Singing Exercises Are the Push-Ups of Voice Training

Are singing exercises really mandatory? No, they are not. They are only mandatory if you want to become a successful singer with a long and important career. Sure, some singers may never have done a scale in their lives. But then again, some people win the Lottery with the first ticket they buy. Willie Nelson probably never warbled a mee-mee-mee in his whole life. (Only guessing here; I've never asked) But few people have the charisma and sincerity that we see in Willie. He is a poet who puts tunes to his poems when he reads them.

For the rest of us, the answer to that question is a resounding "YES." Singing is an athletic endeavor. And just like any other athletic activity, in order to be most effective, a subtle combination of brain, body and voice needs to be coordinated. These elements should be awakened by singing exercises so they can work freely together.

A singer needs to sing scales and exercises in order to practice the elements of the techniques they are learning in a "pure" form. By that, I mean, without being distracted by issues like words, rhythm and interpretation. This is the time a singer gets to totally concentrate on the body, brain and voice synergy.

Singing exercises build a kind of muscle memory intended to allow the singer to forget about issues like breathing and support so they can concentrate on performance aspects when they are singing onstage or in the studio. It's too late to concentrate on breathing and support when you're standing onstage. That's when a singer must forget about the basics and perform. You have to rely on muscle memory. And the way to build that muscle memory is to do what every vocal coach hopes you will do, and that is to practice your exercises.

Exercises. That sounds like a lot of work and not much fun, doesn't it? Well, you could be right, but think of them like you would physical training. Crunches aren't much fun either, but when you don't do them, it shows in your performance and in your body.

Fabled violinist Jascha Heifetz made a good point when he said, "If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it."

For singers, I recommend warm-ups that work like building blocks, starting with the number one, all-time fundamental building block, which is effortless breathing. If you get the breathing part right, you stand a good chance of doing well with the rest of it. If you fail to establish your breathing correctly you will always be off-kilter.

The next step is to incorporate your method of support. Then focus on your resonating system and add it to the mix. I also recommend that as you go through your singing exercises, you begin with scales that are short and in a comfortable voice range for you. Build slowly by gradually lengthening the spread of the notes you sing and begin exploring the boundaries of both upper and lower registers.

There is a temptation to view singing exercises as a mindless activity. Nothing could be farther from the truth. They are only worth doing if you concentrate on building a smooth working machine that incorporates body, brain, and voice. Record yourself and monitor your progress. If it's worth doing, it's worth doing right. To quote football coach Vincent Lombardi, "Practice does not make perfect. Only perfect practice makes perfect!"

Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera...

Author of "Voice Power" AMACOM (NY), Renee offers insider's information via on-line lessons.

Click http://cybervoicestudio.com/ for a PDF of "Answers to Singers' 7 Most Important Questions" and free weekly video NewsLessons.

View the original article here

Piano Lesson: Ear Training

Ear training is especially important if you want to improvise, compose, or figure out melodies and chords to songs by ear. A good musical ear is an acquired skill, not a gift. And like other skills, it is acquired through practice.

The more we train our ear to recognize this connection, the more we enjoy playing music, because we learn to understand what we play. Here are a few questions I am often asked.

Who needs ear training?

All musicians need to train their ear in order to know what they are playing and to anticipate what they are about to play!

Why do ear training?

Because understanding the sounds we hear will be necessary to:

* Jam with other musicians

* Compose music

* Sing in tune

There are 3 qualities that every good jazz musician must possess:

* a great ear

* a strong sense of time

* a unique sound.

While there are many different ways to approach these skills, the first two always require a certain amount of drilling. The ear can be thought of as a muscle and to a certain degree must be trained like one. Improved ears will lead to better intonation, improvisation, ensemble playing and transcription skills. With that in mind, here are three great ways of dramatically improving your students' ears and, hopefully, their overall playing.

Associating a familiar melody with each interval is a quick way to learn an interval's distinct sound. For example, a melodic interval can be ascending or descending. Either way, it's still the same interval. Now, you don't want to get confused with interval inversions because a minor third will is still a minor third no matter which note comes first.

Intervals can be classified as consonant or dissonant. I can tell you that it's much easier to hear the consonance or dissonance of harmonic intervals than melodic ones.

Here's a list showing you the relative stability (consonance) or instability (dissonance) of the octaves up to an octave.

Consonant: Perfect, unison, m3, P4, P5, m6, P octave.

Dissonant: m2, M2, +4. (o5), m7, M7.

Another gentle approach is to describe Hollow Sounds, like austere and earthy, Indian drones and Scottish bagpipes or heavy metal rhythm-guitar.

