Singing of Singing, Discovering Your Range, Developing Technique, • Articulation Exercises Singing in Performance, and Maintaining Vocal Health
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Falsetto Head Voice Tips to Develop Head Voice
Volume 1 Issue 27 September 04, 2012 Mike Blackwood, Bill Wiard, Editors CALENDAR Current Songs (Not necessarily “new”) Goodnight Sweetheart, Goodnight Spiritual Medley Home on the Range You Raise Me Up Just in Time Question: What’s the difference between head voice and falsetto? (Contunued) Answer: Falsetto Notice the word "falsetto" contains the word "false!" That's exactly what it is - a false impression of the female voice. This occurs when a man who is naturally a baritone or bass attempts to imitate a female's voice. The sound is usually higher pitched than the singer's normal singing voice. The falsetto tone produced has a head voice type quality, but is not head voice. Falsetto is the lightest form of vocal production that the human voice can make. It has limited strength, tones, and dynamics. Oftentimes when singing falsetto, your voice may break, jump, or have an airy sound because the vocal cords are not completely closed. Head Voice Head voice is singing in which the upper range of the voice is used. It's a natural high pitch that flows evenly and completely. It's called head voice or "head register" because the singer actually feels the vibrations of the sung notes in their head. When singing in head voice, the vocal cords are closed and the voice tone is pure. The singer is able to choose any dynamic level he wants while singing. Unlike falsetto, head voice gives a connected sound and creates a smoother harmony. Tips to Develop Head Voice If you want to have a smooth tone and develop a head voice singing talent, you can practice closing the gap with breathing techniques on every note. -
Gioachino Rossini
GIOACHINO ROSSINI: DESTREZAS VOCALES EN SU DISCURSO MELÓDICO Proyecto de grado para optar al título de MAESTRO EN MÚSICA CON ÉNFASIS EN CANTO LÍRICO Autor: JULIO CÉSAR SALAZAR MOLINA Asesor: CARLOS GODOY PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES CARRERA DE ESTUDIOS MUSICALES BOGOTA – 20/07/2010 ÍNDICE OBJETIVOS 3 INTRODUCCIÓN 4 1. METODOLOGÍA 5 2. CONTEXTO HISTÓRICO 5 3. EL ESPLENDOR DE LOS CASTRATI 7 4. LA TRADICIÓN DEL BEL CANTO 8 4.1 EL LEGATO 8 4.2 EL VIBRATO 8 4.3 EL PORTAMENTO 9 4.4 LA COLORATURA 10 5. ROSSINI Y LA DESTREZA VOCAL 10 5.1. MOZART, UN ANTECEDENTE EN EL CLASICISMO 11 5.2. EL CROMATISMO Y LA EXPRESIÓN DE EMOCIONES 12 5.3. LA HOMOGENEIDAD DEL TIMBRE 13 5.4 LA ACENTUACIÓN DE LAS PALABRAS 16 5.5 ASPECTOS VOCALES DEL TENOR ROSSINIANO 18 6. CONCLUSIONES 19 7. BIBLIOGRAFÍA 20 APÉNDICES 21 2 GIOACCHINO ROSSINI: DESTREZAS VOCALES EN SU DISCURSO MELÓDICO UN ANÁLISIS INTERPRETATIVO BASADO EN PIEZAS ROSINIANAS PARA TENOR OBJETIVO GENERAL Observar las principales características del discurso melódico rosiniano e identificar las destrezas vocales requeridas con el fin de tomar decisiones interpretativas para el repertorio tratado, basadas en el conocimiento adquirido durante la carrera. OBJETIVOS ESPECÍFICOS Contextualizar el tratamiento rosiniano del instrumento vocal dentro de los lineamientos estéticos del bel canto y reconocer sus posibles antecedentes en el clasicismo para así definir una línea evolutiva en el desarrollo del estilo. Reconocer la manera particular en la cual se deben aplicar dentro de este estilo los elementos técnicos trabajados durante el proceso de formación vocal adquirido en la carrera, como son: el legato, el vibrato, el fraseo, la respiración, la ornamentación, la coloratura, las dinámicas, la articulación y la dicción, entre otros. -
Lectures and Community Engagement 2017–18 About the Metropolitan Opera Guild
Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM). -
Leading Congregational Singing Song/Hymn Leading Is an Important
Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
The News Magazine of the University of Illinois School of Music from the Dean
WINTER 2012 The News Magazine of the University of Illinois School of Music From the Dean On behalf of the College of Fine and Applied Arts, I want to congratulate the School of Music on a year of outstanding accomplishments and to WINTER 2012 thank the School’s many alumni and friends who Published for alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. have supported its mission. The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign and has been an accredited institutional member of the National While it teaches and interprets the music of the past, the School is committed Association of Schools of Music since 1933. to educating the next generation of artists and scholars; to preserving our artistic heritage; to pursuing knowledge through research, application, and service; and Karl Kramer, Director Joyce Griggs, Associate Director for Academic Affairs to creating artistic expression for the future. The success of its faculty, students, James Gortner, Assistant Director for Operations and Finance J. Michael Holmes, Enrollment Management Director and alumni in performance and scholarship is outstanding. David Allen, Outreach and Public Engagement Director Sally Takada Bernhardsson, Director of Development Ruth Stoltzfus, Coordinator, Music Events The last few years have witnessed uncertain state funding and, this past year, deep budget cuts. The challenges facing the School and College are real, but Tina Happ, Managing Editor Jean Kramer, Copy Editor so is our ability to chart our own course. The School of Music has resolved to Karen Marie Gallant, Student News Editor Contributing Writers: David Allen, Sally Takada Bernhardsson, move forward together, to disregard the things it can’t control, and to succeed Michael Cameron, Tina Happ, B. -
