Singing Tips and Multimedia Softwares

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2009-06-12T00:19:00.001+05:30

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Tips for Beginners

2008-12-17T17:31:00.002+05:30

Whether you are training your voice to join the ranks of professional singers or wish to cultivate your amateur talent, there are numerous aspects of singing to take into consideration. No matter how famous a singer is or how beautiful a voice, there will always be critical influences lurking in the shadows. They whisper about flat notes, put down song choices and even grimace at what a singer is wearing. All of these criticisms are fleeting.

It is up to the singer to learn from and embrace the good and the bad that comes with sharing his or her voice with the world. As long as you are confident and satisfied with your voice, the sky is the limit. Even the most popular vocalists of today have room for improvement.

When you’ve decided to embark on the path to develop your voice for singing, there is a certain level of respect regarding your craft to adhere to. As you enter the wonderful world of learning how to sing, there are many different concepts to embrace and aspects to consider when you are ready to take your potential to the next phase.

Choosing the Song That is Right For You
Although you may croon Frank Sinatra in the shower or hum Cher in the car, this doesn’t mean their songs are the right ones for you to take on while developing your voice. When singing, your vocal capabilities will fall into a specific vocal range, which are based upon the sex of the singer and the tonal quality they have in their voice.

Females are deemed a soprano (highest vocal range), contralto (lowest singing voice) or mezzo-soprano, which sits between soprano and contralto. The highest vocal ranges for a man include soprano and alto, which is also a term used to express the lowest singing voice of a female. Males have a wider assortment of tones associated with the range of their voice.

A tenor has a high vocal range that enables the singer to reach dramatic high notes. In opera, this is one of the more popular ranges of voice. The lowest vocal range for a man is referred to as bass. Typically, men with deep-speaking voices accomplish this vocal range. In the middle, there is the baritone (a cross between bass and tenor) and bass-baritone (a cross between bass and baritone).

Knowing your vocal strengths and capabilities, as well as limitations, will help you choose the kind of songs that will bring out your natural talent. Surely, if you have a deep voice, you will not benefit from tackling high-pitched songs that torture and strain your vocal cords.

Caring For Your Voice
When you make it a habit to practice healthy voice techniques and care, you will experience an improvement in the quality of your voice. These habits also ensure that your voice will continue to function in top working condition for many years to come. Singers should drink at least 6-8 glasses of water per day. This will keep the throat well hydrated. Proper breathing techniques will aid an individual in learning how to sing. Singers-in-training should avoid shouting, yelling and talking loud. All of these actions can lead to a hoarse voice, which affects your ability to sing.

Did you know that what you eat and drink affects your voice? Spicy foods weaken the throat, alcohol irritates the vocal cords and throat, even mouthwash contains irritating ingredients. Smoking cigarettes, as well as surrounding yourself with second-hand smoke, also causes breathing, throat and voice issues. As a rule of thumb, a healthy body creates a better atmosphere for a healthy voice.

Gaining Confidence Through Preparation
When you feel ready to share your singing talent with others, you may select an amateur performance night or create a demo. Preparing for this moment means that you have gone through all of the proper channels of training your voice. This means participating in singing exercises and voice training sessions, as well as visiting a voice coach or singing teacher. These are all ways to build up confidence in your singing. When enlisting the help of a professional, you will also benefit from constructive criticism.

Another way to gain confidence in your singing is to develop your ear. This will allow you to hone your craft as a singer by identifying when a note, tone or pitch is off. This will lead you to efficiently self-correct your voice if it should waver. Additional preparation techniques also involve practicing breathing exercises, phrases, vowel sounds and scales. Even the slightest effort towards preparation goes a long way and over time, you will strengthen and build your vocal capabilities.

Why Are You Singing?
When it comes to singing, there are many different reasons why an individual wishes to tackle this challenge. Perhaps, you have always had the pipes, but really didn’t know how to control your talent. Maybe someone told you that you had a beautiful voice and you should pursue it as a career. You might even want to follow in the footsteps of a family member or person you admire.

Anyway you look at it, the best music comes from those who have passion for song. Singing should not be forced and if your heart is not into it, you might not last long in the business (if this is what you desire). There are also numerous styles of singing to choose from, including jazz, opera, pop, soul or theatre. You might want to experiment with a few if you already haven’t fallen in love with a particular genre.

By following healthy voice care, preparation and training, in no time, you should be singing to your heart’s content, whether in front of peers, on a stage or still in the mirror.

Carlsberg launches Web-TV channel about football and fan

2008-12-11T23:42:00.003+05:30

Recently Carlsberg Brewery launched a football web-TV-channel partofthegame.tv.

They launched 5 channels showing all aspects about football from the classic football matches to life as a fan.

Be sure not to miss the video clips about football funnies and rituals from the Football Magic channel or the bizarre story about fans in the stand and how fan culture sometimes go beyond reason.
As an extra feature you can upload your own favourite football and fan moments.

Its an amazing site with loads of features present in it. So log on to partofthegame.tv and experience the diference.

Singing student earns ticket to the stage

2008-12-05T11:26:00.000+05:30

When a singing student went to order opera tickets the last thing he expected was to be on stage just a few hours later.
But that is exactly what happened when 32-year Adriano Graziani made the fateful call on the eve of a concert at the Weston Studio at the Wales Millennium Centre in Cardiff last month.

The original tenor for the performance, arranged by the Friends of Welsh National Opera, had fallen ill hours before the start.

Undaunted, Mr Graziani answered the distress call and had just enough time to rehearse and get ready before singing in front of hundreds of people.

His performance of E Lucevan Le Stelle from Tosca, Core N’grato, a Neapolitan song, the Brindisi Duet from La Traviata and the Welsh song, Arafa Don, won rave reviews and led to him being offered a three-month contract as an understudy for the role of Rodolfo in La Boheme in Birmingham next year.

The part will see the former bank worker from Neath, South Wales, taking the lead in a matinee performance at the city’s Hippodrome Theatre.

He has also accepted the lead role in a revival show of Tosca at the Richmond Theatre in London next February.

Speaking from Zaragoza in Spain, where he is taking part in the Montserrat Caballe International Singing Competition, Mr Graziani said of his lucky break: “I called up for some tickets to the gala concert last month as I thought it would be nice to sit in the audience for a change rather than be up there on stage singing.

“The person putting on the event for the Welsh National Opera asked if I was a tenor. I told him I was and he said ’I’m ever so sorry but could you take part in the concert tonight because the tenor is ill?’

“I was ’umming and ahhing’ because I would have only had a few hours to get ready and rehearse but I went ahead with it and it was a really big success.

“As a result I had a working session with the director of the Welsh National Opera to see what I was able to do and that led to me being offered the understudy in one of the principal roles in a production of La Boheme.

“Because of that I got auditioned for a lead role in a revival of Tosca at the Richmond Theatre in London and I got the role in that as well.”

He added: “It was all because I phoned up for tickets. I think I’m going to be ringing up all the time for tickets now!”

It is not the first time Mr Graziani, who is currently studying at the Cardiff International Academy of Voice, has stepped into a role at the last moment.

Last year, after leaving the Royal College of Music he became the understudy in the Glyndebourne Touring Opera production of Macbeth.

When the principal had to return to Italy to be with his pregnant wife, Mr Graziani stepped up and won a most-promising newcomer award for his efforts.

The plaudits he is now garnering are a long way from where he was less than five years ago, working for a bank.

“It really wasn’t what I wanted to do,” said Mr Graziani. “I knew that I wanted to be a singer and I was having lessons.

“I was always in the opera world in my mind. I think I was destined to be a singer or performer of some sort but opera was the thing that made me alive.

“It is in my blood because I’m part Italian.

“One day I was walking past the Royal College of Music in London and I asked if there was any chance I could see the head vocal coach.

“As a result of my singing that day, they offered me a two-year study and that really was the crunch.

“I was 28 then and I knew if I didn’t do it then, then I would never do it. If I left it any later then maybe people wouldn’t take me seriously.”

He added: “I’m very, very lucky to be doing what I’m doing because it is the best job in the world.

“You do need a bit of luck though.”

Convexsoft DJ Audio Mixer

2008-03-19T09:18:00.003+05:30

Size : 8.18 MB

OS: Windows 2000/XP

Freeware

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Work with two independent decks.
Pitch control on audio files.
Choose all interface elements color by yourself.
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Homepage

Bloggerwave - Bloggers Earn Some quick bux

2008-02-27T11:00:00.003+05:30

Bloggerwave presents bloggers with an opportunity to earn some money. how?

Well the blogger first of all has to register and start posting posts on the products and sites of the advertiser from the list of opportunities that you will assigned, and then you land up making some quick money. Minimun that you can earn is $1 and the maximum has no limit. So register all your blogs (maximum limit is 5 blogs) and try to grab some opportunity.

Singing Tutor 4.1.5

2008-02-12T13:53:00.000+05:30

Filesize: 1.31 MB
License: Shareware
Price: $19
Limitations: Free to Try
OS: Windows XP,Windows 2000,Windows 98,Windows Me,Windows NT
Requirements: IBM PC - 486, 300 MHz, RAM 16MB or more; Sound card (mono mode)
Homepage: http://www.vimas.com

Download

With Singing tutor you can: Improve your singing skill, tune musical instruments, measure voice tone, sing with mp3 song background and see your singing accuracy, listen your voice interpreted as a MIDI instrument. See the nearest music note to your voice tone. Sing some known melody, and Singing Tutor will show you how to play this melody with a piano or other keyboard instrument. Record and listen your own voice in wav format. Select several notes from the pitch range and test your singing in the selected diapason. Impartial Singing Tutor will help you to estimate your abilities and develop your singing skills. Singing Tutor idea is simple. Each note has a defined pitch frequency. The higher note has the higher frequency and vise versa. Singing Tutor allows to measure the pitch frequency of the voice or music, with high precision, and to compare it with pitch frequency of the reference note. Interesting fact: not everyone knows how to sing well. But peoples without musical training can not understand what is wrong. Among musicians it called by mysterious word - ear for music.

This "musical ear" provides some subculture divide everyone into people who have it not. Nevertheless, ear for music can be evolved. Actually musical ear is just an ability to distinguish sounds of close height. Singing Tutor is wonderful voice tone measurer. Its measure accuracy more than enough to discern sounds, which very close to each other. From that standpoint, he has a great musical ear. It immediately displays your voice tone, and the nearest musical note. So you can adjust your voice, making it slightly above or below. Also it can sing in harmony with you, playing nearest note your voice. In such a way Singing Tutor discover mystery musical ear. And giving you an excellent opportunity to learn sing better.

Star Baritone Discusses Singing As 'Cyrano' For Upcoming Opera Company Production

2008-02-10T16:34:00.000+05:30

By Lewis Whittington, The Bulletin

Philadelphia - When baritone Marian Pop was contemplating a career as a violinist in Romania, he so disliked the stage that he thought he would quit pursuing music performance as a career.

That was then. Now playing on opera stages and in concert halls around the world, the singer's stage jitters have vanished. "I love it," he said in an interview last week. He will get the chance to display that love and his cinematic stage presence while debuting as the title role in the Opera Company of Philadelphia's premiere of "Cyrano." His image as the prominently schnozzled hero adorns show banners along Broad Street.

The new opera, a coproduction of OCP and Michigan Opera Theatre, had a short world premiere in Detroit last fall. Based on Edmond Rostand's 1897 play "Cyrano de Bergerac," this ariatic version is the creation of composer David DiChiera, a founding director of MOT, and librettist Bernard Uzan, who is directing the production.

The story of Cyrano, renowned for his large, unironic proboscis, has remained one of the most enduring romantic characters around, and has been memorialized in several stage and screen productions, including Steve Martin's 1987 film, "Roxanne."

This is great raw material for opera: "Cyrano's problem is that he hates himself," says Mr. Pop. "Everybody who has a complex - you say that in English, yes? - develops other things to compensate."

Cyrano overcomes ridicule about his large nose by becoming a great swordfighter, writer and poet, but gets both physically hurt while swordfighting, and emotionally bruised as the hidden suitor of Roxane. He vicariously woos Roxane by writing her beautiful letters, used by her hopelessly tongue-tied suitor Christian to make her fall in love with him. But Christian is clueless about how to win her heart without Cyrano's letters, and Roxane has no idea that Cyrano is the author of the beautiful prose.

Mr. Pop, sounding a little gravely, dashed through a Friday morning downpour to grab a bite before rehearsal, and talk about what it takes to build a convincing Cyrano. He kicked back at the Cosi down the street from the Academy.

"This is very friendly and safe place," he said with a laugh, as things bang ominously in the background. "I love this city; it's a beautiful place, and I also have some relatives here. This opera house looks like the houses I am used to in Europe."

Between productions of "Cyrano," Mr. Pop did some freelance work, taking two months off to perform concerts in Romania's capital city and other locations in Europe.

"In Bucharest, I did 'The Barber of Seville,' because they had never heard me there. In St. Petersburg, I did 'Carmina Burana,'" he said. "It's great working with different people, artists, mentalities."

Originally from Cluj Napoca (Kloozh' Nah poh' kah) in Transylvania, the baritone has a silky Eastern European accent, and once even shot an opera film in the ruins of Castle Dracula.

While practicing for the heroic role last week, Mr. Pop bruised the back of his hand, but was relishing the thought of returning for more swashbuckling and the chance to sharpen the vocal subtleties of the role.

"Cyrano is fearless," said Mr. Pop, who says he like to consider how a character arrived at a certain point in his life, which affects how he expresses himself onstage. "I like to bring as much physical knowledge as possible to a part."

Soprano Evelyn Pollock will be joining Mr. Pop on stage as Roxane and Stephen Costello, an AVA graduate who made his debut at The Met in 2007, will play Christian. "Evelyn is an absolutely great singer, and Stephen is going to be one of our best tenors. I feel honored being around these great voices," said Mr. Pop.

Mr. Pop is looking forward to this stage of the opera's development. "In Detroit, we had to do everything from scratch -from nothing - and now we are much further. The main parts are big, [but] now we are pretty much ready for it," he said. "Our director wrote the libretto and knows it by heart. He communicates to us want he wants in an instant. We are lucky to have a director who knows language. He made a point from the very beginning that we would work together to develop these characters," said Mr. Pop.

"'Cyrano' is written in a romantic style, but musically it has a rhythmic element in the bars. It's one of the characteristics of David DiChiera's composing style," said Mr. Pop. "It keeps the singer awake and gives a spontaneity to the actors. It's more like a movie style, in the opera you expect when they are going to start the musicality. Here, it feels like the action of the character starts the music. It took me a while to realize this. I love that."

The Opera Company of Philadelphia's East Coast premiere of "Cyrano" opens at the Academy of Music Friday, and runs through Feb. 17. Tickets are $7.50 to $115, and can be purchased by calling 215 732-8400.

Lewis Whittington can be reached at lwhitti284@aol.com

The singing telegram at 75

2008-02-10T16:31:00.000+05:30

Although there is no record of the content of the inaugural message, today marks the 75th anniversary of singing telegrams, or musical telegrams as they were originally called, the first of which was delivered by the New York-based Postal Telegraph Company on Feb. 10, 1933.

A mid-Depression marketing ploy to make its messengers stand out from the competition's, the company hired musicians who would play appropriate music while recipients read their telegrams. Another motive behind musical telegrams was to supplant the public's association of telegrams with bad news -- the death of a loved one, for example -- with something more cheerful.

One of the most famous early telegrams was the first one ever delivered by Western Union, on July 28 of the same year. The story goes that a fan of singer Rudy Vallee sent him a birthday greeting telegram, and the company's public relations director, George P. Oslin, asked one of the operators, Lucille Lipps, to sing the message over the phone, to the tune of Happy Birthday to You. (The part about the original sender may be apocryphal, as some reports suggest that the whole idea originated with Oslin, who was allegedly a friend of Vallee's. Oslin's story became such legend, in fact, that he is often credited with inventing singing telegrams.) Oslin later recalled he "was angrily informed I was making a laughingstock of the company."

Yet singing telegrams, which were generally delivered in person, grew in popularity until the increasing prevalence of telephones in homes saw the novelty wear off.

In Canada, the singing telegram died around 1950, when Unitel Communications, the modern-day equivalent of Western Union, ceased sending them. Western Union halted its singing telegram service in the U.S. in 1974.

India Catholics set world record for 40 hour singing marathon

2008-02-04T16:44:00.000+05:30

Mangalore, India

Catholics in southwestern India have set a new world record by singing non-stop for 40 hours, UCA News reports.

Priests, religious, and laypeople started singing on January 27, managing to eclipse the previous 36-hour record set by a Brazilian Christian group in 2004.

The record-setters sang in the Konkani language, currently spoken by about 5 million people. The language is largely associated with Catholics on the southwestern coast of India.

Eric Ozario, founder of the Konkani cultural organization Mandd Sobhann, told that the aim of the project was to instill a sense of unity and solidarity among Kokani-speaking people. “We are a small community and Westernization is eating away our culture,” he said. The Konkani community could grow "only when it is united, culturally rooted and proud of its culture." Ozario said some Konkani-speaking Catholics have turned to an “English culture, forgetting their rich cultural roots.”

"Konkani language and our Catholic faith are linked to each other, and we cannot separate one from the other," Sister Juliet Lobo, a Queen of Apostles nun who helped conduct the performance.

Sister Lobo said about 1,700 singers in 44 groups sang continuously, with less than ten seconds between songs and between singing groups. While the singers mostly came from Catholic parishes in the Indian states of Goa, Maharashtra, and Kerala, some Konaki-speaking Catholics from Persian Gulf countries were also included.

They sang over 600 Christian hymns or faith-related songs. No song was repeated and no singer appeared more than once. The groups providing musical accompaniment changed every four hours.

Keith Pullin, an official from Guinness World Records, monitored the performance. He said he was "amazed by the discipline of the groups, their performance and the professionalism" of the event.

Father Ramesh Naik, a Mumbai parish priest who was the event’s chief patron, said the Konkani culture had played a major role in shaping faith and culture. “It has to be preserved,” he said.

Autisic student handcuffed for singing

2008-02-04T16:40:00.000+05:30

-SAN FRANCISCO, California (NBC)

The parents of an autistic San Jose, California sixth-grader are expressing outrage that their son was put in handcuffs because he would not leave a class.

Eleven year old Gunnar Moody said that it all started when he was singing a song while doing sit-ups in physical education class.

"She was like, 'Gunnar, you have to leave now.' I didn't do anything wrong. Why do I have to leave? Everyone else is being loud; why do I have to get in trouble?' Then she said it three more times and then she handcuffed me. And it was kind of humiliating because it was in front of all those kids and she was, like, picking me up and dragging me out," Gunnar said.

Gunnar's parents said, what happened at Bret Harte Middle School is unacceptable.

"The bottom line he's in phys ed. And all the kids are making noise yelling, screaming and talking and he gets singled out for going 'la-la-la?'" Michael Moody, Gunnar's father, said.

His mother, Laura Moody, asked a campus police officer if Gunnar had threatened anyone.

"I specifically asked the officer, 'did he threaten you?' She said no. I said, 'did he threaten any other child?' And she said no. I think there should be a better line drawn on what kind of force to use. And especially with children with disabilities," Laura Moody said.

A copy of Gunnar's behavior support plan outlines what to do if he misbehaves in school and does not include the use of physical force.

The San Jose Unified School District issued the following statement:

The officer's actions helped to maintain a safe atmosphere for the other 30 students in the class.

The use of restraints is extremely rare and would only be used when deemed absolutely necessary by the officer for the protection of the student and his other classmates.

Gunnar's parents plan to meet with school district leaders to talk about what happened.

Gunnar is suspended for three days.

Asked if he wants to go back to Bret Harte Middle School, Gunnar said, "No. Because the kids will like pick on me and stuff. Because of that happened."

36 Rules For Bands

2008-02-04T09:42:00.001+05:30

1. Never start a trio with a married couple.
2. Your manager's not helping you. Fire him/her.
3. Before you sign a record deal, look up the word "recoupable" in the dictionary.
4. No one cares who you've opened for.\
5. A string section does not make your songs sound any more "important".
6. If your band has gone through more than 4 bass players, it's time to break up.
7. When you talk on stage you are never funny.
8. If you sound like another band, don't act like you're unfamiliar with their music ("Oh does Rage Against The Machine also do rap-rock with political lyrics?")
9. Asking a crowd how they're doing is just amplified small talk. Don't do it.
10. Don't say your video's being played if it's only on the Austin Music Network.
11. When you sign to a major label, claim to have inked the best contract ever. Mention "artistic freedom" and "a guaranteed 3 record deal".
12. When you get dropped insist that it was the worst contract ever and you asked to be let go.
13.Never name a song after your band.
14. Never name your band after a song.
15. When a drummer brings in his own songs and asks to perform one of them, begin looking for a new drummer IMMEDIATELY.
16. Never enter a "battle of the bands" contest. If you do you're already a loser.
17. Learn to recognize scary word pairings: "rock opera", "white rapper", "blues jam", "swing band", "open mike", etc.
18. Drummers can take off their shirts or they can wear gloves, but not both.
19. Listen, either break it to your parents or we will; it's rock 'n' roll, not a soccer game. They've gotta stop coming to your shows.
20. It's not a "showcase". It's a gig that doesn't pay.
21. No one cares that you have a web site.
22. Getting a tattoo is like sewing platform shoes to your feet.
23. Don't hire a publicist.
24. Playing in San Marcos & Alpine doesn't mean you're on tour.
25. Don't join a cover band that plays Bush songs. In fact, don't join a cover band.
26. Although they come in different styles and colours, electric guitars all sound the same. Why do you keep changing them between songs?
27. Don't stop your set to ask that beers be brought up. That's what girlfriends/boyfriends are for.("and/or lead singers!" -Timbo)
28. If you use a smoke machine your music sucks.
29. We can tell the difference between a professionally produced album cover and one you made with the iMac your mom got for Christmas.
30. Remember, if blues solos are so difficult, why can so many 16 year olds play them?
31. If you ever take a publicity photo, destroy it. You may never know where or when it will turn up.
32. Cut your hair, but do not shave your head.
33. Pierce your nose, but not your eyebrow.
34. Do not wear shorts onstage. Or a suit. Or a hat.
35. Rock oxymorons; "major label interest", "demo deal"," blues genius", "$500 guarantee", and "Fastball's second hit".
36. 3 things that are never coming back: a)gongs, b)headbands, and c)playing slide guitar with a beer bottle.

So, how many have YOU broken?

Let There Be Bass

2008-02-04T09:40:00.000+05:30

In the beginning there was a bass. It was a Fender, probably a Precision, but it could have been a Jazz - nobody knows. Anyway, it was very old ... definitely pre-C.B.S.

And God looked down upon it and saw that it was good. He saw that it was very good in fact, and couldn't be improved on at all (though men would later try.) And so He let it be and He created a man to play the bass.

And lo the man looked upon the bass, which was a beautiful 'sunburst', and he loved it. He played upon the open E string and the note rang through the earth and reverberated throughout the firmaments (thus reverb came to be.) And it was good. And God heard that it was good and He smiled at his handiwork.

Then in the course of time, the man came to slap upon the bass. And lo it was funky.

And God heard this funkiness and He said, "Go man, go." And it was good.

And more time passed, and, having little else to do, the man came to practice upon the bass. And lo, the man came to have upon him a great set of chops. And he did play faster and faster until the notes rippled like a breeze through the heavens.

And God heard this sound which sounded something like the wind, which He had created earlier. It also sounded something like the movement of furniture, which He hadn't even created yet, and He was not so pleased. And He spoke to the man, saying "Don't do that!"

Now the man heard the voice of God, but he was so excited about his new ability that he slapped upon the bass a blizzard of funky notes. And the heavens shook with the sound, and the Angels ran about in confusion. (Some of the Angels started to dance, but that's another story.)

And God heard this - how could He miss it - and lo He became Bugged. And He spoke to the man, and He said, "Listen man, if I wanted Jimi Hendrix I would have created the guitar. Stick to the bass parts."

And the man heard the voice of God, and he knew not to mess with it. But now he had upon him a passion for playing fast and high. The man took the frets off of the bass which God had created. And the man did slide his fingers upon the fretless fingerboard and play melodies high upon the neck. And, in his excitement, the man did forget the commandment of the Lord, and he played a frenzy of high melodies and blindingly fast licks. And the heavens rocked with the assault and the earth shook, rattled and rolled.

Now God's wrath was great. And His voice was thunder as He spoke to the man.

And He said, "O.K. for you, pal. You have not heeded My word. Lo, I shall create a soprano saxophone and it shall play higher than you can even think of."

"And from out of the chaos I shall bring forth the drums. And they shall play so many notes thine head shall ache, and I shall make you to always stand next to the drummer."

"You think you're loud? I shall create a stack of Marshall guitar amps to make thine ears bleed. And I shall send down upon the earth other instruments, and lo, they shall all be able to play higher and faster than the bass."

"And for all the days of man, your curse shall be this; that all the other musicians shall look to you, the bass player, for the low notes. And if you play too high or fast all the other musicians shall say "Wow" but really they shall hate it. And they shall tell you you're ready for your solo career, and find other bass players for their bands. And for all your days if you want to play your fancy licks you shall have to sneak them in like a thief in the night."

"And if you finally do get to play a solo, everyone shall leave the bandstand and go to the bar for a drink."

And it was so.

Funny video clips

2008-02-03T18:49:00.000+05:30

If you like watching funny videos on Youtube.com then why not come to the newest hit video downloading site. It’s a completely free to use website and it has the most amazing and funniest Youtube.com videos offered on it. You can choose to just view the videos, but you have the option to download any of the videos as well. Downloading the videos means you will have access to using it for your site and showing all you’re friends. This is a great idea and it should be interesting to see how this site progresses.

So far they seem to be adding daily content which is great and I hope they keep the good work up as I’m using them as a resource for funny quotes.

Some More Tips

2008-02-02T13:30:00.001+05:30

I've met a flood of people recently who are keen in learning singing tips, tricks and techniques that will help improve their quality of singing. The truth is, most people don't want to 'learn' anything. They want a quick fix. They want instant gratification. Something that will instantaneously transform their vocal abilities into what they envision only in their dreams.

Now don't get me wrong ...dreams are a good thing. We all need something to strive for. After all, it's all about passion. But we have to start somewhere. We have to do a little bit of the 'right stuff' everyday to then eventually see our progress.

Singing is like a musical extension of your natural speaking voice. The only difference is, you gotta' learn some techniques which will allow you to a) not damage your vocal chords ...and b) to sing the best you possibly can.

This is regardless whether you're trying to be the next Whitney Houston ...or if you're simply tyring to get to the next level.

*Breath Control*

You shouldn't be taking in gulps of air when you're singing. This is the wrong approach. Take 'sips' instead. Take what is required - a sufficient amount of air. There is nothing worse then feeling giddy because you're taking unnecessary deep breaths.

Also, don't hold your breath when singing.... EVER. This only wastes energy - which you could use on things like performance and tone control.

Use Tone Control

Forcing out notes to make them sound louder is a common mistake amongst aspiring singers. What you should aim to do is use (what we call) 'vocal resonance'.

Stay with me here.

Don't get put off by the term 'resonance'. All this means is that we can use certain parts of our upper body to amplify (ie. make louder or richer) our singing tone.

So, for example we can use our chest to amplify a lower notes for a more robust sound. Or, we can use our head to reinforce the more higher or 'nasal' sound.

As you aim to sing higher, try to use your head to create a bigger sound. As you go for a more lower sound, try to use your chest to make that sound richer.

Forget About Increasing Your Vocal Range Initially - Strengthen it!

Ah, I think the most common misconception is that you can improve your vocal range by another octave (ie. 8 notes). This is rarely the case. The truth is generally most people who take singing lessons will not drastically increase their vocal range. They may get an extra two or three notes, but usually this won't change much.

BUT, this should NOT be your focus.

Your focus should be to actually strengthen the voice across it's 'whole range' ...from the lowest notes to the highest notes.

Quite often people will use the 'middle' of their vocal range completely neglecting the lower or the higher parts. They're blissfully unaware that there is another world of 'notes' to be discovered! And it's these notes that we can work on... thus strengthening your entire vocal range. Not just the middle part.

