Tuesday, 29 December 2015
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WHY YOU SHOULD LEARN AN INSTRUMENT
1. Improves Performance On Cognitive Tasks
People with music training often outperform non-musical people on cognitive tasks. You can teach an old dog new tricks: in people over the age of 65, after 4 or 5 months of playing a musical instrument for an hour a week there were strong changes in the brain—the parts that control hearing, memory and the part that controls the hands, among others all become more active. The effects are long-lasting too: for adults aged 65-80, the more years a person had spent playing an instrument, the better they performed on tests of word recall, nonverbal memory, and cognitive flexibility. Other results show that playing an instrument can help your IQ increase by seven points.
2. Increases the Capacity of Your Memory
Adults and children can both benefit from learning to play an instrument because it helps the mind to be alert and remain active eventually helping to sharpen the memory. This makes learning a foreign language easier and makes you more perceptive to interpreting the emotions of others. This is due to the fact that learning an instrument requires you to learn about tones and scores which increases your ability to store audio information. Therefore it becomes easier to pick up other languages and have a better verbal memory in your own language.
3. Refines your Time Management and Organizational Skills
In order to learn an instrument successfully you have to learn how to be organized and manage your time wisely. To progress quicker, a musician will learn how to use their time efficiently and plan different challenges to work on. When you see yourself continuously improving, you will be motivated and ready to take on those new challenges.
4. Enhances Your Coordination
If you learn how to play an instrument, the parts of your brain that control motor skills actually grow and become more active. By reading musical notes on a page, your brain must convert that note into specific motor patterns while also controlling breathing and rhythm as well. Also for most instruments, you have to be able to have your fingers and/or limbs each performing different tasks simultaneously. Therefore playing music requires a lot of hand-eye coordination and if you’re anything like me (always picked last to play dodge ball but I’m not bitter or anything) then any improvement would be greatly appreciated!
5. Betters Your Mathematical Ability
In order to read music you have to count notes and rhythms, which has the effect of improving your math skills. Learning music theory includes many mathematical aspects so it’s not surprising that it can help you understand things like fractions more effectively. So if you’re still in school, does that mean you don’t need to pick up a guitar instead of a calculator? Hm…
6. Fosters Your Self-Expression
The more advanced you become on an instrument, you’ll begin to be able to play what you want and however you want. Since music is an art form, you can easily play a piece and use it as an outlet for your emotions. Playing an instrument of your own will not only help you relax, but can help build confidence and give you a sense of achievement. How cool is it to discover a talent you thought you never had? Music can also provide a sense of independence and individuality, which in turn contributes to one’s own self-discovery and sense of identity.
7. Provides Health Benefits
Playing music acts as a form of therapy, having calming effects on the mind and body. In particular, music has been found to reduce blood-pressure levels while other studies suggest that music therapy helps children and teens with Attention Deficit Disorder, insomnia, and depression. Oh and it can also be exercise occasionally: 90 minutes of drumming burns as many as 500 calories. That sounds so much better than jogging!
8.Teaches You Discipline, Responsibility And Perseverance
Learning to play an instrument takes time and effort, which results in your learning patience and perseverance. To get a musical phrase or entire song down with as few mistakes as possible takes great focus and repetition since most people will not be able to play a piece of music perfectly the first time. In fact, the majority of musicians have to work difficult sections of music multiple times in a row before they can play it correctly. Since it is such a challenge, this teaches you self-discipline and the importance of maintaining a steady practice schedule.
9. Relieves Stress
Music naturally can soothe not only others but the musician as well. The sound combined with the release of creativity and emotion, as well as the simple vibration of an instrument against a player’s body can significantly lower a musician’s stress level. Playing any instrument can actually help release the endorphins in your body, which will also result in reduced levels of stress.
10. It’s Just Fun
Even after learning the simplest three chords, you have the ability to write your own song. Bob Dylan has written several well-known songs using only a few chords and there is nothing like playing a song you just learned or wrote for a friend or playing it with friends. You don’t have to be Beethoven or Mozart here, you just have to have a desire to learn!
ARE YOU REALLY SERIOUS ABOUT HAVING A MUSIC BAND?
The primary excuse I hear for not starting a band is “I’m not good enough.” That’s actually an advantage; the less experience you have, the more musicians there are to choose from. Face it; it’s a lot easier finding inexperienced players than top-notch professionals. Start a band of equals and grow in experience together. The sooner you get started the faster you’ll achieve your dream.
Creating a Rehearsal Space
Rehearsal space? Isn’t that putting “the cart before the horse?” No, if you’re going to audition members for your band you’re going to need someplace to hold rehearsals. If you’re lucky enough to live in a city that rents rehearsal space that’s great. Otherwise, pull out your toolkit because you’re building a soundproof room.
I’ve rehearsed in basements, garages, storage spaces, apartment clubhouses, church recreation centers, and professional rehearsal studios. It’s not difficult to find a rehearsal space; what’s difficult is keeping it. About the third time a neighbor calls the police because you’re playing too loud, you’re out. To keep this from happening you need to soundproof the room. Real soundproofing is expensive, so improvise; used carpet works well, is cheap, and can be found at a local carpet outlet. You may even be able to get carpet that’s been removed from a previous installation free of charge. If not, purchase inexpensive carpet remnants. It ain’t pretty but it’s cheap.
To soundproof a room it’s necessary to create a room within a room. The air space between rooms is effective for deadening sound. Use this same technique with carpet – try to separate layers of carpet with air spaces. The carpet will also act to deaden reverberation so you’ll be able to clearly hear what everyone is playing. If you practice in a large empty room where sound reverberates, musicians can even hit wrong chords and you’ll never hear it.
Once the rehearsal space is secure it’s time to find the right musicians. This is the most important aspect of the entire process. It’s important to find musicians that are on your level of playing experience. For example, a great bass player who is more skilled than the rest of the group won’t stick around for long. Other important considerations are to find people with similar goals, who are in your age group, who are dedicated, with the same musical taste, and who are available for rehearsal.
How To Start a Band – Advertise for Band Members
How do you find these people? Advertise! Advertising works, that’s probably how you found me. Most people are aware of my guitar lessons from guitar magazine ads and Internet advertising. Your band ad must speak directly to prospective band members. They must feel that this ad “has their name on it.”
You probably already have a good idea of where to advertise for musicians. If not, check out the classified section of local papers to see where musicians advertise. You should post flyers in music stores, clubs, and schools. Also, take advantage of the Internet to connect with like-minded musicians.
How To Start a Band – Creating an Ad
The most common mistake people make when writing an ad is to misrepresent their level of experience. An inexperienced musician often tries to appear experienced to attract better players. The problem is, those better players won’t be interested in playing with a less experienced musician for long. Believe me, I’ve been on both sides of the fence. I’ve auditioned people that were way beneath the level I was seeking, and I’ve been auditioned by more experienced musicians. So, begin with an honest evaluation of your skills and your level of commitment to include in the ad.
You must create an ad that clearly expresses who you are and the type of musicians that you’re seeking. The ad should state your musical taste, level of experience, dedication, and goals. If there’s anything else that distinguishes you from other musicians mention that too. This might include your recording equipment, contacts, and rehearsal space.