West Side Story
West Side Story West Side Story is an American musical with a book rary musical adaptation of Romeo and Juliet . He prpro-o- byby Arthur Laurents, mmususiic bbyy Leonard Bernstein,, posed that the plot focus on the conflict between an Irish libretto/lyrics by Stephen Sondheim, and conception and Catholic family and a Jewish family living on the Lower choreography byby Jerome Robbins..[1] It was inspired by East Side ofof Manhattan,,[6] during the Easter–Passover William Shakespeare's play Romeo and Juliet .. season. The girl has survivvived the Holocaust and emi- The story is set in the Upper West Side neighborhood grated from Israel; the conflict was to be centered around in New York City in the mid-1950s, an ethnic, blue- anti-Semitism of the Catholic “Jets” towards the Jewish “Emeralds” (a name that made its way into the script as collar ne neighighborhood. (In the early 1960s much of thethe [7] neineighborhood would be clecleared in anan urban renewal a reference). Eager to write his first musical, Laurents project for the Lincoln Center, changing the neighbor- immediately agreed. Bernstein wanted to present the ma- hood’s character.)[2][3] The musical explores the rivalry terial in operatic form, but Robbins and Laurents resisted between the Jets and the Sharks, two teenage street gangs the suggestion. They described the project as “lyric the- of different ethnic backgrounds. The members of the ater”, and Laurents wrote a first draft he called East Side Sharks, from Puerto Rico, are taunted by the Jets, a Story. Only after he completed it did the group realize it white gang.[4] The young protagonist, Tony, a former was little more than a musicalization of themes that had member of the Jets and best friend of the gang leader, alreadybeencoveredinin plaplaysys liklikee Abie’s Irish Rose. -
World Digipak Comp B.Indd
MOTOWN Around the World Visas Entries/Entrées Departures/Sorties 1 Visas Visas Entries/Entrées Departures/Sorties Entries/Entrées Departures/Sorties THE SOUND OF YOUNG AMERICA an outpouring. At Mrs. Edwards’ urging, Motown IL SUONO DELL’GIOVANE AMERICA complemented these bold moves with several recordings DER TON VON JUNGEM AMERIKA in German, Spanish, Italian, and, unknown to the public at LE BRUIT DE LA JEUNE AMÉRIQUE EL SONIDO DE AMÉRICA JOVEN the time, French. by Andrew Flory & Harry Weinger “We thought it would be hard to do, but learning the words and making the tracks work was enjoyable,” said Berry Gordy, Jr. founded Motown with the idea that his the Temptations’ Otis Williams, humming “Mein Girl” with a artists would cross borders, real and intangible. smile. “The people fl own in to teach us made it easy, and His bold idea would bloom in late 1964, when the we got it down just enough to be understood.” Supremes’ “Baby Love” hit No. 1 in the U.K., and “The Sound Of Young America,” as Motown later billed itself, spread around the world. Audiences who didn’t know English knew the words to Motown songs. The Motortown Revue went to Europe. Fan letters in every language showed up at West Grand Boulevard. Behind the infectious beat, inroads had been made overseas as early as spring 1963, when Mr. Gordy, along with Motown executives Esther Gordy Edwards and Barney Ales, made unprecedented sales visits to Italy, Germany, Belgium, Holland, France, Norway, Sweden and England. Two years later EMI U.K. created the Tamla Motown imprint, an international umbrella for the company’s multi-label output. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent. -
Symposium Program
THE VOICE FOUNDATION THE VOICE FOUNDATION 42nd Annual Symposium CARE OF THE PROFESSIONAL VOICE Symposium Program MAY 29—JUNE 2, 2013 PHILADELPHIA, PA Jointly sponsored by The Voice Foundation and American College of Surgeons in collaboration with Drexel University College of Medicine, Temple University, The American Institute for Voice and Ear Research and the Academy of Vocal Arts. PROGRAM COMMITTEES CHAIRMAN SCIENTIFIC PROGRAM MEDICAL PROGRAM Robert Thayer Sataloff, M.D., D.M.A., F.A.C.S Christy L. Ludlow Michael S. Benninger Ronald C. Scherer Michael M. Johns, III SPEECH-LANGUAGE PATHOLOGY PROGRAM Nancy P. Solomon Robert T. Sataloff Thomas Murry Johan Sundberg Robert T. Sataloff VOCAL PEDAGOGY PROGRAM Robert T. Sataloff Accreditation Statement THE VOICE FOUNDATION This activity has been planned and implemented in accordance with the Essential Areas BOARD OF DIRECTORS and Policies of the Accreditation Council for Continuing Medical Education through the joint sponsorship of the American College of Surgeons and the Voice Foundation. The CHAIRMAN American College of Surgeons is accredited by the Robert Thayer Sataloff, ACCME to provide continuing medical education for M.D., D.M.A., F.A.C.S. physicians. AMA PRA Category 1 Credits™ PRESIDENT The American College of Surgeons designates this live Leon Fassler activity for a maximum of 22 AMA PRA Category 1 Credits™. Physicians should claim only the credit SECRETARY commensurate with the extent of their participation in Mary Hawkshaw the activity. TREASURER Disclosure Information GENERAL C OUNSEL In compliance with ACCME Accreditation Criteria, the Brian P. Flaherty, Esq. American College of Surgeons, as the accredited provider of this activity, must ensure that anyone in a American College of Surgeons CHAIRMAN, position to control the content of the educational Division of Education ADVISORY BOARD activity has disclosed all relevant financial relationships Michael S.