Many people who put their heart into music, put their business into music teaching. There are many fields of music education and if you are proficient in one or more you will surely find work. The first thing that a music teacher has to do is choose what he or she will focus on, be it an instrument, voice coaching, music theory or even music history. Next comes the time to assess your own knowledge on the topic. If you have a degree of Bachelor of Music, Bachelor of Music Education or Master of Music, you are probably comfortable enough teaching at any level. However if your learning did no go that far, you should be teaching at a more basic level. In any case, be sure you are qualified and are honest about your qualifications with your clients.
Consider also who you want to teach. Maybe you would love to help young children take their first steps in music. Or maybe you want to work with older kids or adults on continuing or just starting their education. Be sure you adapt your teachings and, if you need to, talk to pedagogues so you know how to deal with a child. The planning of the classes can be tricky and do not think for a second that only adults can spot if you did not prepare the lesson. A kid will notice and can get bored and even give up if they feel you are not making an effort.
Scheduling can also be difficult. Whatever you do, do not book more than one student for a time slot and try not to extend the lesson pass its designated time. It just screams that you are unprofessional. Remember during which hours kids are in school and are not available. Moreover, keep in mind that a 6 year-old attention span is not the same as a 16 year-old's so the time which lesson takes depends very much on the student. It also depends on you personally and on your teaching method.
On that topic, there are a lot of different music teaching methods out there. One of the most popular is the Suzuki Method, but others include the Dalcroze Method and the Yamaha Method. Even if you choose not to follow any of these, it is very interesting to learn a bit about each. It will open your eyes and you will see your work under a whole new prism. In the end, you probably will take some directions from these methods, even if subconsciously.
These are the basics you should take into account when setting up as a private music teacher. Others are simple, practical choices like the place you want to teach, the prices you will charge and how to keep your financial books. However, most of it comes from practice and time. You are a music teacher, so you know that everything does.
Friday, October 17, 2008
Does Music Help Children?
This question has been debated for as long as time has existed. Even the great Greek and Roman philosophers approached the question: is music something that should be taught and does it help the development of children? Plato answered "I would teach children music, physics, and philosophy; but most importantly music, for in the patterns of music and all arts are the keys to learning." And again “what then is the education to be? Perhaps we could hardly find a better than that which the experience of the past has already discovered, which consists, I believe, in gymnastic, for the body, and music for the mind.”
In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.
Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.
In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullaby’s than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.
The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.
I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.
In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.
Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.
In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullaby’s than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.
The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.
I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.
Thursday, October 16, 2008
Hoobastank Lyrics - The Reason
I'm not a perfect person
There's many things I wish I didn't do
But I continue learning
I never meant to do those things to you
And so I have to say before I go
That I just want you to know
I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you
I'm sorry that I hurt you
It's something I must live with every day
And all the pain I put you through
I wish that I could take it all away
And be the one who catches all your tears
That's why I need you to hear
I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you [x4]
I'm not a perfect person
I never meant to do those things to you
And so I have to say before I go
That I just want you to know
I've found a reason for me
To change who I used to be
A reason to start over new
and the reason is you
I've found a reason to show
A side of me you didn't know
A reason for all that I do
And the reason is you
Wednesday, October 15, 2008
Nicole Scherzinger
Nicole Prescovia Elikolani Valiente Scherzinge (also known as Nicole Kea, born June 29, 1978) is an American pop singer, songwriter, dancer and occasional actress best known for her role as the lead vocalist for the Pussycat Dolls.She has a contralto vocal range.
Scherzinger was born in Honolulu, Hawaii to a Filipino father and a Hawaiian/Russian mother. Her mother Rosemary was 18 at the time of Nicole's birth and lived in an inner city neighborhood and separated from her father when Nicole was a baby. The family moved to Louisville, Kentucky when she was 6 years old, with her sister Ke'ala and German American stepfather Gary Scherzinger. She stated she had a "conservative Catholic" upbringing. Scherzinger began her life as a performer in Louisville, attending the Youth Performing Arts School at duPont Manual High School and performing with Actors Theatre of Louisville. Scherzinger majored in theater arts at Wright State University but put her studies on hold in 1999 to sing backing vocals for the rock band Days of the New.