The Priest Joke

2008-02-02T13:23:00.000+05:30

Created by nebuchadnezzar

This is the most vicious shaggy dog story I've ever heard. I nearly killed a man over this. Use with caution, and more importantly, on people smaller than you.

A man is driving down a deserted country road when his car suddenly breaks down. He gets out and starts walking until he encounters a monastery. He knocks on the door and is let in by a little old priest. The priest takes the man in, giving him a place to stay for the night.

As the man is lying in his bed, he suddenly hears beautiful singing. It is the most beautiful sound he had ever heard, and it is emanating from somewhere within the monastery. He gets out of bed and searches the monastery for the rest of the night, but with no luck.

In the morning, as he is leaving the monastery, he asks the old priest, "What was the source of that beautiful singing? I searched for it all night but couldn't find it. Please tell me, I have to know!"

The priest responds, "I can't tell you that--you're not a priest."

Finding the source of the beautiful sound becomes the man's obsession, and so he decides to become a priest. He goes to a seminary and studies for years and years in order to become a priest. Finally, on the day he is ordained, he drives full speed back to the monastery. He knocks on the door and the old priest answers.

The man says to the old priest, "Now that I'm a priest, can you tell me the source of that beautiful singing?"

The old priest says, "Yes, take this key. The source is behind that door."

So the man unlocks the door and sees before him--an immense staircase, leading up so high he can't see the top, and so steep it's almost impossible to climb. So he starts climbing the staircase, he almost trips, he almost falls, he almost trips, he almost falls, and he finally gets to the top, where he finds a door--and it's locked. So he climbs back down the staircase, he almost falls, he almost trips, he almost falls, he almost trips, and he says to the old priest, "There's a door up there, and it's locked. Can I have the key?"

And the old priest says, "Of course! I forgot. Here is the key."

So the man climbs the staircase, he almost trips, he almost falls, he almost trips, he almost falls, he comes to the door, unlocks it, opens it, and sees before him--a vast forest. So he starts crossing the forest, he almost gets eaten by bears, he almost gets bitten by wolves, and he finally gets to the end of the forest where he finds a door--and it's locked. So he goes back through the forest, he almost gets bitten by wolves, he almost gets eaten by bears, he goes back down the staircase, he almost falls, he almost trips, he almost falls, he almost trips, and he says to the old priest, "There's a door up there, and it's locked. Can I have the key?"

And the old priest says, "Of course! I forgot. Here is the key."

So the man climbs the staircase, he almost trips, he almost falls, he almost trips, he almost falls, he crosses the forest, he almost gets eaten by bears, he almost gets bitten by wolves, he comes to the door, unlocks it, opens it, and sees before him--a huge ocean. So he goes back into the forest and collects some wood to make a raft. He gets on his raft and starts crossing the sea, he almost gets eaten by sharks, he almost gets stung by jellyfish, he almost DROWNS, and he finally gets to the other side of the ocean where he finds a door--and it's locked. So he goes back across the ocean, he almost DROWNS, he almost gets stung by jellyfish, he almost gets eaten by sharks, he goes back through the forest, he almost gets bitten by wolves, he almost gets eaten by bears, he goes back down the staircase, he almost falls, he almost trips, he almost falls, he almost trips, and he says to the old priest, "There's a door up there, and it's locked. Can I have the key?"

And the old priest says, "Of course! I forgot. Here is the key."

So the man climbs the staircase, he almost trips, he almost falls, he almost trips, he almost falls, he crosses the forest, he almost gets eaten by bears, he almost gets bitten by wolves, he gets on his raft and crosses the sea, he almost gets eaten by sharks, he almost gets stung by jellyfish, he almost DROWNS, he comes to the door, unlocks it, opens it, and sees before him--a huge desert. So he starts crossing the desert, he has to walk through sandstorms, he almost dies of thirst, and he finally gets to the end of the desert where he finds a door--and it's locked. So he goes back across the desert, he almost dies of thirst, he has to walk through sandstorms, he goes back across the ocean, he almost DROWNS, he almost gets stung by jellyfish, he almost gets eaten by sharks, he goes back through the forest, he almost gets bitten by wolves, he almost gets eaten by bears, he goes back down the staircase, he almost falls, he almost trips, he almost falls, he almost trips, and he says to the old priest, "There's a door up there, and it's locked. Can I have the key?"

And the old priest says, "Of course! I forgot. Here is the key."

So the man climbs the staircase, he almost trips, he almost falls, he almost trips, he almost falls, he crosses the forest, he almost gets eaten by bears, he almost gets bitten by wolves, he gets on his raft and crosses the sea, he almost gets eaten by sharks, he almost gets stung by jellyfish, he almost DROWNS, he crosses the desert, he has to walk through sandstorms, he almost dies of thirst, he comes to the door, unlocks it, opens it, and sees before him--an immense mountain. So he starts climbing the mountain, he almost gets crushed by avalanches, he almost FALLS OFF, and he finally gets to the top of the mountain where he finds a little hut. He can hear the beautiful singing coming from the hut right in front of him--but the door is locked. So he goes back down the mountain, he almost FALLS OFF, he almost gets crushed by avalanches, he goes back across the desert, he almost dies of thirst, he has to walk through sandstorms, he goes back across the ocean, he almost DROWNS, he almost gets stung by jellyfish, he almost gets eaten by sharks, he goes back through the forest, he almost gets bitten by wolves, he almost gets eaten by bears, he goes back down the staircase, he almost falls, he almost trips, he almost falls, he almost trips, and he says to the old priest, "There's a hut up there with the source of that beautiful sound in it, but it's locked. PLEASE, can I have the key?"

And the old priest says, "Of course! I forgot. Here is the key."

So the man climbs the staircase, he almost trips, he almost falls, he almost trips, he almost falls, he crosses the forest, he almost gets eaten by bears, he almost gets bitten by wolves, he gets on his raft and crosses the sea, he almost gets eaten by sharks, he almost gets stung by jellyfish, he almost DROWNS, he crosses the desert, he has to walk through sandstorms, he almost dies of thirst, he comes to the door, unlocks it, opens it, and sees before him--an immense mountain. So he starts climbing the mountain, he almost gets crushed by avalanches, he almost FALLS OFF, and he finally gets to the top of the mountain where he finds a little hut. The can hear the beautiful singing coming from the hut right in front of him. He puts the key in the lock, turns it, opens the door, and there in front of him is the source of the singing.

Now pause and wait for your audience to ask: "WHAT WAS IT?"

I can't tell you that--you're not a priest!

(Now run like hell.)

PSP Video Converter

2008-02-02T11:38:00.000+05:30

Size : 6.96 MB

OS : Windows XP/Vista

Freeware

PSP Video Converter lets you convert all your videos to your PSP. With this FREE tool you can convert all your videos into high-res MP4 (MPEG4 AVC) files, add your own subtitles with any font, color and size you want, tweak the image into perfection, add jobs to queue for multiple video conversions, download videos straight from popular video sites. Cut or select parts from the video, generate preview-clips before converting the whole video.

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Italian Tenor Pier Miranda Ferraro Dies

2008-01-19T11:29:00.000+05:30

ROME (AP) — Pier Miranda Ferraro, an Italian tenor who sang in the 1960s and 1970s and was noted for his interpretation of Giuseppe Verdi's "Otello," died on Friday the 18th Of January 2008 at his home in Milan, family members said. He was 83.

Damiano Beltotto said his grandfather died of cardiac arrest in his sleep.

The singer was born Pietro Ferraro in 1924 in Altivole in northeast Italy. He took the stage name Pier Miranda Ferraro, borrowing the middle name from his wife's name.

Ferraro made his debut at Milan's La Scala opera house in 1951 and last performed there in 1972, family members said.

He sang on the stages of Covent Garden in London and the Vienna State Opera, as well as in operas performed in South America.

His last stage performance was in 1981 in the northern Italian town of Lecco in a production of "Otello."

In 1985, Ferraro founded a management agency for opera singers, conductors, directors and other opera professionals. Ferraro's daughter Beatrice is among those who run the Milan-based agency.

The singer is survived by his wife, four children and 16 grandchildren. A funeral was scheduled for Monday in a Milan church.

Free Audio Dub

2008-01-18T00:24:00.000+05:30

Size : 6.84MB
Os : Windows 9x
Freeware

Free Audio Dub is an audio editing application that lets you delete unwanted parts from audio files without re-encoding. It does this without losing the original sound quality (i.e. lossless conversion).

It supports the following audio formats: MP3, WAV, AAC, AC3, M4A, MP2, OGG, WMA .

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PhotoRazor

2008-01-18T00:17:00.000+05:30

Version : 2.1

Size : 933 Kb
Os : Windows (All)
Freeware

Modern digital cameras capture photos that could be many megapixels in size. These are great for high quality printing, but quite big to email to friends and family, and for displaying on websites as well.

PhotoRazor solves this issue by making high-quality copies of your photos in a smaller size that is ideal for on-screen viewing. The utility reduces the file-size of photos, making it much easier to share them with other people.

Its features are:

* Easy to use: resize whole folders of photos at the click of a button.
* Realtime preview: adjust the size & quality and see the result before processing.
* Non-destructive: saves the small photos to a separate folder so that your originals remain untouched.

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Singing Bird

2008-01-18T00:06:00.000+05:30

While extolling the virtues of PETCRAFT to a pet shop owner in Manhattan, a elderly woman burst into the store. "I want to buy a canary, but it's got to be a good singer. I've got good, hard U.S. cash, but I'm only paying for a good singer."

The shop owner began moving a ladder towards a small cage on a shelf about fifteen feet up, near the ceiling of the store. "Ma'am, I'm forty years in this business. In that cage is the best singer I've ever seen."

"Don't think I'm gonna feel obligated to pay for something I don't want just because you're climbing up a ladder like a monkey. I want a canary but it's got to be a good singer."

By this point the shop keeper was coming down from the ladder. "Ma'am, this bird is a veritable feathered Caruso!" Placing the cage on the counter, the bird burst into melody after melody.

Awed the woman murmured, "This bird is a good singer." Suddenly in a shrill scream, "Hey, this bird's only got one leg."

The pet store owner was unperturbed, "Lady what do you want a singer or a dancer?"

Express Rip

2007-09-19T16:13:00.000+05:30

Size : 334KB

Operating System : Windows (All)

Freeware

Express Rip lets you extract digital audio tracks directly from audio CDs to either Wave (wav), or MPEG Layer-3 (mp3) files on your hard-drive. By using direct digital extraction, pure audio quality is maintained, and the process is very fast.

Features:

* Converts audio CD tracks to wav or mp3 files.

* Quality CD digital audio extraction (ripping).

* Fastest free CD Ripper available.

* Complete control over mp3 encoding including Constant and Variable modes at selectable bit-rates.

* Automatically updates the displayed track-list when a CD is ejected ot inserted.

* Ability to rename tracks prior to loading.

* Simple, easy to use interface.

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Audio Tagging Tools

2007-09-19T16:06:00.000+05:30

Size : 1.56MB

Operating System : Windows XP/Vista

Freeware

Audio Tagging Tools can be used to modify id3v1, id3v2, and file specifix tag formats. It supports audio formats like mp3, wma, ogg, vqf; and playlist formats like m3u, pls and wpl, and even filetypes like html, csv, rtf, and many more can be used for output. Audio Tagging Tools will automatically create title numbers, clean filenames or tags for you. Features like filters, filename cleaning, tag generator, tag editor, filename creator, output templates, a powerful script engine and many more will help you organizing your files.

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Wedding Band Requests

2007-09-17T09:37:00.000+05:30

Dear Bandleader thank you for your letter. I really do think you have anattitude problem and do want a few requests played if you don't mind. Whatme and my wife were thinking was:

-Any Keith Jarrett composition from his solo series. Please arrange forfull ensemble and nothing in 4/4 please.

-Mahavishnu Orchestra, Dance of the Maya and please have the guitar playerplay John Mcglaughlin's solo from the live performance Nov. 16, 1972 atChrysler Arena. My wife and I were at that show and particularly liked hisuse of polyrhythmics. If you find it too difficult you can leave out thefeedback. Your choice.

-John Coltrane's duets with Pharaoh Sanders. I understand that their use ofatonality is not everyone's cup of tea, but my guests are usually fond ofhigh register tenor saxes.

-We thought a little Stravinsky would be nice. We particularly like theRite of Spring. If you want to use the sheet music it's OK. My husbandlikes it about 1/4 note = 93 beats per minute.

-Then for the candle lighting ceremony, please learn Frank Zappa's "TheGreat Wazoo". If you want to play it in the originally B flat, that wouldbe OK. And yes, cousin Jeannie does want to sing the baritone sax solo.Please don't say no, it would hurt her feelings so.

-Finally we have built our own musical instruments (It's kind of a hobbywith us) and we would appreciate if you would use our instruments. None ofthem are based upon a 12 tone scale or on common harmonics, but our 5 yearold son tells us it's not really that hard to transpose once you understandthe physics.

We would be happy to pay each member an extra $25 for any inconvenience.Thank you and don't be late!

Mr. and Mrs. Snovly

Difference - Jokes

2007-09-17T09:36:00.000+05:30

What's the difference between an oboe and an onion?
No one cries when you chop up an oboe.

What's the difference between a bassoon and a trampoline?
You take off your shoes when you jump on a trampoline.

"Mommy! Mommy! When I grow up I want to be a guitar player!"
"Now Johnny, you can't do both!"

Why did the chicken cross the road?
To get away from the bassoon recital.

A trombone player and an accordion player are playing a New Years's eve gig at a local club.. The place is packed and everybody is absolutely loving the music .. shortly after midnight, the club owner comes up to the duo and says, "You guys sound great .. everybody loves you .. I'd like to know if the two of you are free to come back here next New Year's eve to play ?? ...
The two musicians look at each other then to the club owner .. and the trombone player says "Sure .. we'd love to .. Is it OK if we leave our stuff here ??"

Why do clarinetists leave their cases on the dashboard?
So they can park in the handicapped zones.

What is "perfect pitch?"
When you lob a clarinet into a toilet without hitting the rim.

What's the definition of a nerd?
Someone who owns his own alto clarinet.

What do you call a bass clarinetist with half a brain?
Gifted.

What's the difference between a lawn mower and a soprano sax?
You can tune a lawn mower, and the neighbors are upset if you borrow a lawn mower and don't return it.

If you were lost in the woods, who would you trust for directions: an in-tune tenor sax player, an out of tune tenor sax player, or Santa Claus? The out of tune tenor sax player. The other two indicate you are hallucinating.

How do you make a chain saw sound like a baritone sax?
Add vibrato.

How many trumpet players does it take to change a lightbulb?
Five: one to handle the bulb, and the other four to tell him how much better they could've done it.

What do a vacuum cleaner and an electric guitar have in common ?
Both suck when you plug them in

How many lead guitarists does it take to change a light bulb ?
None...they just steal somebody else's light

What do you say to a guitar player in a 3-piece suit ?
"Will the defendant please rise ..."

Two guys were walking down the street ...one was destitute ...
the other was a guitar player as well ..

How is an orgasm like a drum solo?
You can tell it's coming but there's no way to stop it.

What do call a successful musician?
A guy whose wife/girlfriend has 2 jobs.

Saint Peter is checking in new arrivals in heaven

2007-09-17T09:35:00.000+05:30

"What did you do on Earth?"
"I was a surgeon. I helped the lame to walk."
"Well, go right on in through the Pearly Gates"

"What did you do on Earth?"
"I was a school teacher. I taught the blind to see."
"Fine .. go right on in through the Pearly Gates!"

"What did you do on Earth?"
"I was a musician. I helped make sad people happy."
"You can load in through the kitchen."

Musician Jokes

2007-09-17T09:34:00.000+05:30

How do you get two piccolo players to play in perfect unison?
Shoot one.

What's the difference between a fiddle and a violin ?
Who cares - neither one's a guitar

How do you know when the stage is level ?
The drummer is drooling out of both sides of his mouth ..

Did you hear about the guitarist who was in tune ?
Neither did I

Why are so many guitarists jokes one liners ?
So the rest of the band can understand them

What do you call a guitarist who breaks up with his girlfriend ?
Homeless ..

What's the definition of a minor second?
Two oboists playing in perfect unison.

How do you get a guitar player off of your front porch ?
Pay for the pizza.

How many guitar players does it take to cover a Stevie Ray Vaughn tune ?
Evidently all of them.

What do you do if your bassist is drowning?
Throw him his amp.

Trombonist's Dictionary

2007-09-17T09:28:00.000+05:30

alto trombone - n. A very weak tenor trombone.
bass trombone - n.1-Several mutually exclusive instruments hooked together by an ingenious set of tubes, rotors, levers and valves. Capable of very loud, very rude noises accompanied by a percussive symphony of mechanical clanks, squeaks, squawks and whistles.2-The lead trumpet of the trombone family.
bass trombonist - n. The one in the section who couldn't develop any high range whatsoever as a young player and is now getting even by drowning everyone else out whenever he gets a chance.
bass trumpet - n. An instrument that combines all the worst features of the trumpet and the trombone.
conductor - n. One who has accepted the fact that he cannot play but has NOT accepted the reasons why.
contractor - n. Someone who cannot play, does not know it, but thinks he knows how OTHER people play.
doodle tongue - n. A rapid tonguing style that is too weak.
double tongue - n. A rapid tonguing style that is too strong.
embouchure - n. An ad hoc and ephemeral arrangement of the tissues of the face designed to allow a trombonist to play a desired note. Some players claim to have only one. They are the ones who can only play one note.
flexibility - n. A talent best left to gymnasts and contortionists.
fortissimo - adj. A trombonist's mezzo-piano.
free jazz - n. Jazz for which no one will pay any money.
F trigger-abbreviation - Originally used when the first one failed in the middle of a concert and the player was overheard to say "F*!@ing trigger as he tried to make it work.
gig bag - n. A container designed to collect and hold dents.
high range - n. The range above where you can comfortably play.
jazz club - n. A place where people pay a lot of money not to listen to jazz, most of which does not go to the musicians to whom they are not listening.
jazz festival - n. A place where people pay a lot of money not to listen to music that is not jazz in the first place.
jazz trombone - n. (also called peashooter, slipstick, small bore horn, and primitive blow stick) Any trombone that sounds bad below middle Bb and shrill above middle C.
lead trombonist - n. (also referred to as principal trombonist) The one in the section w/the worst middle and low range.
legato - adj. A style of playing midway between glissando and staccato. Rarely achieved on the slide trombone.
low range - n.1 - The ugly part.2 - The clumsy part.3 - The range below where you can comfortably play.
microphone - n. A mechanical device designed to collect and amplify the least pleasing 5% of the sound of a trombone.
middle range - n.
1 - The range in which you can be sure not to miss notes. Usually less than a minor third.
2 - The range in which you run out of excuses.
mouthpiece - n. A convenient excuse for missed notes.
mute - n. A device designed to render the already largely ignored trombone completely inaudible.
no pressure system - n. A way of playing the trombone that lets lots of air escape from around the rim of the mouthpiece.
orchestral trombone -n.
1 - Originally a medium sized horn used primarily in support of the woodwinds and strings.
2 - In contemporary times, a gigantic horn used primarily to drown out the woodwinds and strings.
3 - Also contemporarily, any trombone that is too large on which to comfortably play the trombone solo in Ravel's "Bolero".
pianissimo - adj. No definition available in a trombone dictionary.
pitch - n. What all the other instruments do not have.
rubato - adj. What most conductors consider a steady tempo.
second trombonist - n. The one in the section who can play well neither high not low.
single tongue - n. A rapid tonguing style that does not work.
solo - n. Something played by everyone but trombonists.
spit valve - n. A device invented to torture people who sit in front of trombonists.
staccato - adj., n. Notes short enough that you can't hear the slide glissando that occurs between them.
string players - n. The ones with the earplugs. (Also saxophonists in jazz big band situations.)
tenor trombone - n. A trombone that is neither capable of being played high enough or low enough to be easily heard.
trombone - n. a manually operated air driven pitch approximator.
1 - A puzzle in the shape of a brass instrument designed to totally defeat whomever is foolish enough to try to solve it.
2 - A brass instrument that is most often used as camouflage and support for bad trumpet and french horn players.
3 - The interior lineman in the game of music.
valve trombone - n.
1 - An oxymoron.
2 - A trombone for people with short arms, a weak tongue, bad pitch and/or little or no hand/eye/ear coordination.

Musician Jokes

2007-09-11T09:28:00.001+05:30

A guitar player and a drummer are walking down the street.
They walk past this bar.............................. well, it could happen.

Q: What's the definiton of Perfect Pitch?
A: When you toss a banjo into a dumpster and it hits an accordion.

Q: How do you know when there's a harmonica player at the door?
A: He doesn't have the key, he just comes in whenever the hell he feels like it.

Q: What do you call a drummer without a girlfriend?
A: Homeless!

Q: What do you call 1,695 violins at the bottom of the ocean?
A: A good start!

Bad Singing - Joke

2007-09-11T09:27:00.000+05:30

Miranda likes to sing, and whenever she begins, her husband heads outside.
Hurt and a little dejected, she asked him, "Don't you like my singing?"

"Of course, Dear," he replied. "I just want to make sure the neighbors know I'm not beating you."

Vocal jokes

2007-09-11T09:25:00.001+05:30

Q: How do you tell when your lead singer is at the door?
A: He can't find the key and doesn't know when to come in.

Q: What is the difference between a Wagnerian soprano and an All-Pro offensive lineman?
A: Stage makeup.

Q: How many lead singers does it take to change a light bulb?
A: One. He holds the bulb while the world revolves around him.

Q: What is the difference between a soprano and a Porsche?
A: Most musicians have never been inside a Porsche.

Q: Did you hear about the female opera singer who had quite a range at the lower end of the scale.
A: She was known as the deep C diva.

Q: What is the missing link between the bass and the ape?
A: The baritone.

Q: What is the difference between a Wagnerian soprano and a Wagnerian Tenor?
A: About 10 pounds.

Q: How can you tell when a tenor is really stupid?
A: When the other tenors notice.

Ever hear the one about the tenor who was so off-key that even the other tenors could tell?

Q: How many tenors does it take to change a light bulb?
A: Six. One to do it, and five to say, "It's too high for him."

Q: What's the inscription on dead blues-singers tombstones?
A: "I didn't wake up this morning..."

Person 1: It must be terrible for an opera singer to realize that he can never sing again.
Person 2: Yes, but it's much more terrible if he doesn't realize it.

Q: Dad, why do the singers rock left and right while performing on stage?
A: Because, son, it is more difficult to hit a moving target.

Q: Mom, why do you always stand by the window when I practice for my singing lessons?
A: I don't want the neighbours to think I'm employing corporal punishment, dear.

Q: How many altos does it take to change a light bulb?
A: None. They can't get up that high.

Q: How many lead singers does it take to change a light bulb?
A: None. Get the drummer to do it.

Opera is when a guy gets stabbed in the back and, instead of bleeding, he sings.
This must be heaven
So this trumpet player dies. When he reaches is everlasting reward, the guy in the robe says, "You're going to spend eternity with this combo, okay? There's a bass player named 'Mingus' and a pianist named 'Monk', and any day now we expect this 'Blakey' guy to show up with his drums.

"Wow!" the guy says, "I never imagined heaven would be this good."

The man in the robe says, "This is hell, not heaven. There's a girl singer."
A Choristers' Guide To Keeping Conductors In Line
The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upmanship. The following rules are intended as guides to the development of habits which will promote the proper type of relationship between singer and conductor.

1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.

2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.

3. Bury your head in the music just before cues.

4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.

5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.

6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.

7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.

8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.

9. Look at your watch frequently. Shake it in disbelief occasionally.

10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.

11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.

12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".

13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"

14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.

15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.

Make every effort to take the attention away from the podium and put it on you, where it belongs!
The amazing conductor
When a young hotshot conductor was making his debut at the Met, he showed the jaded and skeptical orchestra how well he knew the music by singing all parts of the Lucia sextet during rehearsal.

Afterwards, one musician was overheard whispering to the other, impressed, "Well, this kid really knows his stuff!"

The other replied, "I don't think he is so hot. Did you notice how flat his high E was at the end?"
Arriving at Heaven
A soprano died and went to Heaven. St. Peter stopped her at the gate asking, "Well, how many false notes did you sing in your life?"

The soprano answers, "Three."

"Three times, fellows!" says Pete, and along comes an angel and sticks the soprano three times with a needle.

"Ow! What was that for?" asks the soprano.

Pete explains, "Here in heaven, we stick you once for each false note you've sung down on Earth."

"Oh," says the soprano, and is just about to step through the gates when she suddenly hears a horrible screaming from behind a door. "Oh my goodness, what is that?" asks the soprano, horrified.

"Oh," says Pete, "that's a tenor we got some time back. He's just about to start his third week in the sewing machine."
Operas that never made it
Britten: A Midsummer Nightmare.
Mozart: The Magic Tuba.
Puccini: La Bamba.
Rossini: The Plumber of Seville.
Verdi: Rigatoni.

The tenor of all times

2007-09-09T19:53:00.000+05:30

On July 16, 1994, the eve of the World Cup final, television stations broadcast The Three Tenors in concert at Los Angeles to 1.3 billion viewers across the globe. Soccer fans the world over listened with rapt attention as the triumvirate of Luciano Pavarotti, Plácido Domingo and José Carreras brewed great classical arias with timeless Hollywood classics. Most viewers, at least outside the Western hemisphere, were listening to the tenors for the first time. The music was unusual, but the powerful delivery of exquisite melodies made a compelling impression. One tenor stood out in superlative extremes. Fat and rotund, Pavarotti cut out the least handsome figure. But from deep within his massive chest emerged a distinctive, very rich timbre. The incomprehension of the lyrics was subsumed under the angelic nature of his voice. For intent listeners, Pavarotti was an otherworldly experience. Such talent occurs once in decades. It must have been god-sent. Even atheists generally bow to this incredible assertion when it comes to Pavarotti.

One realises the import of the assertion when one considers that Pavarotti's main rival, the fastidious Domingo, is among the greatest of tenors himself, outmatching Pavarotti in acting prowess, theory, rigour and repertoire. But just one aspect makes Pavarotti, Pavarotti. The voice. Even someone listening to an operatic aria for the first time can distinguish between Pavarotti's voice and that of other tenors. This cannot be said of any other tenor.

Leading the tributes to Pavarotti, who passed away on Thursday, Domingo said: "I always admired his divine voice, with its unmistakable timbre and complete vocal range." The vocal range of a tenor - the highest male voice naturally possible without the employment of falsetto - generally starts from a pitch or two below C3, covers C4 (known as middle C after its positioning roughly in the middle of a piano keyboard) and ends two octaves above in C5, called tenor C or the 'high C'. (For a soprano, the highest female singing voice, the 'high C' is two octaves above C4 at C6.)

Hitting the high C is supremely demanding. Even the best of tenors avoid venturing into such a high register without assiduous preparation. But Pavarotti glided through easily. At New York's Metropolitan Opera on February 17, 1972, in the defining moment of his career, he effortlessly and in quick succession hit nine high Cs in 'Ah! Mes Amis', the signature aria of Donizetti's 'La fille du régiment'. The challenging aria is often called the 'Mount Everest' for tenors. The Met's audience was in raptures and gave Pavarotti a 15-minute standing ovation and 10 curtain calls. A curtain call is the courteous reappearance of a performer on stage following the prolonged applause of the audience. (Incidentally, Pavarotti holds the record of most curtain calls for any artist, at 165). After the Met performance he came to be called the 'King of the High Cs'.

Pavarotti, a huge fan of Juventus football club, stormed into popular consciousness at the 1990 football World Cup final in Rome, when The Three Tenors sang the aria 'Nessun Dorma' (No One Sleeps) - the 1990 Cup anthem - from Puccini's 'Turandot'. With a delivery laden with heightened emotion, he sustained a top B through the last word 'vincero' (I will win) for 11 seconds. This, at a time when the critics had started carping and were writing him off.

