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The Key To Better Singing Is Breath Control

No matter what your level of singing proficiency there are some things you can do to improve. You may just be starting out with your singing and want to get better or you may already know what you are doing. In either case there are some tips that everyone can use to help improve your singing voice.

A lot of people think singing is easy. However, all of the singers you like to listen to have put in a lot of work. The reality is that singers are athletes in every sense of the word. The primary muscles they must develop are their vocal cords. There are other support muscles also that include your diaphragm etc. for support. But a singer's major training should focus on developing their vocal cords. As your vocal cords develop you will find that your singing improves in terms of timbre, pitch, stamina and even agility. There is no substitute for exercise when it comes to developing a muscle. So do your singing exercises regularly and don't skip a session.

How to Train Your Voice - The Fundamentals

You might like to rock out or harmonize or even give operatic solos. The fundamental voice training aspects would still apply for all of those types of singers.

How to Train Your Voice -Posture

Proper singing posture is a very important thing for any singer to learn. However, you should understand that it is not just your posture that is important. You should understand that proper posture encourages you to use your diaphragm properly. You need to fill your air from down in the diaphragm to become a truly accomplished singer. Proper posture just helps you do this easier.

How to Train Your Voice -Breathing

Great singers have great breathing technique. You cannot really be a great singer without great breathing technique. For singers proper breathing means that you raise up the soft palate at the back of your mouth while lowering or energizing your diaphragm. The combination of these two things gives your the ultimate in breath control.

How to Train Your Voice -Energized Phonation

Once you have learned the best way to fill your body with air and support it you must now learn how to control all that air. Practice this by making a hiss sound and stretch your diaphragm. The goal is to hold a long and most importantly steady hissing sound. Repeat this idea until you have mastered it. Once you have good and consistent control over this sound try adding a bit of a buzzing sound by vibrating your lips together. Again, repeat this exercise until you have good steady control.

Once the basic breathing techniques are ingrained it is time to move on to making some actual singing sounds like "ah's" and "om's". While singing these vowel sounds try to practice the same control you had earlier with your hissing and buzzing sounds. Move on to scales and easier songs. Try to do things in an orderly progression so that you never get ahead of yourself or your abilities. It is the best way to train your voice.

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Singing Instruction - How To Critique Your Own Singing

I'm an older guy now, but I can still remember vividly the time when I was 6, and decided to clean the kitchen while my mother was upstairs. I worked and worked, smiling all the time, imagining how happy my mother would be when she saw what I had done. When I heard her coming I hid, excited about how she was going to feel. She came into the kitchen, stopped and looked, and then said "Alan, come in here please." When I showed myself she said "I see you cleaned the kitchen. That's nice, but look over here. You missed several spots on the cabinet. And why didn't you straighten the table?"

Now, my Mother was a terrific Mother, but she thought she was teaching me a lesson..if you're going to do something, do it right. But what she actually did was to assure the fact that I would never voluntarily clean the kitchen again.

Think of the part of your subconscience that runs the singing voice as that child, and the mother is YOU. The "mother' part of you jumps automatically to whatever is not up to expectations, ignoring all the good stuff. Instead of helping matters the "mother" part encouraged discouragement. "You just don't do anything well."

Often I instruct the student to listen to their recordings as if they were surfing the radio and came across this singer. How do they feel about that singer? Do they have a "professional" attitude? Do they communicate the meaning of the song.

I instruct them to try to ignore mistakes and pitch problems and focus on the effect this singer has on them. Of course they can't totally ignore the negatives, but they can train themselves to also hear what is good. Can you do that?

Singing Techniques 2 - How to Hear Yourself as Others Hear You

You've just finished singing a song at karaoke, and friends and strangers are gathering to tell you how great you were. You say "thanks" while you are thinking "they're all lying to make me feel good. I know what I sounded like, and it wasn't great." Who is right? You are them? Let's look at this.

Let's begin this discussion by saying that you are NEVER going to hear your voice the way others do. It's not going to happen. When you sing you "hear" much of the sound through the inner ear. From the inside.After all, that's where you dwell. Even when you hear your recordings through a great system you are missing a bunch of sound which is only accessed from inside. (Think of standing inside of the guitar, listening to the sound)

So, how do you handle this? Well, you can continue to deny the honest opinions of others, believing that you are the best judge of your singing, or you can teach yourself to trust what they say. As you lean to trust you begin to believe; as you begin to believe, you begin to like your voice more and more.

Most of us aren't very good at accepting (believing) complements. But the opinions of others are extremely valuable when blended with our own self-judgements. Of course we need to examine our performances, vocal quality and style, but we shouldn't put all our faith in that alone.

It's human nature to focus in on our shortcomings and ignore our qualities. But such an approach to our singing advancement can only slow things down, and eventually (if not stopped) can erase our enthusiasm for singing altogether.

Believe it or not, most people who compliment us really mean what they say, and they do represent the basic listener who isn't a knowledgeable musician. They "feel" rather than examine techniques and quality. Listen to them. It will make you a much better singer and performer.

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Reza Golzar, Googoosh and Shajarian: Stalwarts of Iranian Music

Mohammad Reza Golzar is a famous actor and musician in Iran. The great singer was born on 16th of April in the year 1975 into a very ordinary Persian-Iranian family. Besides his skills as a musical expert and acting genius, he also possess great looks. This has made him an in demand photo model. Overall, he has been extremely successful in his home country- Iran. Reza Golzar also has a proper education under his belt. He passed out with a BSc degree in mechanical engineering from Azad University in 1994. The singer is scholar too. He ranked fifth in the exam.