Scherzinger appeared on the second album by Days of the New, released in 1999. She also recorded two songs with Barry Drake's F.O.B, which were released in 2001. In 2001, Scherzinger competed in the premiere season of The WB's television show Popstars, on which she earned a spot in the all-girl pop group Eden's Crush. She became one of the main vocalists for the group. The group's 2001 single "Get Over Yourself (Goodbye)" peaked at number one in sales and hit the top ten on Billboard Hot 100. "Love This Way" was the second single chosen from the Popstars album; however, their record company, London-Sire Records, folded and the group eventually disbanded. Songwriter Kara DioGuardi contributed one track to the album, and later went on to co-write with Scherzinger for PCD, Doll Domination and Her Name Is Nicole.
In November 2007, Scherzinger talked of her time in Eden's Crush
...it was hell... I was in a band with five other girls and every day was torture for me. We were on TV all the time and the atmosphere was awful.... Every day I was in that band I cried my eyes out. The band was meant to be fun and frivolous but the reality was that it was miserable.... I was too sensitive back then, but I got toughened up. I couldn't have gone into the Dolls without my experience in Crush.
After the disbanding of Eden's Crush, Scherzinger made a few promotional solo appearances under the stage name of Nicole Kea, including covering "Breakfast in Bed" for the soundtrack to 50 First Dates in 2003. This track was produced by Nick Hexum who was her boyfriend for three years.
Scherzinger worked with Yoshiki of Japanese rock band X Japan on in his Violet UK project. She sang the English version of "I'll Be Your Love" live with the Tokyo Symphonic Orchestra. The track also appeared on the 2003 Various Artists album Exposition of Global Harmony.
In May 2003, Scherzinger joined the Pussycat Dolls burlesque troupe, who were being re-cast as recording artists. She had first seen them performing on The Late Show with David Letterman in November 2002, where Carmen Electra sang "Big Spender" from the Bob Fosse musical Sweet Charity. In 2006, Scherzinger said "It caught my eye because I’d played Velma Kelly in [Fosse's] Chicago in college."The Pussycat Dolls now have world-wide status as a popular singing group, with "Don't Cha", "Buttons", "Stickwitu" and "When I Grow Up" as top ten hits in the U.S.. The album PCD went double-platinum in 2006. Scherzinger sang nearly all lead vocals on the album, with Carmit Bachar and Melody Thornton also contributing.
Scherzinger is the only group member with songwriting credits on PCD; she co-wrote "I Don't Need a Man" with Kara DioGuardi and producer Rich Harrison, and co-wrote "Buttons" with producer Sean Garrett. Another collaboration with DioGuardi, "Flirt", became a B-side to "Stickwitu" and a bonus track on PCD.
In 2006, Scherzinger toured with the Pussycat Dolls for their album promotion. It was revealed in 2006 that the Dolls are salaried employees of Interscope Records, giving the label a high level of control over the group's finances and business decisions.
She was ranked at number twenty-two on Maxim's Hot 100 in 2006 and twenty-one in 2007
Scherzinger appeared on the March 2008 cover of Men's Fitness magazine. She was called the lead or queen doll. Her latest single with the Pussycat Dolls is called "Whatcha Think About That" and it features rapper Missy Elliot.
Scherzinger was born in Honolulu, Hawaii to a Filipino father and a Hawaiian/Russian mother. Her mother Rosemary was 18 at the time of Nicole's birth and lived in an inner city neighborhood and separated from her father when Nicole was a baby. The family moved to Louisville, Kentucky when she was 6 years old, with her sister Ke'ala and German American stepfather Gary Scherzinger. She stated she had a "conservative Catholic" upbringing. Scherzinger began her life as a performer in Louisville, attending the Youth Performing Arts School at duPont Manual High School and performing with Actors Theatre of Louisville. Scherzinger majored in theater arts at Wright State University but put her studies on hold in 1999 to sing backing vocals for the rock band Days of the New.
Scherzinger appeared on the second album by Days of the New, released in 1999. She also recorded two songs with Barry Drake's F.O.B, which were released in 2001. In 2001, Scherzinger competed in the premiere season of The WB's television show Popstars, on which she earned a spot in the all-girl pop group Eden's Crush. She became one of the main vocalists for the group. The group's 2001 single "Get Over Yourself (Goodbye)" peaked at number one in sales and hit the top ten on Billboard Hot 100. "Love This Way" was the second single chosen from the Popstars album; however, their record company, London-Sire Records, folded and the group eventually disbanded. Songwriter Kara DioGuardi contributed one track to the album, and later went on to co-write with Scherzinger for PCD, Doll Domination and Her Name Is Nicole.