For critics, Pavarotti had ceased being a great tenor by the turn of the 80s. They said he was descending into diva tantrums rather than reaching high registers. Among such tantrums was the demand he once made for a kitchen to be built into his hotel suite. More serious were his frequent last minute cancellations of appearances at sold-out venues with tickets priced as high as $1,800. Once he got into a scandal when he was caught lip-syncing at a performance.

For the rest of the world, Pavarotti the phenomenon had just begun. The Three Tenors went on to give several high voltage performances with a repertoire that included pop hits. From being an ivory tower pursuit, operatic arias were rivalling rock acts at stadiums and big open-air venues. Pavarotti went a step further, collaborating with pop star friends for charity concerts at Modena, his hometown in Italy. Such forays were not to the liking of high-minded purists, who heaped scorn and poured disdain on Pavarotti for belittling classical music. But the tenor couldn't care less. "Some say the word 'pop' is derogatory and means 'not important'- I do not accept that," Pavarotti told a British newspaper three years ago. "If the word 'classical' is the word to mean 'boring', I do not accept that either. There is (just) good and bad music," he said.

50,000 watch final curtain call for Pavarotti

2007-09-09T19:52:00.000+05:30

MODENA (ITALY): Music and film stars joined top political figures and tens of thousands of tearful fans to honour opera legend Luciano Pavarotti at his funeral on Saturday.

About 800 family, friends and special guests heard special tributes to the venerated tenor from Pope Benedict XVI during a mass at the cathedral in his hometown of Modena. Pavarotti died on Thursday aged 71.

Among mourners were Italian Prime Minister Romano Prodi, former UN secretary general Kofi Annan, U2 rock star Bono and Italian film director Franco Zeffirelli.

Another 50,000 people watched the funeral on two giant screens set up in the main square outside the cathedral, according to Modena authorities.

Pavarotti's second wife Nicoletta Mantovani sat in front of the white maple coffin, which was covered in sunflowers, for the service. She watched in tears as the coffin was taken for a private burial in a family vault just outside Modena.

The event was virtually a state funeral. As the coffin left the cathedral, 10 planes from the Italian air force's aerobatic team flew over leaving a trail of smoke in the national colours - green, white and red.

"It's a special performance normally reserved for state funerals," team commander Massimo Tammaro said.

Recordings of Pavarotti's pristine tenor were played to the waiting crowds before the funeral service. Bulgarian soprano Raina Kabaivandska, a friend of Pavarotti, fought back tears as she started the 90 minute service with an "Ave Maria" taken from Giuseppe Verdi's "Otello".

The blind Italian singer Andrea Bocelli performed Mozart's "Ave Verum Corpus".

In a special message read at the mass, Pope Benedict XVI called Pavarotti "a great artist who through his extraordinary talent for interpretation honoured the divine gift of music."

Prodi said in a eulogy that Pavarotti "made music an instrument of life and against war" and called him an "impassioned ambassador for Italy".

More than 100,000 people had filed past Pavarotti's coffin in the cathedral in the two days before the service.

Italian President Giorgio Napolitano was among those to pay last respects on Friday.

"I wanted to testify personally to the emotion and the recognition of all Italians for the man who carried his voice and the purest image of our country throughout the world," he said.

Recordings of Puccini's "Nessun Dorma" by Pavarotti were to be played as a tribute before European Championship football matches later on Saturday, pitting Italy against France and England against Israel.

Pavarotti made the aria a new global hit when he sang it at the 1990 World Cup finals, helping to widen classical opera's appeal to the masses.

Pavarotti died at his villa near Modena after a long battle with cancer of the pancreas. He underwent major surgery for the illness in July 2006 and was hospitalised again for three weeks in August.

Tributes came from around the world to Pavarotti, including by his partners in the Three Tenors opera supergroup, Placido Domingo and Jose Carreras, though they were not at the service. Domingo said he had been held up at rehearsals in Los Angeles.

"I always admired the God-given glory of his voice -- that unmistakable special timbre from the bottom up to the very top of the tenor range," said Domingo in a statement.

Carreras added: "The best memories are the ones in intimacy. ... We have to remember him as the great artist he was, a man with such a wonderful charismatic personality."

Pavarotti broke into the opera world when he won a competition in 1961. He sang "Nessun Dorma" during his last major performance, at the opening of the Winter Olympics in Turin in February 2006.

He also managed to shock purists with his appearances in live concerts, sometimes alongside pop musicians. In 1991 a crowd of 150,000, including the Prince and Princess of Wales, braved the rain and cold in London's Hyde Park to hear him sing 20 arias by Verdi, Puccini, Bizet and Wagner.

Over the years he topped the British pop charts and appeared with rock stars ranging from Elton John and Eric Clapton to Bono, Zucchero and even the Spice Girls. Many of the concerts were for charity to raise money for causes such as children in Bosnia-Hercegovina.

Thousands pay respects to Pavarotti lying in state at Modena cathedral

2007-09-09T19:51:00.000+05:30

MODENA: Recordings of Luciano Pavarotti's voice boomed out in Modena's main piazza on Saturday as mourners waited to pay their final respects to the tenor before an invitation-only funeral in his hometown's cathedral.

Some well-wishers waited under the large loudspeakers erected in Piazza Grande, arms crossed and eyes closed as they listened to the voice that was as much at home on stage with rock stars as it was in the world's great opera houses.

Pavarotti's body, dressed in a black tuxedo and with his hands clutching his trademark white handkerchief, went back on view at dawn on Saturday. The cathedral was to remain open to the public until just before the mid-afternoon start of the funeral service, which was being celebrated by the Vatican's No. 2 official and televised live.

“He was our Italian flag. He was the best representation that we could have,'' said Susy Cavallini, a 43-year-old Modena resident as she emerged from the cathedral.

“Modena is known for its cappelletti (a type of tortellini), balsamic vinegar, Ferrari and Pavarotti. It's a collection of important things that Modena has given to the world.''

Admirers signed a book of condolences placed by a vase of sunflowers- Pavarotti's favorite- outside the cathedral. The Foreign Ministry said similar books of condolences would be available to well-wishers around the world at Italian embassies and consulates.

The opera great died on Thursday in his home on Modena's outskirts after battling pancreatic cancer for more than a year. He was 71 and was beloved by generations of opera-goers and pop fans, for his breathtaking high “Cs'' and his hearty renditions of folk songs like “ O Sole Mio ,'' and popular tunes like “ My Way .''

Choir Jokes

2007-09-08T19:52:00.001+05:30

THE YOUNG PERSON'S GUIDE TO THE SATB CHOIR In any chorus, there are four voice parts: soprano, alto, tenor, and bass. Sometimes these are divided into first and second within each part, prompting endless jokes about first and second basses. There are also various other parts such as baritone, countertenor, contralto, mezzo soprano, etc., but these are mostly used by people who are either soloists, or belong to some excessively hotshot classical a cappella group (this applies especially to countertenors), or are trying to make excuses for not really fitting into any of the regular voice parts, so we will ignore them for now.

Each voice part sings in a different range, and each one has a very different personality. You may ask, "Why should singing different notes make people act differently?", and indeed this is a mysterious question and has not been adequately studied, especially since scientists who study musicians tend to be musicians themselves and have all the peculiar complexes that go with being tenors, french horn players, timpanists, or whatever. However, this is beside the point; the fact remains that the four voice parts can be easily distinguished, and I will now explain how.

THE SOPRANOS are the ones who sing the highest, and because of this they think they rule the world. They have longer hair, fancier jewelry, and swishier skirts than anyone else, and they consider themselves insulted if they are not allowed to go at least to a high F in every movement of any given piece. When they reach the high notes, they hold them for at least half again as long as the composer and/or conductor requires, and then complain that their throats are killing them and that the composer and conductor are sadists. Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them inferior. Altos are to sopranos rather like second violins to first violins - nice to harmonize with, but not really necessary. All sopranos have a secret feeling that the altos could drop out and the piece would sound essentially the same, and they don't understand why anybody would sing in that range in the first place - it's so boring. Tenors, on the other hand, can be very nice to have around; besides their flirtation possibilities (it is a well-known fact that sopranos never flirt with basses), sopranos like to sing duets with tenors because all the tenors are doing is working very hard to sing in a low-to-medium soprano range, while the sopranos are up there in the stratosphere showing off. To sopranos, basses are the scum of the earth - they sing too damn loud, are useless to tune to because they're down in that low, low range - and there has to be something wrong with anyone who sings in the F clef, anyway.

THE ALTOS are the salt of the earth - in their opinion, at least. Altos are unassuming people, who would wear jeans to concerts if they were allowed to. Altos are in a unique position in the chorus in that they are unable to complain about having to sing either very high or very low, and they know that all the other sections think their parts are pitifully easy. But the altos know otherwise. They know that while the sopranos are screeching away on a high A, they are being forced to sing elaborate passages full of sharps and flats and tricks of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually are too). Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate distrust of tenors, because the tenors sing in almost the same range and think they sound better. They like the basses, and enjoy singing duets with them - the basses just sound like a rumble anyway, and it's the only time the altos can really be heard. Altos' other complaint is that there are always too many of them and so they never get to sing really loud.

THE TENORS are spoiled. That's all there is to it. For one thing, there are never enough of them, and choir directors would rather sell their souls than let a halfway decent tenor quit, while they're always ready to unload a few altos at half price. And then, for some reason, the few tenors there are are always really good - it's one of those annoying facts of life.. So it's no wonder that tenors always get swollen heads - after all, who else can make sopranos swoon? The one thing that can make tenors insecure is the accusation (usually by the basses) that anyone singing that high couldn't possibly be a real man.. In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the composer being a sadist and making them sing so damn high. Tenors have a love-hate relationship with the conductor, too, because the conductor is always telling them to sing louder because there are so few of them. No conductor in recorded history has ever asked for less tenor in a forte passage. Tenors feel threatened in some way by all the other sections - the sopranos because they can hit those incredibly high notes; the altos because they have no trouble singing the notes the tenors kill themselves for; and the basses because, although they can't sing anything above an E, they sing it loud enough to drown the tenors out. Of course, the tenors would rather die than admit any of this. It is a little-known fact that tenors move their eyebrows more than anyone else while singing.

THE BASSES sing the lowest of anybody. This basically explains everything. They are stolid, dependable people, and have more facial hair than anybody else. The basses feel perpetually unappreciated, but they have a deep conviction that they are actually the most important part (a view endorsed by musicologists, but certainly not by sopranos or tenors), despite the fact that they have the most boring part of anybody and often sing the same note (or in endless fifths) for an entire page. They compensate for this by singing as loudly as they can get away with - most basses are tuba players at heart. Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses are charitable people, but their charity does not extend so far as tenors, whom they consider effete poseurs. Basses hate tuning the tenors more than almost anything else. Basses like altos - except when they have duets and the altos get the good part. As for the sopranos, they are simply in an alternate universe which the basses don't understand at all. They can't imagine why anybody would ever want to sing that high and sound that bad when they make mistakes. When a bass makes a mistake, the other three parts will cover him, and he can continue on his merry way, knowing that sometime, somehow, he will end up at the root of the chord.

Farewell to Pavarotti

2007-09-08T00:21:00.001+05:30

Ledendary Italian tenor Luciano Pavarotti, who brought opera to the masses, succumbs to pancreatic cancer aged 71 at his home in Modena; survived by wife and 4-yr-old daughter.

Modena, Italy: Luciano Pavarotti, legendary Italian opera star hailed by many as the greatest tenor of his generation, died on Thursday after a long battle with cancer, his manager Terri Robson said.

“The great tenor Luciano Pavarotti died on Wednesday, 11 pm EDT at his home in Modena,” Robson said in a statement. He was 71.

“The maestro fought a long, tough battle against pancreatic cancer which eventually took his life.
“In fitting with the approach that characterised his life and work, he remained positive until finally succumbing to the last stages of his illness.”

The rotund, black-bearded tenor known as “Big Luciano” helped bring opera to the masses and performed to vast stadium audiences round the world. He shot to fame with a stand-in appearance at London’s Covent Garden in 1963 and soon had critics gushing about his voluminous voice.

His last public singing performance was at the opening ceremony of the Winter Olympics in Turin in February 2006, singing Puccini’s aria “Nessun Dorma”.

In July last year, Pavarotti underwent surgery in New York for pancreatic cancer and retreated to his villa in Modena. He had to cancel his first planned public reappearance a few months later.
Pavarotti was taken to a hospital in Modena last month and treated for more than two weeks. He was released on August 25, and spent his final hours at home with family and friends nearby, the statement said.

“He remained optimistic and confident that he would overcome the disease and had been determined to return to the stage to complete his Worldwide Farewell Tour,” the statement said.

He is survived by his wife, Nicoletta, their 4-year-old daughter, Alice, as well as three daughters from Pavarotti’s first marriage.

The news saddened Italians, particularly those in Modena, Pavarotti’s hometown. Police stood watch outside Pavarotti’s villa as television crews gathered.

“For Modena, it is a enormous loss. Modena is known to the world thanks to Pavarotti,” said Antonio Dibiccari, 39.

Pavarotti with wife Nicoletta Mantovani and their 11-month-old daughter Alice in 2003

Key dates in Luciano Pavarotti’s life
• October 12, 1935: Pavarotti is born in Modena, Italy.

• 1961: Wins a local competition and with it a debut as Rodolfo in Puccini’s “La Boheme”, in Reggio Emilia city. Marries Adua Veroni, with whom he has three daughters.

• 1963: First UK appearance at Covent Garden in London, where he stands in for tenor Giuseppe Di Stefano.

• 1972: Records nine high Cs at New York’s Metropolitan Opera House.

• 1990: Performs at the closing ceremony of the World Cup Football in Italy with fellow tenors Placido Domingo and Jose Carreras.

• 1991: Serenades Princess Diana at London’s Hyde Park in one of the biggest music events at the park.

• 2001: Appears in a court in Italy on charges of 13.3 million of taxes.

• 2003: Marries his 33-year-old former personal assistant Nicoletta Mantovani.

• 2006: His final vocal performance at the opening ceremony of the 20th Winter Olympics in Turin.

• 8 August, 2007: Admitted to hospital in Modena with fever, but stays on to have more tests related to pancreatic cancer. Discharged on August 25.

• 6 September, 2007: Opera legend dies aged 71.

TRIBUTES TO THE TENOR

There were tenors, and then there was Pavarotti - Italian film director Franco Zeffirelli

Pavarotti was the best known classical singer in the world, the best incarnation of the great popular tenor since Enrico Caruso. His artistic qualities, his warmth and his charisma seduced the whole world. - French President Nicolas Sarkozy

What is overtone singing?

2007-09-02T14:50:00.001+05:30

Whenever a tone is sung, overtones (harmonics) naturally occur at fixed intervals above the fundamental tone. The combination of harmonics is what gives a particular voice or instrument its distinctive timbre. Through careful listening and subtle adjustments of the lips, tongue, jaw, soft palate, throat, and the rest of the vocal apparatus, harmonic singers isolate and amplify chosen harmonics while suppressing others. This enables a single person to produce two (sometimes three or four) distinct tones at once. With practice and control, it becomes possible to harmonize with oneself. Another kind of harmonic overtone singing involves subfundamentals, which do not occur under normal conditions, but can be produced at fixed intervals below the "normal mode" vocal fold fundamental tone.

Vocal overtone techniques often seem mysterious partly because their effects are so extraordinary. Researchers have found that harmonic overtone singers use their mouth/throat anatomy to create interconnected but distinct resonating chambers of varying sizes and shapes that alter the loudness and distribution of harmonics. Thus, much of Spectral Voices' music involves sculpting internal spaces to interact with external spaces.

To learn more about specific harmonic singing techniques and get a mini-lesson, click here.

Origin of Spectral Voices

2007-09-02T14:46:00.000+05:30

In 1991 Jim Cole began practicing overtone singing after hearing recordings of the Tibetan Gyuto monks and David Hykes and the Harmonic Choir's Hearing Solar Winds. He was astonished and fascinated to discover the haunting otherworldly sounds he heard were produced entirely by human voices. Within a year he was turning people on to the wonder of harmonic singing, teaching others as he continued to learn, and gathering an ever-changing group around him. Asian throat singing was never really a public art, developed instead by solitary wandering herders communing with nature and by monks deep in meditation. Jim's group likewise experienced the focus and peace that can come from harmonic singing. Members enjoyed the shared opportunity for musical exploration, self-expression, and interaction with each other, but originally had no intention of singing for anyone but themselves. As the group evolved into Spectral Voices, the singers became increasingly experimental, playing with their voices to create new sounds and techniques and discovering the challenges and joys of totally improvised group work.

Background and Influences

2007-09-02T14:42:00.000+05:30

For centuries people in many parts of the world have developed overtone singing traditions (khoomei - throat singing, harmonic singing, overtoning, harmonic chant, subfundamental chant, multiphonic singing, vocal fry, etc), and nowhere has it reached greater refinement than in central Asia. You may have heard the high whistling melodies, expressive warbles, and intense low croaking tones of Tuvan throat singers. A similar folk tradition occurs among the herdsmen of Mongolia. Certain groups of Tibetan Buddhist monks practice a deep subfundamental type of sacred harmonic chant.

Hitting the right note is genetic: scientists

2007-08-29T21:29:00.001+05:30

Reuters

Chicago: Musicians and singers work for years to develop their sense of pitch, but few can name a musical note without a reference tone. US researchers on Monday said one gene may be the key to that coveted ability.

Only 1 in 10,000 people have perfect or absolute pitch – the uncanny ability to name the note of just about any sound without the help of a reference tone.

“One guy said, ‘I can name the pitch of anything – even farts’,” said Dr Jane Gitschier of the University of California, San Francisco, whose study appears in the journal Proceedings of the National Academy of Sciences.

She and colleagues analysed the results of a three-year, Web-based survey and musical test that required participants to identify notes without the help of a reference tone. More than 2,200 people completed the 20-minute test.

“We noticed that pitch-naming ability was roughly an all-or-nothing phenomenon,” she said.

Based on this, the researchers concluded that one gene, or perhaps a few, may be behind this talent.

Gitschier said those with perfect pitch were able to correctly identify both piano tones and pure computer-generated tones that were devoid of the distinctive sounds of any musical instrument.

She said people with perfect pitch were able to pick out the pure tones with ease. And they also tended to have had early musical training – before the age of 7.

“We think it probably takes the two things,” she said.

They also found that perfect pitch tends to deteriorate with age.

“As people get older, their perception goes sharp. If a note C is played, and they’re 15, they will say it’s a C. But if they’re 50, they might say it’s a C sharp,” Gitschier said. “This can be very disconcerting for them.”

The most commonly misidentified note, based on the study, is a G sharp. That may be because G sharp is overshadowed by A, its neighbour on the scale, they said.

A is often used by orchestras in the West as a tuning reference.

Gitschier said she and her colleagues were focusing on identifying the gene responsible for perfect pitch, which will involve gene mapping. Then they will try to figure out what is different in people with absolute pitch.

“We’ll have to play it by ear, so to speak,” she said.

Absolute Pitch

2007-08-29T21:29:00.000+05:30

Reuters

Hoarseness

2007-08-25T18:37:00.000+05:30

What is hoarseness?
Hoarseness is a general term which describes abnormal voice changes. When hoarse, the voice may sound breathy, raspy, strained, or there may be changes in volume (loudness) or pitch (how high or low the voice is). The changes in sound are usually due to disorders related to the vocal folds which are the sound producing parts of the voice box (larynx) (see A). While breathing, the vocal folds remain apart (see B). When speaking or singing, they come together (see C), and as air leaves the lungs, they vibrate, producing sound. The more tightly the vocal folds are held and the smaller the vocal folds, the more rapidly they vibrate. More rapid vibration makes a higher voice pitch. Swelling or lumps on the vocal folds prevent them from coming together properly, which makes a change in the voice

What are the causes?
There are many causes of hoarseness. Fortunately, most are not serious and tend to go away in a short period of time. The most common causes are acute laryngitis which usually occurs due to swelling from a common cold, upper respiratory tract viral infection, or irritation caused by excessive voice use such as screaming at a sporting event or rock concert.

More prolonged hoarseness is usually due to using your voice either too much, too loudly, or improperly over extended periods of time. These habits can lead to vocal nodules (singers nodes), which are callous-like growths, or may lead to polyps of the vocal folds (more extensive swelling).

Vocal nodules are common in children and adults who raise their voice in work or play. Uncommonly, polyps or nodules may lead to cancer.

A common cause of hoarseness in older adults is gastroesophageal reflux, when stomach acid comes up the swallowing tube (esophagus) and irritates the vocal folds. Many patients with reflux related changes of voice do not have symptoms of heartburn. Usually, the voice is worse in the morning and improves during the day. These people may have a sensation of a lump in their throat, mucous sticking in their throat or an excessive desire to clear their throat.

Smoking is another cause of hoarseness. Since smoking is the major cause of throat cancer, if smokers are hoarse, they should see an otolaryngologist.

Many unusual causes for hoarseness include allergies, thyroid problems, neurological disorders, trauma to the voice box and occasionally the normal menstrual cycle. Many people experience some hoarseness with advanced age.

Who can treat my hoarseness?
Hoarseness due to a cold or flu may be evaluated by family physicians, pediatricians and internists (who have learned how to examine the larynx). When hoarseness lasts longer than two weeks or has no obvious cause, it should be evaluated by an otolaryngologist-head and neck surgeon (ear, nose and throat doctor). Problems with the voice are best managed by a team of professionals who know and understand how the voice functions. These professionals are otolaryngology-head and neck surgeons, speech/ language pathologists, and teachers of singing, acting, or public speaking. Voice disorders have many different characteristics which may give professionals a clue to the cause.

When should I see an otolaryngologist (ENT doctor)?
*If hoarseness lasts longer than 2-3 weeks
*If hoarseness is associated with:

Pain not from a cold or flu
Coughing up blood
Difficulty swallowing
A lump in the neck

*Complete loss or severe change in voice lasting longer than a few days

How is hoarseness evaluated?
An otolaryngologist will obtain a thorough history of the hoarseness and your general health. Your doctor will usually look at the vocal folds with a mirror placed in the back of your throat. Occasionally a very small lighted flexible scope (fiberoptic tube scope) may need to be passed through your nose (or in some cases, a rigid scope may be used which is placed in the back of your mouth) in order to view your vocal folds. Videotaping the examination may also help with the analysis.

These procedures are not uncomfortable and are well tolerated by most patients. In some cases, special tests (known as acoustic analysis) designed to evaluate the voice may be recommended. These measure voice irregularities, how the voice sounds (acoustic content), airflow and other characteristics that are helpful in establishing a diagnosis and guiding treatment.

How are vocal disorders treated?
The treatment of hoarseness depends on the cause. Most hoarseness can be treated by simply resting the voice or modifying how it is used. The otolaryngologist may make some recommendations about voice use behavior, refer the patient to other voice team members, and in some instances recommend surgery if a discreet lesion, such as a nodule or polyp, is identified. Avoidance of smoking or exposure to secondhand smoke (passive smoking) is recommended to all patients. Drinking fluids is also helpful.

Specialists in speech/language pathology are trained to assist patients in behavior modification which may help eliminate some voice disorders. Sometimes, patients have developed bad habits, such as smoking or overuse of their voice by yelling and screaming, which may cause the voice disorder. The speech/language pathologist may teach patients to alter their method of speech production to improve the sound of the voice and to resolve problems, such as vocal nodules. When a patients problem is specifically related to singing, a singing teacher may help improve the patients singing techniques.

What can I do to prevent and treat mild hoarseness?

If you smoke, quit
Avoid agents which dehydrate the body, such as alcohol and caffeine
Avoid secondhand smoke
Drink plenty of water
Humidify your home
Watch your diet - avoid spicy foods and alcohol
Try not to use your voice too long or too loudly
Seek professional voice training
Avoid speaking or singing when your voice is injured or hoarse (this is similar to not walking on a sprained ankle)

What Is Otolaryngology-Head and Neck Surgery?
Otolaryngology-head and neck surgery is a specialty concerned with the medical and surgical treatment of the ears, nose, throat and related structures of the head and neck. The specialty encompasses cosmetic facial reconstruction, surgery of benign and malignant tumors of the head and neck, management of patients with loss of hearing and balance, endoscopic examination of air and food passages, and treatment of allergic, sinus, laryngeal, thyroid and esophageal disorders

AC3Filter

2007-08-25T14:38:00.000+05:30

Size : 2.28 MB

OS : Windows (All)

Freeware

AC3Filter - it is a DirectShow filter for AC3 decoding to play .AVI files with AC3 audio tracks and MPEG2 (DVD) and is distributed absolutely for free (FREEWARE, OpenSource). Features: Full AC3 standard compliance. S/P DIF passthrough support. Decode MPEG2 PES streams. Multichannel output support. LFE support. Dynamic Range Compression (DRC) support. Overflow control and automatic gain control. Gain levels control. Bitstream information (channel format, bitrate, sample rate, coupling freq and maximun freq). Input/output levels. Matrix mixer with direct control of mixing matrix. Stereo to multichannel mixing. DolbySurround/ProLogic/ProLogicII downmixing. Delays for each channel. Equalizer.

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Avidemux

2007-08-11T14:27:00.000+05:30

Size : 10.72MB
OS : Windows 2000/XP
Freeware

Avidemux is a video editor designed for editing video files like simple cutting, filtering, and encoding tasks. Its graphical user-interface looks similar to VirtualDub, and most features known from VirtualDub are available in this too. Avidemux supports a great number of file types, such as AVI, MPEG/VOB/TS, MP4, ASF, OGM, MKV, and FLV. At the same time, it supports a wide range of Video and Audio formats that include MPEG-1, MPEG-2, MPEG-4 ASP, H.264/AVC, DV, HuffYUV, MP3, AAC, AC-3, and Vorbis. Tasks can be automated using projects, job queue, and powerful scripting capabilities. Video-DVD or (S)VCD compliant streams can be created with easy-to-use "Auto" wizards.

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Jayne's Singing Tips

2007-08-04T14:56:00.000+05:30

Source

The 3 areas of the body
Breathing
To breathe in, fill up the lower part of the lungs, feel the area between the sternum and the waist expand. The top half of the rib cage and the shoulders should be very relaxed and should not go up and out.

Breathe all round the body; never above the sternum. The diaphragm moves down when you breathe in and you should feel as though it has reached down as far as your waist.

A tickle in the throat when singing could be tension. Breath should go straight to the abdomen. There should not be a sucking sound that makes the air dry the vocal chords on the way in.

The diaphragm
Before you sing, breathe in, lock your diaphragm tight like a drum all round the body (=tight-waisted). As you sing the diaphragm is gradually relaxed, releasing a cool column of air into the throat to give energy to the voice. Support the diaphragm by tightening tummy and buttock muscles: breathe in with tummy muscles relaxed, then as you sing and feel need for support, bring the muscles in and squeeze the buttock muscles to gradually squeeze under the diaphragm to support it.

Bodyline
Use you power base - feel like you've got roots going into the floor. But keep knees relaxed, like shock absorbers.

Singing is about being aware of your whole body, not just your throat. Lock the diaphragm and then breathe inside the lock.

Pelvis tilted forwards, stand tall to allow the ribs to float out of the way when you breathe in. Intercostal muscles also support you if you stand correctly (Alexander technique).

No man's land should be relaxed all the time, should not be involved in the singing.

Holding the score
When standing with your score, your shoulders should be relaxed and down. Shoulder supports elbow which supports the wrist and the arm is slightly extended from the body. Head should be up and the line of sight for the eyes can move easily between the score and the conductor without having to move the body.

Brain centre
In your brain centre you have your throat, pharynx, larynx and vocal chords. The chords are very delicate and need to be protected. There should never be tension in the neck. Vocal chords do not fully mature until your early 30's. They are very delicate membranes.

If you cough or shout the chords rub against each other instead of vibrating smoothly together. If you feel that to sing louder you are causing the chords to rub together instead of vibrating then DON'T SING LOUDER!

The higher in pitch you go, the more relaxed your pharynx, larynx etc should be, as if in a yawn where there is a lovely open space at the back of your throat. Called 'open throated'.