Hallow: Perfect unison, P4, P5, P octave. This would be perfect intervals and their inversions.)

Sweet: m3, M3, m6, M6. (thirds and sixths)

Now there are active and passive methods for ear training. A passive drill would be to play two notes in succession and listen to that interval. Sometimes you will be asked to name the next note.

Harmonic intervals can be drilled the same way. These types of drills can be done with chords or chord progressions.

Are you familiar with the underlying scales and moveable "Do" solfege?

It's essential that you learn to sing a chromatic scale. As chromaticism is prevalent throughout modern jazz, this exercise will improve both intonation and students' understanding of the genre. When singing through the chromatic scale, remember to use sharps when ascending and flats when descending.

Chromatic Scale Ascending:

C, C#, D, D#, E, F, F#, G, G#, A, A#, B, C

Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, U, Ti, Do

Chromatic Scale Descending

C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C

Do, Ti, Te, La, Le, Sol, Se, Fa, Mi, Me, Re, Ra, Do

Target Tones

Target tones are an essential part of any ear training regimen. They force students to hear not only chord tones, but surrounding tones as well. Now, many students can correctly sing a major scale but they have some difficulty picking out specific intervals at random.

With respect to the scales and scale degrees, the best way to practice this is through the use of target tones. Here are a few exercises:

C, // C, D, C // E, D, C // F, E, D // C, G, A // B, C, A // B, C, B // C

Ear training leads to better intonation, improvisation, band playing and transcription skills overall.

Diana Rogers teaches piano to all ages at all levels. She also is a Kindergarten music teacher and the author of free monthly newsletters on her website. Stop by to see ear training software at http://ladydpiano.com/

View the original article here

Aspiring Singers Are Enrolling in Vocal Training Classes to Put Their Stamp on Contemporary Music

Those who have taken note of the sudden success of Il Volo, the Italian trio of teenagers, have surely had the thought of taking vocal training classes cross his or her mind. The fresh-faced youngsters immediately bring to mind memories of The Three Tenors, what with their blend of booming, operatic voices and the mathematical certainty that there are indeed three of them. And just like Luciano Pavarotti, they hail from Italy. For those aspiring singers who do not naturally possess their pipes and vocal range; a reputable vocal training program will teach everything from proper breathing techniques and protecting the voice to harmonizing and ear training.

A complete vocal education program combines creative and technical development with regular live performance - a thorough curriculum that will allow students to not just sing, but to communicate effectively with their audience. It is imperative for students to find or recognize the vocalists that inspire their creativity. Finding a stylistic identity is Step One when building confidence as a professional performer, since performing live is about more than the ability to belt out the notes.

Students in either an Associate of Arts or Bachelor of Music in Performance program undertake various vocal training classes that will develop, polish, and expand the limits of their vocal instrument. Lyrical interpretation, stage presence, presentation, and microphone techniques are all covered in the vocal performance classes that have been designed to produce skilled yet versatile contemporary vocalists.

An intrinsic knowledge of music theory and vocal techniques will become second nature to any performer worth his or her salt. As such, these vocal training classes serve as a prerequisite to topics related to performance. Learning the anatomy and physiology of the voice, the importance of proper breathing techniques, and how best to protect the voice teaches students about the science of voice production. On the other end of the spectrum, pitch registers, vocal techniques (such as vibrato), sight-singing, and music theory are invaluable skills when it comes time to lay down tracks in the recording studio. Training the ear to distinguish between major and minor scales, intervals, chord qualities, and the like is a necessary component to harmonization.

Even if a potential student is not a tenor or even a fan of opera, vocal training classes will transform each student into a stylistically versatile contemporary vocalist. These programs incorporate regular seminars and clinics with personal counseling sessions with internationally known performers. Classes are the foundation for any well-rounded vocalist. Before a performer realizes her vision on stage or in the studio, she must be capable of working and communicating effectively with her fellow musicians.

Being fully immersed in the music school experience provides students with a supportive network of teachers and students that will allow them to challenge themselves, leaving their comfort zone in their wake. This is where students come up close and personal with musicians who have traveled the path they are on. This blend of classes, workshops, and live performance allows students to explore their individual truth as artists and what skills they bring to the table.

Resource Box:

Musicians Institute, a music school located at the heart of Hollywood, stands as a venue for aspiring and professional artists to master their crafts. Whether a student is taking a vocal, guitar, drums, keys, bass, or music business course in the school, they will receive a music education designed to develop them as well-rounded artists. For more details on the various musical and technical programs offered at MI, call 1-800-255-7529 or visit MI.edu.

View the original article here