope you enjoy it
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    Joanna Cazden, MFA, MS-CCC, is a speech pathologist specializing in voice rehabilitation and a respected advocate for holistic, multi-disciplinary voice care. Joanna offers private services in voice rehabilitation and training, workshops and master classes for voice students, and seminars for speech pathologists and vocal arts teachers. Joanna also sees voice patients by medical referral at Cedars-Sinai Medical Center's outpatient Voice program. Helping to found this program in 2001, she has treated well-known pop singers, actors, broadcasters, and musical-theater artists. She was a clinical instructor for ten years at California State University, Northridge (CSUN), and has presented scholarly papers at major voice conferences in the USA UK, and Mexico. In 2004 she was named a Fellow of the California Speech and Hearing Association, an award that honors excellence in clinical service, teaching, and community service. Joanna released six solo albums between 1973 and 1997; her first album, The Greatest Illusion (1973), has been re-released internationally. In 2000 she joined Pete Seeger and other folk luminaries on "Folksongs of the Catskills," an ensemble CD later featured at the Library of Congress. She organized the first panel on Health Issues for folk performers, at the 1992 Folk Alliance Conference, and has won numersous singing and songwriting awards. Joanna studied voice with Ellalou Dimmock, Natalie Lemonick, and Jan Pederson. She holds a BA in Drama from the University of Washington, an MFA in Acting from CalArts, and an MS in Communication Disorders and Sciences from CSUN. In 2006 she was certified by Catherine Fitzmaurice as an Associate Teacher of Fitzmaurice Voicework. In addition to her expertise in voice, Joanna is an advanced practitioner of the Reiki and Theta healing systems, and a longtime student of yoga, meditation, and bodywork. These tools are integrated into her voice and speech services according to the individual's interest and needs. Joanna Cazden www.VoiceofYourLife.com

    Free

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    With over 25 years of experience, John Henny is regarded as a leading vocal coach in the music industry and as a true teacher of teachers. John’s techniques not only keep the voice healthy, they also improve the overall sound, help eliminate cracks in the voice and extend the singer’s range allowing the singer to express themselves vocally without limitation. John Henny has lectured at prestigious colleges and institutes such as USC, Paul McCartney’s Liverpool Institute of the Arts and The Academy of Contemporary Music in England. He is also a Master Teacher for vocal coaches all over the world, including his annual teaching engagements in Europe, Australia and New Zealand. John Henny www.JohnHenny.com

    Free

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    4 downloads

    Ingo R. Titze is a vocal scientist and executive director of the National Center for Voice and Speech at the University of Utah in Salt Lake City. He is a professor at the Department of Communication Sciences and Disorders at the University of Iowa and has written several books relating to the human voice. He is considered to be one of the world's leading experts on vocal research. Dr. Ingo Titze www.NCVS.org

    Free

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    Robert Edwin has gained international recognition as a singer, songwriter, teacher, and author. He has sung Bach cantatas in church cathedrals and rock songs in Greenwich Village, New York coffeehouses, recorded for Avant Garde and Fortress Records, and toured extensively throughout the United States and abroad. He has performed in New York City’s Carnegie Hall, Town Hall, and Radio City Music Hall, and has appeared with such outstanding artists as opera star Jerome Hines, jazz legend Duke Ellington, and famed actor/director Ossie Davis. His TV and radio credits include several NBC Christmas specials as well as commercials for everything from politicians to hot dogs. His CDs of original songs (Robert Edwin-Christian Songs and, More to Life-Robert Edwin Sings Songs by Crosby & Edwin) are available at www.cdbaby.com . Robert Edwin has served on the adjunct voice faculties of the University of Michigan, the New Jersey School of the Arts, Burlington County College (NJ), and continues to serve on the Applied Music Staff of Camden County College (NJ). He is a frequent faculty member of the Voice Foundation’s Annual Symposium: Care of the Professional Voice. A member of the prestigious American Academy of Teachers of Singing (AATS), he has led master classes and workshops in the United States, Canada, the Bahamas, and Australia. Mr. Edwin is a member and a past Secretary/Treasurer of the National Association of Teachers of Singing (NATS). His column, "The Bach to Rock Connection" (1985-2002), was the first and only one in the NATS Bulletin (subsequently the NATS Journal) dedicated to CCM ("nonclassical") voice pedagogy. He continues to serve as an Associate Editor of the Journal of Singing for the "Popular Song and Music Theater" column. From 1996 to 1999 he also served as a Contributing Editor for VocalEase, a magazine for choral and choir directors. Robert Edwin taught for over ten years in New York City under the aegis of the Helena W. Monbo Studio, a studio that included actress/singer Grace Jones, Tony Award winner Ernestine Jackson, and A Chorus Line original cast member, Donna Drake. Past and present students from his New Jersey studio include Tyler Grady, a 2010 American Idol Top 24 semifinalist; Jennifer Piech, who created the role of "Kate McGowan" in the Broadway musical, Titanic; Claire Norden, "Baby June" in the 2008 Gypsy National Tour; members of "The Fabulous Greaseband" and "Grey Eye Glances"; Kristen Alderson, who played "Starr" on the ABC-TV soap opera, One Life to Live; and Integrity Music recording artist, Paul Baloche. Robert Edwin www.RobertEdwinStudios.com

