Monday, July 19, 2010

Perihal Gamelan

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Vocal Technique 2

Different learning angles

Everyone learns differently. Some singers have to
understand the physiological explanation of a
problem in order to solve it, some physically feel
their way through, while others work by means of
sound, for example by hearing, recognising, and
copying. Some learn by looking at graphic illustra¬
tions, and others find the solution to their prob¬
lems through inner images and sensations. To
cater for all these learning methods each chapter
of this book will contain:
• Anatomical explanations
• Physical instructions
• Examples of sound on CD
( A S means track 5 on the CD)
• Illustrations
• Examples of inner images and sensations
One method is no more important than, or prefer¬
able to, any other. The physiological explanations
are included simply because some readers will
find it invaluable. Others, however, may find it of
little use and potentially distracting. The tech¬
niques in this book do NOT necessarily require
you to understand and feel your anatomy or phys¬
iology. H is important not to be overwhelmed by
this information. The different methods are pre¬
sented as a range of possibilities. It is up to you to
choose the method you find most accessible and
gives the best results. It might however, be practi¬
cal to read all different types of explanations -
partly because it may help to see things from dif¬
ferent angles, and partly because one explanation
often supplements the other.

Became familiar with the anatomy o!

the body
I recommend that singers should be aware of
what is happening in the body during exercises
and singing. Therefore I have used correct
anatomical terminology throughout this book.
Once you know and understand the anatomy and
physiology of the voice and are aware of how to
use it, it is easier to understand your vocal prob¬
lems and to do something about them,
instance, it will help you to distinguish between
good and bad advice about 'correct' technique. 1
urge everybody to study the anatomy and physi¬
ology of the voice and, with common sense, find
the technique that feels best.

A healthy voice

The first thing a singer must learn is not to lose the
voice. Once you lose your voice you have to stop
working until it returns. Furthermore, it is difficult
to experiment if you are hoarse as the voice does
not respond as it normally would - it takes a skilled
singer to avoid compensating once the voice is
worn. As long as the voice is in good condition,
you can practise, experiment, and achieve your
goals.

Trust yourself
An important rule is that singing must never hurt
or feel uncomfortable. This cannot be stressed
enough. If it does not sound right, if something
feels wrong, or if it feels uncomfortable, your voice
is telling you that you are doing something wrong.
Always trust your feelings - they are better and
more direct than even the best teacher's ear.

Singing must always teel comfortable
• The technique must have the intended effect
immediately otherwise the training is not being
done correctly
• If an exercise hurts or feels uncomfortable or
wrong, then it IS wrong. You are the only one
who knows how it feels, so trust your feelings
• Always practise as close to a real-life situation
as possible. For instance, musicians who sit
when they sing should also practise while sit¬
ting

Find the main problem

Whenever you are learning it is always difficult to
decide what is most important. To assists you in
this I have outlined the techniques presented in
this book in the chapter "Complete Voca#
Technique in four pages" (page 13). This is
designed to give you a comprehensive overview
before you go into detail.
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