In November 2007, Scherzinger talked of her time in Eden's Crush
...it was hell... I was in a band with five other girls and every day was torture for me. We were on TV all the time and the atmosphere was awful.... Every day I was in that band I cried my eyes out. The band was meant to be fun and frivolous but the reality was that it was miserable.... I was too sensitive back then, but I got toughened up. I couldn't have gone into the Dolls without my experience in Crush.
After the disbanding of Eden's Crush, Scherzinger made a few promotional solo appearances under the stage name of Nicole Kea, including covering "Breakfast in Bed" for the soundtrack to 50 First Dates in 2003. This track was produced by Nick Hexum who was her boyfriend for three years.
Scherzinger worked with Yoshiki of Japanese rock band X Japan on in his Violet UK project. She sang the English version of "I'll Be Your Love" live with the Tokyo Symphonic Orchestra. The track also appeared on the 2003 Various Artists album Exposition of Global Harmony.
In May 2003, Scherzinger joined the Pussycat Dolls burlesque troupe, who were being re-cast as recording artists. She had first seen them performing on The Late Show with David Letterman in November 2002, where Carmen Electra sang "Big Spender" from the Bob Fosse musical Sweet Charity. In 2006, Scherzinger said "It caught my eye because I’d played Velma Kelly in [Fosse's] Chicago in college."The Pussycat Dolls now have world-wide status as a popular singing group, with "Don't Cha", "Buttons", "Stickwitu" and "When I Grow Up" as top ten hits in the U.S.. The album PCD went double-platinum in 2006. Scherzinger sang nearly all lead vocals on the album, with Carmit Bachar and Melody Thornton also contributing.
Scherzinger is the only group member with songwriting credits on PCD; she co-wrote "I Don't Need a Man" with Kara DioGuardi and producer Rich Harrison, and co-wrote "Buttons" with producer Sean Garrett. Another collaboration with DioGuardi, "Flirt", became a B-side to "Stickwitu" and a bonus track on PCD.
In 2006, Scherzinger toured with the Pussycat Dolls for their album promotion. It was revealed in 2006 that the Dolls are salaried employees of Interscope Records, giving the label a high level of control over the group's finances and business decisions.
She was ranked at number twenty-two on Maxim's Hot 100 in 2006 and twenty-one in 2007
Scherzinger appeared on the March 2008 cover of Men's Fitness magazine. She was called the lead or queen doll. Her latest single with the Pussycat Dolls is called "Whatcha Think About That" and it features rapper Missy Elliot.
Learning How to Breath Correctly When Singing Trains your Vocal Chords
While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer. Being comfortable with the songs you are singing will show in terms of your self confidence. Keep in mind that even successful singers have learned some techniques that is why they were able to maintain well-modulated singing voices. Singing isn't all based on talent. Lose all your inhibitions. Karaoke singing is a wonderful way to entertain yourself and the others.
When singing songs that are up tempo you don't need the technical ability it is more entertainment like karaoke. A good choice of song can make his performance better because the singer is comfortable with the song. Doing so, he'd be able to deliver the notes better, and feel the song best. A beautiful rendition of a song is noted most of the times, not because the singer has sung it well, but he did it with the right emotions overflowing. Doing so, he'd be able to deliver the notes better, and feel the song best.
Professional singers practice all the time, if you practice you will be amazed how you're breathing and voice improves when singing and making different tones. Singers have the ability to know how to breathe correctly when singing. When singers learn how to sing they do not sing from the throat they sing from the abdomen, the reason for this is because the abdomen is a large and strong muscle compared to the throat. Do not limit yourself to teachers close to home or work. Working with a coach that can bring out the best in your voice is the goal. While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer.
Many people believe they can sing and they don't need voice lessons, the decision to go ahead and admit that lessons are needed is a big and important step. Once you train your voice it will become strong and vibrant and your voice will improve over time because you know the basics. It will be worth the extra distance. Find an environment where you can express yourself freely and one that offers open communication so training can be modified with your changing interests.
Singing is one practical way of expressing one's feelings. Possessing a skill in singing is also a good technique of overcoming shyness and gaining self-confidence. Singing is, indeed, one of the most profitable passions in the industry today.