I prefer to advertise for one musician at a time so it appears as if I already have a group. It’s much easier to find musicians who want to join a group than to attract people interested in forming a new band. Get started by looking for another guitar player, bass player, or drummer. After that position is filled, find the next musician. Don’t look for a lead vocalist until last. More on that later.
Usually it’s easiest to find another guitarist. Face it guys, we guitar players are a dime a dozen. The hardest position to fill is the bass guitarist. My suggestion – find a guitarist and you two begin by taking turns playing pass. Eventually you’ll either find a bass player or one of you will become the bass player. Yes, that’s where bass players come from. It’s a lot easier joining your first band as a bass player than a lead guitarist.
How to Start a Band – Holding Auditions
Be prepared for the first few responses you get to your ad. Make a list of questions beforehand and keep track of how each musician responds. If a person seems interesting, set up an audition. Give them a couple of songs to learn so you’ll have music that both of you are capable of performing. Take command of the situation by selecting songs that will showcase your ability. Even so, don’t choose music that is so difficult that it makes you nervous to perform. I like to choose pieces that allow me to improvise during the more difficult sections so I can perform with confidence. If I’m too nervous, I lighten up on the sixty-fourth note triplets.
Don’t wait until the entire band is formed to rehearse. Remember, the tighter you and the other musician play together, the better musicians you’ll attract to complete the band. It’s necessary to build confidence; everyone involved must realize if you stick together this actually will become a band. A positive attitude is essential.
How to Start a Band – Begin Rehearsals
How do you rehearse with a band that doesn’t have a bass player or drummer? Play along with a drum machine or pre-recorded tracks. For example, if you don’t have a bass player but you do have a drummer record the bass parts yourself. If you don’t own a bass borrow one or maybe talk a local musician into recording the parts even if they’re not interested in joining your band. Be sure to record a click-track (for timing) along with the bass. The click-track can come from a metronome or drum machine and should be a single sound like a hi-hat or wood block. Start off with a four-count so you and the other musicians will know when the song begins. It will probably be difficult for the drummer to hear the track so they should listen to it through headphones. Consider purchasing a headphone amplifier that will distribute the sound to several sets of headphones. Record the rehearsal tracks as MP3 files and hook your MP3 player up to the amplifier.
It’s a good idea to create a multi-track recording of every song that you learn. That way, if someone can’t make it to a rehearsal you can mute all of the tracks but their performance and the click-track. This recording is also useful for learning new songs. Give each member of the group a recording minus their instrument for them to use as a practice tool.
The is the answer to the biggest problem bands face – people not showing up for rehearsal. As an adult you’ll need to do homework. Take the jam track (minus your instrument) home and practice with the band. If other members have this same self discipline the band can move forward with very little actual group rehearsal. Everybody must know their parts when they arrive at rehearsal.
Before long your group will be ready to find a lead vocalist (unless group members already handle the vocals). The singer is the main link between the band and the audience. A great vocalist is essential for success. That’s why I saved the vocalist for last. Rehearse the group until you’re able to play several songs perfectly without vocals, otherwise it will be difficult to audition singers. I know this sounds difficult, but the band will be much tighter if you learn songs without listening to vocals. There are two other advantages to rehearsing without a singer. One, if you learn to depend on the vocalist for the arrangement, when the vocalist makes a mistake the band will follow which can be disasterous. Two, if the band needs the singer to sing every song at rehearsal, the singer’s voice will be shot when it’s time to play gigs. Plus, vocalists are notorious for being difficult to manage. So, when they throw a temper tantrum and storm out of the room you can continue to rehearse without them.
Dividing Responsibility
Once the group is formed, various duties must be divided among band members. Be sure everyone in the group has certain responsibilities, but no one should handle too much of the load. One person must be the bandleader. The leader oversees the whole operation. They must be sure that each member is doing their job and that the “band effort” is organized. Booking agents and club owners only want to deal with one individual, not the entire group. So, the leader must act as the group representative. The leader is also responsible for hiring and firing. Although the group usually decides who is to be hired or fired,the leader often has the responsibility to carry out the band’s wishes. And let me tell you, that’s not fun.
Rehearsal Director
The group leader may also handle this responsibility. The rehearsal director organizes practice sessions to be as efficient as possible. The director keep everyone informed about what songs will be learned in the future and set rehearsal goals. If the band wants to learn a new song every day, and practice previously learned material, the director organizes a schedule to accomplish this. This person also makes notes on song arrangements and may be in charge of harmony practice. Before moving on, I’d like to mention a couple of things about choosing material. Take turns choosing songs. If anybody in the band doesn’t like a song, drop it. There is enough good material available that you should be able to find songs that are acceptable to everyone. Also, choose material that fits the venue that you intend to play. Check out these places and see what songs are getting good crowd reaction. Keep your material current; don’t learn too many oldies, because your song list will become dated. If you have a good song list of current material you can start learning original material without feeling the need to constantly learn new cover tunes.
Image Coordinator
The next job pertains to creating the group’s image. Usually the lead vocalist is the most image conscious person in the group. If so, let the singer be in charge of the group’s stage appearance because a single person should coordinate this. If everyone dresses and looks as they please, chances are the band won’t look like they belong in the same group.
Each song you learn should have some organized stage movement. It’s necessary to arrange some of the movement on stage to add impact to the show. That way, even when the band is having an “off night,” you can still expect the two guitarists to meet at a certain place on stage and at the very least acknowledge each other’s existence. Often, just by looking like you’re having a good time you’ll start having a good time. Without a certain amount of organized stage movement the band will be too inconsistent – some nights will be great (lots of movement) while other nights will be boring (the band will appear uninterested and listless). I just noticed that I wrote twice as much about the person in charge of image as I did about the bandleader. I’m not sure if that’s a good thing.
Bookkeeper
It’s a dirty job but someone’s got to do it. The band should open a checking account to keep accurate financial records for income tax purposes. That’s if you actually make enough money to file taxes. All income should be deposited to the band’s account, and all expenses should be paid by check. The bookkeeper should keep receipts and records of income and expenses. This can be accomplished by simply keeping records in the check ledger. This person should also establish a good relationship with the bank because you may need to borrow money for equipment. While I’m talking about borrowing money, let me make a point – good credit is extremely important when you’re in a band. Establish your credit and guard it like you do your axe. When the band’s truck breaks down and you need seven hundred dollars for engine repairs before the next gig, you’ll realize the importance of good credit. Once you start touring it’s almost impossible to establish credit so keep your record clean. Banks are reluctant to loan money to transients, the self-employed, and musicians (yes, bankers have found me amusing). If you become a successful musician working on the club circuit you’ll fall into all three categories of credit risk. If you can show the bank that you have a good credit history they might stand behind you through difficult times. Before you “hit the road” make it a point to establish your credit by securing a credit card and pay the outstanding balance in full every month.
Public relations
Someone must be in charge of public relations. This person should be sure that the band’s photos and bio are up to date. Public relations work also entails promoting individual gigs – make your audience aware of each performance. This person should work closely with an artist on t-shirts, flyers, ads, and business cards. It is also important to organize newspaper clippings into a press kit and accumulate an e-mailing list of fans.