    Free

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    Gary Osborne is the founder and inventor of Lampifier Microphones. Lampifier Microphones feature a unique, build in compression solution that uses light as its medium. Lampifier microphones are great microphones and offer an interesting and unique solution to compression for singers. Gary Osborne www.Lampifier.com

    Free

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    With a teaching career that spans nearly four decades, Jeannie Deva is an international celebrity voice and performance coach, published author, clinician, recording studio vocal producer, trainer of voice teachers and originator of The Deva Method® - Complete Voice Training for Stage and Studio.As a graduate from Berklee College of Music in 1975 with a degree in Composition and Arranging, Jeannie assisted in establishing the college's voice department and later became President of Berklee's Alumni Association for ten-years. Voice teachers around the world base their teaching on Ms Deva's method from her published books and CDs. She is featured on the acclaimed video The Vocalist's Guide to Fitness, Health and Musicianship by Internationally respected music educator Julie Lyonn Lieberman and distributed by Hal Leonard. Jeannie Deva www.JeannieDeva.com

    Free

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    John Gresko is the founder of Direct Sound and inventor of Extreme Isolation Headphones. The best isolation headphones available to singers in the world. John Gresko www.ExtremeHeadphones.com

    Free

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    Robert Lunte is the owner founder of the The Vocalist Studio International www.TheVocalistStudio.com, an Internationally recognized voice training school for extreme singing vocal techniques and advanced vocal instruction. Robert is also the author and producer of the critically acclaimed vocal instruction training system, “The Four Pillars of Singing”. TVS techniques are shared around the world by voice teachers as part of the TVS International Certified Instructor Program, which is one of the fastest growing vocal organizations of highly trained voice coaches in the world today. Robert is also the founder of The Modern Vocalist World www.TheModernVocalistWorld.com, the #1 online resource for vocal education and networking on the internet. This download include four separate interviews of Robert Lunte. www.TheFourPillarsofSinging.com

    Free

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    Peter Freedman is the founder of RØDE Microphones, an Australian-based designer and manufacturer of microphones, related accessories and audio software. Its products are used in studio and location sound recording as well as live sound reinforcement. Peter Freedman www.RODEMicrophones.com

    Free

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    Kevin Alexander is the CEO of TC-Helicon vocal pedals are the world's leader in vocal processing products for singers. TC-Helicon manufactures vocal pedals for singers, the MP-75 microphone and rack mounted systems that are used all over the world by singer's that know where to find the best vocal pedals. Kevin Alexander www.TC-Helicon.com

    Free

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    Scott Rabb is the world's leading retailer of vocal health products. Learn more about what it takes to run the world's largest operation for vocal health. Scott Rabb www.JustGottaSing.com

    Free

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    Dave Pearlman builds custom microphones for the studio. Enjoy this discussion regarding his process and views on recording microphones. Dave Pearlman www.PearlmanMicrophones.com