Each day, a singer is born to the music industry. It isn't enough that you have been trained by the best music school or that you can shift from one musical genre to another. Knowing the vocal quality of a singer will enable him to choose songs that are appropriate for his singing voice. Once an appropriate song has been chosen, the singer should take time to develop his own style. He shouldn't try to choose a difficult song which will just showcase his lack of singing prowess. A good choice of song can make his performance better because the singer is comfortable with the song. The voice produces sound; the technical explanation is that the chords called vocal chords vibrate which in turn produces sound. Singers use these vibrations to make different sounds at different frequencies which allow them to make variation of notes.
With all the talents available for the taking, making it big in the recording industry can be attributed more to a very good manager rather than on pure talent alone. Thus, singers should never question the importance of getting professional help to further their singing careers. Taking into consideration the popularity of singing talent searches, good singers can actually make a successful career in the entertainment industry.
When singing songs that are up tempo you don't need the technical ability it is more entertainment like karaoke. A good choice of song can make his performance better because the singer is comfortable with the song. Doing so, he'd be able to deliver the notes better, and feel the song best. A beautiful rendition of a song is noted most of the times, not because the singer has sung it well, but he did it with the right emotions overflowing. Doing so, he'd be able to deliver the notes better, and feel the song best.
Professional singers practice all the time, if you practice you will be amazed how you're breathing and voice improves when singing and making different tones. Singers have the ability to know how to breathe correctly when singing. When singers learn how to sing they do not sing from the throat they sing from the abdomen, the reason for this is because the abdomen is a large and strong muscle compared to the throat. Do not limit yourself to teachers close to home or work. Working with a coach that can bring out the best in your voice is the goal. While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer.
Many people believe they can sing and they don't need voice lessons, the decision to go ahead and admit that lessons are needed is a big and important step. Once you train your voice it will become strong and vibrant and your voice will improve over time because you know the basics. It will be worth the extra distance. Find an environment where you can express yourself freely and one that offers open communication so training can be modified with your changing interests.
Singing is one practical way of expressing one's feelings. Possessing a skill in singing is also a good technique of overcoming shyness and gaining self-confidence. Singing is, indeed, one of the most profitable passions in the industry today.
Each day, a singer is born to the music industry. It isn't enough that you have been trained by the best music school or that you can shift from one musical genre to another. Knowing the vocal quality of a singer will enable him to choose songs that are appropriate for his singing voice. Once an appropriate song has been chosen, the singer should take time to develop his own style. He shouldn't try to choose a difficult song which will just showcase his lack of singing prowess. A good choice of song can make his performance better because the singer is comfortable with the song. The voice produces sound; the technical explanation is that the chords called vocal chords vibrate which in turn produces sound. Singers use these vibrations to make different sounds at different frequencies which allow them to make variation of notes.
With all the talents available for the taking, making it big in the recording industry can be attributed more to a very good manager rather than on pure talent alone. Thus, singers should never question the importance of getting professional help to further their singing careers. Taking into consideration the popularity of singing talent searches, good singers can actually make a successful career in the entertainment industry.
LINKIN PARK Lyrics - Lying From You
When I pretend,
Everything is what I want it to be,
I looked exactly like what you had always wanted to see,
When I pretend,
I can’t forget about the criminal I am,
Stealing second after second just cause I know I can,
But I can’t pretend that this is the way, it'll stay, I’m just,
(Trying to bend the truth)
I can’t pretend I'm who you want me to be so I'm,
(Lying my way from)
You!!!!!!!!
(No, no turning back now)
I wanna be pushed aside, so let me go!!
(No, no turning back now)
Let me take back my life
I’d rather be, all alone!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you…
IS ME
I remember what they taught to me,
Remember condescending talk,
Of who I ought to be,
Remember listening to all of that,
And this again,
So I pretended up a person who was fitting in,
And now you think this person,
Really is me and I'm,
(Trying to bend the truth )
The more I push,
The more I’m pulling away,
Cause I’m,
(Lying my way from)
You!!!!!!!!
(No, no turning back now)
I wanna be pushed aside, so let me go!!!
(No, no turning back now)
Let me take back my life,
I’d rather be, all alone!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you….
The very worst part of you….
IS ME!!!!!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!
This isn’t what I wanted to be,
I never thought that what I said,
Would have you running from me,
LIKE THIS!!