Face and diction
The face is the resonator for the voice. There are spaces in the skeletal structure of the face, as there are spaces in the chest cavity, and the mouth is the main resonating area. Never sing with a wide cheesy grin, it causes tension in the cheeks and neck. Your smile should come from your eyes.

Sing with an oval shaped mouth. Jaw should be relaxed and 'gormless'! You only open the jaw if you need to go higher in pitch.

Concentrate on the vowels, you don't need to sing the consonants - they clip the sound.

TIP OF THE TONGUE, THE TEETH AND THE LIPS

Your top lip is important. Your face needs to have range of flexibility and movement to make the right sounds. There should be a lift in the cheeks: bright sounds like 'e' vowels should come from lift in the cheeks, not from the jaw.

Mask of singing
All the front of your face (ie from your ears forwards) is the mask of singing, also knows as the dome of sound - other expressions include: head singing, head resonance, spin the voice around the head using the bone space.

Mental control and visualisation
After a bad day need to lift the sound of the voice, need to think positively and brightly to get it right. Learn to isolate the muscles in the face and imaging that your voice is like the ping pong ball in the snorkel - it floats on the air energy provided by the power base. Avoid 'white singing' where the air and the voice are mixed together; the air should float the voice.

Singing is 60% technique and 40% confidence, so mental control and attitude is important, as is self-awareness and being aware of your body. That is how to be in control of your voice.

Rehearsing and warming up
Humming is a good way to rehearse, as is to sing 'la' or something that wakens the face up. Never sing on a cold voice. Get it oiled first. Support the voice, learn to breathe properly and you can sing softly. It takes more control to sing softly, so a good way is to practice loud and with confidence and then sing softly once you are confident.

Singing while sitting
Feet square, sit up, shoulders relaxed. Do not cross legs. Remember to do all these things to fill up the inside of the rib cage and diaphragm. If you slouch you will be fighting your rib cage.

Vibrato
Don't try to stop the natural vibrato in your voice using your throat. It will make your throat tense. Control it using the breathing. Often it is a slacking of the diaphragm (especially as one gets older) that causes the beating effect of the vibrato.

Tips for choir directors

2007-08-04T14:48:00.000+05:30

I have been in many ward choirs. These are some pointers I have that I believe can apply to every choir director. I appreciate all choir directors, and I am glad they take their time to serve us. I certainly do not have the skill to do what they do, and I appreciate their selfless service. Nevertheless, I believe some improvements could be easily made. But if you are a choir director please do not take anything personally or as an attack -- especially if you are one of my own current or past choir directors! In other words, these are written more for humor than anything else. If you do not find it funny, stop reading.

End choir practice at the scheduled time, and not a minute later. Consider ending early if you are at a convenient stopping place.
One or two people do not constitute a majority. When you ask "Shall we sing it one more time?" and only one or two people respond affirmatively, that means that everyone else is silently responding "no". Ditto for "Do you want to stand?"
Leaning over a first row choir member to conduct directly to the third row makes people nervous.
Don't specifically invite "all members, including those who can't sing" to choir. Those who can sing become less enthused about attending themselves. Choirs should sound pleasant.
Consider singing the music as it is written. It is perfectly acceptable to sing a hymn out of the book without stuffing as much variety as possible (or more so!) into the verses with unison/parts/harmony or new verses.
If you have limited practice time before the performance, consider simplifying the selection before you call an extra weeknight rehearsal.
Never, never say "Let's sing it just once more(, I promise)." I have never met a choir director who lived up to that promise even once, so do not even pretend you will live up to it. You tease us with the concept of getting home to eat, then we practice the piece three more times.
Give the choir time to talk to each other. Singing can be an inspiring experience, and singing with people you know and love greatly enhances that. Just two or three minutes per rehearsal of "talk with your neighbor" time can go a long way to putting smiles on the choir's faces both for rehearsals and for performances. We will probably pay more attention when you are talking as well.
When working with a small section of the choir, invite the others to sit down.
Do not ask us whether we want to sit with the congregation or in the choir loft for the rest of the meeting. We will be divided anyway, just tell us what to do. We will do what you say.

Source : http://cs.nerdbank.net/blogs/darnit/archive/2006/03/13/122.aspx

Maximum Range

2007-08-01T17:24:00.001+05:30

Likewise, no song has ever become popular simply because it contained some birdcalls. Yet, we singers tend to fixate on range as if it’s the reason we’re not winning awards and selling piles of CD’s. True, there is an emotional lift when a melody soars upward, but the pitches should always be proportionate to the instrument. Sing at the height of your voice’s potential and your audience will assume your abilities are limitless. Sing beyond your boundaries and you merely call attention to your limitations. This does not mean you are stuck with the measly dozen or so pitches you sing well these days; rarely does a singer access his or her full genetic range without some training. It does mean, though, that before you worry about expanding, it helps to embrace what you have.
Vocal range is a lot like the range of motion of your limbs. Can you drop down into a split without warming up? Even after warming up? For most, the elasticity necessary for a move like that requires a long program of stretching. The same is true for your voice. The vocal folds are membranes (a little smaller then your eyelids) that close over the windpipe. When air streams through the tiny opening they create, their edges vibrate. The vibration is nothing more than a microscopic wiggle. Look closely at a guitar string after it’s played and you’ll see them same thing. The speed of the wiggle, or vibration, is called the frequency. We refer to frequencies, or pitches, by their beats per second. The pitch, for instance, that an orchestra uses when tuning is A – 440, meaning the frequency wiggles 440 times in one second (the larger the number, the higher the pitch). To sing high, your vocal folds have got to vibrate fast.

The action required to sing different notes is very much like tuning a guitar. Muscles surrounding the larynx pull or release the folds to create high and low pitches. The amount of movement required for your entire range is microscopic. I suggest you reread that previous line about a thousand times until it is embedded in your subconscious. The root of all vocal problems is that we perceive the activities involved with singing as big events. They are not. We ball our fists and load up enough air pressure to create an aneurysm just to get through the chorus of a song. The automatic reaction to such force is resistance; the body braces for the assault. Rigid muscles surrounding the larynx deny flexibility and lock up the vocal folds. No flexibility, no range – it’s that simple.

The key to singing high notes is volume. Reducing the volume of your voice removes the burden of excess air pressure so your folds can become more elastic. Just as it takes a little stretching every day to get your legs into a split, vocalizing daily at a low volume will allow you to visit higher notes without stress. It’s best to sing scales rather than songs at first; the memory of a song’s performance will lead you to pushing. Allow you higher notes to venture into falsetto or head voice. It’s okay if the transition cracks or skips out; this is just a symptom of your imbalanced ways. Don’t worry that the light voice you vocalize with is not up to performance standards. Only after you are completely comfortable with producing a note at a low volume should you attempt to raise the output. Increasing the volume in very small increments will allow you to monitor muscle independence. If facial or neck muscles join in to support a note, you’ve added too much air pressure. Your controllable range for the day lies waiting at the balance point between force and flexibility. And as always, tomorrow is another day.

Vibrato - An Xtra Effect

2007-08-01T17:21:00.000+05:30

Singing with vibrato is a matter of taste. Having a choice is a matter of control. For most singers, the subtle, rhythmical movement of vibrato feels more like fate. When you want vibrato, it hides on you; don’t think about it, and it shimmers on the end of a note. Vibrato brings vitality to a voice. Sound without variation is boring. Compare a refrigerator to a fly buzzing around. The steady hum of the compressor quickly becomes background noise while the bug gets harder to ignore. With the exception of rappers and singers like Beck who don’t sustain notes, those without vibrato tend to rely on overdrive to create excitement. This often leads to blow outs. The more vocal colors available on your pallet, like vibrato, breathy, nasal and gritty, the easier it will be to paint an interesting portrait of a song without killing yourself.

The mechanics of vibrato are simple and reflexive, which is what makes it so elusive. Picture the fret hand of a guitarist sustaining a note. The finger movement alters the length of the string creating a slight waver in pitch. Things are just a little more complex with the voice. Like a stringed instrument, the tension of the vocal folds is varied rhythmically, creating movement in pitch. Along with this tension change, though, is a variation in the thickness of the vocal fold. The combined movements of pitch, volume and tone are what set vibrato apart from tremolo (change in volume only) and wobble (change in pitch only).

Tension squashes vibrato. Not just the obvious neck bulging stuff, but subtle everyday stiffness can neutralize it as well. Like the freedom required to wiggle your finger when sustaining a note on guitar, vocal vibrato requires muscle independence. Backing off the air pressure is the first step to releasing your voice. Let the ability to produce vibrato be your guide. Lay down flat on your back and place your hand on your belly button. Breath so that your hand rises and falls. Now sing a comfortable note and look for the presence of vibrato. If the pitch is stiff notice what your abs are doing. Are they contracting to drive the note? Check the behavior on various pitches. If you push too much from your stomach, the muscles surrounding the larynx will brace and vibrato will be lost. Reduce the volume and try again. The goal is to reduce the air pressure to the point where flexibility is found. Don’t be alarmed if this only happens at very low volumes. With practice, you’ll be able to increase the volume without loading the neck with pressure. Strike the proper balance during a song and vibrato will blossom. That’s why it tends to come in at the ends of notes; once we feel safely on pitch, we ease off the pressure a bit.

Another check for vibrato-eating throat tension is to rotate your head in a small circle when singing. Pretend you are tracing the outline of a quarter with your nose. Does the rotation stop when you begin to sing? Is it stiffer on high notes? Again, reduce the volume until you find the correct air pressure. Neck tension is not a requirement of singing loud or high. We often see singers so locked up in the neck that they literally have to shake their heads or jaws in order to create vibrato. In the same way, a guitar player who needs to shake the guitar to move a note must be applying a death grip on that fretboard. There’s nothing wrong with using force to make a strong statement. Too often, though, the statement it makes is that we are overcompensating to mask weakness. Be brave and do the dirty work in private. Use vibrato as your guide and discover the power within.

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How can you increase your vocal range?

2007-07-29T13:15:00.001+05:30

You don't push, you don't force, and you don't concentrate on your vocal cords. Support, and control from your diaphragm Proper breath control. Practice doesn't help if you're practicing wrong. Find a vocal coach. We don't all charge $70/hr. Go to places that let people sing. Talk to the people, and listen to different voices. You'll start to hear whose hurting themselves when they sing, and what a good clean open voice sounds like. Sing into your own ears with headphones. Practice a clear open tone as soft as you can. Don't do just scales, practice 8 bar sections of the song you're working on over and over without the lyrics, exercises of different intervals (space between notes) Don't force! I feel head voices and chest voices are incomplete. Any note you can sing in those voices you should be able to sing in full voice. That should be the goal.

Increasing Your Vocal Range

Here are ideas and recommendations from FAQ Farmers:

Basically, just practice all the time. Practice with songs that are in a higher pitch and some that are lower. Listening is a key factor when playing any type of instrument, including your voice. The more you listen, the more it helps your voice to become in tune with songs and singing in general. I, too sing so I've found this to help! Also, practice with a piano, (especially because its the easiest).. or any instrument for that matter (and make sure its in tune)... after a period of time, the notes will be almost "programmed" in your head. Good luck .

I think practicing scales is very important to ensure accuracy over the extremities of the voice's range. For many years I had a much bigger range than I would dare use; because I did not have confidence in the lower / higher notes I would never sing them live. Practicing scales, particularly ones that span the gap between the "chest" and "head" voice, has given me much more confidence, and that in turn has improved my singing in the higher / lower extremeties.

Sewjazz says "I'm a male of 33 now and I can hit low E, when I was 20 my lowest note was about a G so I think the bass end of the voice becomes lower with age perhaps, although I don't know if this is the case with women? I've always been able to squeek up to nearly two octaves above a middle C, but whilst at 25 I'd struggle to hit a G above middle C in my chest register, practice and particularly working on scales has enabled me to reach Bb, although sadly still not that elusive top tenor C! My transition to head voice is much smoother now though, and I can happily sing some Roy Orbison pieces, going acceptably into falsetto for the highest notes." When singing scales, make sure you repeat with a full range of different vowel sounds, and always have a tuned instrument to use as reference. And, most importantly of all, BREATHE OUT SLOWLY! The control of air flow is the most essential technique of all. One final word of warning - if you can't sing a note quietly, you shouldn't be singing it at all!

Gidday ive just started singing, hmm bloody puberty and all :( i used to be able to sing around 3.5 octaves, now im down to just over 2 it sucks but Now ive started just doing scales... you sound absolutely BATTY doing them but hey, after a year you'll notice a HUGE difference, to me it was well worth it

Learning to sing lower is almost, if not downright, impossible. This generally happens as you get older, but there's not much you can do to influence it yourself. However, you CAN learn to sing higher notes. I'm 16, and I reckon I've gained at least half an octave over the last few months. The key is this: Try singing songs that are just outside your range WITHOUT going into falsetto. Just try and force your normal voice up that high. You will find that over a few days, firstly it will get less difficult to hit the note, then you'll find that you can reach it without being ridiculously loud. Once this happens, go a little higher. You'll be amazed, in a few weeks, at what you can do. An example is the song "city of blinding lights" by U2. A month ago I wouldnt have even dreamed of trying to get the "oh you look so beautiful tonight" bit at the pitch he sings it, I'd just drop an octave for that part. I can now sing it with complete ease, and thats normal voice. I think there's probably a limit to exactly how high you can go, but remember that every note you gain in your normal range is also a note gained in falsetto, so it really is amazing just how high you'll find yourself going. Hears a tip though. Don't measure it day by day, just to what I did and pick a song that just about hurts to try and sing, and sing it. Another tip: ALWAYS stand when singing really high songs, I don't know the mechanics of it, but for some reason it's a lot easier to go higher when you're standing upright. Most importantly, in order to make it happen fast, ENJOY it. Don't make it a job, or a chore, just do it for the sake of doing it. You'll find that time flys if you do it like this.

Whoa whoa WHOA!! Now if there is one thing you should not do when aiming to sing higher songs, it is to force your voice, in fact, you should not "force" your voice to do anything! I've thought this for two years and realised i could sing a few songs, but it was causing me tension and strain. The professional singers who are singing with 4 or 5 octave ranges have been trained in order to do so, but the exercises involved in that training are actually very simple! Singers from James LaBrie of Dream Theater to Madonna and Michael Jackson have practiced using these, as they can set your voice free! your voice when you start out as a baby is perfect, did you know? I've never heard a baby go into falsetto! Only with years of speaking, muscle development around your larynx and not knowing the technique, you create a falsetto voice, it is actually a defence mechanism to stop you going too much higher and damaging yourself. Range is restricted by lack of knowledge rather than lack of talent. Basically there are 3 registers to your voice, they are: Chest voice: Named this because of the resonance occurring in your chest cavity, it is usually lower notes. If you sing a low "ahhh" and place your hand on your chest, you can feel it vibrate; Head voice: Higher notes, like if you were to impersonate Mickey Mouse or something, the note resonates mainly in the chest cavity. It is not quite as strong as chest voice, but as a singer develops their use of "resonators" in the head cavity, it gets louder and more powerful; and Whistle voice: usually present in women, but loads of men can use it too, the highest recorded whistle voice is by a guy called Adam Lopez. Say if you scream like a girl, that's using a kind of whistle voice, i don't advise you do any screaming though, in time and with patience and practice, it can be accessed. A trained voice will go higher in pitch not by pulling up chest voice and tightening the muscles (as i guarantee a lot of guys can't go past F above middle C without having some real difficulty) but instead, the intrinsic muscles in the vocal cords will help the cords "zip up" as it gets higher. In the end, a singer with the right knowledge and practice can sing notes up to and above high (tenor) C (or Soprano C if you are female) with the same ease as your speech! That is a technique known as "speech level singing" and to be honest, sounds a lot more comfortable than just belting out your songs, which is tiring and can take days to recover from, and also, does NOT feel easier over time, in fact, if you belt all the time you can cause some real damage to your cords! One other thing, the way that pro vocalists sound like they are making one consistent voice all the way up to the high registers, even though their voices are actually "changing gears" as they do so, is because they develop a "mixed" voice. When I say mixed I mean at the notes above middle C their chest voice blends with their head voice, almost like there are two voice techniques mixing in with each other, they get to retain the power of chest voice, but their head voice takes the strain off the note! Isn't that great!? Developing a Mixed voice DOES TAKE TIME AND CONSISTENT PRACTICE. About 45 minutes to an hour a day is good enough, and a singer should get plenty of sleep too, to prevent edema (a condition that causes swelling in the throat and is attributed to lack of sleep). If you are interested in using these training exercises, there are E-books and Audio Programs on sale that can help you develop your voice and master your technique, however, you must keep consistent practice and look after your voice. Things involving shouting like cheerleading and stuff are not options for a serious vocalist. Useful sites include: www.singingsuccess.com - Singing Success, a program by reknowned vocal coach Brett Manning (who has trained Grammy-Winning artists such as Keith Urban). Brett started out awful, but ended up with a 5 octave range! He has a friendly, understandable and enjoying approach to teaching voice, and is definitely a recommended coach. I have his program myself. www.thevoiceconnection.com - Rock vocalist and voice coach Jaime Vendera is known for being the first recorded man to shatter a crystal glass with his voice without amplification. He has a 6 octave range and is a powerful vocalist, not to mention a good coach. His e-book "raise your voice" is well recommended www.jeanniedeva.com - Another reknowned vocalist, Jeannie Deva has her own audio books such as the "contemporary vocalist" series also, http://p102.ezboard.com/bjessenemitz - A forum with a vocal technique section. Some good vocalists online there with plenty of useful info on singing technique and practice, not to be missed! Oh and one last thing, I'm no god of vocal technique myself, I'm actually a 17 year old student, but I've been using Brett Manning's technique and it's well worth it! For all you serious singers out there, never lose hope, look after yourselves and keep practicing!

JBL Reference 410 Headphones

2007-07-28T15:06:00.000+05:30

Frazier Barretto

Features : Loud, Foldable, Comfortable, Volume control, Price, the JBL Reference 410 headphones are very similar to the QuiteComfort from Bose.

Disadvantages : Can't Contain Vibration, Bass cracks at full volume.

Bundle
Phone Adapter
Airline Adapter
Inline Volume Control
Foldable Headband
Travel Pouch

Tech Specs
Drivers 40mm Transducer
Maximum Input Signal 50mW
Sensitivity 125dB SPL/V
110dB SPL/mW
Frequency Response 10Hz - 20kHz (-10dB points)
Input Level/Impedance 32 Ohms
Wire length 1.5m

JBL has tried to make this set of headphones very comfortable. For the ears - the headphones are designed to sit in the ear instead of covering them; and for the head - there's a soft cushion on the on the headband, so that there's least possible pressure on your head. JBL Reference also features Noise Cancellation, so that you get pure music and nothing else along.

While traveling, you can conveniently fold the product and keep it in the pouch that is bundled in the package. The headphone's volume control is placed neatly, such that when you are wearing the headphones it comes at the chest and is easy to access even without looking. These headphones deliver what JBL calls, JBL realism and bass response, which is supposed to give a more realistic music.

Performance
The JBL 410 headphones are so comfy that you can wear them for long hours. The music produced from the 40mm drivers (with a frequency range of 10Hz - 20kHz) is loud and good. I enjoyed my music minus any shattering as the highs and mids were taken care of.

The bass is also quite good, but there's a catch here. Although the overall sound is superior, the headphones cannot handle the vibrations that are produced because of the immense bass. One of the songs that faced this issue was Prodigy's Diesel Power. With the headphones at full volume, the bass cracked for most of the tracks which had continuous bass. Keep the volume at 70-80% and it was perfection for highs, mids, lows.

Also, the uncontainable vibrations caused a tickle in my ears, which got me to take off the headphones and scratch my ears. These vibrations wouldn't be so much of a nuisance if the there was enough breathing space for the drivers.

Similar on-ear headphones from Sony - MDR-NC6 are not as loud as the 410, but the vibrations are contained. So basically, with 410 you deprive yourself of an absolute bass experience at the cost of loud music. I wouldn't suggest rock fans to go for JBL's 410, while hip-hop fans would most definitely enjoy the thumps come and go.

Another thing, the sound is contained when you are wearing the headphones and it doesn't disturb people sitting around you. Also, the volume control on the headphone cable when turned to the minimum level doesn't shut the music, you can still hear it.

Conclusion
The JBL Reference 410 headphones sell at an MRP of Rs. 3950, while the street price is around Rs. 3100. It is way cheaper than the Bose QC3. At this price, your only bother comes from the Sony on-ear headphones which are available for around the same price. Here the question of brand loyalty arises - your loyalty towards JBL or Sony will influence your decision.

ALLPlayer 3.0

2007-07-28T15:00:00.000+05:30

Version : 3.0
Size : 1.61MB / 1.42 MB
OS : Windows (All)
Freeware

ALLPlayer program is a Media Player that is Available for free and which will allow you to play all video formats like AVI/MPG/MPEG/DIVX, etc. with IQ Text (Intelligent Subtitles).

The IQ Text function, which analyzes the length of the displayed subtitles so that it would be displayed long enough for you to be able to read everything and won't miss any lines while watching the film.

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GermaniX Transcoder 4.0.0.32

2007-07-25T23:16:00.000+05:30

Version : 4.0.0.32
Size : 3.75MB
Platform : Windows 9x

Freeware

GermaniX Transcoder is a very simple, flexible, and extensible Audio Transcoder designed for Microsoft Windows.

* Transcode a lot of audio formats like mp3, mp4, aac, mp2, flac, ofr, ape
* Create and use your own front-end language
* Build custom encoder add-ins
* Develop custom audio file processing plug-ins

Language support for the the Transcoder includes German, English, French, and Russian allowing you also to create your own language file. You can also create Format Add-Ins for more Encoding Formats or a Process Plug-in to process a audio file, or a group of audio files.

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Nexus Radio v2.1

2007-07-23T23:09:00.001+05:30

Version : 2.1

Size : 8.0 MB

Os : Windows (All)

Freeware

Nexus Radio is a free full-featured radio player for listeners who can record their favorite radio content for playback on their PC, or any portable device that supports MP3s, besides listening to the radio channels. With over 6000+ radio stations, Nexus Radio delivers the content radio listeners yearn for.

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Dealing with Weather- Singing Tips

2007-07-21T09:16:00.000+05:30

Moisture and time zones are two very important keys. On an average singers need at least twenty-four hours to adjust, their voice while they are in an entirely new enviornment. Eventually, your body will become more adept to rapid changes in climate, but in the beginning of your career I wouldn't recommend booking yourself in Maine on Monday, Tulsa on Tuesday, and then Orlando on Thursday. This would be vocal suicide. The more extreme the climate change the more taxing to the body. You are a human instrument with good days and bad days. The longer you travel, the quicker your body should adjust to travel and change of climate. In the mean time, get plenty of fluids (about twice as much as you probably think you need) and some Entertainer's Secret.

How To Save Your Voice On Stage

2007-07-21T09:15:00.000+05:30

The first thing that I usually ask a singer is "how well do you hear yourself in the monitors?" Often, they are not hearing themselves sing on stage, so they figure that the audience can't hear them sing and push their voice harder than what is natural. The result is that the tone becomes dull or strident and often intonation problems occur. Talk to your sound man and make sure that you have enough of your voice in the monitors. If you've got the funds, invest in a headset microphone.

Singing Tips Singing With A Sore Throat

2007-07-21T09:02:00.000+05:30

Many People ask whether it is safe to sing with a sore throat. Depending on what's causing it, singing with a sore throat can definately be catastrophic. Experts suggest, "if it hurts to swallow, don't sing!" Conversely, if it's a mildly soar throat (due to cough or other reasons), consult your doctor (it's a good idea to find a good ear, nose, throat specialist in your area and build a relationship with him) and then use your best judgment. Dry air, singing abusively, and viral/bacterial infection are some of the more common causes of a sore throat. Some people just wake up with a sore throat every day of their life. I've found that the majority of those people have acid-reflux, which means they are burping up stomach acids while they are sleeping or sometimes even while they are awake. For most, however, this happens in the night, so they may be completely unaware of the problem. They then wake up with a scratchy, raspy voice and a sore throat. There are numerous web sites directed to the problem of reflux. Let me recommend a couple:

http://www.texasvoicecenter.com/

Remedy : A dry throat is often a sore throat, consume two to three quarts of water every day. If you live in an arid climate, sleep with a humidifier next to your bed and try to warm up your voice in the shower. The moisture is an incredible help for your voice. Also, learn to breathe in through your nose as much as possible. This will help moisten the air before it reaches your vocal cords.

The next concern is vocal abuse. Some of the causes are singing too high and too loud for too long, screaming, yelling at a football game or concert, talking at the top of your voice in a noisy crowd, breathing cigarette smoke (first- for second-hand), doing voice impersonations that are extreme or that cause strain and talking or singing with a raspy, manufactured sound. Whenever my throat is sore from vocal abuse I try to get some vocal rest (at least for about an hour or so), drink plenty of liquids (which is maintaind at room temperature or may be warm but not too hot), and then rehabilitate my voice with gentle exercises like humming, lip bubbles, and tongue trills (as a matter of fact you will always find me humming). If you get laryngitis and your tone starts to 'skip' or 'cut out' in the middle of a sustained note, you really want to get serious vocal rest. Most of all, ALWAYS consult your physician if things don't clear up rapidly. By this, I mean, if you get a sore throat in the morning and it clears up by noon and doesn't come back (this occasionally happens to me, since i took up serious voice training) then there's usually nothing to worry about. Otherwise, call the doctor, because if this condition is medical and you don't get help, no amount of vocal rest will help.

Advanced Vista Codec Package

2007-07-19T16:39:00.000+05:30

Size : 20.34 MB

Os : Windows (All)

Freeware

Advanced Vista Codec Package, as it is called takes from the best, all the big name creators, several small guys too, and compiles all this into a single pack. All possible conflicts are already dealt with, many user suggested default settings are implemented. This package does not contain a media player. This package does not associates filetypes. With this package installed, you will be able to use any media player to play DVD" s, movies and video clips such as quicktime, realmedia, avi, mpeg, Flv, swf, wmv, etc. Streaming video can be played within web browsers. By default, you shouldn" t need to make any adjustments to enjoy playback immediately.

For Downloads Visit : Freewarefiles.com

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How to Remove DRM from WMA - Is It Legal and Worth the Effort?

2007-07-13T23:00:00.000+05:30

By W R Kirk

Technically, it's illegal to remove DRM from WMA protected music. Digital Rights Management (DRM) is part of the music industry's effort to curb piracy. There are legitimate reasons for removing it, but first understand DRM can not be removed from file sharing network downloads. Most tracks can be legally copied 3 to 5 times, and this has been exceeded long before they appear on a peer-to-peer network. You must have either purchased the music or have unrestricted free music downloads.

There is no easy way to remove DRM, but it can be removed with some effort and know-how. The best advice is to only download music in the format you need, and that you have the right to copy to an mp3 player, CD or other device. It's also important to determine that the player will recognize and play the DRM protected WMA track.

What if I Really Like the songs and Want to convert them?
Let's say you've already downloaded music and need to convert to another audio codec. The common conversion method is to burn the tracks on a CD, then rip them in the desired codec's format. Even this requires special ripping software and numerous steps because the DRM is still embedded in the tracks. And because codecs like WMA, mp3, OGG, AAC, etc. are lossy formats, the sound quality will be degraded.

Lossy formats selectively discard sounds the human can't hear to make the file smaller. But each format removes slightly different sounds. For example, converting a track using a WMA to mp3 converter is now missing the sounds that both codecs have deleted.

There are other ways to remove DRM and convert WMA to mp3, but they require numerous steps and more software - and they're not for the technically challenged. Free WMA to mp3 conversion software and detailed instructions are available on the Internet.

MP3 players information from A to Z: player types & features, how they work, accessories,comparisons and more - plus free music download tips and info at A-Z MP3 Players.com, Your Complete A-Z Resource for MP3 Players, Accessories and Information.