    Free

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    Bob Heil is an American sound and radio engineer most well known for creating the template for modern rock sound systems. He founded the company Heil Sound in 1966, which went on to create unique touring sound systems for bands such as The Grateful Dead and The Who. He invented the Heil Talk Box in 1973, which was frequently used by musicians such as Peter Frampton, Joe Walsh and Richie Sambora, and is still in use today. Heil has been an innovator in the field of amateur radio, manufacturing microphones and satellite dishes for broadcasters and live sound engineers. In the late 1980s Heil Sound became one of the first American companies to create and install Home Theaters, and Heil has lectured at major electronic conventions and taught classes at various institutions. He has won multiple awards and honors, and in 2007 he was to be invited to exhibit at the Rock and Roll Hall of Fame. Enjoy this exclusive interview from TMV World. Bob Heil www.HEILSound.com

    Free

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    Robert Thayer Sataloff, MD, DMA, FACS is the Executive director of The Voice Foundation. The World's leading association for research regarding the human voice. He is also professor and chair, at the Department of Otolaryngology – Head and Neck Surgery and senior associate dean for clinical academic specialties, Drexel University College of Medicine. He is also adjunct professor in the Departments of Otolaryngology – Head and Neck Surgery at Thomas Jefferson University, the University of Pennsylvania and Temple University, and is on the faculty of the Academy of Vocal Arts. He served as conductor of the Thomas Jefferson University Choir for nearly four decades. Dr. Robert Sataloff www.VoiceFoundation.org