Band rehearsals
Rehearsals are a job, not a party. That means no drugs, drinking, or friends at rehearsals. If your “significant other” has a job, you probably don’t hang around where they work. Your partner needs to understand that anyone at a rehearsal other than band members is a distraction. When you have an audience there’s too much of a tendency to perform all of your best material instead of learning new material. Too many people hanging around your rehearsal space causes problems with neighbors and police. Also, some people that start “hanging around” may eventually decide to rip you off or he may spread the word about where you’re rehearsing and someone else will do the job. Still, it’s okay to occasionally have a “dress” rehearsal for close friends. This is a performance of your set from beginning to end without disruption.
As mentioned before, everyone should know their parts before they arrive at rehearsal. That’s to be done at home instead of wasting everyone else’s time at a group rehearsal. The rehearsal director should see to it that everyone has a copy of new material. Rehearsals should be recorded and the director should see to it that all members have copies of the recordings. The best way to rehearse new material is to first practice songs as a group at a very low volume level then let the bass player and drummer go over their parts together a few times. After that, add rhythm guitar, then lead guitar, lead vocal, and last harmonies. Harmonies should be rehearsed at low volume over rhythm guitar or keyboards.
Learning material at low volume is important for two reasons. One, it’s much easier to hear each part distinctly at a low volume level. Two, once you’re on the road it’s a great advantage to be able to learn tunes in your motel room because many clubs won’t allow rehearsals. You can even learn new material by rehearsing through headphones. The one problem with rehearsing at a low volume level is, the drummer will need to improvise a drum set, play pads, or an electronic kit.
During each step of the rehearsal process, record and listen to playbacks. Usually, if someone’s playing a part incorrectly, the musician will hear the mistake on the recording before the mistake needs to be corrected by another band member.
Keep recordings of the band playing the entire repertoire. As you learn new tunes, add them to the collection. Keep an accurate record of the date of each recording and where the sound file can be found. It’s best to keep this record as a word document and the recordings as a collection of audio files on your computer. As you learn cover material keep copies of the original versions. One reason for this is, when a band member quits or must be replaced, new members will be able to learn the band’s material from these recordings. Nothing discourages a band quite so much as having to teach a new member old material. A band must always move forward and two or three weeks of going over the old stuff can drive everyone crazy. New members can learn the material from recordings while the rest of the band continues learning new stuff.
Showcase the band
After your group has learned about ten songs you should begin showcasing the band. This can mean playing at a friend’s backyard party or setting up a gig somewhere featuring two or three other bands. It is important to remember that you must be as professional at these showcase events as when you’re playing on the club circuit. First impressions are important; these opinions are difficult to change. If people get the wrong impression of your group, they probably won’t give you a second chance. When the audience hears your band’s name in the future, they’ll still say negative things about the group. For this reason, it may be a good idea to play these first few gigs before finalizing the band’s name.
How to choose a band name
I’m not going to spend much time on how to name a band because I don’t believe that a band’s name is critical. After a band becomes successful, regardless of what you call the group, it will sound like a good name. Until then, it’s just a name. I mean, are these really good names: Pink Floyd, The Goo Goo Dolls, Alice in Chains, or The Beatles?
Me in Buck Run… a few years ago.
Before you name the band Turbulent Overload, for example, look around the Internet to see how many other Turbulent Overload bands there are. You must find a name that doesn’t seem to be in use. The next step is to file a legal document to DBA (do business as) a fictitious name. You can learn about this process at your local city hall. If you later find that someone else is using the name Turbulent Overload the DBA document will be proof that you were using it first. Plus establishing a DBA is the first step in creating a business entity – you can do things like open a checking account in the name of the band. That might not seem important until you receive a check made out to Turbulent Overload and wonder how you’re going to cash the thing.
How to choose a booking agent
When you begin getting positive response from showcase appearances, it’s time to invite booking agents to take a look at your band. Although you may book your first few gigs independently, eventually all of your work will be secured through a booking agency. They’ll take from ten to twenty percent of the gross receipts from each performance. When choosing a booking agent it’s normally better to be with a small agency that loves you than a large agency that doesn’t give you adequate attention. All agencies have favorite bands that get the “lion’s share” of work. If you sincerely believe that you’re capable of becoming a large agency’s best band, it will probably be in your best interest to sign with that agency. On the other hand, if you opt to sign with a small agency, be sure that they’re aggressively finding work for clients. Since small independent agencies often work without an exclusive employment agreement this might be the best place to get started.
When you sign with an agency it is usually a multi-year deal. A mistake here has the potential to not only ruin your band but may also damage your music career because you sign as both a group and as individuals. This means that the agency has an exclusive employment contract with you as an individual even if you no longer play with the group. When it’s time to sign an employment agreement with the agency, have an attorney approve the contract before signing.
A band-agent relationship is a strange one. Technically the agent works for you but it’s almost as if you’re paying the agent to be your boss. If an agent offers criticism, you should seriously consider the message. If the agent constantly makes suggestions that you aren’t willing to follow, you’re with the wrong agent.
Making it work
- Mutual goals: Everyone in the band must agree on the outcome that you’re expecting from this collaboration.
- Personal relationships: (lovers, spouses, family, etc.) These relationships can be such a high priority for some members that it becomes difficult to find enough time to accomplish the band’s mutual goals.
- Interpersonal relationships: Do band members get along? Make it a point to regularly spend social time with each member alone. It will give you both an opportunity to discuss mutual concerns and ideas.
- Drug abuse and alcohol abuse: Negatively affects performance, reliability, mood, and motivation.
- Musical satisfaction: Members must enjoy the same type of music and appreciate each other’s musical contribution.
- Level of musical accomplishment: Members should progress at a somewhat equal pace. Otherwise, someone’s not going to continue with the program.
- Financial Reward: The group must make enough money to support the needs of all members. If everyone has a full-time job and is performing with the group as a hobby, members don’t need to make a cent. On the other hand, if some members are trying to support a family on the band’s income, money is extremely important. Everyone must be on the same page.
- For professional groups, a good agent: You can’t survive without work.
Here are a few things that can keep your band happy. Have organized group meetings every couple of weeks. Take notes and run each meeting in a professional manner. Constantly learn new material, even when it doesn’t seem necessary; this will keep the group fresh and keep your performances from turning into boring routines. Most of all have fun. That’s why you started the band in the first place
10 TIPS TO BE A BETTER FEMALE SINGER
You hear them on the radio all the time - the likes of Mariah Carey, Celine Dion, Whitney Houston, Jennifer Hudson, Jordin Sparks, the list goes on and on. You want to sing like that, but you're not sure where to start. Don't worry! Here you'll learn how to build up your voice so you can belt it out just like they do.
Steps
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1Get familiar with terminology. "Powerhouse singing" is typically referred to by the general public as belting. Belting, however, doesn't always equal very loud vocals. Belting simply means pushing your chest voice into head voice range. Chest voice is the voice you typically use to speak in and resonates mostly in your chest. Head voice is the higher, lighter voice most people use when singing very softly and it resonates mostly in your head. For the purposes of this article, we will use the terms "powerhouse vocals" and "belting" interchangeably.