YOU!!!!!!!!
(no turning back now)
I wanna be pushed aside, so let me go!!!
(No, no turning back now)
Let me take back my life,
I’d rather be all alone!!!
(No turning back now)
Anywhere on my own, cause I can see!!!
(No, no turning back now)
The very worst part of you…
The very worst part of you…
IS ME!
Monday, October 13, 2008
LINKIN PARK Lyrics - FROM THE INSIDE
I don’t know who to trust no surprise
(Everyone feels so far away from me)
Heavy thoughts sift through dust and the lies
(Trying not to break but I’m so tired of this deceit)
(Every time I try to make myself
get back up on my feet)
(All I ever think about is this)
(All the tiring time between)
(And how trying to put my trust in you
just takes so much out of me)
[ Chorus ]
Take everything from the inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you
Tension is building inside steadily
(Everyone feels so far away from me)
Heavy thoughts forcing their way out of me
(Trying not to break but I’m so tired of this deceit)
(Every time I try to make myself
get back up on my feet)
[ Find more Lyrics at www.mp3lyrics.org/CS ]
(All I ever think about is this)
(All the tiring time between)
(And how trying to put my trust in you
just takes so much out of me)
[ Chorus ]
Take everything from the inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you
I won’t waste myself on you
You
You
Waste myself on you
You
You
I’ll take everything from the
inside and throw it all away
Cuz I swear for the last time I
won’t trust myself with you
Everything from the inside and just throw it all away
Cuz I swear for the last time I
won’t trust myself with you
You
You
Friday, October 10, 2008
Goals and Objectives of Singing
A clear statement of the goals to be reached should preface any approach to the study of singing. The single most important purpose in the training of a singing voice should be to develop or make possible the development of the utmost potential of that voice.
The ultimate goal to be reached is the ability to sing the literature for a particular type of voice - soprano, mezzo, or contralto; tenor, baritone or bass.
Vocal literature in itself sets up the goals or objectives for the singer to reach: quality, diction, agility, dynamic control, range, interpretation and style, and good vocal condition.
The technical goals or objectives involved in singing are as follows:
Normal quality - a ringing, resonant tone with a "cover" of beauty and a "metal" or point which carries or projects.
A diction that is understandable without sacrificing quality.
Agility - the ability to sing rapid and florid passages and difficult intervals.
Dynamic control - the ability to sing three gradations of loudness: pianissimo, mezzo piano, or mezzo forte or forte; and the ability to sing the messa di voce, from soft to loud and back to soft again through at least the lower three fourths of the singing range.
Range - the ability to sing approximately two octaves' range above the average normal pitch of the speaking voice.
Interpretation - the ability to change from the normal quality to other qualities for emotional effect.
Vocal hygiene - a technique of singing that not only tends to keep the voice in good condition but also tends to develop the voice to greater possibilities.
The goals and objectives are usually taken for granted, and yet they can be used as a measuring stick for a student's progress. Singing teachers hardly ever mention them. Most students when asked, "WHY are you studying singing?" can seldom give a straightforward answer.
There are other goals or objectives that one can list in addition to the literature and the technical goals.
Usually students of singing are interested in fields of singing, such as radio, church, concert, light opera, opera, and television, before they know where they will fit in vocally. In some instances, radio, for example, a vocal coach would be more helpful.
Many people are interested in singing for the enjoyment singing gives them. Many of these pride themselves on the fact that they just sing and know nothing about the technique of singing or how to read vocal music and don't want to know.
Others take singing lessons to improve their speaking voices, or to develop self confidence and poise, or for a keener appreciation of the art of singing and singers and of music in general.
The study of singing is thought by many to improve not only physical health by the practice of deep breathing, but also mental health by the emotional release and enjoyment singing affords; to strengthen and quicken the mental processes; to bring about good posture; and to develop personality. Perhaps the practice of singing should do all of these things, but there is considerable question whether it does, unless a relationship is brought out between singing and these objectives.
The singing teacher can easily justify his work as a singing teacher on emotional, mental, physical and personality grounds, but usually his approach is an artistic one. To some teachers, singing is an art and not a science; to others if is predominantly a science; and to still others, it is both an art and a science.
The modern singing teacher, if he is to keep step with the advances and discoveries in all fields related to singing and the teaching of singing, must combine the artistic and the scientific approaches. He must also suggest goals and objectives, such as those suggested above, for his singing student.
