band’s only super
High notes can be difficult for novice vocalists, and more so for those who did not sing in the choir during their childhood. You can learn to sing them correctly at any age. Education will go faster if the vocalist already had experience in singing during school years. For many reasons, many performers are afraid to take high notes, but in fact, with the help of special exercises you can learn to correctly and beautifully take them. A few simple exercises will help you learn to sing high in the upper part of your range without additional sound amplifiers and reverb. But first you need to figure out what prevents you from singing easily and beautifully and staying on top in a complex head tessitura. WHY HIGH NOTES ARE DIFFICULT TO SING EVEN SOPRANO There can be many reasons for singing difficulties in high parts of the range. Continue reading
Listening to world-famous singers, many are surprised: the performers so subtly convey the quiet nuances of the vocal composition that even the quietest words can easily be heard on the last row in the hall. These singers are singing into the microphone, so they are so audible, some vocal lovers think, but in fact it is not, and you can easily and quickly learn to sing quietly if you do some exercises. At first, it seemed to me that way too, until at a concert of classical music in DK I heard one singer who had several victories at vocal competitions. When she sang, her voice flowed surprisingly softly and quietly, although the girl sang Gurilev’s classic romance.
It was unusual to listen, especially to those who had been engaged in academic singing for many years and got used to a rich and loud sound, but the secret of the singer’s success soon became clear. Continue reading
Performers, especially beginners, often do not know how to overcome the excitement before the performance. All artists differ in character, temperament, level of motivation and volitional qualities. These personality traits, of course, only partially affect the ability to adapt to public speaking. After all, a successful appearance on the stage of everyone still depends, first of all, on readiness and desire to play, and also on the strength of stage skills (in other words, experience). Each artist needs to learn how to prepare himself for a performance, to learn how to easily enter the optimal concert state – a state in which fear and excitement do not spoil the performance. In this he will be helped by both long-term, permanent measures (for example, sports training), and specific local measures that are resorted to immediately before entering the stage (for example, a special concert day mode). Continue reading