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2Keep in mind that everyone has a unique vocal timbre, or "color" of voice. In order from lightest to heaviest, they are soubrette, lyric, spinto, and dramatic.
- Soubrette is a term used for both color and range. Soubrette voices (such as Britney Spears) typically don't have much range or power, and therefore may not be able to belt.
- Lyric voices are light, but heavier than soubrettes and if their voices are used correctly they will easily overpower Dramatic singers. Lyric singers belt with ease and power, but sometimes the sound might be too thin for some to listen to all the time.(such as http://www.youtube.com/watch?v=-WhtxYxeZ6I&feature=related (Celine Dion), although their voices tend to have a thinner, possibly more nasal sound.
- Spinto is an Italian term that means "pushed." Spinto singers, such as Christina Aguilera, can handle belting at intermittent levels, and typically sound very edgy.
- Dramatic voices are the heaviest and fullest of all vocal timbres. [http://www.youtube.com/artist/laura-branigan?feature=watch_video_title[Laura Branigan is generally regarded as having a dramatic vocal timbre, she was able to belt for long periods of time and has an extremely strong resonance. People with dramatic voices can handle long periods of belting and can typically sing over loud orchestras.
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3Once you have figured out your vocal timbre, now's the time to figure out your range. There are three terms to describe range:
- The first is alto (or contralto) and it's the lowest voice of all female voices. Toni Braxton is an alto. Alto voices can typically sing from F3 to F5, although some can go much lower and higher.
- Next there is mezzo-soprano, or "middle soprano." Mezzo-soprano singers can typically sing from A3 to A5, although again, this can vary.
- The highest of the female voices is soprano. Sopranos can typically sing from C4 (also known as middle C) to A5 (also known as high A).
- These definitions are for classical vocalists though, and in pop/modern vocals, these definitions are just an estimate. To test your range, simply go to a piano or keyboard and find middle C. Just about anyone can vocalize a middle C. Sing against that, and see how high you can go above it and how low you can go below it. This will give you a general idea of which term describes your range.
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4Remember however, range is not everything and certainly doesn't say whether you can be a belter or not. Toni Braxton is an alto, which means she can't sing very high, but she does have a very powerful voice.
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5Become familiar with mixed voice. Simply put, mixed voice is just what it's called - a mix between chest voice and head voice, lying between those two registers. Learning to sing with mixed voice and strengthening mixed voice takes a great deal of strain off of your voice when belting, and it also enables you to belt even higher. Mixed voice has a tendency to sound slightly nasal because it resonates mostly in the nasal cavity. Don't worry about this. As long as it's only slightly nasal and not excessively so, it's OK.
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6Now the fun part - belting! Always remember to support your breath very well! If you don't, your belting will be very "pitchy" and generally just not sound good. Relax and trust your voice. Don't try to force it at all. Belting is not something that you can be good at overnight. It takes a lot of practice. Think of it as yelling over music, but don't actually yell! As said before, support that breath! Also, keep good posture. When belting, a good rule of thumb is to make sure you're not tightening your diaphragm up too much. You want your breathing when singing to be more in your stomach than in your chest. When breathing while singing, make sure your stomach is expanding.
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7Remember to breathe! Some people actually forget to take breaths when belting, resulting in them running out of breath mid-note.
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8Keep your jaw relaxed. Tightening up your jaw will compromise the sound of your belting, noticeably so.
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9Remember that not all voices are equipped to belt effectively, and this is OK. Some of the best singers out there can't sing over the sound of bombs, and that's OK. Just like range, power isn't everything. Just work what you have!
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10The most important thing to remember though is that if it hurts, STOP! Singing should never be a painful experience! If you experience pain while singing, that is your body telling you that you are doing something wrong or pushing it beyond it's limits. You should never be hoarse (or even worse, completely voiceless) after belting through a song, or even a whole set. If you find that you can't belt without pain or a loss of voice, consult with a voice teacher so you can learn to properly belt without risking your vocal health.
TIPS TO BE A BETTER MALE SINGER
However, there are elements of vocal technique and style which apply to different genres and voice types, and some singing tips for guys that are as important for the next budding Pavarotti as for the aspiring death-metal frontman. Vocal Range
The most basic and important thing to establish is your vocal range. Although voices can undergo considerable change as you mature, the basic sound and pitch of your speaking voice can give a good indication of where your voice might sit comfortably. For example, if you sound like you’ve gargled with gravel when you speak, no amount of training is going to
turn you into a high tenor! The basic classical voice types for guys are:
Tenor – the highest natural male voice range, and usually the hero in operas, or the young male lead in music theatre.
Baritone – the most common voice type for untrained male voices, often used for “everyman” roles.
Bass – the lowest male voice range. True basses are really quite rare, and bass roles are often cast with “baritones with low notes.”
Another less common male voice type is the male alto, or counter-tenor. Singing exclusively in the falsetto (high) range, this voice type can sound other-worldly, and is used to great effect in classical music, particularly in the baroque era.
It’s important not to force notes that you don’t really have. You can’t turn someone into something they’re not – again, use the colors in your singing voice as a clue. Even if your range is relatively limited, a brighter, lighter sound implies that with training, you’re likely to have a higher vocal range.
Additional Singing Tips For Guys
- Know your voice – not just your range, but how your voice works when you’re not feeling your best. Avoid singing when you’re sick if you can, but since we are our instruments, we all have days when we’re not 100%, but still have to produce the goods. Know what you can and can’t do comfortably on these days.
- Avoid anything that will damage your voice – this means smoking, some prescription medications (talk to your doctor), excessive alcohol consumption, and throat clearing. If this is a habit for you, break it as soon as you can.
- Get plenty of rest – not just for your voice, but for your body too.
- Exercise – again, not just scales and vocal exercises, but find a physical activity you enjoy, and stick to it. The fitter you are as a singer, the better your voice will work.
No discussion of singing tips for guys would be complete without considering artists who have taken their art form to a world-class level. Let’s consider probably two of the most distinctive male voices of the last century – the great Italian tenor, Luciano Pavarotti, and Freddie Mercury, the charismatic frontman of British rock supergroup Queen. Even though their musical genres couldn’t be further apart, they have more vocal similarities than they do differences. They both have extraordinary vocal
facility and freedom. Pavarotti’s golden, bright, rich-toned vocal style incorporated the Italian “sob” – a technique particularly used in verismo (“realistic”) operas. Mercury’s extraordinary vocal agility, attention to words, and stunning musicianship made an impression on many.
As you improve your singing skills, keep these tips in mind and always keep your particular vocal style in mind. You’ll begin to notice what works and what doesn’t for your range, and capitalizing on that will make you an even better singer!
Tuesday, 22 December 2015
Tuesday, 8 December 2015
Simple truths
I have always done the comparison... "Earth" and "life" -and-
i wonder if there is an equilibrium in "living and strive"
poverty isn't evil to you if your hard work is to languor -or-
Do you expect to sit and enjoy? if you've done no labor
you either go for an option or choose from alternative
There is more attribute to be a leader, it's beyond being Authoritative
And remember knowledge is to always see a view beyond sight
In trying to create a strong identity for yourself also search for insight
A state of Being deter in the mind is a reference to delusion
an act of being determined is a one step to making a conclusion
the only way of getting far from strive and mental starvation...