The ultimate goal to be reached is the ability to sing the literature for a particular type of voice - soprano, mezzo, or contralto; tenor, baritone or bass.
Vocal literature in itself sets up the goals or objectives for the singer to reach: quality, diction, agility, dynamic control, range, interpretation and style, and good vocal condition.
The technical goals or objectives involved in singing are as follows:
Normal quality - a ringing, resonant tone with a "cover" of beauty and a "metal" or point which carries or projects.
A diction that is understandable without sacrificing quality.
Agility - the ability to sing rapid and florid passages and difficult intervals.
Dynamic control - the ability to sing three gradations of loudness: pianissimo, mezzo piano, or mezzo forte or forte; and the ability to sing the messa di voce, from soft to loud and back to soft again through at least the lower three fourths of the singing range.
Range - the ability to sing approximately two octaves' range above the average normal pitch of the speaking voice.
Interpretation - the ability to change from the normal quality to other qualities for emotional effect.
Vocal hygiene - a technique of singing that not only tends to keep the voice in good condition but also tends to develop the voice to greater possibilities.
The goals and objectives are usually taken for granted, and yet they can be used as a measuring stick for a student's progress. Singing teachers hardly ever mention them. Most students when asked, "WHY are you studying singing?" can seldom give a straightforward answer.
There are other goals or objectives that one can list in addition to the literature and the technical goals.
Usually students of singing are interested in fields of singing, such as radio, church, concert, light opera, opera, and television, before they know where they will fit in vocally. In some instances, radio, for example, a vocal coach would be more helpful.
Many people are interested in singing for the enjoyment singing gives them. Many of these pride themselves on the fact that they just sing and know nothing about the technique of singing or how to read vocal music and don't want to know.
Others take singing lessons to improve their speaking voices, or to develop self confidence and poise, or for a keener appreciation of the art of singing and singers and of music in general.
The study of singing is thought by many to improve not only physical health by the practice of deep breathing, but also mental health by the emotional release and enjoyment singing affords; to strengthen and quicken the mental processes; to bring about good posture; and to develop personality. Perhaps the practice of singing should do all of these things, but there is considerable question whether it does, unless a relationship is brought out between singing and these objectives.
The singing teacher can easily justify his work as a singing teacher on emotional, mental, physical and personality grounds, but usually his approach is an artistic one. To some teachers, singing is an art and not a science; to others if is predominantly a science; and to still others, it is both an art and a science.
The modern singing teacher, if he is to keep step with the advances and discoveries in all fields related to singing and the teaching of singing, must combine the artistic and the scientific approaches. He must also suggest goals and objectives, such as those suggested above, for his singing student.
Five For Fighting Lyrics - Superman
I can’t stand to fly
I’m not that naive
I’m just out to find
The better part of me
I’m more than a bird...i’m more than a plane
More than some pretty face beside a train
It’s not easy to be me
Wish that I could cry
Fall upon my knees
Find a way to lie
About a home I’ll never see
It may sound absurd...but don’t be naive
Even heroes have the right to bleed
I may be disturbed...but won’t you concede
Even heroes have the right to dream
It’s not easy to be me
Up, up and away...away from me
It’s all right...you can all sleep sound tonight
I’m not crazy...or anything...
I can’t stand to fly
I’m not that naive
Men weren’t meant to ride
With clouds between their knees
I’m only a man in a silly red sheet
Digging for kryptonite on this one way street
Only a man in a funny red sheet
Looking for special things inside of me
Inside of me
Inside me
Yeah, inside me
Inside of me
I’m only a man
In a funny red sheet
I’m only a man
Looking for a dream
I’m only a man
In a funny red sheet
And it’s not easy, hmmm, hmmm, hmmm...
Its not easy to be me
Wednesday, October 8, 2008
How To Write Songs That Your Audience Like
So you would like to write your own original songs. However the few attempts that you have made did not turn out as you would have liked because the tune or the melody were not flowing so well or were not catchy enough for your audience to like.
So how do you write songs that your audience will like or will sing and hum along as you are performing them? Well, brace yourself because one of the methods to write catchy and be rather controversial, but it not only works and works darn well!