    Free

  17. Kevin Ashe

    Paul Rogers on his range

    I'd appreciate hearing some of youz guys's perspectives on Paul Rogers comments in this interview. I'm sure everyone would agree with his comments about "warming up" however, he makes an interesting comment about "his range," and then still manages to really avoid answering the question. Personally, I'm convinced he simply doesn't know the answer yet, he does offer the good warm up advice. The actual question is: "why do some singers lose their upper range as they age, and some don't?" -That's point #1, point #2 is, what about the interesting answer he gives regarding "feeling the song" in order to confidently sing the high notes in it. There are a few singers who don't seem in possession of the range they commanded in the prime of their career: i.e. Perry, Plant, Elton vs. other singers who are still going strong past their career peak: i.e. Rogers, Tyler, Elefante, Mickey Thomas, Tony Bennett, etc. the question is asked around 22:30
  18. Hello new guy here but been lurking in the background since late last year. I plan on taking vocal lessons from Rob in the near future as soon as I can afford to(and get the time to as well)as I want to train to become a metal vocalist. In the meantime I came across this interview from Rob Halford that you guys might find interesting - http://observer.com/2016/03/screaming-cocaine-food-poisoning-vocal-lessons-from-rob-halford/
  19. 'Vocal Strength and Power' by Dena Murray Interview Steve: Hi, Dena! I understand that your new book on singing has just been published. Would you tell us a little bit about it? Dena: This is a book that has been 15 years in the making. From the time I started teaching (over 20 years ago,) I knew there was a problem with the prevailing concepts of diaphragmatic support. Singers were injuring themselves from too much pressure and misperceiving instructions. Steve: Do yo mean that the usual "singing teacher's lingo" was not helpful in leading the student in what they should do? Dena: Yes, exactly. They also were not getting what they'd hoped to get from taking lessons i.e., freedom when singing/performing. So after many years of study, I finally uncovered that the problem boiled down to correct intake of air (the inhale) and created exercises to correct it. Steve: You've published two other books on singing. How does this latest one fit in with them? Dena: Well, I never set out to do a three-part series but that was the end result of all my work. Vocal Technique: Finding Your Real Voice is a beginners book and focuses on the vocal mechanism. I did two things deliberately for the beginner: 1) I skipped the discussion of how to use the diaphragm for support, and instead created exercises to builid up the muscles and cartilages which control/support the vocal folds, and, 2) I separated the chest voice from the head voice because in my experience if there are problems in either register, those problems will show up when trying to bridge and combine them for that one-register sound.This book is the first step in how to gain support. Steve: Ok, I am with you so far. How was your approach received by your readers? Dena: Very well, I think. My European readers were especially open with their positive feed-back, and I still receive comments to day on that book's usefulness. Steve: Ok! What was your second book like? Dena: The second one, Advanced Vocal Technique: Middle Voice, Placement & Styles (co-authored by Tita Hutchison,) focuses on a step-by-step process of how to bridge the voice for the one register sound, vowel formation, and correct placement for any given style. Steve: So, that would make it the 'next steps' after clarifying the Chest and Head voices, and some discussion of the different vocal productions. Dena: Yes, that's right. There are 13 exercises in this book with every feeling and sensation one should (and shouldn't) have, literally spelled out for the singer. Again, we purposely stayed away from too much focus on the diaphragm. This book is the second step with regard to support. Steve: All right. How does this third book extend the approach of the other two? Dena: In this third and last book of the series, Vocal Strength and Power, the focus is solely on how to employ correct use of the diaphragmatic region for its support of the entire mechanism. Steve: How is your approach different from other's you've heard? Dena: Simply stated, I've uncovered a problem inherent with other approaches to 'support' instruction, and created exercises to correct the problem. Steve: Ok, I'll bite. What is the problem? Dena: The problem is the correct intake of air before singing. Steve: Who can benefit from your approach and exercises? Dena: Anyone should be able to add these exercises (if they should so choose) to already working methods of techniques when they notice they are struggling for not just the freedom, but also their inherent great sound. Steve: Dena, what else does the book contain? Dena: In addition to the CD of exercises, this book also includes a glossary of dictionary-definition.
  20. Recently a new platform for music professionals called Music Gateway was launched. Music Gateway is a business platform connecting music professionals from around the globe in one simple, easy to use website. It's not so much a LinkedIn of the music industry as a complete collaboration solution where you can post and receive projects and collaborate on them in a secure environment. If you are looking for ways to find paid session work or find new talent to collaborate with beyond your direct network, Music Gateway might be just the thing you need. You can reach out o n a global scale and provide your services to other professionals, equally you can hire & source other music pro's and develop your career with feedback following each project. Your profile acts as a portfolio for other users to review. Interview With Jon Skinner, Managing Director Music Gateway To find out more about Music Gateway and how it could benefit individual musicians, we met up with Jon Skinner, Managing Director of Music Gateway and initiator of the platform. Q: Tell our audience something about yourself and your personal relation to music and the music industry My name is Jon Skinner, I