This article may be re-printed in its entirety, with no changes and this resource box included. © 2005 http://www.a-z-mp3-players.com/ All rights reserved

Article Source: http://EzineArticles.com/?expert=W_R_Kirk

Singing Exercises and Hints for Singers

2007-07-13T22:55:00.000+05:30

By David Willis

KEEP YOUR VOICE HEALTHY

Whether you’re a professional or an amateur singer, it’s important to stay fit and healthy. To maintain proper breathing ensuring that you have full use of your lungs, regular exercise should be part of your day. Walking and swimming are particularly good for performers because they don’t add unwanted stress to your muscles. There is less chance of injury when you swim or walk, which is important if your aim is to perform professionally. Time out from singing could mean a loss of income. Maintaining a good, balanced diet will help to keep your body fit on the inside. Make sure you eat plenty of fresh vegetables and fruits. Singers should try to avoid eating too much dairy food as it often builds up phlegm which can adversely affect your vocal chords and sinuses. A number of professional singers gargle with and swallow pineapple juice. It can be a natural way of cleaning the gunk off your vocal chords before a performance.

TAKE SINGING LESSONS
Choose a good singing teacher to help motivate you and keep you practicing on a regular basis. It’s very important that your singing teacher is qualified and experienced. Word-of-mouth is usually the best way to find the right teacher or you can contact the Music Teachers’ Association in your local area for some sound advice. A good singing teacher can help you to get rid of bad singing habits and give you individually tailored vocal and breathing exercises. I recommend that you book in for a half hour or one hour lesson once a week. Regular lessons and regular practice can do wonders. Many professional entertainers that I know continue to have singing lessons. Some even take their teacher with them on tour!

DON'T STRAIN YOUR VOICE!
Always warm up before you start singing your songs. I recommend some relaxing breathing exercises then gentle humming first. Don’t sing too loudly at first. Give your muscles time to prepare. If you feel that something is too high then sing it an octave lower. You will need to have a set of exercises that develop different aspects of your voice and musicality – they should include major, minor and chromatic scales and arpeggios in a variety of pitches using different vowel and consonant sounds. Remember that the vowel sounds you use in singing can be quite different from the way you speak. They can also vary considerably from one music style to another, including Country, Rock, Jazz, Musicals and Classical. Keep in mind that the key you are singing in may be too high or low. If so, ask your teacher to transpose the music into a key that suits your individual voice. With the advent of computers and midi backings, it’s easy to change keys these days.

DAVID WILLIS - Singing Teacher to the STARS!
Over the years, David Willis has made quite an impact on Australian EDUCATION and the ENTERTAINMENT INDUSTRY. An accomplished pianist, singer and actor, David owns the Gold Coast branch of the Australian Talent School, teaching professionals and amateurs of all ages the art of Singing and Presentation, whilst nurturing their passion for Music and Performance.
As a specialist Singing, Speech & Presentation Teacher for over 20 years, David is proud of his SUCCESS STORIES including STARS from TV and Stage! To find out more about David's unique style of teaching, his success stories and his special Singing Exercises offer, log onto...
http://www.cdorders.com
David's unique WARMUP EXERCISES have been graded from Beginner to Intermediate and Advanced. They are guaranteed to greatly improve your singing in a very short time. All it takes is a few minutes each day. Amateur and professional singers world-wide are thrilled with the results they get from the exercises!

Article Source: http://EzineArticles.com/?expert=David_Willis

More About Pitch

2007-07-12T23:00:00.000+05:30

By Margaret Nesse

Whether your chorus goes sharp or flat, here's how to get them closer to the bullseye.

"Singers don't go flat out of spite," says Jerry Blackstone, Professor of Choral Conducting at the University of Michigan. Singers go flat because for us tuning is a complicated and delicate process. Unlike pianists or guitarists, we don't have keys or frets: We can't simply poke with a finger and be reasonably confident, having made sure our instrument is in tune, that we will strike a true pitch. For us, producing a true pitch is a complex interaction between such diverse elements as breath support, tension in the vocal mechanism, vowel color, ability to listen and blend, the weather, the quality of the air, and the singer's energy level.

As a veteran of many hundreds of voice lessons and 30-plus years of ensemble singing, I've faced plenty of intonation problems both as an individual singer and as a chorus member. Like many singers, I have a tendency to go flat at times, and I have learned certain tricks of the trade that can help to ameliorate or prevent this problem.

Faulty intonation for singers is rarely a function of faulty hearing. Like most singers who persist in the activity, I have a pretty good ear. I can carry a tune and reproduce notes and phrases I hear played on a piano or other instrument. Most of the time the notes I hear in my mind's ear are pretty much the same as the notes I'm supposed to be singing. Most of the time the notes I actually sing sound pretty good inside my own head. But sometimes, the note that sounds OK to me will sound just a hair, or maybe two or three hairs, under pitch to the person who's standing across the room. Why this discrepancy? If I'm hearing the note or phrase correctly, why don't I reproduce it correctly? If poor hearing doesn't cause poor intonation, what does, and what can we do about it?

My own pitch problems began to improve dramatically when I achieved an understanding of the three main elements of good vocal technique: good breath support, relaxation of tension in the vocal mechanism, and good vowel color and placement. Of these three elements, good breath support is the most important.

To demonstrate what's meant by good breath support, Julia Broxholm, an instructor at Adrian College and soprano member of the Great Lakes Vocal Quartet, uses a simple exercise called "the hiss." To practice the hiss, one begins with a slow, deep intake of air: The abdomen and rib cage expand, the diaphragm drops, but the chest and shoulders remain stable and relaxed and do not lift as air is inhaled. The mouth is slightly open, the tongue rests behind the teeth. Slowly, the abdominal muscles contract and press the inhaled column of air through the slight resistance of tongue and teeth to produce a sustained hiss. The effect is like that of a steadily pressed bellows: All effort is centered in the abdominal muscles as they squeeze slowly and firmly against the column of air. There is no tension in the chest, neck, or throat.

The hiss forces the singer to focus on, use, and strengthen the abdominal muscles that form the foundation of well-supported singing. When the hiss has been mastered, it can be alternated with a sigh on a descending "oo" vowel, also firmly supported with the abdominal muscles. Once the sigh is in place, the same support system can be applied to the regular warm-up regimen of scales and exercises.

Simply reinforcing good breath control practices can often take care of intonation problems: Remind students to think about the bellows and to let the abdominal muscles do the work while releasing tension in the jaw, neck, and upper body. They won't always hear the difference between their own well-supported and poorly supported sounds, but they should be able to feel the difference. A well-supported sound will feel solid, as though it has dropped naturally into a groove, rather than being forced, pressed, or manipulated. Most choral directors don't emphasize breath support nearly as much as they should. At best they might say in passing "Let's have more support on that descending passage," but they shy away from explaining what is meant by "support" or from using exercises that will help choir members develop good breathing technique. A lengthy and at times tedious procedure like "the hiss" is not always practical in the classroom or the choral rehearsal situation, but there are variations and elaborations that can be used successfully with groups.

For example, Richard Ingram, chair of the music department at Huron High School (Ann Arbor, Mich.), begins his choral warm-ups with a series of short hisses. The short hiss, like its sustained counterpart, forces the singer to use the abdominal muscles to press out air. The singer learns where those muscles are, and what it means to control the breath with those muscles rather than with the less reliable muscles in the neck, mouth, and upper chest. Jerry Blackstone has his choristers sing a long, sustained pitch on the syllable "no." He spins his hand rapidly to indicate that the singers should keep the breath alive and keep it spinning through the sound. Abdominal support must kick in in order to maintain the movement of the breath through this sustained, spinning sound.

Blackstone also tells his singers to "look gorgeous" or "fill as much space as you can with your bodies." Thus prompted, singers will throw back their shoulders, expand their chests, and stand tall. Without having to mention such technicalities as breath support or body alignment, Blackstone elicits from his singers the posture that is conducive to well-supported singing.

Julia Broxholm will slowly lift her arms as the singers move down the scale in order to encourage the extra support needed to keep descending passages from going flat. The gradual lifting of her arms suggests to singers not only a sense of lift, but also a sense of forward movement of the breath that keeps the passage from sagging, and instead makes descending notes feel like they are advancing, or traveling toward a goal.

Although good breath support can go a long way toward promoting good vocal intonation, it can only go so far if there is tension in the vocal mechanism or if vowel color is spread and uneven. I mention vocal tension and vowel color in the same sentence because in my experience the one effects the other: A relaxed jaw, neck, and tongue and a lifted soft palate will produce a pure, open vowel sound, and vice versa. Once good breath support is in place, you can improve intonation simply by working on exercises that loosen the vocal mechanism and unify vowel color.

Broxholm, for example, once worked with a women's chorus to prepare Benjamin Britten's Ceremony of Carols. The "Hodie" movement is a cappella and very exposed, and the singers were becoming frantic because they couldn't sing it in tune. Instead of berating them, Broxholm told them to relax, to let their jaws drop naturally, to open up the vowel sounds, and to get rid of all those tense, spread, midwestern diphthongs. The vocal line sounded off-key because the singers were producing a large variety of different vowel sounds. As soon as they matched their vowels, intonation improved dramatically.

Ken Westerman, head of choral music at Ann Arbor's Pioneer High School, uses a mirror to promote release of tension in the face, neck, and jaw. The mirror covers the entire width of the front of his rehearsal room, and singers can watch themselves, notice when tension is creeping in, and see what it looks like and feels like to release that tension. Westerman points out that young sopranos frequently go sharp because of tension and over-excitement, and that letting a soprano section stand in front of the mirror and practice tension release will often work wonders for toning down and evening out that screechy sound.

Ingram also encourages his students to relax their jaws, tongues, and necks and to concentrate on producing pure, open, slightly vertical, and well-supported vowel sounds. Almost invariably, intonation will begin to improve as correct singing takes hold, and Ingram will be able to praise his students for producing a pure, focused sound, rather than criticizing them for singing off key.

Blackstone has his students imitate the diction of Julia Child, whose snooty Boston accent exactly matches the ideal of pure, open, relaxed vowel color. He notes that people don't talk the way they sing, and they shouldn't sing the way they talk. Julia Child's heady, elongated diction may seem phony and affected, and may cause some embarrassed giggles amongst his students, but it's the sound that's needed for singing, and when students can mimic it successfully, there's no need for the director to fuss about diphthongs and "midwest spreading."

Breath support, relaxation, and unification of vowel color are the fundamentals of good intonation, whether one is singing alone or in a group. But faulty vocal technique is not the only cause of poor intonation, nor is working toward improvement of technique the only cure.

Choral groups sometimes sound out of tune because individual voices stand out, or because one voice part has lost its awareness of what the other parts are doing. In choral situations, a singer needs to know how to listen to and blend with other voices and voice parts. Students listening skills can be greatly enhanced by singing in quartets or in small groups that contain members of all voice parts. Singing in a circle can also enhance listening skills. Exercises that involve starting on a "home tone," then moving by steps and intervals away from there and back again are very helpful in developing listening skills. Several choral directors I know practice a cappella literature on short "doots," an approach that encourages careful listening and forces quick adjustments when chords go out of tune.

It's important to bear in mind, too, when director and singers feel as though they have drummed vocal technique and listening skills into the ground, that all singers and choruses have flat days—those times when the air is heavy and muggy, when the barometric pressure is too high or too low, when everyone is tired. Flat days can happen when energy and excitement are low, but they can also happen when energy and excitement are high, when performance day is bearing down and nobody feels quite ready, or when tempers are short and nerves are frayed.

Opening a window can help on a flat day. So can walking around, giving the person next to you a back rub, or singing in a new formation—anything that gets the blood flowing and the energy moving. Joke telling can be a great remedy for a flat day. A good joke and a little bit of laughter can inject energy into a dull rehearsal or release tension in a wound-up one. And laughter helps to lift the soft palate and to place the mouth and jaw in the smiling position that furthers good singing and makes good intonation more likely.

And then of course there's the old trick of moving an entire piece of music up half a step, a magical approach I ve never understood that almost always seems to work. Maybe human beings just weren't designed to sing in the key of C major, or maybe transposing just gets us out of a rut, stirs up our concentration level, and makes us sing higher. There are several good strategies available for improving intonation; there are also a few that are not as good. Some choral directors have a tendency, especially during performance, to point upward surreptitiously with a finger when the choir as a whole, or a particular section, is singing flat. Blackstone notes that a conductor who points his finger upward encourages singers to tilt their chins back, thereby constricting the vocal mechanism, causing a squeezed sound, and increasing, rather than decreasing, the likelihood of a poor intonation.

The finger-pointing gambit is a prime example of what I call the "go for the jugular" approach to fixing intonation. Another, less subtle example happens when a choral director simply yells out "You re flat on that E" or "You ve got to think higher on that A" without working toward improvement of the underlying problem. The most Draconian version of the "go for the jugular" approach involves going down the row of the miscreant section and making each singer perform the passage solo in order to discover the culprit or culprits who are going flat, thereby making everybody in the section more nervous and more likely to sing off key than they were before.

Of course, most choral directors who use "go for the jugular" strategies (and most directors resort to them sometimes) are well intentioned. Variations on these methods do work sometimes, but only for the short term, and at a cost. Telling singers that they re singing off key levels the finger of blame at them and implies that they are doing it on purpose, or that they either lack talent or are not trying hard enough. An adversarial relationship develops between the singers and the director, and tension and self-consciousness increase on all sides. In my experience, tension and self-consciousness are the worst enemies, not only of good intonation, but of good singing in general. The best friends of good intonation and good singing are directors and coaches who model good posture, good breath support, and good vowel color, who infect singers with their own good humor and sense of fun, and who give more praise than blame.

Source

BonkEnc

2007-07-12T19:52:00.001+05:30

Size : 3.59 MB

OS : Windows (All)
Freeware

BonkEnc is a new CD ripper, audio encoder and converter that covers various formats. It can produce MP3, MP4/M4A, Ogg Vorbis, AAC, Bonk and FLAC files. BonkEnc makes it easy to convert your audio CDs to MP3 or Ogg Vorbis files which you can use in your hardware player or with your favorite audio software. The program supports the CDDB/freedb online CD database and CDText and automatically writes song information to ID3v2 or Vorbis comment tags. BonkEnc is currently available in 29 languages.

For Downloads Visit BonkEnc Homepage and Follow the instructions on the screen

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DVDFab HD Decrypter

2007-07-12T19:39:00.000+05:30

Size : 2.27 MB

OS : Windows 2000/XP

Freeware

The new DVDFab HD Decrypter is a simpler version of DVDFab Platinum. It copies DVD movies to hard disk, and removes all the protections ( like from CSS, RC, RCE, APS, UOPs and Sony ARccOS) . It includes full HD-DVD and Blu-Ray support (removes AACS) as well.

Just simply Download It and experience the difference.

Download

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Altec Lansing FX5051

2007-07-06T09:26:00.000+05:30

Rating : 3.5

Features
Good Sound Quality, Control Pod, Remote Control, Long Cables, Good Highs

Disadvantages
Inadequate Bass at high volume, Confusing Rear Speaker Volume Adjustment, Bit expensive.

Today we have with us a proper 5.1 system from Altec Lansing, one of the best in the multimedia systems. This system is similar to Bose, it supports plug-n-play. The inbuilt audio processing and the isobaric sub-woofer, it all seems to sound good; but is it good enough? Let's find out.

Bundles
4 Satellite Speakers
Center Speaker
Isobaric Sub-Woofer
Control Pod
Wireless Remote
USB Cable
Color-coded 3.5mm stereo cables
User Guide & Quick Connect

Specifications
Technical specifications of the speakers:
2 Front Speakers: Two 12 Watts/channel @ 4 ohms speakers
2 Rear Speakers: Two 12 Watts/channel @ 4 ohms speakers
Center Speaker: 13 Watts @ 4 ohms
Subwoofer: 28 Watts @ 8 ohms
Total Continuous Power: 89 Watts RMS
Drivers (per satellite): One 40mm mid-range driver and one 18mm high-end tweeter
Subwoofer: Two 6.5" long-throw woofers in isobaric configuration

Speaker Setup

The Speaker Setup is a standard 5.1 surround speaker setup. I guess you all know this by now, but still a run through: Two speakers in the front on either side, one in the center, two in the rear on the either side, and the sub-woofer in the corner near a wall.

All connectors of the speakers are placed at the rear of the sub-woofer. There are two sets of connectors: input and output. Output consists of colored connectors for the corresponding colored speaker pin. The cables of the satellite speakers are quite long and can be easily setup with a computer system without any extensions. The other output connector is for the Control Pod of the system. Since the system can be used as plug-n-play as well as a Home Theater system, there are two input connectors. One is a USB for the plug-n-play aspect while three stereo jacks (Front, Surround, CLFE). Other than these, there is a switch for 2/4 and 6. With the switch at 2/4, the system automatically converts the sound from 2 channel to 4 channel. Keeping the switch at 6 can be used only when being used with a proper 5.1 sound card or a DVD Player.

Performance
The FX5051, being a proper 5.1 channel surround system, has decent sound quality. This system also had the same plug-n-play feature like the Bose Companion 5. It is also possible to use the FX5051 as a home theatre and so it also takes standard 5.1 channel inputs. We tested both inputs and here is what we experienced.

The FX5051 has decent highs, mids and lows. While testing it at low volume levels, the bass didn't seem to be present at all, but with the volume increased, you could feel it, but still not upto the mark. On the other hand, the bass produced from the isobaric sub-woofer missed thump.

The treble output was good but the bass just wasn't able to deliver the punch. The good part was that the bass never cracked, however high the volume was. The isobaric sub-woofer design could be the reason why the bass didn't crack and subsequently, could also be the reason for the poor output. The treble shattered at high volumes; i.e., at 75-80% volume, and that effected the system output. The treble was just too loud killing the bass again and again. The other problem I faced was while adjusting the rear speaker output from the control pod; it was confusing, it said that switching the system to 2/4 would give an ideal output.

Conclusion
The Altec Lansing FX5051 sells at an MRP of Rs. 15,500 with a one year warranty whereas, the street price for the same is Rs. 12,000. This makes it a pretty decent buy, as long as you want to enjoy the sound for yourself and not rock the entire neighborhood. Still, no punch in the bass is something that will not attract many hip-hop or trance listener

Safe Voice Revolution

2007-07-05T23:20:00.000+05:30

by Diana Yampolsky, a Toronto-based Vocal Coach/Consultant.

(Scroll down for Diana's bio) www.vocalscience.com

If you spend any time reading music industry publications or follow music-related media, you might have picked up on a recent trend: a lot of high profile performers are “experiencing difficulties” with their voices. Examples include Brian Byrne of I Mother Earth, Chico Moreno of the Deftones, Christina Aguilera, Leann Rhimes and many others. Not to sound insensitive, but in a way, this is actually a blessing in disguise. How so you may ask? They have been given a wakeup call that, if heeded, will make them better singers and their music that much more pleasureable to listen to.

Recently, a new client approached me because both his singing voice and his speaking voice were damaged. The person admitted that he had known about me for many years, had seen my advertising all over the place and had read my articles in Canadian Musician and other publications. Like the majority of singers, he did not see the need to consult a vocal specialist until he started having problems with his voice. (I believe this is akin to somebody realizing they should have taken some skydiving lessons after they have jumped out of the plane!) This fellow had damaged his voice by singing for years with incorrect vocal technique and did not decide to contact anybody until his voice was almost literally gone. The fact that he has all but lost his voice and finally decided to seek the help of a Vocal Consultant is actually a blessing because he will now learn how to sing without damaging his vocal anatomy and, as a side effect, will also sound exponentially better.

As strange as it may sound, I have found that these types of vocal problems are the norm rather than the exception. Furthermore, I must admit that I am not that impressed with the majority of professional singers I hear on the radio. Many can sing as well as I can fly an airplane and I most definitely do not have a pilot’s license. Therefore, at the risking of sounding quite cold, I must admit that voice problems are actually a positive occurrence for many aspiring singers. The benefits are two fold. Firstly, they will learn to sing in a way that will not damage their voice. Secondly, they will no longer be insulting listeners with off key singing, strained deliveries, and all forms of “meowing”, “howling” and “whining”! If that is not a blessing, then what is?

A safe voice revolution is my take off on the safe sex revolution. When people realized that unprotected sex could harm their health and even kill them, they started to engage in safe sex. Most people were also motivated to change their sexual habits because they did not want to catch a sexually transmitted disease and pass it on to someone they cared about. Not many performers apply the same type of thinking to singing. As I already mentioned before, they strain their voice until nodes appear and often hurt the ears of the people they should care about the most – the audience. Just as it is insane to have unprotected sex in this day and age, so too is it to not consult a vocal consultant. Vocal Consultant’s services should not be considered expensive at any cost as a safe voice for the performer and increased pleasure for the audience is most important! We all know that the best medicine is preventative medicine, therefore, taking care of your health before illness occurs is a must. In many ways, instruction in the basic technical aspects of singing should be a central part of a singer’s life, as well as a healthy diet and physical exercise.

Unfortunately, the majority of people do not even recognize that there is a technical aspect pertaining to singing.

In art forms such as ballet and figure skating the performers are judged first of all on technical ability and then on artistic merit. With singing most people only talk about the artistic aspects. I believe that vocal technique needs to be recognized and emphasized as it is in other art forms. In the recent movie, Billy Eliot, the main character is an aspiring ballet dancer who auditions for a prestigious ballet school. The judges saw that he was talented, but he did not have any technique to speak of. This did not make any difference as it would be their job to supplement his talent with the correct technical training. This is how I believe it should be with regard to singing as well. Just to give you an example, several weeks ago I was watching an Awards Show when I saw one of the best selling singers in the world struggle through a performance with a voice that was clearly “experiencing difficulties”. I proceeded to contact her management and let them know that as a Vocal Repair Specialist I could help her. Their response was that the reason for her poor performance was anxiety over a dress that she supposedly did not receive until a few minutes before she was scheduled to go on stage! This, in my opinion, was a very irresponsible reply. Unfortunately, when a performer has lost her voice, the managers can simply get a new client but the singer has lost everything. I could have helped her protect her voice for a fraction of the cost of the very dress that was supposedly causing her to sing out of key and crack on every low and high note. Again, this type of response is the norm rather than the exception. I suspect that one reason that vocal technique is not really recognized by people in the music business is because there is no one, true established technique that is accepted by everyone.

However, I am encouraged that a safe voice revolution truly has begun. The increasing acceptance of the importance of my profession attests to it. One of the greatest truisms is that sometimes bad things that happen to you are actually just what you need. I would like to note that even though I can make a decent living repairing damaged voices and I believe that helping the sick is the most honourable thing a person can do, my preference is to work with healthy voices. In many ways, I would compare myself to a builder who prefers to build a castle with good marble instead of cracked and chipped bricks. Too often I have to work with the latter but I find solace in the fact that a Safe Voice Revolution is truly picking up steam. So until next time, practice safe (and correct) singing.

Source : http://www.cleverjoe.com/articles/safe_singing_lesson.html

R-09

2007-07-05T23:17:00.000+05:30

Pristine 24-Bit Recording to Go

Introducing the latest addition to Edirol’s red-hot portable recorder lineup: the R-09. Building on the success of the R-1, the R-09 takes many of the most desired features — 24-bit uncompressed recording and a built-in stereo mic — and shrinks it all down into a more streamlined, stylish, and affordable package.

-24-bit/48kHz (or 44.1kHz) uncompressed recording
-Up to 320kbps MP3 playback and recording
-Records to SD card (64MB card included)
-High-grade stereo condenser microphone built in
-Mic and Line audio inputs; USB I/O
-Easy operation, user-friendly graphic display
-Ultra portable, half the size of the R-1
-Long battery life

Crystal-Clear Capture
It’s ultra small and looks like a gadget, but make no mistake — the R-09 is a serious, top-quality professional recorder with time-stamp capability. Capture source material at a crystal-clean 24-bit resolution with your choice of 44.1 or 48kHz sample rates. Record and play back in MP3 format as well (up to 320kbps). Once recorded, files can be monitored through the R-09’s headphone jack and/or exported to a computer via USB.

Microphone Included
To record audio into the R-09, there’s no extra gear to buy or no cables to connect. A quality stereo microphone is built right into the unit, complete with a dedicated input control, mono/stereo selector, low-cut filter, and gain boost. Just point and record! The R-09 also offers a mic input.

Sweetening
The R-09 is more affordable than its predecessor, the R-1. One reason the R-1 carries a heavier price tag is because of its well-stocked lineup of internal effects. The R-09 isn’t devoid of effects, however. It contains the world’s most-requested/desired effect: reverb. Whether you’re listening to WAV or MP3 files, you can route the R-09’s playback through its internal reverb processor, immersing it in lush, user-controllable ambience.

More Than Music
The R-09 is perfect for recording live music events, recitals, and rehearsals. It’s also handy as a songwriter’s sketchpad, ensuring that no moment of inspiration is lost. But the R-09 has many valuable uses outside of the music world as well. Students can use it to record lectures. Broadcasters and journalists can throw away their antiquated cassette recorders and use the R-09 for in-the-field interviews — the audio-capturing applications are endless.

Dimenions: 2-1/2 x 4-1/16 x 1-3/16 in. (62.6 x 102 x 29.1 mm)
Weight: 6 oz. (145 g) including batteries and memory card

Training the ear

2007-07-03T12:11:00.000+05:30

Acquiring sensitivity to the subtleties of musical texture is essential to singing.

The transition from good singer to fantastic singer is often to do with learning to hear everything that is actually happening in the music and one's voice. Many good singers, riding on large amounts of natural ability, cannot offer their audience the something extra which comes with understanding. For that matter, not all audience members appreciate higher quality either. But studying music formally is expensive, and requires time and effort, so not everyone gets the opportunity. But for those who do, there are a wide range of aural exercises to do with clapping rhythms, identifying intervals, analysing melodies, hearing chord progressions, which will bring out more of their sensitivity and comprehension of music. This will lead to interesting phrasing, variety in colour, ability to harmonise and staying in tune, even when the performer is tired.

Phrasing

2007-07-03T12:10:00.001+05:30

Million dollar phrasing the Britney way.

Creating musical phrases that are appealing and fit the style is an artform that can only be acquired gradually. Listening to great singers is one way, learning to read music and understand the way music is structured by songwriters and composers is another. Often thinking how an actor would deliver the lyrics if they were a line in a play is another useful approach. Words come from speech, and even though singers have to make changes so that the sound quality is maximised, going back to the origins of the words is good for keeping the essence of communication. Good breath control opens up many additional possibilities in phrasing, as does developing a strong sense of rhythm and tuning.

Articulation of Clear Vowels

2007-07-03T12:07:00.000+05:30

How to pronounce words with clear, open, pure vowels.

This is a very technical area that is very hard to explain without being physically present with the student. Briefly, to be a good singer, you have to learn to pronounce words with clear, open, pure vowels. For most students this means learning to say words with much more energy and vibrancy than the normal way they speak. Not only will the audience understand better what you are singing, but the sound itself will be aesthetically more pleasing, (even to someone who doesn't understand English). Our language is remarkably complicated, in terms of meanings, spelling and pronounciation, and the odds that the way you learned to speak as a child happens to be the most efficient use of the voice are fairly small. Projection is another way to approach this problem, as vowels that are forward and bright to the singer will carry well, and sound attractive (clean and open) to the listener.

Opening the Throat

2007-07-03T12:02:00.000+05:30

Opening the throat is perhaps the second most important technical issue in singing.

Opening the throat while you sing achieves two results:

It relaxes the voice and allows the vocal folds to vibrate freely and comfortably, even on high notes, where there is a natural tendency to force the voice to operate. (Forcing the voice is almost never a good idea, as you will sound fairly awful and eventually destroy your voice. A lot of singers have had early ends to their careers once they were performing regularly, because they didn't have enough training to protect the instrument, especially in Rock music. This also used to be a common problem in Opera, where attractive young singers would accept roles they weren't ready for vocally, but nowadays there is much more awareness of the need to gradually build up to certain levels of singing, even once one is already a professional singer).

The extra space created by opening the throat while singing adds resonance to the voice, which makes it richer and more beautiful. Especially in the high voice, where notes tend to be thin naturally, many harmonics can be added to the sound, in the same way recording studios add reverb and echo effects to Pop voices. Of course the richer the singer sounds by themself, the more that can be added to the sound in the recording studio. How to open the throat and sing at the same time? There are several approaches, most of them requiring patience and persistence. It isn't a question of open versus closed, but a question of degree of amplification. The simplest way for most students is to yawn and sing at the same time. A similar approach is to gasp as though surprised, and keep the muscles of the neck flexed in an outward direction while you sing. The higher you sing, the more important throat opening techniques are.

