Wednesday, June 2, 2010

Vocal Technique

Salam Sejahtera.!!!

Hi kawan-kawan sekalian...mulai hari ini saya cuba untuk upload kan bahan tentang teknik vokal sedikit demi sedikit. Bahan ini diberi oleh En Zainal (penyelia muzik). Dia pun download dari internet gak. Ianya amat bagus untuk kita golongan pendidik muzik dan yang meminati muzik terutamanya dalam bidang vokal. Tetapi...ianya di dalam bahasa Inggeris.. tapi mudah untuk difahami. Dont worry.!!! hehehehe!!

Introduction
Singing Is not difficult
The voice is not as complicated to use as many
people think. It is an instrument that everybody
has and uses every day. Of course it requires
practice to sing professionally but when you know
how the voice works and know how to use its nat¬
ural functions you will be able to learn most of
what is required.
When we are young the voice usually works
perfectly. However, as we grow the body can con¬
strict it and this obstructs the working of the voice.
Singing techniques are mostly about removing the
constrictions to allow the voice to work freely.
Therefore there is no reason to work with singing
techniques unless you have technical singing
problems.
Technique and expression
This book is mainly about technique - but not
because technique is the most important aspect
of singing. On the contrary, technique is only the
means by which to express yourself. I think the
most important aspect is expression - to convey a
message. What to convey and how to convey it
are artistic choices that every singer has to make
for her/himself. This book is about the techniques
required to accomplish the choices you would like
to make.
The history ol singing
In the old days you could not amplify the voice
electronically so singers had to find a way to be
heard from considerable distances. This lead to
the development and teaching of vocal tech¬
niques and ideals of what was a good sound. This
taught sound became known in the Western world
as the 'classical sound'.
With the invention of the microphone it became
possible to amplify all sounds including those that
were previously too quiet to be heard. This
brought new 'untaught' sounds to the same promi¬
nence as taught sounds. Now the voice was not
restricted to sounds that could be heard from a
distance and other ideals of what was a good
sound emerged.
Many of the 'new' ways of singing turned out to be
just as strenuous and difficult as the 'taught' ways.
'New' singers, who became known as 'rhythmic
singers', had to learn to sing healthily. However
they could not rely on classical singing techniques
as these relied on an ideal of sound that they were
not interested in. As a result of this lack of tuition
some new singers damaged their voices and their
techniques were labelled as dangerous and
unhealthy - even though many classical singers
also had problems.
In the rhythmic camp some singers made a virtue
of necessity and declared that 'true' rhythmic
singers should be self-taught, claiming that tuition
would remove a singer's special touch. Both
camps nurtured their prejudices against each
other. A gulf between the classical and the rhyth¬
mic camps developed which, unfortunately, still
exists today. This gulf is more about taste than of"
techniques.
Of those rhythmic singers who lost their voices
some fell by the wayside in practise rooms and
some lost their voices on tours, either at the
beginning or later on in their careers. But there
were 'rhythmic' singers whose voices lasted
throughout their careers, regardless of how
strained they sounded.
Therefore, it is on both the 'classical' school and
the experience of these 'rhythmic' singers that
many of my new singing techniques are based.
Myths about singers
There are many myths about performers before
the days of recording; This was a voice like none
other, never to be heard again' and so on. I don't
believe this is true. It is probable that it was not the
performer's voice that was so special but her/his
technique. And we can all accomplish good tech¬
nique by not only practising but knowing what and
how to practise. Unfortuantely, we can only tolerate the myths of
past performers because we have no recordings
to prove or disprove them. And, of course, their
voices died with them. I believe that all singers
can accomplish all sounds. Since recordings
began there has not been a sound that can not be
taught.

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