By Martha Mier
Scholars might be encouraged and encouraged by means of the syncopated rhythms and the colourful, wealthy harmonies of jazz. particular articulation, dynamics, and pedal markings create a considerate and thorough functionality. Titles: Christmas Medley * the 1st Noel *Go inform it at the Mountain * Jingle Bells * Jolly outdated St. Nicholas * We 3 Kings of Orient Are * we would like You a Merry Christmas.
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Extra info for Christmas Jazz, Rags & Blues, Book 2
THE SHORT ONSET QUESTION Why do you put so much emphasis on the short attack? ” exercises you start with. Wouldn’t it be more logical to teach the student to immediately handle long single notes and phrases of the kind of duration met in the standard repertoire? COMMENT How a singer begins the sound determines the degree of freedom in the rest of the phrase. To request sustained phonation from a singer who lacks coordination of larynx and breath is to invite problematic vocalism. Only when the onset is precise, the sound vibrant, the vowel well deﬁned, and breath renewal reﬂexive, can free vocalism emerge.
A skillful singer learns to increase energy without augmenting decibels. UPPER-DORSAL BREATHING QUESTION I was taught that there should be a space/stretch sensation between the shoulder blades when singing. Is this true? PART 1: BREATH MANAGEMENT < 24 COMMENT Stretching muscles of the shoulder girdle during inspiration, and retention of it for singing, follows a clearly identiﬁable tenet known as upper-dorsal breathing. It is advocated in a segment of the traditional English School. It yields slightly raised and rounded shoulders, with torso, head, and neck positioned forward.
What is important is how one paces the exit of breath to meet the requirements of extended phrases, not how much air can be inhaled or gotten out during expiration. This balance is achieved by retaining ﬂexible antagonistic contact among the large muscles of the torso, which was established at the moment of deep inspiration. (See Appoggio versus Belly Breathing [Bauchaussenstütz]). There are those who erroneously believe that exercises based on rapid breath expulsion alert a singer to the source of breath management: inhale deeply, then expel the breath in one quick, noisy action.