Breath Support

2007-07-03T11:59:00.000+05:30

Breath support is the single most important issue in singing.

Soundwaves are created by causing air to flow through the vocal folds. The more air that is converted to sound by the vocal folds as they vibrate, the more sound will be created. This means both a more powerful voice, and a more beautiful voice. While such an important part of singing technique has many facets, initially it is best to work on maximising the amount of air getting into the lungs before each phrase, and then using as much of that stored energy when you sing as possible. To get the feel of this, I normally teach my students a breathing exercise called the "Hissing Cycle". This has 4 steps:

Breathe in strongly through the mouth, and fill up the five primary areas of inhalation - the stomach area; the lower ribs on both sides; and both sides of the spine in the lower back region. ie expand these 5 areas outwards.

After your lungs feel completely full, pretend you are compressing even more gasps of air into the lungs, as though you are blowing up a balloon inside your stomach until it is about to burst.

Hiss the air out quickly, making a loud sound like a snake, or air escaping from a tyre. The jaw should feel loose, but the tongue behind the teeth creates some resistance, so you really have to push hard with the stomach to get the air out.

After you have emptied your lungs, keep hissing or trying to for another 5 quick pushes. This will really work the abdominal muscles that are used in singing. The muscles that are hurting are the ones you need to strengthen and use every time you sing. Don't stop even though you feel you will expire - it is the muscles you access at the extremes of this exercise that become the major breath support muscles.

Most beginners go blue in the face or feel light-headed when they start practicing the hissing. This is normal - take it easy and build up your abdominal stamina gradually. If you practice the Hissing Cycle everyday for 5 minutes, within two weeks you should start to notice an improvement in the quality of your singing.

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Psychology of Vocal Performance

2007-07-02T17:25:00.000+05:30

by Diana Yampolsky, a Toronto-based Vocal Coach/Consultant. The Article Is As Written by Diana Yampolsky by cleverjoe.com

In this column, I would like to talk about something human psychology-related. When I speak at Music Conferences, I often make the statement that vocal coaching is not really about working on the voice, it is about working on the mind. I like to think that one reason that I have been successful over the years is that while I did receive a very comprehensive musical education, I have also tried to learn things from other scientific and artistic disciplines and use them to enhance my capabilities as a Vocal Coach/Consultant.

One field that has bearing on pretty much every human endeavour, including singing, is Behavioral Psychology. In 1891, the Russian scientist Ivan Pavlov conducted a series of experiments using dogs to prove that behaviours are conditioned over time via repetition. In essence, he programmed the dog’s brains so that they would react in the exact manner in which he wanted them to.

For example, if he wanted the dog to learn the command to sit, he had to say it with a very firm voice and put the dog into a sitting position – always rewarding the dog with a treat. Eventually, the dog learned the command and with the command “sit” would do it himself while salivating, obviously at first expecting the treat. Pavlov proved that their saliva was produced in anticipation of the reward. Furthermore, the dog does not know any language. The Russian master would command “Sit” in the Russian language, the Japanese in Japanese, etc. The dog recognizes the sound and responds accordingly.
Now let’s suppose that the dog got into an obedience school in which the masters weren’t sure of what command to give and what response they wanted to receive. With the command ‘sit’, they were making the dog ‘lie’. With the command ‘lie’ they were making the dog run and so on. The dog would get completely confused and not know what to do anymore. Furthermore, let’s say the dog then enrolled in a different obedience school and the new master started giving him the correct commands. The new master would be perplexed – he couldn’t understand why the dog was lying when he was commanding the dog to sit and why the dog was running when it was commanded to lie. Obviously, the signals were mixed up.

With vocal coaching, I meet the similar situation every hour of every day. Many singers have mixed signals and “run” when they should “lie”. To recondition the mind and the response of the body is not an easy task, but it can be done; however, in a lot of cases with a great degree of difficulty. Therefore, I am use a structured set of speech and singing exercises to condition the mind and body to work in synchronicity and synergy. In many ways, what I am doing is similar to another scientific methodology - neuro-linguistic programming (NLP), which is basically a methodology that has been designed to help people change and reprogram people’s behaviours by “installing” a certain set of instructions into their brains. Similarly, I have found that while all people are given a voice, nobody per se has given instructions on how to use it, at least not in a scientific way. The “manual” and “programs” that I give singers consist of special speech and singing exercises that train people in a way that is really not all that different from the way that Pavlov trained his dogs. After I have supervised the repetition of these exercises over a consistent but relatively short period of time, the way that singers use their voices are the result of a programmed instinct that will give them optimum results with a minimum amount of effort.

In many instances, the hardest part of improving an individual’s performance is not “programming” the new behaviours, it is actually getting the singer to truly admit and, more importantly, understand that they have a problem. I call this the “Vocaholics Anonymous” syndrome because in many ways it is similar to the behaviour of an alcoholic with respect to alcohol. Alcoholics abuse their bodies through the excessive consumption of alcohol in a manner similar to the way that many singers abuse their vocal chords (and ultimately the ears of their audiences). In both cases, they usually feel pretty sore the next day. Similarly, both are often told by friends and family that they have a problem but they usually do not listen and cannot admit to themselves that they have a problem. The first step for any recovering alcoholic is for them to admit to themself that they have a problem. For a “vocaholic’ the steps are pretty much the same. The singer first has to admit to himself that his current vocal technique (or lack thereof) is a problem. The 2nd step is to commit to doing something about it. The 3rd step is to get expert help and the 4th is to be able to establish the proper habit so that they won’t fall back into their bad habits. As with alcoholism, the goal of any vocal coach should be to cure their students of their bad habits to the point that there is no chance they will ever fall back into their old habits.

In conclusion, singing, like almost any other discipline, is based on conditioning. If your voice is conditioned the right way, you will sound better than you ever imagined possible. Like a dog, you need a competent master and a great obedience school. For more insights into how you can correctly condition your voice and mind, look for my future columns, visit my website at www.vocalscience.com , and look out for my upcoming 2nd book, Vocal Science II – Flight from the Virtual Music to Reality.

Voice Repair - Get Excited! We Have the Tools!

2007-07-02T17:19:00.000+05:30

by Diana Yampolsky, a Toronto-based Vocal Coach/Consultant.
The Article Is As Written by Diana Yampolsky by cleverjoe.com

In this article, I would like to talk a little bit about how to deal with voice problems. As much as I wish it wasn’t the case, most untrained singers put unnecessary strain on their vocal chords and will as a result damage their voices.

Most untrained singers put unnecessary strain on their vocal chords and will as a result damage their voices.

This is especially true for rock ‘n roll singers who often strain to hit high notes to cut through the sound of distorted guitars and heavy drums. I don’t know how many times I’ve heard amateur singers say that their throat is sore for quite a few days after a practice. And the problem is actually worse for professional but untrained singers; they go on long tours and have to sing every night in a smoky environment. These are the singers that you hear about having to cancel tour dates because their voices are giving out and hurting to the degree that they simply cannot perform.
The fact of the matter is that your voice should never feel sore the day after a performance or any time due to the act of singing. You should be able to sing for at least 4-5 hours every night seven days a week and never feel even a slight discomfort in your throat. God forbid you have damaged your voice, but if that’s the case, the first thing you need to be aware of is that in most instances your voice can be cured with special vocal exercises and specific herbal remedies. Only in the very most serious instances should surgery even be considered!

Firstly, I recommend the use of natural herbs to counter the damage that has already been done to a singer’s vocal anatomy. All of the herbs that I recommend for my clientele are produced by a company called Nature’s Sunshine. I have tested quite a few others, but Nature’s Sunshine’s products are, in my opinion, by far the best. IGS 2 is a herb that will strengthen and repair your entire vocal anatomy: larynx, vocal chords, vocal box etc. Echinicea and Golden Seal coats the voice and softens the vocal box tissues. Licorice Root is a herb that is widely used by many cultures around the world; it works to restore the voice AND helps an individual’s emotional state, as it works on the adrenal glands which are responsible for the emotional state of a human being. This is a very important point. Most people assume that vocal problems are the result of straining the voice to the point of physical damage and they often are, but, vocal problems can also be related to emotions as well.
As I mentioned in my first book, Vocal Science – Flight to the Universe, when I work with my students, quite a lot of my time is spent dealing with repressed emotions and hurts which inhibit the voice and prevent the singer from reaching their full potential. For this reason, I often offer my clients special herbal remedies which will help them put their emotions in balance and, thus, free their voices.

Both KCX and Kelp are herbs that nurture the thyroid, which plays a major role in voice delivery. Furthermore, as I have said time and time again, your voice is your instrument. Therefore, I also often recommend herbs such as Stress Formula and IMM-C, which boost and strengthen the immune system. Also, as I mentioned before, diet is very important to the recovery and general performance of your voice. For this reason, I suggest to my clientele that they try not eat any of the following types of food: spicy, sour, salty, acidic and consume as little dairy as possible.

The other main part of the vocal repair equation are special voice repair exercises. I usually start out with speech exercises. After the client has mastered them, we move on to low pitch singing exercises, which I have found to be very therapeutic and healing.

Once the voice has been repaired the next step is to teach the singer correct vocal technique to prevent damage from reoccurring again in the future. After all, you would not get a tire patched up and then go park on the same broken glass that caused the hole in the first place would you? This always has the pleasant side effect of improving the quality of singing as well.

Total Voice Repair
Most people always assume that voice repair is only about removing nodes and fixing the vocal chords, but what I call ‘Total Voice Repair’ means repairing your entire anatomy. Essentially, many of the things that the modern world presents us with – fast food, pollution, lack of physical exercise – have a detrimental effect on our bodies and thus on our voices. For example, recently a client contacted me about my voice repair services. When I first met her three things were obvious to me – she had done serious damage to her vocal box, her body was extremely “polluted” and, at least in part, the latter was responsible for the former. When I talk about someone being “polluted” what I am saying is that their body is essentially full of garbage. The colon is full of waste. The sinus cavity is clogged with mucous. In the case of this person she was also extremely overweight. The result of all this “pollution” is that the person’s immune system is weak and their energy level is low; which results in the vocal anatomy being even more susceptable to damage due to incorrect vocal technique. Therefore, in the case of this client, voice repair did not begin with her voice but with her body. A complete holistic body repair was required before we could even start on her voice. Again, the first thing I did was give her a lot of herbs, but not only the herbs related to the voice but also quite a few herbs that would cleanse her body of the toxins in her system. As I have mentioned in other chapters, great and safe singing is the result of an integration and synergy between a healthy overall body, a healthy vocal box and correct vocal technique.

In conclusion, I would like to express my hope that you would never require any voice repair and will learn to speak and sing correctly before even attempting to make it through that long, nasty tour.

Diana Yampolsky is a Toronto-based Vocal Coach/Consultant/Voice Repair Specialist. She is the creator of the Vocal ScienceTM Program, which has been designed to achieve Accelerated Vocal Development and guarantees to turn a beginner into a professional singer in a matter of hours. This technique focuses on the idea that the voice is an expression of the emotional, physical and spiritual state of the person singing and Diana therefore works not just on the voice but on the performer as a whole. The Royans School for the Musical Performing Arts (http://www.vocalscience.com) specializes in Accelerated Artist Development, including Vocal Coaching/Consulting, In Studio Vocal Production Expertise, Style Identification & Differentiation, Voice Repair and Psychology of Performance.

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dBpowerAMP Music Converter 12.2

2007-07-02T09:34:00.000+05:30

Version : 12.2
Size : 4.06 MB
Os : Windows (All)
Shareware

Also called a Swiss army knife of Audio, this amazing dbpowerAMP is able to:

* Digitally Rip Audio CDs and compress to a multitude of audio formats,

* Convert between audio formats whilst preserving ID Tags. Practically every audio type is supported: mp3, mp4, m4a, Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple Lossless (ALAC) and many others from Codec Central,

* Volume Normalize & apply DSP effects [Power Pack Option],

* Windows Explorer Integration: right click >> Convert To, popup info tips (bitrate, length), Explorer Columns,

* ID tag editing [Power Pack Option],

* Record from LPs or anything with Auxiliary Input,

* Fully compatible with Windows XP / 2000, etc,

* CD Ripper boasts Fastest CD Ripping with AccurateRip included,

* Free from nags, popups, hidden spyware or bundleware. Please note that there is an option to install an mp3 encoder with this application. This part is not free but has a 30 day trial period.

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Singers Lets Prevent Vocal Problems

2007-06-27T11:00:00.000+05:30

-- Dr. Barbara Mathis

Good vocal health, of general interest to everyone, is a vital concern to the professional voice user, singers in particular. The voice is a precious commodity which cannot be replaced when worn out or damaged; therefore prevention can be the most important aspect of vocal hygiene. Vocal experts offer detailed suggestions for maintaining good vocal health and preventing serious vocal problems. Stemple states that people who make professional use of their voice must take special care to avoid risks to general health of the entire body as well as to the laryngeal mechanism, for the well-being of the voice is dependent on the well-being of the whole body. Brodnitz believes that among professional voice users the singer, above all, must practice intelligent hygiene, for the singer's profession requires the highest degree of specialization in the use of the voice. Unfortunately, as Stemple states, "the lifestyles of many professional voice users are not compatible with the maintenance of a healthy larynx. Not only may these lifestyles create vocal abuse and emotional stress, but they may also lead to less than adequate physical health." Luchsinger and Arnold further advise the professional actor or singer that psychological and physical conditions which concern everyone affect them to an even greater extent; and that singers, whose occupation requires a major form of physical activity, should preserve their health through temperance in every respect. The reviewed sources agree that professional voice users must attend to physical fitness and nutrition, prevention and prompt care of illnesses and allergies, environmental conditions, and speaking and singing habits.

Physical exercise and proper nutrition help keep bodies and voices healthy. Brodnitz states that the mucous membranes prefer a diet with limited starches, thus discouraging the overproduction of phlegm which interferes with free nasal breathing and clarity of the voice. The tendency to overindulge in starches and the lack of enough physical exercise often cause a corresponding tendency toward obesity, a condition associated with high blood pressure, higher levels of cholesterol, sugar diabetes, heart disease, and respiratory problems. Unhealthy for anyone, obesity is certainly detrimental for the professional voice user who must have a healthy respiratory tract; and, as Sataloff points out, obesity has significant disadvantages for the professional singer:

Today, most people involved in voice education and singing recognize that singing is athletic. As such, it requires good abdominal and respiratory conditioning, physical strength, and endurance. All of these are undermined by significant obesity. . . Even a moderate degree of obesity may adversely affect the respiratory system, undermining support.
Bunch cautions against obesity but reminds singers that a good diet should include protein to combat wear and tear of tissues, and vitamins, minerals, carbohydrates and fat to insure vitality and energy as well as good health. Bunch also recommends physical activity which involves free movement and increased depth of breathing such as dancing, jogging, walking, calisthenics, tennis, and swimming. She states, though, that singers should refrain from diving and underwater swimming to avoid possible risks of nasal congestion and ear trouble, and further advises against weightlifting which tends to overdevelop the muscles of the neck and the adductors of the vocal folds.

Prompt attention to and care for illnesses, especially those affecting the upper respiratory tract, is important in the prevention of more lasting vocal disorders. The common cold, which may begin with a tickle in the throat, congestion, and/or sneezing, can lead to more serious infections of the sinuses, bronchial tubes, or lungs. Unfortunately, as Lawrence points out, the cold, or the URI (upper respiratory infection), "is a fever producing, sudden onset illness that attacks the respiratory tract, and which lasts about a week with treatment and about a week without treatment." About all one can do when the cold strikes is to rest, increase fluid intake, and provide some relief for the affected tissues. Lawrence recommends steam inhalations, a decongestant, and antihistamine for the first few wet days; however, he cautions singers about the drying effects of antihistamine if used past the "pouring hot water" stages of the cold. Professional voice users should speak and/or sing as little as possible while under the effects of the cold and should avoid violent coughing or throat clearing, all of which may cause hoarseness long after other symptoms have abated. The best cold "medicine" is to avoid catching the virus in the first place, as some sources suggest. Lawrence believes that the best way to avoid a URI during the cold season is to wash hands often and to avoid touching objects which have been in contact with someone infected with a cold. Many sources recommend keeping the mucous membranes hydrated and keeping the atmosphere in homes and buildings at a high relative humidity level to help deter the spread of viruses.

Suggestions for adequate environmental and body hydration appear often as a preventive vocal health measure. Lawrence explains that water is extremely important in the normal functioning of the respiratory tract and of the vocal tract in particular. He advises the professional voice user to carefully monitor body water levels by noting the condition of one's urine: when well hydrated, urine is very dilute, nonodorous and almost invariably the color of tap water. Loeding advises vocal performers to avoid habits which dry out mucous membrane linings of the nose and throat, such as smoking and drinking alcoholic beverages, to drink eight to nine glasses of water a day, and to keep the air moist by using a vaporizer or turning on the hot shower. When outside temperature and humidity levels are uncomfortable, efforts to provide a healthy environment which contains a minimum humidity level of forty percent should often include running a vaporizer, humidifier, steamer, or hot shower, especially in homes or buildings which are centrally heated or air conditioned the year around. When outside humidity levels are too high, Stemple contends that the mucus of the respiratory tract may thin out, causing excessive drainage leading to throat clearing and coughing. He further states, though, that the presence of mucous drainage, or "postnasal drip," is a normal and natural function which should not be changed with over-the-counter "sinus" medicines which dehydrate the mucosal lining. Lawrence explains that normal mucus, which is watery, thin, and liquid, is rarely, if ever, perceived as being present. If overly aware of drainage, one is usually suffering from dehydration, although the thicker secretion can be the accompaniment of a problem such as sinusitis, upper respiratory infection, or a nasal allergy.

Nasal allergies or sinus problems can make life miserable for the professional voice user, for these conditions can cause swelling of the tissues in the throat and larynx eventually leading to hoarseness. Severe or chronic allergies need specialized medical attention; however, if attacks are infrequent and mild and if problems are minimal, Sataloff advises the use of a mild antihistamine and/or decongestant. The drying effects of the antihistamine may be counteracted by mucolytic medications such as Entex, Organidin, Robitussin, or Humibid, which increase or thin upper respiratory secretions. These medications also help dryness caused by atmospheric conditions and overuse of the voice.

Closely related to allergic reactions and general health of the laryngeal tissues is the unhealthy reaction of the voice to irritants such as tobacco, alcohol, and other recreational drugs. Almost without exception, voice experts advise against the habitual use of tobacco, marijuana, alcoholic beverages, cocaine, and other mood and mind altering drugs. Symptoms from habitual use are twofold: direct physical changes in the larynx and respiratory tract, and results brought about by changes in the sensory mechanisms. Sataloff warns that smoking not only may have eventual health consequences such as cancer, emphysema, and heart disease, but that the heat and consequent irritation of smoking also have an immediate effect on the larynx and the linings of the respiratory tract, producing inflammation that alters the vocal folds. Lawrence describes the effects of tobacco and marijuana ("weed" or "pot") smoking:
The hard palate is reddened. The soft palate and the uvula have that whitened surface look you see when you drop egg white into hot water and the protein first begins to coagulate. The edges of the vocal folds are reddened, and there is a slightly dry, nonproductive cough. . . .Pack-a-day smokers of tobacco will sometimes show those findings after a few months, but those on weed will be unmistakably there after a very short time. And the voice loses its brilliance and its cutting edge.

Sataloff explains that marijuana smoke is particularly harsh, hot, and unfiltered and may alter sensorium thus interfering with intellectual awareness and fine motor control. In a later article Lawrence offers further concerns about marijuana usage and resultant attitudes and disregard for ethics. He states that excellent singing requires physical and mental discipline and daily practice and exercise, but that the "lovely, eased-out languid feeling of a marihuana high makes this so much less urgent, so much less agreeable to do. . . .I find pot eroding the work ethic, at least among several of my university voice majors."

The professional voice user should carefully consider the consumption of alcoholic beverages. Wilson warns of these possible effects: excessive vascularization, a drop in fundamental frequency, and hoarseness. Sataloff reminds singers that alcohol opens up blood vessels and alters mucosal secretions while also altering awareness and fine motor control. He states that while very small amounts do not pose a major problem for people who are accustomed to drinking, singers who are not routine drinkers should be careful to avoid alcohol on the day of a performance. Bunch explains, though, that the habitual use of alcohol can affect the voice in several ways. As a depressant and muscle relaxant, alcohol may impair the control of the vocal folds and sensitivity of the throat, and the drying effect of alcohol can cause irritation in the tissues of the vocal tract eventually causing a raspy or hoarse voice.

Like alcohol, other recreational drugs change the sensory mechanisms of the body, a pertinent fact for the serious voice professional who wishes to maintain good vocal technique at all times. Sataloff explains to singers the decreased awareness and impairment of accurate analytic abilities caused by "street" drugs:
They not only prevent a singer from making the instantaneous modifications that are intrinsic to good singing, but some street drugs also interfere with reaction time and motor control directly. In some cases, they may also decrease feeling (particularly narcotics) and allow a singer to injure himself without feeling pain. This can result in serious or permanent vocal fold damage as the singer continues to use his voice, perhaps remaining oblivious to the problem until the next day. Certain street drugs, particularly "uppers," may also cause a tremor that can be heard in the singing voice.
Lawrence offers additional concerns about a particular recreational drug, cocaine, and its effects on singers:
As a laryngologist I see the residuals of the chemical and thermal burns of the vocal tract surfaces, and I'll hear the air escape during phonation, the harshness and breathiness, the loss of clarity of voice, the loss of high range voice.
Lawrence also attests to the personality changes which may come about as a result of cocaine. The user most often experiences mood swings, from a sense of euphoria accompanied by a speeding up of thought processes and a tongue that cannot keep pace with mental activity, to the down phases, which can include attitudes of dejection, despair, and depression. Eventually true paranoia may result. The professional voice user may conclude from the opinions stated here that avoidance of smoking, alcohol, and recreational drugs will increase the chances for maintaining good vocal health and technique.

Another important factor in preventing serious vocal problems is sensible use of the voice in regard to time and demand. Unfortunately, many people who use their voices professionally are in job situations which require exhausting schedules of preparation, performance, promotion, and travel. These kinds of demands create tired bodies and tired voices. Lawrence feels that total voice use time should be a major consideration in vocal health and that vocal abuse may be a matter of "too much, too loud, and too hard." He further states:

I would say to any singer, to any voice user, that no larynx is infinite. None of us is made of cast iron or stainless steel. Each of us has a definite, a finite amount of vocal coin to spend. We should consider our priorities and then literally put our money where our mouths are.

Sundberg advises singers and other people who rely heavily on their voices to note an important fact: the endurance of the vocal mechanism varies considerably among individuals. Even when using the voice economically and well, some people cannot perform as long as others. Endurance is affected by factors other than individuality, such as a cold, alcohol consumption, or dry air. What is harmless under normal conditions may be twice too much under unusual circumstances. Sundberg concludes this idea by stating that the more the voice is used, the more wisely and economically it must be used, and, that the risk of developing a voice disorder using one's normal vocal technique increases during adverse conditions such as a cold. Thus, if it is up to the individual to discover his own vocal limits in regard to time and demand without experiencing health problems, then the professional or future professional voice user should know recommendations from experts along these lines. In 1894 Manuel Garcia advised his students that the "practice of singing three or four hours a day will ruin the most robust organ;" and he recommended three half hours a day at long intervals as the maximum of study. Coffin also tells us that the master teachers of singing recommended four practice sessions of thirty minutes a day for "the most robust vocal organs." Coffin also cautions singers about the demands from opera and chorus conductors, and places the responsibility for limiting rehearsal and performance hours on the singer, who must "protect himself by any guise."

Luchsinger and Arnold advise the professional singer to rest the voice at regular periods and, as a general rule, to limit major performances to three per week. Sataloff reminds singers that just as the eyes burn and get "bloodshot" after staying up too late, similar changes in mucosal lubrication and irritability occur throughout the vocal tract: "When we wear ourselves out, we interfere with the body's ability to repair, replenish and balance the components of our vocal mechanisms." Sataloff and Roberts further advise singers, who must deal with both the physical and psychological stress of performance, that rest periods are essential for muscle recovery, and that it is essential to condition and build up strength and endurance before rehearsing long hours prior to a performance. Tucker supports this advice, and he lists singing for excessively lengthy time periods as one factor sometimes associated with vocal dysfunction. He also states that even the well trained singer may experience alteration of the voice during peak points of a career due to behavioral factors such as stress, extensive rehearsal, and the need for precise control and exquisite conditioning.

This need for precise control, exquisite conditioning, and athletic endurance is another aspect in prevention of vocal disorders, as the professional voice user must certainly attend to speaking and singing habits and techniques to avoid vocal health problems. Speaking techniques have been discussed earlier in the chapter, but sources do offer hints for prevention. In his vocal hygiene program for professional voice users, Boone lists twelve "commonsense application" steps, among which are the following speaking habits or techniques: identify and reduce or eliminate vocal abuse and misuse; develop an easy glottal attack; use an appropriate speaking level; keep the speaking voice at the lower end of the loudness range; take an easy, relaxed breath; reduce vocal demand as much as possible; avoid talking in loud settings; and avoid making odd sounds with the voice. Cooper agrees that one should talk with moderate volume, even in noisy situations. He also warns against habitual cheering and yelling. In her ten commandments for vocal health, however, Loeding says one should never scream, not at a basketball or football game, not even for joy. She also warns against overuse of the voice, speaking too rapidly, and speaking or singing in the wrong tessitura or pitch range.

Most sources agree that vocal efficiency and excellence are related to fine control in certain vocal areas as listed by Reich, who offers ways to prevent dysphonia in vocal artists involved in performance speech and concert singing. He believes that vocal efficiency relates to control in the areas of intensity (regulation of pulmonary flow and glottal resistance), fundamental frequency (isometric "tension" tuning of vocal folds), vibrato (frequency modulation accompanied by some amplitude modulation), tone quality (noise-free phonation with lots of energy in the higher harmonic frequencies), respiration (maximum utilization of lung capacity and precise control of expiratory muscles), and resonance (low laryngeal position, pharyngeal dilation, lots of energy in the 2800_3200 Hz range, some nasal resonance, and lots of jaw opening at high frequencies). Further, George Antolik III feels that hyperfunction of the singing voice may be prevented by using correct techniques of posture, breathing, vocal attack, registration, and resonance. However, he does not seem to agree with other sources reviewed earlier in the chapter, such as Boone and McClosky, that once hyperfunction occurs it can be removed with the same techniques, as demonstrated by the following statement:

Since few laryngologists, singing teachers, or speech therapists are qualified to formulate techniques successful in removing vocal hyperfunction, it seems that its prevention offers a more logical approach to both singer and teacher. It should also be noted that once the laryngeal muscles are damaged, the prognosis for a complete recovery of the singing voice is extremely guarded."

Evidently some sources agree that, although cures for vocal faults are possible, they are never absolutely certain, and prevention through proper training is infinitely more vital. In 1894, Garcia, for example, offered corrections for vocal faults such as guttural or nasal sounds, tremolo, and slurring the attack of a sound; however, he stated that some of the faults are distressing and extremely difficult to correct. Today, according to Bunch, the prognosis is still not good for "restoring battered vocal folds to normal function." If a singer suffers severe muscular fatigue, a condition she thinks is the most difficult to detect or remedy, or hoarseness after every practice or performance, it is a clear sign that the voice is improperly used or that something else is seriously wrong. Bunch believes that hoarseness caused by misuse is usually one of two things: putting excessive air pressure on the vocal folds or using too much muscular effort in the larynx to produce sound. When this type of misuse continues until muscles have had more strain than they can take, sometimes the voice stops working "overnight" and thus surprises the singer who has probably abused the voice for months or even years.