Sometimes, when somebody's original melody sounds good, they also sounded like another song. But you just cannot figure out which other song it sounded like. There is this vaguely familiar feeling that you have heard a sort of similar song before. Have you had that feeling?
I am sure all of us had this feeling before and I can even dare to say that it will happen again and again with other new songs. Actually, this subconscious feeling is rather common as after all because every song is a somewhat recycled tune given the limited number of musical notation, chords and rhythms.
So all new songs will somehow or other overlap other songs that are already in existence. Therefore all songs will have parts of their tune similar with another song or even songs. Therefore it is perfectly alright if parts of your song sounds like another song although you did not intend it that way.
As a matter of fact, if your new song sounds familiar, that may be a good thing. Before you jump up and shout copyright infringement, please be aware that I am not talking about infringing other songwriter's copyright, I am talking about a part of your tune that sounds somewhat like another song.
So why is this similarity a good thing? Well, it is simply because people can relate to your tune even more and so, they will like the song and remember it. They will want to listen to your song because of the familiarity. Song familiarity invoke a pleasant feeling of emotion and most of the time, they don't even know why they felt good hearing your melody. This is why your song can easily be remembered and will keep humming in people's head.
Even if your listeners realized parts of your song is somewhat similar to another song, so what, no big deal because as a whole, the song is in your own original song with your own original lyrics, your own melody and expressions and thus it is your own original song!
I must stress the point that you must not intentionally infringe upon other songwriter's copyright. This is not about ripping off other composer's works. This is about creating your own melodies and tunes that sound like a familiar tune.
So how do I go about writing familiar sounding songs? Well, let's start by choosing a song that you like and is familiar with and hum the tune. Just hum it but don't sing the lyrics out. This will get you thinking 'melodically' and soon, you should be able to hum certain variations of that tune. Just let your imagination take over and toss the melody around as you imagined it and let your creative juices flow.
Once you can jumble out the tune nicely, then sing it aloud and this will become your own tune. It is really that simple.
Another way to do this is to choose a song that you don't even know or heard of before. Listen to this song once, and then listen to it again. The second time when you are listening to it, sing along with the song. Yes, you probably will not remember the tune very well, but nevertheless, just sing along and this is when you make up a melody line of your own with the melodic structure of this obscure song.
Whichever method you have chosen to write a song with a somewhat familiar tune, you must feel good about it. It is your gut feeling of feeling pleasant that you know you have written a good catchy original tune that your audience will like and remember.
So how do you write songs that your audience will like or will sing and hum along as you are performing them? Well, brace yourself because one of the methods to write catchy and be rather controversial, but it not only works and works darn well!
Sometimes, when somebody's original melody sounds good, they also sounded like another song. But you just cannot figure out which other song it sounded like. There is this vaguely familiar feeling that you have heard a sort of similar song before. Have you had that feeling?
I am sure all of us had this feeling before and I can even dare to say that it will happen again and again with other new songs. Actually, this subconscious feeling is rather common as after all because every song is a somewhat recycled tune given the limited number of musical notation, chords and rhythms.
So all new songs will somehow or other overlap other songs that are already in existence. Therefore all songs will have parts of their tune similar with another song or even songs. Therefore it is perfectly alright if parts of your song sounds like another song although you did not intend it that way.
As a matter of fact, if your new song sounds familiar, that may be a good thing. Before you jump up and shout copyright infringement, please be aware that I am not talking about infringing other songwriter's copyright, I am talking about a part of your tune that sounds somewhat like another song.
So why is this similarity a good thing? Well, it is simply because people can relate to your tune even more and so, they will like the song and remember it. They will want to listen to your song because of the familiarity. Song familiarity invoke a pleasant feeling of emotion and most of the time, they don't even know why they felt good hearing your melody. This is why your song can easily be remembered and will keep humming in people's head.
Even if your listeners realized parts of your song is somewhat similar to another song, so what, no big deal because as a whole, the song is in your own original song with your own original lyrics, your own melody and expressions and thus it is your own original song!
I must stress the point that you must not intentionally infringe upon other songwriter's copyright. This is not about ripping off other composer's works. This is about creating your own melodies and tunes that sound like a familiar tune.
So how do I go about writing familiar sounding songs? Well, let's start by choosing a song that you like and is familiar with and hum the tune. Just hum it but don't sing the lyrics out. This will get you thinking 'melodically' and soon, you should be able to hum certain variations of that tune. Just let your imagination take over and toss the melody around as you imagined it and let your creative juices flow.