have been in the industry since 1987, so getting on f or 27 years. Very similar to most people's stories, music at an early age was a passion and I got a drum kit when I was 6 years old. I've always had a good ear for music and was so lucky that the DJ's around where I lived as a teenager introduced me to Motown, Northern Soul, Two Tone and a wide variety of musical styles. When hop hip and break dance broke in 1983, I was hooked and started buying underground records & US imports from the states, those were special times for me. As far as Industry goes, I set up my own independent record shop in 1991 and I never looking back. Q: What made you decide to start Music Gateway? My experiences in the industry became the backbone of the system, it was very clear to me that there was this big hole in the industry regarding the connection between all the creation roles, especially on a global scale. I've felt the pain & struggled through that journey, I know the pitfalls and barriers people face and still face to this day. For me, Music Gateway is about empowering people to A&R their own projects, as relying on others most of the time doesn't work. Q: What sets Music Gateway apart from social media platforms targeted at musicians? First and foremost we aren't a social media platform, this is a fundamental point. We are strictly a business to business website and you only make a connection to another user if there is a purpose, a goal and end result for your recording. You don't built up followers or connections, we are about generating work and connecting professionals to the right people and their music projects. Q: Can you explain how music gateway will be a unique service especially for singers? Producers need singers, singers need producers. The key issue is finding the right person who is first of all, like-minded musically, and can work either to your budget or wants to co-write and or collaborate with you. Music Gateway is a targeted way of connecting to the right person for your project. You can receive work opportunities free of any charge, we only charge a fee if you receive paid work or a meaningful connection to another pro. Furthermore, reaching out to other singers, songwriters and professionals is essential to learn and develop your experience and skills in the industry. Finally, it's important that people understand we are in the bu siness of music and therefore if you are new to the industry you need help, guidance & support, this is what we offer. Q: You have received support for Music Gateway from many big names in the music industry. What is it you think that won them over? How did they respond when you first contacted them? The main response has been, wow OK it's so simple why didn't I think of it? I think there will have been hundreds of people who have had the same idea, that's the easy bit, the hard bit is developing such a system, which handling transactions, files and pretty complex functionality in the backend, whilst keeping it ultra simple for the users. In a word 'Unique'. We are the only website which is focused on the creative process, hooking up like-minded musicians on a global scale. We are a very clear benefit to the industry as a whole and this is why I believe we have received so much support from the core industry organizations. Q: Tell us something about the technology behind the platform and how it sets you apart from other platforms? We are very functional, it's about project management and allowing anyone on the site to Post a Project defining their need. When you create a project, you can define what it is you want to get done or who you want to reach out to, for example as a singer, you may want to connect with a producer to record a song, or look to hire a remixer to remix an existing song. You may need a song from a songwriter or seek to co-write with a musician. The options are endless. Equally, when you set up your profile and define your skills, we notify you of relevant projects which you can review and decide to PITCH (apply) for the work, this whole process and project management is unique. When a project starts the users are granted access to a workspace area, which is where you can manage your project files, this makes it easy to manage any project with anyone in the world, with message systems for communication and timeline feedback on audio files. Q: What is it about the unique community of singers at The Modern Vocalist World that interests you? Having spoken at length with Robert the founder and reviewing the resources on the website, it's clear that there is a great community of singers engaging through the forum and seeking advice & support. We feel that Music Gateway compliments the site perfectly, as we are focused on session work and music creation, which is a natural progression for anyone new to the world of singing and the industry. Q: Last but not least: why do you feel individual musicians should sign up for Music Gateway? What are the direct benefits? It's free for starters, it's free to pitch for project work and free to receive work opportunities. If you want to further your career, receive targeted and relevant work based on your skills, there is no other website like Music Gateway. For protection, you can manage any client work via the site and receive secure payments through the system and your account wallet. Reaching out and developing your own projects is fundamental if you are going to get ahead in the industry, staying local all the time, doesn't cut it anymore, you have to look further afield and work on a global scale. We only make a charge if you benefit through project work, so it's 100% fair. Without question Music Gateway has just shifted the power to the independent and helps remove industry barriers, register for free and create a Music Gateway Account. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - And if you want to improve your vocal skills, we have the right product just for:
  21. http://www.kxii.com/news/paris/headlines/Opera-singer-visits-former-high-school--329317201.html Cool article and vid about an opera singer who was originally from Paris, Texas and returned their to visit. Paris is north and east of Dallas, close to the border if southeast Oklahoma.
  22. Chris Miyai