Is to make Sterile - laziness... and make character impotent to enervation
Facing trials is not a guarantee of an elevation
Diligence is a far better option than having inspiration
hard work is not to work hard not to fail the test...
even after working hard the score gives you no rest
The real thing is to be prepared to always give your best
the irony of peace of mind outside hard work is contest
so put on the shoes and brighten the hues to fulfill your quest
Bad luck is more than what we think when you are laid to rest
written by Donnie Raphael
i wonder if there is an equilibrium in "living and strive"
poverty isn't evil to you if your hard work is to languor -or-
Do you expect to sit and enjoy? if you've done no labor
you either go for an option or choose from alternative
There is more attribute to be a leader, it's beyond being Authoritative
And remember knowledge is to always see a view beyond sight
In trying to create a strong identity for yourself also search for insight
A state of Being deter in the mind is a reference to delusion
an act of being determined is a one step to making a conclusion
the only way of getting far from strive and mental starvation...
Is to make Sterile - laziness... and make character impotent to enervation
Facing trials is not a guarantee of an elevation
Diligence is a far better option than having inspiration
hard work is not to work hard not to fail the test...
even after working hard the score gives you no rest
The real thing is to be prepared to always give your best
the irony of peace of mind outside hard work is contest
so put on the shoes and brighten the hues to fulfill your quest
Bad luck is more than what we think when you are laid to rest
written by Donnie Raphael
Tuesday, 11 August 2015
what you should know!!!
Now everybody wants to be "famous", everybody is having a feeling that they can "affect" lives, and also everybody believes that they "have what it takes" to be "successful" as a musician or an artiste...
first of all " success isn't what you have achieved or what you are earning or how large you are living, I will say success doing the right thing well and making positive impact on people in and outside your field" its so funny how people crave for fame and money and forget to make the positive impact they are ought to make, a good musician is not known by his fame, if at all he/she is famous!, its not a guarantee that it is a factor of a good musician...no idea is too low for an experiment, no voice is too bad that the microphone won't amplify!, there is no sound a studio wouldn't produce, provided you have money to pay! You cannot be arrested by doing a song that isn't too good, you can only be criticized which is not bad because there is room for improvement...
. I remembered when I enrolled into a music school as a drum major student, I was full of myself because I thought I knew so much, when every drummer began to play, I knew they were better than me but passion still made me play in their midst, people mocked me and I felt bad, I wasn't arrested or expelled from the school for not playing well but I learnt I could do better than that and here I am today I am a better drummer because I learnt from it and I was bold enough to do "me"
. As an individual, you have to give everything we can do a trial because you cannot tell what it will lead to, also you have to live as "you" because there are lives waiting to be affected by you!!! Do your best and give it a test!!!
......... Says donnie_Raphael.unedited by more2musiq
first of all " success isn't what you have achieved or what you are earning or how large you are living, I will say success doing the right thing well and making positive impact on people in and outside your field" its so funny how people crave for fame and money and forget to make the positive impact they are ought to make, a good musician is not known by his fame, if at all he/she is famous!, its not a guarantee that it is a factor of a good musician...no idea is too low for an experiment, no voice is too bad that the microphone won't amplify!, there is no sound a studio wouldn't produce, provided you have money to pay! You cannot be arrested by doing a song that isn't too good, you can only be criticized which is not bad because there is room for improvement...
. I remembered when I enrolled into a music school as a drum major student, I was full of myself because I thought I knew so much, when every drummer began to play, I knew they were better than me but passion still made me play in their midst, people mocked me and I felt bad, I wasn't arrested or expelled from the school for not playing well but I learnt I could do better than that and here I am today I am a better drummer because I learnt from it and I was bold enough to do "me"
. As an individual, you have to give everything we can do a trial because you cannot tell what it will lead to, also you have to live as "you" because there are lives waiting to be affected by you!!! Do your best and give it a test!!!
......... Says donnie_Raphael.unedited by more2musiq
Wednesday, 15 July 2015
LEARN HOW TO WRITE A SONG
LEARN HOW TO WRITE A SONG: a step-by-step guide
Start here.This easy-to-use guide will show you how to write a song, from finding a great title to writing your melody. Hands-on songwriting exercises will jump start your creativity, while ‘how-to’ video tutorials are a fun way to find out more.
by Robin Frederick. Request permission to reprint
What comes first, melody or lyrics? How does an idea become a whole song? How do you know if your song is any good? Well, I’ll answer the first two questions in this article. The third question – How do you know if your song is good? – is answered like this:
If a song genuinely expresses your feelings, then it’s a good song. It doesn’t matter what anyone else thinks.
If a song expresses your feelings AND touches other people, moves them emotionally, or gets them on the dance floor – that’s a good song with the potential to become a HIT.
So, how do you write a song that moves other people and makes them want to listen? Well, that’s where song craft comes in.
‣ What is song craft and why do I need it???
Good songwriters use song craft to give their songs emotional impact and make them memorable for listeners. The song building tools and techniques we call “song craft” are not arbitrary; they weren’t invented just to drive songwriters crazy or force us to create formula songs without depth or originality. They exist because, over hundreds of years, songwriters have found that they help listeners to understand, experience, and remember the message at the heart of our songs.
From the opening lines of your first verse to the end of the final chorus, your song takes listeners on a journey. It could be one that leads deep into their emotions or makes them feel like jumping onto the dance floor. But a song that wanders from one idea to another, or loses momentum, or lacks focus can be frustrating for listeners. When that happens, they just tune out. Don’t let that happen! The simple ideas on this page will help you create a compelling, powerful experience for you and your listeners. Like any skill, though, song craft takes little practice so be sure to try the “Go Ahead and Do It!” exercises that follow each step.
ON THIS POST
GET STARTED | BUILD ON A TITLE | USE IMAGES
GOOD SONG STRUCTURE | CREATE A MELODY
FIND CHORDS | FIND CO-WRITERS | DEMO YOUR SONG
‣ How does a song get started? (Good question!).
Getting started can be one of the hardest tasks in songwriting. And it’s also one of the most important because if you start well, you’ll have a lot less trouble down the line. You’ll know where you’re going and you’ll have plenty of things to say.
There’s always the temptation to jump right in and begin with the first thing that occurs to you. You know you want to write a song – melody, words, and chords – but you may only have a vague idea or a feeling about what you want to express. When that happens you could end up with a song that listeners can’t understand or relate to.
So what DOES come first – lyrics, melody, or chords? My answer is… none of the above! There are a lot of ways to start a song and you could start with one of those, but I’m going to suggest that you start with THE TITLE.
The title is going to be the line that everyone remembers. More important, it’s going to define the message of the song. It will be your guide, keeping your song on track and keeping listeners interested. Think of your title as the peak of a pyramid. The rest of the song is made up of the building blocks that support it.
Short phrases make good titles because they grab attention and they’re easy to remember. The ideal length for a title is one to five words.