All people in the voice professions would agree that prevention of vocal disorders through proper training and techniques is desirable, and many would agree that therapy is the most important treatment for vocal problems. Unfortunately, as Sundberg states, "The dispute among singing teachers and other voice experts as to what is the best method or therapy and what is the best vocal technique has gone on over the centuries, and probably there is little hope that the issue will be resolved in the near future. . ." He goes on to say that although it is difficult to judge what is a good method or technique, objective measurements on voice characteristics should help; and even though one method probably could not suit all voice types or musical styles, he prefers a method which is in close agreement with physiology. Sundberg believes that it is easier for the majority of students to understand instructions that reflect what is actually happening within their bodies. Perhaps Luchsinger and Arnold best summarize good vocal hygiene and preventive measures by stating that good vocal hygiene is based upon knowledge of the physiology and pathology of voice production; and two types of measures may be taken to avoid vocal disease: promotion of physical health and prevention of vocal misuse or overexertion.

For singers, this means careful attention to the following recommendations for good laryngeal
health and the prevention of serious vocal problems:

General rules of good health for the entire body
Voice training and exercise
Proper speaking techniques
Good vocal habits (avoidance of yelling, throat clearing, etc.)
Attention to allergies and hormone balance
Prompt and professional care for respiratory infection and laryngitis

Source : Singers's, Lets Prevent Vocal Problems

VLC Media Player 0.8.6c

2007-06-26T13:46:00.000+05:30

Version : 0.8.6c

os : Windows (other visit the site mentioned Below and select the appropiate Download)

Size: 9.00 Mb(Approx)

Freeware

VLC (initially VideoLAN Client) is a highly portable multimedia player for various audio and video formats (MPEG-1, MPEG-2, MPEG-4, DivX, mp3, ogg...) as well as DVDs, VCDs, and various streaming protocols. It can also be used as a server to stream in unicast or multicast in IPv4 or IPv6 on a high-bandwidth network. It is a free cross-platform media player It supports a large number of multimedia formats, without the need for additional codecs It can also be used as a streaming server, with extended features (video on demand, on the fly transcoding, etc.)

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Singing Tips 2 - Video

2007-06-26T12:13:00.000+05:30

Here Is Singing Tip 2 by moneymasterjet I promised I would post, this a video i have uploaded from You Tube

Singing Tips - Video

2007-06-26T12:08:00.000+05:30

Surfing the net i came across this video by a person called moneymasterjet on Singing Tips, thought u guys would like it, here is the video from you tube, I will also post his singing Tip 2 Video too.

BOPSTA - Google Idol

2007-06-25T12:45:00.000+05:30

Site : Bospsta - Google Idol

Couldn't get into one of the singing competition reality shows? Grab your webcam, because here's a whole new platform to showcase your talent. Bopsta Is an onlne lip syncing competition that pits videos against one another, with the winner being chosen by votes. you caould also submit short films, documentaries and more. ALL AT THE WEB's A STAGE

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SINGING TIPS - Breathing, Technique

2007-06-24T17:52:00.000+05:30

Singing Tips 1 - Take singing lessons but be sure to seek out a qualified teacher. Check their references. Look at their training and/or schooling as well as their work history.

Singing Tips 2 - Practice singing in front of a mirror. This will help you notice posture, airflow, facial expressions, and overall how you appear to an audience.

Singing Tips 3 - Open your mouth! Well, if you can learn to sing with your mouth "very" wide open, you will hit clearer notes and sing more strongly and cleanly overall.

Singing Tips 4 - Keep your vocal chords moisturized. Drink lots of water or liquids at room temperature.

Singing Tips 5 - Try not to hold your breath when you're singing. You want the air to flow freely through your diaphragm and back out.

Singing Tips 6 - Remember, your vocal chords are an instrument and it must be cared for like an instrument. Be sure to get proper rest and do not shout or scream for long periods of time before a vocal performance.

Singing Tips 7 - Sing with a karaoke machine. This is a great tool to allow you to "have the floor". It provides the words and the back-up musicians. Just be sure to balance it out later on with real musicians. There is quite a big difference when performing professionally and you need to get used to the live performance arena.

Singing Tips 8 - Don't just mouth the words with melody. SING!...from the bottom of your heart and soul. Put heart, feeling, and emotion into every line and sing with conviction. This will translate into an outstanding performance for the listener.

Singing Tips 9 - Don't drink, do drugs, or smoke. These are the worst things ever for your voice.

Singing Tips 10 - Stay away from air-conditioning before a vocal performance.

Extract from : Singing Tips For Choirs

Any Video Converter

2007-06-21T13:51:00.000+05:30

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MPlayer 1.0

2007-06-21T13:36:00.000+05:30

Version : 1.0
Platform : Windows (all)
Size : 22 MB
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MPlayer plays all the current formats in both audio and video available till now . Another feature is its multi-language support and Unicode support. The player installs all the audio and video codec necessary for playback of all audio and video files. It is been optimized for Athlon-XP, Athlon-64, Pentium-4, Core/Core2 and Pentium-M. The complete package download is just around 20MB making for an easy download.

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Singing Tips - A 2 Z

2007-06-20T14:41:00.000+05:30

A = Airflow. Never hold your breath while singing. The airflow carries your vocal tone, so keep it flowing. Learn the proper way to breathe for singing, called diaphragmatic breathing. Direct some of the air out through your nose. Singing Tips A

B = Breathing properly for singing requires the shoulders to stay relaxed, not rise with the breath intake. A singer will gain power to their voice by strengthening the muscles in the rib cage, back and diaphragm. Singing Tips B

C = Communicate the music's message. During performance you should communicate the message of the song. If you make a mistake don't "admit" it to your audience. They probably did not even notice. Singing Tips C

D = Diaphragmatic Support. Develop the strength and coordination of the diaphragm and control the speed, the quantity and the consistency of the airflow. Singing Tips D

E = Elasticity of the Vocal Folds. The vocal tone is created as airflow bursts through the cleft of the vocal cords causing them to vibrate/oscillate. The vocal folds can lose elasticity due to misuse, lack of use and/or increase of age. Be sure to train your voice with vocal exercises on a regular basis to keep your voice in shape. Singing Tips E

F = Free your natural voice. Don't be a slave to any music style -- even your favourite one. Learn to sing with your full and natural voice by developing your vocal strength and coordination. Then add stylistic nuances to achieve any singing style you desire. Singing Tips F

G = Guessing Games. Never guess the pitch you are about to sing. Hear the note in your head before you open your mouth. Singing Tips G

H = Higher notes require an increase in airflow. Singing Tip H

I = Increase your breathing capacity and control by doing breathing exercises daily. Singers must negotiate phrase lengths of all different sizes, so it is important to be versatile. Singing Tips I

J = Jumping Jacks. If you are having trouble getting your body completely involved with singing, try doing some cardiovascular activities, like jumping jacks, for a few minutes before getting started again. Sometimes your instrument simply needs an airflow wake-up call. Singing Tips J

K = Know your limits. Don't sing too high or too low. Don't sing to the point of vocal fatigue. Never strain or push your voice. Doing so will not result in a higher or lower singing range, or a stronger voice, only a voice that has suffered undue stress. Singing Tips K

L = Lower notes require a decrease in airflow. Singing Tip L

M = Mirror. Training in front of a mirror can help a singer discover many things about their instrument, as well as confirm that other actions are being done correctly. Be sure to rely on a mirror during vocal training, but be able to leave the mirror to face an audience. Singing Tips M

N = Never sing if it hurts to swallow. Singing Tip N

O = Open your mouth wider. Nine times out of ten this will help you achieve a stronger, more defined vocal tone. Singing Tips O

P = Prepare your instrument before singing. Singers are very much like athletes. Take care of your body/instrument by stretching out the vocal muscles and relieving the body of unnecessary tension before singing. Singing Tips P

Q = Quit smoking. As a bonus, you will probably live longer :-) Singing Tips Q

R = Raise the Soft Palate. Creating a larger space inside your mouth by raising the soft palate, or fleshy part of the back of our throat, helps achieve a deeper more well rounded singing tone. Singing Tips R

S = Sing through the vocal breaks. If you do not teach the muscles the necessary actions to sing through the trouble spots, success will never be achieved. Sing through it, sing through it again, and again.... Singing Tips S

T = Tone Placement. Learning the facts about tone placement and resonance make a huge difference in the abilities of a singer. In simple terms, a singer has numerous body cavities (nasal cavity, chest cavity, etc.) and amplifiers (bones, ligaments, etc.) that act as resonators. Focusing the vocal tone through the proper resonating chamber with the proper support is important with regard to controlling and developing your personal sound. Singing Tips T

U = Unique Voice Under Construction. Remember that your voice has its own unique fingerprint and is constantly changing with our actions, environment, health habits, etc. With this in mind, listen to your own voice often and use vocal training tools to keep your voice on the right track. Singing Tips U

V = Vibrato. Vibrato is a natural or forced fluctuation of a pitch. Do not concentrate on learning how to sing with vibrato. Instead, concentrate on the basic foundations of singing, breathing and support. When the proper coordination is achieved, vibrato will occur naturally. Singing Tips V

W = Water. Water. Water. Drink room temperature water as often as you can to keep your voice organ hydrated. If you only have cold or hot water available, swish it around in your mouth for a moment. This action will keep your voice organ from being startled or stressed by different temperatures. Singing Tips W

Y = You Can Sing with Impact! Exercise your voice daily with contemporary voice lesson products. Don't Just Sing when You Can Sing with Impact! Singing Tip Y

Z = Zzzzzzzz. Be sure to get plenty of rest. If you are tired, your voice will show it. A tired body/instrument will not allow you to produce your best possible sound. Singing Tip Z

Source : http://affordablesingingvoicelessons.com.

Vocal Exercises

2007-06-16T19:27:00.000+05:30

All of us have to sing at some point, even if it's just a simple 'Happy Birthday'. use these simple tips and techniques to improve your voice and your confidence.

Keep your arms slightly away from your body. Clasp your hands out in front of you or bring your arms to your sides and a bit forward, raising them about 6 inches in a flexible, relaxed fashion. This will allow your ribcage to fully expand and your lungs to fill to capacity. More air allows you to project your voice more strongly and clearly.
Keep your feet about shoulders' width apart. If you like, one foot can be further forward than the other. Make sure you're solidly balanced, but still flexible. Slightly bend your knees. If you must sing while sitting, make sure both feet are flat on the floor and that you're sitting up straight, but not stiffly.
Relax! Tension destroys vocal tone. Try not to let your shoulders hunch up and keep your neck from tensing. Don't force your chest out and up when you breath in. This will actually constrict your air flow. Stay in motion, however slightly. This will relax your body and your tone will sound more natural. Try gently swaying from side to side with the rhythm. You'll look better, too!
When you inhale, push your stomach out. This will allow you to more completely fill your lungs. As you exhale, bring your stomach slowly in, using the muscles of your diaphram (which is just under your ribcage) to control your notes.
If you have to hit a high note or you hear yourself singing flat (that is, your notes are a tiny bit too low), raise your arms a little higher and smile slightly. For very high notes, try closing your eyes and turning your face up slightly.
Conversely, if you start to sing sharp (a tiny bit too high), bring your arms down a little lower and open your mouth slightly wider by dropping your lower jaw. Don't dip your chin towards your neck, however, as this will cause your air flow to become constricted, which will show up in your voice.
Enjoy yourself! If you take all these tips to heart, singing could become a habit.

Damaging vocal technique

2007-06-16T13:48:00.000+05:30

By David L. Jones

It has been requested repeatedly that I write about vocal techniques that can result in vocal stress or even damage. I have hesitated to write about this because it is a difficult and controversial subject. Nevertheless, I believe it is a subject that needs to be responsibly addressed. Most singers know little if anything about the voice when they begin to study singing. Nor do they know what is healthy or unhealthy vocal technique. Having suffered vocal damage myself, I can only speak from my own experience. In the following paragraphs, I will list the causes of such vocal damage. Not only have I witnessed vocal damage, I can say I have suffered vocal damage and have recovered from it through the concepts of Alan Lindquest, his students Virginia Botkin, Martha Rosacker, and Dr. Barbara Mathis, and Dr. Evelyn Reynolds, my present teacher who has studied the Italian School extensively. All of these teachers have accomplished a deep understanding of the concepts of the Italian School in great detail and they all developed diagnostic hearing plus tools to solve vocal problems. All of them have been extremely influential in my development as a teacher and they have given me an expertise that I value greatly today. This is why I encourage young teachers to find a real master teacher with whom to study. Lindquest continued his vocal research until his death at age 93. This is the sign of someone who pursues the deepest truth in vocal concepts. Singing is a life-study. It is exciting in the sense that one can learn at any age and the journey need never end.

The Damaging Effects of a Flat-Tongued Technique
So many teachers and singers are confused about the healthy position of the tongue in singing. I have worked directly with singers who have studied a 'flat tongued' technique and attempt to sing on this type of production. The flat-tongued technique is basically a non-productive futile attempt to find more acoustical space in the throat. I can tell you without hesitation that this is an incorrect and damaging technique. If the tongue is flat, then the mass of muscle at the back of the tongue (tongue root) is forced into the pharynx. This fills up the primary resonator (pharynx) with tongue mass which can be compared to singing with a pillow in one's throat. Trying to teach a singer with such a background can be a difficult journey at best. Healthy nasal resonance cannot be present in a flat-tongued technique. It is important to understand that healthy nasal resonance (not nasality) is the only concept that completely releases tension at the root of the tongue.

In a flat-tongued technique, the singer is primarily using a technique which does not allow for a healthy change of register as one ascends upward within any scale or arpeggio. The root of the tongue places direct pressure or stress at the vocal cords or glottis. After hearing a singer trained in this destructive technique, it becomes obvious that this incorrect vocal concept does not allow for the healthy pivoting of the vocal folds. Therefore there cannot be a healthy transition into the head voice register. Loss of high notes is typical in such an approach to singing. When the tongue is too flat, then the singer has to force the voice into the upper register with a tremendous amount of breath pressure. This breath pressure irritates the vocal cords and the result is usually hoarseness and an inability to phonate healthily. Some singers have also suffered damage such as vocal hemorrhage, bowed vocal cords, nodules, or polyps from singing with the tongue depressed or flat. This constant pressure on the larynx and vocal cords created by this technique is completely unhealthy for the voice. I warn teachers and singers that those who pursue such a technique to get a 'bigger sound' (this kind of sound is only big in a small room and is quite small in a theatre.) can destroy their vocal health.

Case Study: Tenor Singing Baritone
Recently I had the opportunity to work with a young professional baritone. At 23, he was loosing his voice through hoarseness after each performance. There were two primary culprits that worked together to destroy healthy production: tremendous breath pressure and a flat-tongued technique. Because he was trying to create false color with the back of the tongue and because he thought he was a baritone (see article on Vocal Fach), this young singer was flattening his tongue. There were four negative results (1) absence of healthy nasal resonance, (2) inability to achieve 'ring' in the voice through nasal resonance, (3) chronic hoarseness from a flat tongue position creating direct pressure on the vocal cords, and (4) absence of an easy transition into the upper passaggio and high range. After working with this singer for a period of about 10 minutes and having heard the absence of true resonance in the voice, I decided to vocalize him higher. Because of Lindquest's great understanding of the tenor voice, partly from his association with Jussi Bjoerling, and because his exercises invite balance in the upper passaggio, this singer could quite quickly go up to the high C and even to the high D without major difficulty. I began to analyze the singer's tongue position and realized that at times it was completely flat in an attempt to manufacture a baritone color in the voice. Since he was not really a baritone, this was impossible. After listening to his first lesson, he described his own voice as sounding simply like a "tenor who was trying to make a baritone sound".
By the third lesson, this singer was singing the tenor solos in Handel's Messiah with great beauty of tone. It became more and more obvious to me that this young singer was singing in the wrong fach. The flat tongue position was only one of the negative results of singing in the incorrect vocal fach. As I mentioned above, chronic hoarseness would follow each performance. This is yet another case of a young singer who was on the road to vocal damage because of an insistence from his instructor that he was a baritone. There is absolutely no denying the truth; that he is a high tenor. This is an example of a situation where a teacher's ego dominates over real concern for the singer. This is criminal and there should be laws to protect singers. True, he could sing in the baritone range by depressing the larynx with the root of the tongue. However, this created false color and forced the voice to phonate lower than intended. As a light skinned blond person, (usually these singers have blood vessels right on the surface of the vocal cords.) had he continued to sing with this false and unhealthy technique, he most certainly would have suffered vocal damage, probably through a major vocal hemorrhage.

Tongue depressors: The ultimate in vocal abuse: I have taught singers who were taught to depress the tongue with a tongue depressor while looking into a mirror. This is absolute vocal abuse that most certainly results in vocal damage. In this kind of circumstance, there is absolute and obvious confusion by the instructor. The confusion lies in the idea that what appears to be filling the mouth space can be flattened to make more space in the throat. This concept represents a basic ignorance in the physiology of the voice. In actuality, flattening of the tongue is filling up the pharynx or back wall of the throat with tongue mass. Singers trained in this way often sound as though they are gargling marbles and trying to sing at the same time. On the other hand, when the mouth space appears to be filled with the forward and arched tongue; the back of the throat (pharynx) is actually much more open. Remember Lamperti's quote: "The singer's pronouncer is in the pharynx NOT the mouth." When the tongue is arched healthily as in the 'ng' position (Lindquest's home position of the tongue), then the singer can pronounce the vowels clearly. The integrity of the clear Italian vowel sounds is never sacrificed. The tongue should never be frozen in place. Otherwise clear pronunciation is impossible. Those who have forced the tongue flat cannot make a clear transition from vowel to vowel. The result is a large forced ugly sound with lots of breath pressure forcing the voice to go higher. Many singers have suffered vocal hemorrhage or nodules from this tremendous breath pressure alone. I warn teachers and singers alike that this is extremely dangerous. A singer who has suffered from this kind of instruction and suffered vocal damage should seek legal action. One famous court case in the United States awarded a singer a very large sum of money. The technique taught this singer was extremely destructive and included an unhealthy depressed tongue approach. I had one lesson with a New York teacher who taught this technique because he had a big name. I was searching for another teacher at the time because Mr. Lindquest had died. This teacher gave me a vocal hemorrhage trying to make me a high C tenor when I was actually a lyric baritone. I left his studio unable to speak and cancelled all of my teaching for the next 3 days. Later when I had my vocal cords videoed at the University Hospital at Groningen, The Netherlands, the scar on my right vocal cord from the hemorrhage was evident. I now have a scar on my right vocal cord because of this teacher's dalliance and irresponsibility (he had a huge ego!) Luckily the scar is on the fold and not on the vocal lip. Therefore it does not impede my singing ability.

Jaw Forward Technique
I remember the first time I had a singer who had been taught to place or relax the jaw forward. The resulting sound was that of a small child; extremely breathy and throaty. The throat was completely closed and the vocal cords would not approximate properly. The voice lacked any kind of color or warmth and would fatigue very quickly. When the jaw is forward, there are several negative results: (1) the vocal cords do not approximate correctly. (2) The tongue usually goes back into the pharynx, filling the primary resonator with tongue mass. (3) The larynx functions in a high position allowing only a thin immature sound to be produced. (4) The soft palate assumes a low position, often resulting in nasal or thin tone. (5) Legato line is impossible because the tongue is so tense that there cannot be a healthy separation between the jaw and tongue function. (6) There cannot be a healthy breath line because the breath is choked off by the root of the tongue. (7) It is impossible to create a musical phrase because the singer cannot crescendo or decrescendo healthily. (8) The vowels are usually distorted because of a large of amount of tension at the tongue root. (9) Since the back wall of the pharynx is closed, there cannot be healthy resonance present in the voice.

High Larynxed Technique: Often Associated with the Boy Choir Sound
I can speak from personal experience about this subject. I was trained as tenor even though I was actually a lyric baritone. This is extremely damaging to a young singer. My personal belief is that many teachers are not taught to hear the difference between healthy ring in the voice and a 'squeeze' of the throat. Often college, university, or conservatory teachers are teaching very young singers and are afraid to address the issue of the high larynx. Their fear, and I understand that fear, is of a depressed larynx technique which is truly incorrect and damaging as well. However, it is crucial that the singer learn a slightly low larynx production without overly depressing the larynx with the root of the tongue. If taught with the nasal resonance and the 'ng' tongue position, the slightly lowered larynx makes for a healthy, warm, and balanced vocal tone which includes both higher and lower overtones. I understand that many teachers are afraid to allow young singers to make a big sound. However, it is critical that teachers understand that if they are teaching a young large-voiced singer and the singer is not allowed to use the fullness of the instrument, then the result is usually a squeezed throat which can be damaging. The singer is trying desperately to 'lighten up the voice'. This concept of lightening the voice needs to be taught with a deep body connection. The only way a large voiced singer can lighten up his/her tonal quality is to connect deeper to the body.

One of the largest problems for me personally was when I was required to sing as a tenor in choirs when I was in reality a lyric baritone. This created constant hoarseness, especially when I was required by a conductor to sing a boy choir sound with a straight tone. I would have difficult speaking clearly after any choral rehearsal. This was primarily due to the fact that I could not sustain the tenor tessitura with a lower larynx position. The result was a constant irritation of my vocal cords. A depressed larynx or a high larynx can cause irritation. I am fortunate that the scar on my right vocal cord is not at the vocal lip. However, this scar could have been catastrophic to my singing and I could have suffered damage that would not allow me to sing again. Scar tissue does not stretch as healthy tissue does. The 'boy choir' sound is not a sound that is designed for any adult to make. Demanding this kind of sound by voice teacher or choral director from an adult singer creates all kinds of vocal difficulties as I listed at the top of this paragraph.

Straight Tone Singing:The Early Music Trap
Some of my favorite music is of the Baroque period. I love Bach and Handel and the beauty of their music. I personally sing this music with a healthy shimmering vibrato. A healthy vibrato shimmers with fast vibrations. It is not to be confused with a wide vibrato or 'vocal wobble'. I certainly understand that choral directors do not want any of their singers to 'wobble' because tuning becomes impossible. However, attempting to solve this problem with straight tone singing is futile and destructive vocally. Usually the singer with the wide vibrato gets even worse because of the holding in the throat. This is of course a response to trying to 'straighten out' the tone.
Why is straight tone singing damaging? The answer to this question is simple. When a healthy tone is produced, the result is a taut and shimmering vibrato. The vibrato is a result of the healthy function of the vocal cords. It has a direct relationship to Flagstad's comparison of a 'silver sound' or 'silver thread'. If a singer is required to sing a straight tone for any choral director or teacher, then that singer has to squeeze the vocal cords in order to stop the vocal cords from fully vibrating. This does not allow a healthy amount of air through the vocal folds. This holding of tension in the throat can create all sorts of negative results including a closed acoustical space. The largest problem is vocal fatigue accompanied with an imbalance of the registers. Most straight tone singers find it impossible to allow for a healthy transition into head voice. This kind of singer is actually unaware that he/she is belting from the lower register upward. However, the straight tone sound is so thin and light with a high larynx that it disguises chest voice as head voice. I speak from personal experience on this issue. When I was singing as a high larynxed tenor, I thought I was singing head voice when in actuality I was belting the middle voice as high as I possibly could. The vocal cords became extremely fatigued and beauty of tone was impossible. The healthy pivoting process of the vocal folds was impossible and I had no sensation of a high soft palate. With age, my voice became more and more brittle in sound. There was a complete absence of warmth of tone in the voice. By the time I got to Alan Lindquest, I was suffering vocal damage at age 29.

The Smile Technique
There is one large-scale incorrect technique that I must speak about; the smile technique. So many teachers and singers think that it is important to smile at the mouth opening while singing. This absolutely is destructive to the throat. The Italian School teaches the inner smile which is actually a high and wide soft palate, lifted cheeks under the eyes, sunken cheeks at the back teeth (this creates more acoustical space in the pharynx), and all this with an oval mouth shape. The smile is actually in the eyes, NOT the mouth.
So many singers are taught the smile technique in an attempt to brighten the tonal quality of the voice. Instead brilliance of tone should be produced by bringing the tongue forward and arched out of the throat. The smile technique is related to the 'boy choir' sound in an adult voice; something that should never be taught. It does nothing to enhance the voice and the results can be extremely damaging over time. This smile of the mouth technique raises the larynx, drops the palate, invites the jaw to move forward, the tone to be bright and thin, and usually the singer is flat in pitch. The vocal cords also do not close properly. Absolutely NO body part is in the correct position for healthy singing to occur. The absolute negative result is a closed throat that causes hoarseness after singing. Again this is another technique which is widely excepted as one of vocal health. The truth is that is it extremely dangerous and detrimental to true vocal health and should never be taught. This has been scientifically proven through the use of fiberoptic research.

Although there are some excellent early music singers, this smile technique is quite popular amongst many in that genre of music. Those who use this concept in an attempt for authenticity will and do suffer the consequences. I can name several early music singers who have large scale recording careers, yet they sing constantly flat and out of tune. I have never understood why their recordings sell. Do people not hear that they are singing flat? Over time the voice will deteriorate completely. Again, I am speaking from personal experience. I was taught by a high tenor who had me smile while singing. The result was an extremely high larynx position and constant vocal fatigue. By the time I got to Alan Lindquest in 1979, my voice was stiff, rigid, and had a flat and unpleasant tone. It was impossible for me to go into the upper passaggio and high range because the larynx position was too high. The vocal cords could not pivot properly for the correct register changes. There is not doubt that the smile technique is quite dangerous.

The Pulled Down Facial Posture in Singing
I have witnessed many singers who pull down the cheeks and cover the teeth completely while singing. This simply makes singing very difficult and hooty. Again, the Swedish/Italian School attempts to create a balance between higher and lower overtones. The lift of the cheeks under the eyes brings the soft palate up. Quality of tone is directly effected by one's facial posture because of its effects on the interior posture of the throat. If the facial posture is pulled down, then singer must work twice as hard with breath pressure to blow the soft palate out of the way. The result is usually pushed and unpleasant tone. When the facial posture is lifted, then high overtones come into the singer's production. Without lift, the singer's voice does not carry properly in a concert hall or opera house. The lift brings ring into the voice and therefore carrying power.
It seems that men are often the singers who use this technique the most. I remember hearing a British baritone who was flown over to sing Elijah in a concert in Connecticut. This was a catastrophic performance. The production was hooty and dark and he sounded somewhat like he was imitating a moose call. I actually felt sorry for the singer because of his own obvious discomfort. The audience was shocked and disappointed at the lack of beauty of tone. I believe that people can keep their voice as long as they can keep their health. This is also very related to exercising the voice properly. If a person is physically healthy and exercises his/her voice properly, then vocal longevity is quite easy. This baritone was only about age 55 and should have been at his peak. Sadly the voice was quite stiff and ugly and the high notes were completely flat in intonation. All this was directly related to his confusion regarding correct facial posture. Since I had a mezzo in the performance, then I got more of the inside story. This man was quite arrogant because of his own insecurity. It made him quite a bad colleague. His own unhappiness and insecurity turned him into a difficult and demanding performer. I will be writing an article on facial posture and the acoustical relationship to healthy tone shortly. It will also be a long chapter in my upcoming book.

The Belting of Breath Pressure: Over-Development of the Chest Register
The more of this article I write the more it becomes obvious that every vocal concept is connected to another. If one element is out of alignment, then the result is that other aspects of the voice become unhealthy as well. When I was incorrectly trained as a high larynxed tenor, I had to use a tremendous amount of breath pressure to force the voice upward. This was not a conscious or aware reflex, but there was really no other choice. My tongue not only was flat, but in the upper range it also dipped like a spoon. This tongue problem was a direct result of the breath pressure that I had to use to try and go up into the higher range. I especially wanted to try and go higher because teachers had told me I was a tenor. I was actually a lyric baritone. This tenor training was extremely damaging. This was because it resulted in every body part being in the wrong position for healthy singing. This includes a larynx high, flat and back tongue position, breath high under the chest and little or no lower body support. The result was the support of tone by the tongue, little or no vowel clarity because of the forward jaw and low palate, and tremendous lack of resonance because of a complete lack of acoustical space. It became obvious in later years that I was constantly doing a close dance with vocal damage and no one really offered me any answers until I met Alan Lindquest and the other teachers I mention at the first of the article.