    Bon Jovi's 'Keep the Faith' :)

    https://app.box.com/keepthefaith lol Is it serius about tags? hahahaha
  23. 'Vocal Strength and Power' by Dena Murray Interview Steve: Hi, Dena! I understand that your new book on singing has just been published. Would you tell us a little bit about it? Dena: This is a book that has been 15 years in the making. From the time I started teaching (over 20 years ago,) I knew there was a problem with the prevailing concepts of diaphragmatic support. Singers were injuring themselves from too much pressure and misperceiving instructions. Steve: Do yo mean that the usual "singing teacher's lingo" was not helpful in leading the student in what they should do? Dena: Yes, exactly. They also were not getting what they'd hoped to get from taking lessons i.e., freedom when singing/performing. So after many years of study, I finally uncovered that the problem boiled down to correct intake of air (the inhale) and created exercises to correct it. Steve: You've published two other books on singing. How does this latest one fit in with them? Dena: Well, I never set out to do a three-part series but that was the end result of all my work. Vocal Technique: Finding Your Real Voice is a beginners book and focuses on the vocal mechanism. I did two things deliberately for the beginner: 1) I skipped the discussion of how to use the diaphragm for support, and instead created exercises to builid up the muscles and cartilages which control/support the vocal folds, and, 2) I separated the chest voice from the head voice because in my experience if there are problems in either register, those problems will show up when trying to bridge and combine them for that one-register sound.This book is the first step in how to gain support. Steve: Ok, I am with you so far. How was your approach received by your readers? Dena: Very well, I think. My European readers were especially open with their positive feed-back, and I still receive comments to day on that book's usefulness. Steve: Ok! What was your second book like? Dena: The second one, Advanced Vocal Technique: Middle Voice, Placement & Styles (co-authored by Tita Hutchison,) focuses on a step-by-step process of how to bridge the voice for the one register sound, vowel formation, and correct placement for any given style. Steve: So, that would make it the 'next steps' after clarifying the Chest and Head voices, and some discussion of the different vocal productions. Dena: Yes, that's right. There are 13 exercises in this book with every feeling and sensation one should (and shouldn't) have, literally spelled out for the singer. Again, we purposely stayed away from too much focus on the diaphragm. This book is the second step with regard to support. Steve: All right. How does this third book extend the approach of the other two? Dena: In this third and last book of the series, Vocal Strength and Power, the focus is solely on how to employ correct use of the diaphragmatic region for its support of the entire mechanism. Steve: How is your approach different from other's you've heard? Dena: Simply stated, I've uncovered a problem inherent with other approaches to 'support' instruction, and created exercises to correct the problem. Steve: Ok, I'll bite. What is the problem? Dena: The problem is the correct intake of air before singing. Steve: Who can benefit from your approach and exercises? Dena: Anyone should be able to add these exercises (if they should so choose) to already working methods of techniques when they notice they are struggling for not just the freedom, but also their inherent great sound. Steve: Dena, what else does the book contain? Dena: In addition to the CD of exercises, this book also includes a glossary of dictionary-definition. View full articles
  24. So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 1 - Music Studies: Songs and Lyrics. The first thing any singer must know is the words or lyrics to the songs he or she wants to sing. Don't just guess. Buy the sheet music or a recorded version of the song and learn the correct words to the story as written by the composer. Most song lyrics are available online. You can type the name of the song, a line from the song or the composer's name in the search engine. Also, see: www.lyrics.com www.azlyrics.com www.metrolyrics.com www.lyricsmania.com www.lyricsmode.com www.elyrics.net Always have at least 10 good songs in your repertoire - five ballads (a short song in a slow tempo, usually with a romantic or sentimental text) and five up-tempo tunes (swing, samba, bossa nova, blues, R&B, pop, etc.). You'll probably only sing three of them to start, but learn lyrics to as many songs as you can on a weekly basis. By the end of the first year of studying, you should have a repertoire of about 25 to 30 songs you can sing well. Remember, most songs you hear on records or CDs are being covered and interpreted by someone other than the composer or the first singer to record or perform the song. So, don't just settle for any recording of the song. Try to find the original recording of the song and, then, listen to a variety of renditions. Your goal should be to sing the song in your own style. This may take a little time and practice, but it's better than simply copying the way one singer sings the song. Don't be a copycat or carbon copy of another singer. Find your own voice. This comes with life experience. Refrain from singing songs that you don't understand or believe in your heart. For instance, refrain from singing a song like Love For Sale if you believe you will not be willing to sell your love. It's really very simple. Sing what you feel. You don't have to go to college or to a conservatory to learn music, but it helps. A private instructor can offer one-on-one instruction. Learn piano basics. Study key signatures, scales and chord progressions. Explore what keys are best for your singing range. Are you a soprano, alto, contralto, bass, tenor or baritone? Learn composition - how to write music and transpose songs from one key to another. Try writing your own songs from your life experience. This will help you find your own voice and will definitely be a plus, when you perform them! Key Signatures It is rare that you will see key signatures with lots of sharps or flats. That's because music with few flats or sharps is easier to play and write than music with lots of sharps or flats. So, You Want To Be A Singer? A Manual for up-and-coming Divas, Musicians and Composers ©2008 Joan Cartwright All rights reserved. ISBN: 978-0-557-03324-9 Published by: www.lulu.com Visit: stores.lulu.com/divajc