Start your song with a title that appeals to you. Make sure it’s a phrase that rings true in your ears. Something that makes you say, “I’ve got to know more about that!” Because if YOU want to know, others will want to know.
Where to find good titles
Keep your eyes and ears open for good titles that have energy for you. Action words, images, or short phrases make good titles. Attention-grabbing newspaper headlines are full of good titles. Here are a few examples of titles I picked up by reading through a popular magazine: “A Dream On The Edge,” “Hiding in the Shadows,” “What You Can’t Change,” “Slipping Away.”
Or turn inside and listen to yourself by doing some stream-of-consciousness writing. Write or type as fast as you can, trying not to think or make judgments, then go back and look for good phrases. When you listen to other people or watch television always keep a little corner of your mind alert for phrases that capture your attention. Start keeping a list of these titles.
GO AHEAD & DO IT – Start your title list right now. Pick up a book or magazine, or scan for interesting short phrases. Write down at least three phrases. Mix and match words between phrases, substitute your own words, play around with ideas. Try to come up with at least one phrase that makes you want to write a song. Keep looking for more phrases until you have something you like. Draw a big circle around that phrase.
Check out Robin’s books at Amazon.com.
‣ Turn a title into a lyric. Here’s how.
WATCH THIS ON VIDEO.
Now, let’s begin to turn your title into a great lyric by simply asking a few questions – the questions suggested by your title. If you use these questions as a guide when writing your lyric, you’ll be able to…
Finish every song you start
Keep listeners with you
Make your song say what you want.
Ask the Questions hidden in your title!
Every title suggests questions that need to be answered. Some of the questions will be ones that you want to explore, others will be questions that listeners have. You’ll need to answer both. Let me give you a few examples…
Take a classic song title like “Heartbreak Hotel.” Some of the questions you might want to ask are: What is a ‘heartbreak hotel’? What happens there? Where is it?
Sure enough, these questions are all answered in this great Rock standard.
What is a ‘heartbreak hotel’? A place to go when your baby leaves you.
What happens there? Brokenhearted lovers cry.
Where is it? Down at the end of Lonely Street.
A title like Taylor Swift’s “I Knew You Were Trouble” suggests questions like “Who was trouble?” “What kind of trouble?” and ‘How did things turn out?” If these questions aren’t answered in the song, they’ll go away disappointed. In a big Country hit like “You’re Gonna Miss This” recorded by Trace Adkins, listeners will be asking “What is it we’re going to miss?” and “Why will we miss it?” Check out the lyric; you might be surprised by the answer! That’s the sign of a great song. It draws you in with questions, then answers them in a fresh way.
You can choose the questions you want to answer. Just be sure to include the questions that listeners will have and answer those, too. If you were a listener, what would you want to know?
Here are some questions that work for many titles:
What does the title mean?
How do you feel about that?
What caused it to happen?
What do you think or hope will happen next?
GO AHEAD & DO IT – Go back and look at the title you circled. What questions does it suggest to you, ones that you want to answer in your lyric? Make a list of questions that you’d like to answer. Then add any questions you think listeners will have. Will they understand your title? Do you have to explain what it means?
Tell them why you’re saying this? Start writing a few of your answers now. Don’t bother to rhyme or even think about writing a lyric. Just say what you want to say. That’s the best place to start because that will be the heart of your song.
‣ Use Images to Bring Your Song to Life.
Just like a potter has clay and a painter has tubes of paint, the songwriter has images, action words, and fresh concepts. These are your raw materials. You’re going to create it yourself by using the words, phrases, and images suggested by your song title.
Make a list of words and images the title suggests
Let’s say your song title is “You Make Me Smile.” To create raw material based on this title, think of words and images associated with smiling! We can start with obvious ones like “happy,” “sunny,” “bright,” and “fun.” These are words you could use in your lyric, but they’re a little but abstract. Let’s see if we can come up with words that will create a mental image for listeners and really make them feel like smiling.
Take the word “fun,” for instance. What are a few things that are fun, things that make people smile? Parties, celebrations, dancing. People have fun when they go to theme parks, like Disneyland. So, let’s picture a ride at a theme park, maybe a roller coaster.
These are just rough ideas. Try not to judge whether they’re good or not at this stage. Just write down everything that comes to you. You won’t use all of it but you never know what might end up in your song.
Now, let’s try the word “sunny.” Obviously that word makes me think of sunshine, which makes me think of summer and being outdoors, which makes me think of grass, trees, and flowers. Flowers make me think of bright colors – gold, red, purple – and bees buzzing around.
So now we have a whole bunch of words that evoke mental images – bees, flowers, sunshine, parties, dancing, roller coasters! They all have to do with smiling and feeling good. And they all came from starting with one word and letting it suggest more.
To hear how these words are used in a hit song, here’s part of the chorus of “Smile” by Uncle Kracker. Notice how many words are similar to the ones we came up with.
You make me dance like fool
Forget how to breathe
Shine like gold
Buzz like a bee
Just the thought of you can drive me wild
Oh, you make me smile
Now the listener is able to picture how the singer is feeling instead of just having to take his word for it. This is one of the most important tools a songwriter has. Check out this song on Spotify, look up the lyrics online, or watch the video to hear even more fun images and ideas based on smiling.
BONUS TIP: After you have a list of related words, make a list of contrasting words and images, ones that suggest the opposite. For example, I wrote a song called “California Girl.” Obviously the related words will include summer, sun, warmth, waves, water, sand, feeling free – a kind of or paradise. Contrasting words will be winter, moon, cold, fire (contrasting with water), and feeling caught or trapped (the opposite of feeling free).
If you’d like to hear how I turned these lists of related and contrasting words into a lyric, watch the video of my song “California Girl” or listen and read the lyrics here.
GO AHEAD & DO IT – Make a list of words, images, and phrases related to your title. Write down single words or short phrases. Don’t think about rhyming or making sense at this point. And try not to be critical of your ideas – just write down what comes to you. Then, make a list of contrasting words, images, and phrases. Write as many words as you can think of in each columns. Let one idea suggest another and follow the trail wherever it takes you. This is a great exercise for stretching your creativity.
‣ Why is Song structure a big deal
Before we go any further, it’s be a good idea to get familiar with one very important aspect of songwriting: Song Structure. A clear, easy-to-follow structure acts like a path, leading your listener through your song from beginning to end. A good song path will keep listeners involved in your song all the way through.
The most common contemporary song structure looks something like this:
VERSE / CHORUS / VERSE / CHORUS / BRIDGE / CHORUS.
Listeners like this song form because it provides enough repetition to feel familiar and enough variety to keep them interested. It also gives you, the songwriter, the chance to add emotional dynamics to your song. Many of today’s hits feature a conversational, intimate verse followed by a big, powerhouse chorus with plenty of emotional punch.
Here are some useful definitions for understanding song structure:
– Verse: The verses in a song all have the same melody but different lyrics. The verse lyrics give us information about the situation, emotions, or people in the song.
– Chorus: We may hear the chorus of a song three, four or more times. The lyric and melody remain the same each time it recurs.The chorus lyrics sums up the heart of the song. The title of the song almost always appears in the chorus section and may be repeated two or more times.