Once you can jumble out the tune nicely, then sing it aloud and this will become your own tune. It is really that simple.
Another way to do this is to choose a song that you don't even know or heard of before. Listen to this song once, and then listen to it again. The second time when you are listening to it, sing along with the song. Yes, you probably will not remember the tune very well, but nevertheless, just sing along and this is when you make up a melody line of your own with the melodic structure of this obscure song.
Whichever method you have chosen to write a song with a somewhat familiar tune, you must feel good about it. It is your gut feeling of feeling pleasant that you know you have written a good catchy original tune that your audience will like and remember.
Monday, October 6, 2008
Coldplay Lyrics - Yellow
Look at the stars; look how they shine for you
And everything you do
Yeah, they were all yellow
I came along; I wrote a song for you
And all the things you do
And it was called yellow
So then I took my turn
Oh what a thing to have done
And it was all yellow
Your skin, oh yeah your skin and bones
Turn into something beautiful
D'you know?
You know I love you so
You know I love you so
I swam across; I jumped across for you
Oh what a thing to do
'Cos you were all yellow
I drew a line; I drew a line for you
Oh what a thing to do
And it was all yellow
And your skin, oh yeah your skin and bones
Turn into something beautiful
D'you know?
For you I bleed myself dry
For you I bleed myself dry
It's true
Look how they shine for you
Look how they shine for you
Look how they shine for…
Look how they shine for you
Look how they shine for you
Look how they shine
Look at the stars
Look how they shine for you
And all the things that you do
Wednesday, October 1, 2008
How To Protect Your Singing Voice
Most people think that singers with good voices are born with them. Yes, although some people have better singing voices than others, most, if not all good singers undergo vocal training to improve their voices. Most of the singer's training is done through specific vocal exercises to achieve certain effects such as singing powerfully, getting vibrato into the singing voice or even expanding your vocal range so that singing higher notes is a breeze. Unfortunately, this article cannot do that as the exercises must be physically demonstrated and manually practised. So instead of learning how to get a good voice, this article will show you how to protect and preserve your singing voice because your voice quality can be destroyed by bad habits that you may not even know you have. Your voice is produced by a delicate mechanism and when used correctly, it rarely gives you any problem. So take good care of your precious voice and will serve you well for your lifetime. The first golden rule to having a good voice quality is not to take up smoking and if you are already a smoker, do quit smoking before this nasty habit destroys your singing voice further. The thousands of irritants and chemicals in cigarettes damage your voice and will certainly shorten your singing career and even your life unless you are a rock singer and need to have a raspy and coarse voice. Always stay hydrated and as such, you need to stay away from caffeine, alcohol and other substance that dehydrates you. The vocal folds must be hydrated at all times to stay healthy and lubricated. So drink plenty of drink as much water everyday to keep them hydrated.If you are on medication, check with your doctor or pharmacist whether the medicine you are taking is dehydrating. As a general guide, your body should be well hydrated when your urine is clear and not cloudy. Everyone's voice has its own limitations. So get to know yours. Shouting, talking loudly or even singing forcefully is damaging to your vocal cords, this is sheer common sense, but many singers still abuse their voices this way. So don't shout. Unfortunately, some people think that to sing powerfully, they have to shout. No, they don't have to. You can develop a powerful voice with the correct vocal exercises without having to shout. Your vocal cords collide with each other more than a million times everyday when you produce a sound and so, any extra harsh activities like shouting puts further strain on the already overused vocal cords.When recovering from a coarse voice like say, from a sore throat, avoid any unnecessary conversations or phone calls to let your voice fully recover. Otherwise your recovery will be slower and even then, small permanent damages may occur. You need to know that your vocal cords are muscles and therefore like any muscles, they need a thorough warm up before it can perform at its peak when you are singing. By the same token, they need to be cooled down with vocal exercises after your performances. Just because you get away without warming up or cooling down now does not guarantee that you will not damage your voice in the future. Next on the list is to avoid late night eating because this may end up with your stomach acid spilling into your larynx when you lie down to sleep and causing a hoarse voice and over the long term, permanent voice damage. These are just some of the many things that you should not do to preserve, protect and maintain your voice producing mechanism so that you can have a good singing voice permanently.
Author: Chris Chew
Author: Chris Chew
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