One thing is for sure; hard belting is damaging to the voice. There is absolutely no way to belt with breath pressure and have the vocal cords survive without damage. It is unfortunate that pop and Broadway singers feel the necessity to belt in order to compete. Usually the singer must use a lot of breath pressure or breath compression in order to push the chest register upward further than it is designed to sing. I was fortunate to survive with only one vocal hemorrhage. I have the scar on the right vocal fold to prove my vocal distress. I was intelligent enough in my instincts to seek help and it took years to find a teacher who knew about vocal technique.

Locked Solar Plexus Technique
Tragically, many young singers are taught a technique that tries to get only to the 'big vocal sound'. Some teachers think that a singer must have this in order to compete in the business of classical singing. True that any singer needs a large amount of 'ring' in the voice. But this is not created by pumping a 'big sound' out of the mouth space with lots of breath pressure. Healthy resonance is created with the help of nasal resonance that takes away the pressure at the root of the tongue.

This 'big vocal sound' (which has become popular!) is manufactured by pumping a tremendous amount of breath pressure through the larynx. I call this the over-compression of the breath. Often in such a technique the teacher puts his or her fist in the singer's solar plexus area and then has the singer 'push out' with a great amount of pressure. The result is a loud and pushed sound with little or no healthy nasal resonance. In healthy singing, the solar plexus gradually turns freely as the singer gradually fuels the small stream of breath through the larynx. Remember that Caruso said he needed no more breath to sing than to have a casual conservation with a friend. With this pressurized technique it is quite impossible to achieve vocal freedom. The root of the tongue becomes locked and yet again direct pressure is placed at the vocal cords by the root of the tongue. Usually these singers suffer an overly-chested technique. Again there is no possibility for head voice development. The singer suffers difficulty with high notes and there is a large imbalance of registration present. I once had a French mezzo who had studied a teacher who used the 'fist in the stomach technique'. She was admitted into a very exclusive conservatory and at the end of her study she could no longer sing thanks to this damaging technique. She was not allowed to perform her graduation recital and after a threatened law suit, she was allowed to study with me outside the school for credit. It took one and one half years to rehabilitate her voice. Her teacher used the 'fist in the stomach' technique which creates a gag reflex at the root of the tongue. Once this extreme reflex is taught to the body, it is difficult to correct. After tremendously hard work at recovering from the damage taught her, this singer graduated and is now a successful voice teacher. She was indeed a victim of a damaging technique taught by someone who was ignorant of the resulting damage. She paid a large sum of money to attend a conservatory, which not only did not serve her, but also damaged her voice.

Breathy Technique I first learned of the damage of breathy singing from my friend and colleague Dr. Barbara Mathis. Her research is ground breaking to say the least and she is on of the finest voice scientists and teachers in the United States. She teaches at Lamar University in Beaumont, Texas.
During her vocal research, she decided to have a 'vocal abuse' session using the fiberoptic camera. The discovery was nothing less than amazing. She told me that after singing with a breathy tone, the vocal cords turned more and more red and the vocal lips swelled almost twice their normal thickness. This was indeed an eye-opening event. I have had the privilege of seeing Dr. Mathis' research. I consider her to be a great vocal technician and she has done amazing work with damaged voices.
My personal experience with breathy tone was revealed when I worked with Alan Lindquest. My vocal cords would not come together properly because of years of using breath pressure and a high larynx. The vocal cords were 'bowed' and would not come together like healthy cords. He offered me exercises that changed my singing life. Suddenly after only about 2 days my tone became healthy again. Lindquest used some of Garcia's 'coup de glotte' exercises that healed a great deal my vocal damage. I had acquired this damage over about 15 years of incorrect instruction. It is scientifically proven that breathy singing is damaging to the voice. It is sad to say that this technique is being taught in an attempt to 'lighten the voice'.
Recently I had the experience of hearing a Cabaret performance in New York City. The singer used a lot of breathy tone for dramatic effect. This was a huge mistake. After only about 3 songs vocal fatigue began to develop and by the end of the performance the singer was trying desperately just to get through the performance. All of this occurred because of the swelling of the vocal cords due to breathy singing.

The Final Analysis: Causes of Vocal Fatigue In closing, I think it is crucial that I list the causes of vocal fatigue. Because singing is such a coordinated function, the list of causes might seem repetitive. However, I feel it is important to review the causes of vocal fatigue. Allow me to say emphatically, a singer should NEVER experience vocal fatigue. If he/she is singing correctly, the voice should not tire. I speak and teach 7 to 8 hours per day 6 days per week and I never experience vocal fatigue in my voice studio. Never should a singer feel fatigue after a lesson. I have heard so many singers tell me that their last teacher told them that the 'muscles had to get used to the new technique'. This is irresponsible for any instructor not to take vocal fatigue as a red light for future vocal damage. Hoarseness should NEVER occur after any voice lesson unless the singer is executing the instruction incorrectly.
Causes:
(1) Smoking or drinking alcoholic beverages.
(2) Belting: using too much chest voice pushed up to high in the scale.
(3) Using a technique with a tight solar plexus during singing.
(4) Singing with a high larynx.
(5) Singing with a low soft palate.
(6) Singing with a forward jaw position.
(7) Singing with the vocal cords too far apart or too squeezed together.
(8) Pushing too much breath pressure through the larynx.
(9) Incorrect posture; dropped chest or hyper-extended chest.
(10) Singing with the head posture pushed forward from the spine.
(11) Use of mouth vowels instead of pharyngeal vowels.
(12) Unsupported singing; lack of connection to the resistance of breath pressure in the lower back and abdominal muscles.

(c) David L. Jones/2001

VOCAL SURVIVAL TECHNIQUES FOR SINGERS WHO ABUSE AND OVERUSE THEIR VOICES

2007-06-16T13:30:00.000+05:30

By Rosalie Loeding

Gregarious Behavior Can Be Dangerous You must never delude yourself. The cause of nodules, polyps, and chronic laryngitis, hoarseness and other unpleasant vocal disorders is usually overuse and abuse of the voice. . When you talk or sing, the vocal folds vibrate. The only way to heal the folds is to avoid hitting them together temporarily. This article is aimed at YOU.

Be very vigilant! If the voice is already under stress -- hoarse, tired, fatigued, gravelly -- a physical condition such as asthma, sore throat and allergies, may escalate the vocal problems, but it does not cause them. You may unconsciously compensate by replacing correct vocal technique with incorrect technique. For example, nodules do not form if the voice is used sensibly and correctly.

Most vocal technique, speaking or singing, is comprised of learned responses; for better or worse. When vocal technique becomes automatic, one is seldom aware of how the voice is being used. Always be alert to the warning signals that your instrument is not working normally. Don't wait until disaster strikes. Cut back drastically on vocal use the minute you recognize symptoms of vocal fatigue and stress. Social talking should be eliminated until the voice is better. Listed below are some clues to help you recognize problems:

I. Causes and/or exacerbators of vocal problems in singers and professional voice users.

A. Lack of discipline and self-motivation.

B. Lack of self-restraint: Overuse and abuse.

Speaking too long, too loud, too low, over too loud noises -- particularly when voice is tired or "ill." Voice rest is not an excuse for not practicing. It is the reason to eliminate or severely restrict social talking.
Inability to say "no" socially and professionally when you and your voice are tired, sick, and overworked. C. Incorrect vocal technique. To develop good technique and maintain a healthy voice:
1. Warm-up the voice every day before speaking and singing.
2. Practice efficiently and carefully.
3. Correct technical problems when pointed out and work diligently to correct them as soon as possible.
4. Correct specific vocal habits that hamper good technique:
Mouth/jaw not open enough.
Vowels -- example: E too stretched, restricting mouth opening.
Tongue retracted, humped etc., causing muscular tension, particularly the jaw.

II. Singer's vocal technique problems that result from vocal dysfunction (laryngitis, hoarseness, nodules, etc.)..

A. Inability to bridge easily between registers.
B. A voice quality that is breathy, hoarse, raspy, and gravelly.
C. The inability to sing loudly and/or softly, particularly in the bridge from middle to low register (a "break").
D. The double whammy: It takes longer to warm up a damaged voice. But, in order to minimize further damage, it is imperative that one thoroughly warms up the voice. This is unfortunate because a "sick" voice tires quickly.

III. Singers and professional voice users with vocal dysfunction may have some of the following problems:

A. Raised shoulders, one shoulder higher than the other.
B. Congenital conditions such as a short leg may result in one shoulder being held higher than the other. The longer leg is habitually in front of the other with the weight on one foot. Do not try to artificially level the shoulders. It will only cause more tension. A lift or small molded appliance in the shoe is needed. This is also one cause or exacerbator of Temporomandibular Joint Dysfunction (TMJD).
C. TMJD - mouth/jaw does not open symmetrically.
D. Incorrect head position (ex. chin up).
E. Tension of neck muscles, shoulders, arms, hands.
F. Symptoms that should alert one to the possibility of asthma, bronchitis and allergies:

A feeling of tightness in the chest.
Wheezing and/or shortness of breath.
Problems with breath -- inability to complete a relatively short musical phrase.
Frequent episodes of vocal and physical fatigue. The appearance of stress of being tired without sufficient cause.
A frequent dry or wet cough with the feeling of mucus on the vocal folds.
Excessive tension of the extrinsic neck muscles, jaw, and face.
Persistent throat clearing,
Tickle in the throat.
The appearance of restlessness or nervousness.
A wrinkled forehead.
Loss of voice.

IV. Causes and manifestations of vocal dysfunction in the speaking voice. Incorrect habitual/optimal pitch and glottal initiation of sound. So that you can use this information, let's discuss these two areas.
One of the most damaging vocal behavior I know is speaking at the incorrect optimal pitch, usually too low. (Vocal Fry) More women than men have this problem. A soprano with vocal problems may have a speaking pitch around C or D below middle C! When I vocalize them in this area, they claim it is too low, but that is where they are speaking. This causes register interference (discrepancy) - usually affecting bridging between registers and seriously affecting the ability to sing in the upper voice. There can be little hope of successfully rehabilitating the singing voice until the optimal pitch is raised appropriately.

Learn your correct optimal pitch and use it all the time. If your voice is gravelly and hoarse, it is probably too low. When the optimal pitch is used, the quality of the voice is clear and does not tire as quickly. Not very scientific, but a way to find your approximate optimal pitch is to hum, sliding upward until the voice is clear. This will be close to the optimal pitch.. Become aware of that approximate pitch and continue to speak there, never allowing the voice to gradually "anchor" on the very low, damaging pitches. When speaking, the voice pitch encompasses a range of a fifth or more, but the optimal pitch is the most frequently used pitch. Begin by using mainly head voice for speaking -- it may sound childlike to you. The phrasing must be legato, sustained and well supported, using no excessive force or pressure. Until the voice is healthy, do not use your projected, "performing voice."

Glottal initiation of words and phrases is another surefire way to finish off your voice. It occurs when the delivery is staccato, breaks after almost every word and is disjointed, not legato. The louder the voice, the harder the folds collide; the higher the pitch, the more frequently the folds slam together. In glottal initiation of words or phrases (glottal attack) the glottis closes firmly before breath pressure is applied. To make a sound, the folds must explode open against muscular resistance, causing great muscular tension and vocal fatigue. Glottal Initiation of words or phrases is quite common among speakers whose speaking pitch is too low and those with voice disorders. The damage to the folds causes trauma, irritation and swelling. Hard, fast glottal attacks for 20 minutes may cause hemorrhaging of the vocal folds and even 24 hours of complete voice silence may not repair the damage. Unfortunately, most habitual voice abusers cannot be persuaded to rest the voice until they can hardly croak.

To correct this problem, begin the breath before the initiation of sound. Try saying /singing "hum" as you begin the phrase. Speakers and singers often use glottal initiation in an attempt to speak more distinctly and project the voice. Instead, the disjointed delivery often interferes with the audience's understanding of the thoughts being expressed. Convey the meaning and emotion of a song or speech by placing emphasis only on the important words, not every word; use the appropriate emotion in the voice; appropriate body action; and use variety of vocal pitch.

No matter the physical conditions that cause or exacerbate vocal problems, be it viruses, injuries or chronic conditions, vocal technique must be addressed. I have never worked with a client with vocal problems who had perfect technique.

Gradual retraining is necessary to recover from laryngitis and other voice disorders. The same process can be used with singers after vocal surgery. For best results work under the guidance of a voice teacher or a speech pathologist who understand the singing voice. Here are some suggestions:

1. Do some easy physical warm-ups before vocalizing!!! Begin with five minutes of humming when the doctor says it is OK.
a. Random humming, lips trills and sliding exercises in mid range.
b. Gradually add minutes to each session and more sessions per day.
c. Begin vocalizing only in the middle voice and gradually and cautiously extend the range up and down. Lip trills are excellent.
d. Add other exercises one by one as the voice improves.
3. Always "warm-down" after singing or performing, particularly after strenuous singing. Using easy humming exercises, etc.,
4. Never whisper! The arythenoids are slightly abducted and "toed in" when whispering, resulting in a small triangular chink. When breath is released, turbulence occurs in the chink exacerbating the problem. Use a quiet, well-supported head voice.
During the first week or two after vocal surgery all social talking should be avoided. When the voice is feeling and sounding healthy, gradually begin short social conversations in a quiet room - no long monologues, no tense, emotional exchanges. Tears may help clear the emotional "air," but it wrecks havoc with the voice (results in muscular tension).

Professionally, one must walk a tightrope, making modifications in lifestyle and in professional activities when necessary to save the voice. To summarize:

During the recovery period or when your voice is tired, take advantage of every weekend and holiday to be absolutely quiet. Save your voice for your job. Try to schedule your time so that there will be vocal breaks. If one day or portion of the day requires heavy vocal use, plan vocal breaks that involve moderate, low, or no vocal expenditure. You must consciously plan vocal use, otherwise you will unconsciously use it in the same manner that got you in trouble. You can use your voice less and be more effective. Be creative.

How rapid the voice improves depends on you and on a number of circumstances: 1) The severity of the vocal damage. For example, a fragile, hoarse voice that fatigues quickly; fibrous nodules or contact ulcers will recover more slowly.
2) Vocal regression following a vocal surgery will also take longer. In any case, one should not expect to resume normal vocal activities for approximately six weeks. How rapid the vocal recovery depends on compliance with the recommendations of your otolaryngologist and your vocal rehabilitation specialist and the determination of the singer to accomplish it in the shortest period of time and on how vocally stressful his or her job may be.

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2007-06-13T16:05:00.000+05:30

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How to prepare for a great performance 3

2007-06-13T11:50:00.000+05:30

7. Don't Smoke or Do Drugs
Smoking is not only bad in general, it is especially bad for singers. I've never smoked a cigarette and anybody who wants to have a singing career with any longevity should not smoke. Not even one cigarette "every once in awhile." Common sense tells us that smoking is harmful in many ways and has long term effects but for singers, it can greatly damage your voice and your career. I even try to stay away from places where other people are smoking, as second hand smoke is just as bad, if not worse. Many incredible singers have lost their God given talents by smoking cigarettes or using drugs. Rumors have abounded that Whitney Houston, one of the greatest known singers of all time, was into drugs and in recent performances has failed to make an impression with her vocal grandeur. Some legends have even had their addictions lead to their ultimate deaths.

8. Always Wear Earplugs
If you are going to be at a concert where there is going to be loud music, wear earplugs. If you are going to be at a ball game where there will be a lot of shouting and loud noises, wear earplugs. If you are going to be at a dance club where loud music will be playing, wear earplugs. If you go anywhere where there is a chance you'll leave with ringing in your ears, wear earplugs! How does this relate to singing? It relates to singing because if you can't hear yourself, you cannot sing in tune! Keeping your voice and body healthy is important, and so is making sure you don't damage your hearing. There are special, affordable earplugs you can buy that minimize the sounds surrounding you but protect your eardrums at the same time. This way, you'll still be able to hear the music but you won't be walking out with a ringing sound.If you really want to be taken seriously as a singer and want to protect your instrument, follow these steps. Nobody in the entire world has the same beautiful voice as you, so protect it and take care of it! Now go grab a bottle of a water, hit the gym and then take a little nap.

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How to prepare for a great performance 2

2007-06-13T11:40:00.000+05:30

3. Watch What You Eat
Many vocalists don't think about how what they're eating can affect their singing. I do know which Food items to stay away from. Don't eat dairy, chocolate, pasta or things that will dry your throat out or create mucus. Also stay away from citrus, as it can do damage to your chords too. I tend to think that apples are good, as they provide nourishment and in addition are juicy, which creates wetness, which is good for the voice. Also, oily things that allow for the vocal chords to easily "slide," though I think the best bet is soup. Soup is good because it is known to help when people are sick, which means it has the power to heal. It also doesn't create a "residue" that will dry out your throat. In combination with a healing tea, soup is probably the best thing to eat before you perform. Make sure you eat before you warm up, giving your food time to settle in your stomach. You don't ever want to sing on a full stomach (or an empty one), as that can alter your ability to sing and breathe effectively.

4. Drink Plenty of Water
I can't stress enough how important it is to be hydrated. We're supposed to drink eight glasses of water a day, whether we're vocalists or not. A voice teacher once said that as a vocalist, you should drink so much water that you need to use the restroom every fifteen minutes! I think that is a bit far fetched but making sure you drink a lot of water is not. It's especially important to fill up the days prior to performing because like most things, our bodies need time to adjust and prepare. And while most people (myself included) carry around a bottle of water to keep on hand the day they perform, it's actually not the best choice during a performance. For some reason, water has a tendency to dry people out when they drink it during a set. I have not yet figured out a better alternative, though I am thinking that tea of some sort is probably the answer. The important thing is to hydrate yourself with H2O in the days leading up to the show and even the day of, just not while you are performing. I drink two to three bottles of water daily, even if I won't be performing.

5. Get Plenty of Sleep
I don't know how the major league performers do it. Sleeping on a tour bus is hardly good for your body, mentality or your voice. For those who have the ability to sleep a full eight hours in the comfort of your own bed, take advantage! When you are tired, your voice is tired and when your voice is tired, you cannot perform your best. Also, singing when your voice is not rested can harm your vocal chords and sometimes creates vocal nodes. Sleep and water are probably the top two most important ways to keep your voice and yourself healthy. 6. Stay in ShapeThis is particularly important for singers who also dance while on stage. It's hard enough to breath properly and keep your voice under control while sitting still but when you're up on stage moving around, you can easily lose your breath. This is perhaps why many major artists have personal trainers. Staying in shape keeps you fit physically, mentally and emotionally and helps you learn to control your breath while you're moving. This is why I sing in my car or even sometimes when I am on the treadmill. It helps you gain control of your body and your voice, the two of which must work together. Not to mention, your voice isn't the only thing you use when you sing. If you play an instrument, your hands, fingers and arms need to be in shape. If you stand when you sing, you need to be in shape so you don't feel the need to sit down. Everything on our bodies works together when we perform, so it is important to keep our whole body healthy, not just our voice.

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How to prepare for a great performance 1

2007-06-13T11:30:00.000+05:30

Singing is not just about sounding good but about protecting your precious instrument - your voice! Here are some easy to follow steps to see that as a singer, you can protect yourself from nodes and make every performance a masterpiece.

1. Don't Talk The Day of a Performance
An old voice teacher Once Told that Celine Dion is so protective of her voice that she doesn't talk or answer the phone when she has a performance. It's quite obvious that Celine has some great pipes so I would say this piece of advice is a good one! That voice teacher also told that she doesn't talk for the first two hours after she wakes up. Not talking most of the day is good but at some point, you are going to need to talk in order to warm up your voice before the show. If you need to communicate, there is text messaging, email and good old pens and paper. Talking can actually do more damage to your vocal chords than singing can, so not talking for most of the day is a really great way to keep your voice intact.

2. Warm Up Before You Hit the Stage
After following rule number one, it is important to warm up your voice. I would say that it's okay to begin talking (lightly - but not whispering, which is even worse!) about three hours prior to showtime. Since your voice has been resting all day, it's had time to "wake up" and now just needs to "warm up." Warming up is crucial. Just like any other muscle in your body, your vocal chords needs to be stretched out and built up before they go full force on stage. That voice teacher had another great idea, which is to use a steamer to moisturize your voice. You can take a hot shower to steam up, heat up a pot of boiling water and inhale the vapors, or buy an actual voice steamer. This should be done prior to vocalizing, about two hours before the show. When warming up, make sure you don't overdo it. Don't sing higher than you need to or lower than you need to. Do some simple up and down scales and something to get your voice energized, but don't go longer than about fifteen minutes.

Source

MXPLAY

2007-06-13T11:20:00.000+05:30

Version : 1.1.4

Size : 7.22 MB

Rating : ****

OS : Windows XP

Freeware

Directly From MXPLAY

"MXPLAY was founded with an ambitious mission to develop a unique music player - a player focused on providing amazing quality, something that is surprisingly lacking in digital music. However, since music is all about personal taste and expression, it also had to be an "open" player, empowering music fans to explore and experience content from anywhere they choose.
So what is MXPLAY? Quite simply, the best experience seamlessly paired with the best content the web has to offer. MXPLAY offers music fans an unprecedented way to discover, sample, purchase and share music, without compromising the experience. Once you’ve experienced MXPLAY, digital music will never sound the same."

MXPLAY is the only player that renders your music library in a 3D audiospace, providing a rich, immersive "live" audio experience (especially with headphones). It supports all the popular file types (MP3, AAC, OGG, WMA, FLAC, ALAC) and also allows you to mashup your music with videos from the web. It has a growing library of plug-in extensions including: Last.fm, MP3tunes and Nintendo WiiMote. Features: * Take control of your music with the 3D AudioSpace * Organize and import your music from anywhere * Browse the web in MXPLAY and discover new music * Share what you discover with friends

If you are a new user, here are a few features of MXPLAY:

Full digital music player, with an integrated web browser for finding new music all over the web
A new way to experience music - the AudioSpace - combine videos or photos with your music and change the way the music sounds
Social integration so you can share your playlists, AudioSpaces, and the links you find on the web.

Download Homepage

MediaCoder - An Audio/Video Transcoder

2007-06-13T11:01:00.000+05:30

Size : 17.58 MB
Operating System : Windows (All)
Version : 0.6.0.3698
Freeware

MediaCoder is a free audio/video batch transcoder, putting together several excellent audio/video software from the open source community into one friendly GUI.

For video, MEncoder is used as back-end, which provides support for nearly all known video compression and container formats as well as rich and useful video filtering features (e.g. post-processing, 3D de-noise). For audio, MPlayer and Winamp input plug-ins are used as decoders; various encoders integrated, MediaCoder can simply batch transcode among any known audio formats, with tags transferred, file names generated and even performing audio filtering (e.g. resample, normalize) on the fly.

Features In Brief

Convert to and from many audio and video compression formats and re-multiplex into various container formats, on the fly, in batch.
Give you the control over the transcoding process and all the parameters of the transcoded files, so you can learn about, compare among and play with various codecs.
Specific user interfaces for specific devices with device plug-ins and extensions.
Fully standalone, no dependent on any media player, filter or codec, no registration of any components into system.
Extensions to expand custom features and user interfaces.

Typical Applications

Improving compression / reducing file size
Converting for audio/video portable devices (digital audio player, MP4 player, mobile phone, PDA, PSP, VCD/DVD player etc.)
Extracting audio tracks from video files
Ripping audio/video discs

Supported Fomats

MP3, Vorbis, AAC, AAC+, AAC+v2, MusePack, Speex, AMR, WMA, RealAudio, mp3PRO*
FLAC, WavPack, Monkey's Audio, OptimFrog, AAC Lossless, WMA Lossless*, WAV/PCM
H.264, Xvid, MPEG 1/2/4, Theora, Flash Video, Dirac, 3ivx*, RealVideo*, Windows Media Video
AVI, MPEG/VOB, Matroska, MP4, RealMedia*, ASF, Quicktime*, OGM*
CD, VCD, DVD, CUE Sheet*

* supported as input only, not all combinations supported

DOWNLOADS

MediaCoder Full Pack

MediaCoder Update

Latest Update

Additional Downloads

Windows Media 9 Decoder (for decoding WMV9 if latest WMP not installed)
Extra Decoders (for decoding some legacy video formats)
Windows Media Encoder (needed for transcoding to WMA/WMV)
Helix Producer
Unicode Layer for Windows 95/98/ME (needed for APE encoding on Win9x)

Kindly Do Visit The Homepage For More Features

Homepage

7 Tips to Improve Your Singing Voice

2007-06-13T10:45:00.000+05:30

Are you more of a William Hung than a Kelly Clarkson? Or are you a decent singer—and wish you were a little better? Whatever your vocal skill, these tips for improving your singing voice are sure to get you singing and sounding much better.

Tip 1: Think about breath. Without proper breathing, you aren’t using your voice to its full potential. To find out if you’re breathing correctly for singing, place your hand on your stomach and inhale. Your hand should move out—your stomach should be expanding, not your ribcage and chest. That’s because you need to support your breath with your diaphragm—the muscle underneath the lungs that inflates them. The diaphragm is activated by abdominal muscles, and it’s much stronger than the muscles between your ribs—the muscles you’re using if your chest, not your stomach, expands with your breath.
You’ll need to have strong breath to give your voice adequate support for singing. To do this, you’ll need to use your stomach and lower abdominal muscles to support your breath. Ab crunches and sit-ups can help you build up strength in this area that you can use to project your voice.

Tip 2: Focus on posture. Your breath travels from your lungs straight up through your mouth. If its passage is twisted, kinked, or blocked in any way, it won’t be able to get out efficiently. How you stand has a big effect on how you sound. You should be standing with your legs about shoulder-width apart. Your chest should be lifted to give your lungs plenty of room to expand. Your shoulders should be back and relaxed.

Tip 3: Relax. If there’s tension anywhere from your abdomen to your head, it’ll affect your sound. Your facial muscles, tongue and throat muscles, vocal cords, jaw and shoulders should all be as relaxed as possible. There are plenty of jaw and facial exercises as well as warm-up activities that will help you relax the muscles in your shoulders, face, and vocal cords.

Tip 4: Know where to put your tongue and soft palate. The soft palate should be raised—this will give more space for your voice to resonate. The tip of your tongue should be placed at the back of your teeth. This will keep it from blocking your throat if it’s positioned too far back.
Tip 5: Watch what you eat. There’s nothing better for your voice than water. Period. If you have a performance coming up, avoid dairy and thick drinks for at least three days beforehand. Drink only water the day of the performance.

Tip 6: Don’t strain. Pay attention to your body. If something hurts when you sing, you’re either at the limit of your range or you’re doing something wrong. You should be able to sing at a strong, healthy volume if you’re maintaining proper breath control; if something hurts because you’re singing too loudly, you’re probably not supporting your voice well with your breath—the vocal cords are doing all the work. If you hurt when trying to hit certain high or low notes, however, it may be that you’re trying for a note that’s outside of your range. It’s true that good breath control can expand your range, but the size of your vocal cords determines the pitches you can reach. You may not be able to hit certain notes no matter how well you support your voice. It’s important to choose songs you can sing comfortably. Above all, don’t try to sing if you have a sore throat—you may make it worse.

Tip 7: Warm up before singing. Don’t go straight into a song without a good warm-up first. A good warm-up routine should concentrate on relaxing your body and getting your breath ready, and should start with simple deep breaths. It should progress to light humming from there, and then some scale work once you feel ready. It’s important not to strain too hard during the warm-up process—don’t reach for notes that aren’t comfortable, and don’t sing at the top of your volume.

Tip 8: Get a teacher. A good voice teacher can really help you improve your voice. It’s sometimes hard to determine how you sound when you’re by yourself; even the most dedicated singer can get into bad habits without feedback. A teacher can give you immediate feedback on how you’re doing and address specific problems you may have.
It’s a shame that so many people think they can’t sing—and wouldn’t be caught dead singing in public. In truth, singing is something anyone can learn to do. Follow these tips and practice, and you’ll have a singing voice you’ll be proud to show off.

7 Tips to Improve Your Singing Voice
By Paul Morris

Article Source: http://EzineArticles.com/?expert=Paul_Morris