– Bridge: The bridge has a different melody, lyrics, and chord progression from the verse or chorus. It provides a break from the repetition of verse and chorus. The lyric often provides an insight or revealing moment.
GO AHEAD & DO IT
Use the song form VERSE / CHORUS / VERSE / CHORUS / BRIDGE / CHORUS.
Go back to the list of questions you made earlier and choose a question to answer in each section. The chorus will repeated several times so pick the most important question to answer there. Often, that question is “What does this feel like?”
Be sure to use your title in your chorus! Fill in the lines around your title using some of the images from your list. Make sure your listeners understand the song by making at least one direct statement that describes what the song is about. Once you have a rough idea of your chorus lyric, move on to a verse. Verse lyrics tends to be more conversational, so keep it simple and just answer the question you picked in an open, honest way.
‣ Look for the Melody That Lives in Your Lyrics
WATCH THIS ON VIDEO.
Every time you open your mouth to speak, you start singing! Don’t believe me? Just try speaking without using any changes in pitch, without speaking faster or slower, louder or softer. You can’t do it! You end up sounding like a robot. Although we usually think of singing as something quite different from talking, we actually use a lot of melody when we talk.
When we talk we use pitch, volume, phrasing, and rhythm – all the elements of a song melody. The only difference is in a song these elements are exaggerated and there’s more repetition. So if you have a few lyric lines, all you need to do is speak them to get a raw melody started.
Melody, speech, and emotion
It’s the melody part of speech that communicates emotion. In fact, just by changing the melody you can give the same words an entirely different emotional meaning. Try this: say the phrase “Oh, no?” as if you are asking a simple question. Now, say the same phrase — “Oh no!” — as if you are anxious and frightened. Notice the difference in the melody? In the question, the melody goes up at the end. In the frightened version, the pitch starts higher and then the melody moves downward. Exaggerate the emotion in the second phrase and you’ll really hear it. Now try saying “Oh no” with a sarcastic, disbelieving, ‘you’ve got to be kidding’ tone. It’s an entirely different melody from the other two.
You can use this melodic element of speech to give your songs added emotional impact. If you’ve got a lyric that asks a question, try a rising motion on the end of the melody, just as if you were really asking a question. Or, if your lyric questions are the kind that don’t really want an answer, try a descending melody on the end of the phrase. You’ll make the meaning clear and sound natural and believable to your listeners.
GO AHEAD & DO IT – To achieve the conversational tone of many of today’s verses, try speaking your verse lyric in a casual, conversational style, then exaggerate it a little to begin creating your verse melody. Keep the pauses that occur naturally and exaggerate the little ups and downs in your speaking voice. You’ll want to make changes later but, for now, this will give you a good place to start. Remember, this is your raw material, not the finished melody.
Choruses often have more energy and urgency, conveying more of the song’s emotional heart. As we saw with the “Oh, no!” phrase, the more emotion there is, the higher the voice tends to be. That’s why very emotional Pop and Rock choruses work well in a higher note range. Speak the chorus lyric with as much emotion as you can put into it. Now, exaggerate the pitches, keeping the rhythm of the words and any pauses that occur naturally. This will get you started on your chorus.
Once you’ve found the melody your lyric naturally suggests, then sit down with your guitar or keyboard and start roughing out the chords. I like to record my vocal ideas before I even start to add chords, that way I can recall the original “spoken word” melody in case I want to go back to it. Of course, there are other ways to write a song melody but this one will give you a great place to start.
‣ What happens next?
Writing both lyrics and melody
If you play guitar or keyboard and you’re going to be writing your own melody and chords. Skip down to the next section for some ideas on how to find and use chord progressions that work well for today’s songs.
Work on the melody and chords using the verse and chorus lyric you have, gradually smoothing and changing until you have something you like. Then write the rest of the lyric to the final melody.
Writing lyrics only
If you’re going to be looking for a collaborator to put music to your lyrics, then you should go ahead and finish the lyric now. Filling in the rest of the lyric while sustaining the emotional tone of what you’ve done is a tough job but if you’ve gotten this far, you can do the rest.
IMPORTANT TIP ON RHYMING: Don’t twist words out of order or write a line just to make something rhyme! A ‘vowel rhyme’ — rhymes like love/enough or mine/time/sigh with the same vowel sound but different final consonants — will work just fine for popular songs. (Songs for musical theater are different – they usually do require perfect rhymes.) Check out a web site like Rhymedesk.com or B-rhymes.com to find lists of interesting rhymes.
Know when to take a break
Work on your lyric for short periods of time. If you’re not getting anything usable, walk away… literally. Take a walk and let things settle for awhile. Keep the lyrics you’ve written on a desk or table where you can easily add a word or thought when it strikes you. Keep the hit song melody in your head. The most important thing (and the most difficult) is to keep the emotional integrity of the song intact. Don’t settle for anything less. There are times when you’ll lose your way. Stop working! Go away and come back when you’re fresh. You’ll be able to see what needs to be fixed. Keep working on the lyric until you are genuinely moved and excited by it.
‣ Chords
Many songwriters begin their songs by playing a chord or two to inspire a mood, a melody idea, or a lyric theme. Today’s hit songs and songs for film and TV often use simple, repetitive chord progressions. They keep things interesting with a melody that has plenty of forward momentum and unexpected twists. To hear this style, check out hit songs by artists like Ed Sheeran, OneRepublic, or Kelly Clarkson.
You don’t have to reinvent the wheel
There are loads of useful chord progressions that depend on just three to four basic chords. Melodies and lyrics ARE copyrighted, but, in general, these familiar chord progressions are not. C-Am-F-G belongs to everyone! What this means is that you can use this type of generic chord progression in your songs. I am going to suggest that, for now, you do just that.
These progressions aren’t hard to learn. Just by listening to a recent hit song you can learn to play along pretty easily on either guitar or keyboards. There are many YouTube videos that will show you how to play recent hits. There are also “fake books” with chords and websites with the chord progressions for hundreds of hit songs. Just do a quick web search using the song title and the word “chords.”
If you decide to use one of these chord progressions to practice writing a song of your own, just be sure you don’t use any of the melody or lyric from the hit song. These are protected by the copyright law.
Learn to play chords
If you don’t play piano or guitar, you might want to take a few lessons. There are ‘instant’ piano and guitar courses you can take that will teach you to read and play chords. Check out my Resources page for good ones.
You can also take a few lessons from a local music teacher. Many music stores have teachers who give lessons. Your local community center or college may have classes. Or ask friends and neighbors to refer a teacher. If you decide to take lessons, be sure to tell the teacher you want to learn to read and play CHORDS. You don’t need to learn note reading.
In general, songwriters don’t have to be great musicians. We know chords, we know song craft, we know how to follow our emotions — none of this has anything to do with how many dazzling riffs and licks you can play. Just strum or chord along with your voice and keep the emotional feel front and center.
Use a karaoke track
Here’s a resource for those of you who don’t play an instrument – and even those who do! Karaoke tracks offer an instant backing track that can inspire ideas and get you singing your lyrics to a contemporary beat. Go ahead and write a song for friends and family or just for songwriting practice. The track itself is copyrighted but generally the chords are not. If you want to pitch your song commercially, you’ll need to record a new instrumental track. You can keep the chords or adapt if needed.
‣ Songs for Film & TV
Many of today’s top TV dramas and films use songs to add mood, energy, and atmosphere to scenes. A lyric with a single, strong emotional focus is ideal for this use. If you’re interested in this market, begin to study how songs are used in commercials, TV shows, and films. Notice how they enhance and deepen the effect of the scene.
As an exercise, choose a scene and try writing a song that would work with it. Record your vocal and a simple guitar or piano part, then play it softly under the scene to see if it increases the emotional impact.
‣ Find a co-writer.
So let’s say you have this fabulous lyric. It’s got emotion and good song craft but you don’t play guitar or keyboards and can’t write the music. Or you’re a musician who doesn’t write lyrics and can’t take your melody to the next step. Time to look for a co-writer! But before you do that…. write out your lyrics or record your melody. Indicate which section is the chorus, verse, and bridge. That’s a good start.
Copyright your work
Before you show your lyric or melody to a co-writer, enter it in a contest, or otherwise spread it around, it’s a good idea to copyright it with the Library of Congress. You’ll find a printable form, FAQ, and instructions at the Copyright Office Web site. There’s a fee for each form you file, but you can register groups of lyrics or songs on a single form. There’s also an e-filing service at the at the same web site. Just click on “Electronic Copyright office.” It’ll save you some money.
Back to the hunt for collaborators…
Idea #1: There is an excellent site for songwriters called The Muses Muse with a great e-newsletter and very active message boards. You can get feedback on your lyrics and look for collaborators. The Great American Song Contest has a category for lyrics only. It’s a great way to get your lyrics out into the world and attract collaborators.
Idea #2: Check out the Collaboration Corner at TAXI.com. You don’t have to be a TAXI member to join in the forum discussions and meet collaborators. Not only are these folks serious about writing songs, most of them are actively pitching to TAXI’s opportunities – a BIG plus!
Idea #3: Go to the clubs and concerts in your area that feature local bands. When you find a band playing the kind of music you’re interested in, ask if they’re willing to work with an outside writer. When they tell you they write all their own songs, tell them you’d like to collaborate on songs you can pitch to publishers for other artists. They’ll be interested, believe me!
Idea #4: Check out local music stores. They usually have a guitar or piano teacher or will put you in touch with one. The teacher might be interested in writing with you or may know a student who is looking for a collaborator.
‣ The next step.
Once you’ve written a strong song with a memorable melody, emotionally evocative lyric, and good structure that keeps the listener’s attention, you’ll want to make a demo to show it off. Advances in recording technology have revolutionized home recording. It’s now relatively easy and affordable to put together a home demo studio. Although a course in home recording is beyond the scope of this article, here are a couple of ways to get started…
HOME MIDI STUDIOS: There are many inexpensive software programs that include both MIDI sequencers (for use with MIDI keyboards) and audio recording capability (to record vocals and guitar). Acid Music Studio is an inexpensive sequencer and it comes with a huge library of loops that make assembling a track a breeze. For Mac users there’s Garageband for MAC. It’s included in the iLife software package. You’ll need a MIDI keyboard for use with both of these programs. Apple has one for under $100. Yamaha makes a good inexpensive keyboard.
SOFTWARE PROGRAMMEE: There’s a unique software program called Band-In-A-Box that I like a lot! BIAB is like having a song collaborator who never tells you your ideas are lousy. It will create a chord progression or you can type one in or one on a MIDI keyboard. It will create a drum, bass, piano, guitar, and string arrangement based on your chords. BIAB will even create a melody and a title! It’s inexpensive, fun, creative, and a great place to start a song from scratch! There are versions for both PC (BIAB for Windows) and Mac (BIAB for Mac).
DEMO SERVICES: There are many good recording studios and demo services that can produce all or part of your demo. They can record the instrumental tracks so you can do your vocal at home, or they can give provide just the guitar or drums. You’ll have a chance to give input or talk with the producer ahead of time. I suggest giving the service an idea of what you want by playing existing songs with a similar style, sound, or feel.
‣ One last thought…
Of course, all I have given you here is a doorway into songwriting. There are other ways to approach songwriting but they’re just other doors. Once you go through the door, that’s when you really begin to learn. Everything you need to know is right there on the radio, in your CD collection or on your iPod. Study songs by your favorite artists to learn what they’re doing. Probably gonna get you a long way
May your songs flow! -Denaiya Raphael
Copyright Denaiya Raphael 2015. All rights reserved
How to Expand Your Singing Voice Range
Every person is born with a fixed vocal range. You can't really expand that range, so much as you can learn how to sing the notes at the top and bottom of your natural range more comfortably.This article will show you how.
1
Find your range. Play the middle C on a keyboard and match it with your voice. Play and sing the next note down. Continue until you reach a note that you cannot sing comfortably. This is the bottom of your range. Repeat the process going up in pitch to find the top of your range.
2
Warm up your voice. This is extremely important in any singing situation, but it's especially so when working in the top few notes of your range. The voice is a delicate instrument, and singing too loudly, too fast and without being warmed up can really mess with your vocal cords.
3
Serious singers will have warm-up routines which have been tried and tested on their voices, but some good ones to try are: abdominal pulsing while holding a comfortable note; the one-one-two-one scale (start on middle C, working up or down one octave with each note having a different number. Once you've done this, reverse it with eight-eight-seven-eight etc); humming a comfortable note and pitch-bending it, going a little higher/lower each time.
4
Learn how to sing properly BEFORE attempting to expand. Expanding your range when you aren't comfortable working within your range is a recipe for vocal cord damage. For example, one of the things you might learn to do is to disengage certain muscles that aren't necessary for singing.[2] Engaging these muscles while simultaneously singing at the very top of your range will cause strain.
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5
Do vocal exercises that encourage you to "touch" the notes at the top and bottom of your range. Do not linger at a note you aren't comfortable with. Focus on keeping your throat relaxed, and on breathing properly.
6
Have good posture. You have to have your shoulders and back straight and relaxed. Remember not to tilt your head up and stretch your neck when trying to reach a high note. When you do that, the muscles in your neck get tense, straining your voice. It also prevents air from getting through, causing you to try to push the sound out, which doesn't sound good either. Keep your neck straight.
7
Practice breathing. If you go lie down, relax, and put your hand on your stomach, you will feel your stomach go up and down as you breath. That is diaphragmatic breathing! When you're singing, you have to push your stomach out when you inhale. This will allow you to completely fill your lungs. Then, when you're exhaling (which is when you sing), bring your stomach slowly in, using all the muscles in your diaphragm (which is just below your belly button) That helps you be able to sing longer and control your tone.
8
Sing along to songs that are higher than your vocal range. Singing is like playing an instrument—The more you practice, the better you get! Just make sure that you warm up first to avoid damaging your vocal cords.
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9
Yawn. A lot. Notice the shape of your mouth, and the back of your throat, when you do. This is the perfect position for your mouth and jaw when you sing: dropped jaw, back of mouth is open. You get better tone (and easier high notes) when your mouth/etc are in this position.