Reza Golzar started off his career as a guitarist and was a part of Arian Band which is a famous pop music band. In the year 2000 he got the life-changing opportunity as Iranian director Iraj Gadheri invited him to act in Sam and Narges. He took the golden opportunity and began his career as an actor. His first movie was very successful and the contracts of other movies started coming to him automatically. He gained extreme popularity with his films Zahr-e Asal, Shaam-e Akhar and Boutique. Apart from acting, Reza Golzar also does singing for varied Iranian companies. The actor prefers to act in comedy and romantic movies. He is also the captain of Iranian volley ball team made of Iranian actors. Reza Golzar is extremely down to earth, good looking and a smart guy. He has an elder brother and sister who are married and a younger unmarried brother. And for the delight of the girls, he is presently unmarried.

Faegheh Atashin is also a very famous Iranian pop singer. But the world knows the singer and former actress as Googoosh. In the year 1960s and 1970s, Googoosh was the most famous recording artist in Iran and Middle East. Inaddition to singing she also acted in number of Persian films released at that time. But she has always been known and is still known as a singer than an actress. Her career in Iran came to a halt as a ban was issued on female singers in the yaer 1979. Outside Iran, she has considerable fan following mainly in Central Asian and Middle Eastern countries. Her personal life has always been marked with lots of ups and downs. She married four times. She had a son from her first husband Mahmoud Ghorbani. She currently resides in Los Angeles California with her husband Masoud Kimia whom she married in the year 1995. After a huge wait, she broke her silence in the year 2000 and performed a concert in Toronto. Presently she is continuing with her career in a limited manner.

Mohammad-Reza Shajarian is an internationally recognized master of Persian music. The 69 year old singer is a singer, composer and a university professor. The world addresses him as Shajarian and is also known for humanitarian activities and his skills in Persian calligraphy. He possesses a strong command over the traditional Dastgah style which is believed to be very challenging and difficult. Shajarian practices vocals on his own with his son. He has never actively participated in music groups. UNESCO in France presented him with the Picasso award in the year 1999 and UNESCO Mozart medal in the year 2006.

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christian jazz music station

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Producing Music? Make Sure You're Using a Mixing Engineer to Release Better Sounding Music

For the independent musician, sounding great isn't a rarity only available to major label artists anymore - it is a must. Music sales may have tapered, but that doesn't mean that recorded music is going away any time soon. Far from it. More music is being consumed on more devices by more fans than ever before in history! Musicians are making their music available on internet and satellite radio, online music streaming services such as Pandora, Spotify, Rdio, Deezer, and YouTube, selling on direct-to-fan sites such as CD Baby, Bandcamp, and ReverbNation, and still pushing sales through ‘traditional' online retailers such as iTunes and Amazon MP3. Let's face it, there is no excuse for an artist to release poor recordings.

For some people, audio engineers are still mysterious. To others, they are ‘evil' manipulators of sound, creating false, auto-tuned, drones out of terrible artists. This, however, is far from fact. Every recording, no matter the genre, gets touched by a recording engineer, mixing engineer, and mastering engineer. The recording engineer uses many of microphones and technique to accurately capture and record the artist's performance as it happens in the recording studio. The mix engineer takes all of the separate audio tracks and crafts the music to sound correct and convey the song's emotion. He sets correct levels, panning, EQ, compression, and adds special effects where needed to enhance the musician's vision. Finally, the mastering engineer uses unique tools and highly trained ears in an acoustically sound room to subtly polish and prepare the music for final release and ensure the music translates to a variety of playback systems. "While many audio techniques can enhance the final production, we engineers are not magicians and can't replace a poor performance or terrible recording," says Scott of Virtual Mix Engineer.

Recordings are more often used as promotional vessel for artists and labels. The most income these days is in touring, publishing, film and TV placements, and merchandise. When a listener connects with an artist's music, they'll listen to their music, comment, and share the music with their friends. The fans want to help the artist and buy tickets to their shows, purchase apparel, and follow and interact with the group through social media. As the band grows in popularity, their music may be chosen for sync placements in movies and TV, which not only provides great exposure, it also pays quite well. To make it to this stage however, it all starts with a great song and polished recording.

The rise of do-it-yourself recording has led to more musicians releasing music than ever before. With a powerful laptop, some microphones, a DAW, and a little know-how, anyone can record and distribute music. One area where many artists fall short is failing to recognize their weaknesses in audio engineering. An experienced engineer has the right tools, but most importantly the skills to make a recording reach its full potential. Though it can be difficult for an artist, letting go and trusting your mixer will take your recordings to the next level and help you stand out from the masses. Fans are instantly attracted to a well-written and performed song that sounds like a hit.

Spend the proper time in pre-production, ensuring your song and arrangement are as solid as possible. Then and only then, book time in the best studio you can afford to lay down your basic tracks. Find a local or online mix engineer within your budget whose work and personality you like, and tweak the mix until you're satisfied. Lastly, send the songs off to a mastering house for that final touch. Once your record is completed, you can get the music into multiple stores and into the ears of your listeners and fans.

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Wes Montgomery - The Most Incredible Jazz Music Guitarist Ever - Part 5

Jazz guitarist Wes Montgomery was drawn to the sound and response of an archtop electrical acoustic jazz guitar. He was closely identified all through his career after 1960 with the Gibson L5 CES (Cutaway Electric Spanish) model, in varying configurations. L5s are single cutaway (both Florentine or Venetian), deep bodied acoustic guitars with F-holes and two built in electrical pick ups. Judging by record album jacket photographs and publicity shots, Wes owned a minimum of six distinct L5s from 1960 to 1968, two of which were custom built single pickup models. When playing the stock two pick up model style, Wes used the front or the neck pick up almost exclusively for its' more lush tone. This is customary for the jazz guitar music sound of the bebop era and fortunately for aspiring guitarists there are numerous bebop collection books of jazz guitar tabs and jazz guitar tablature still available.

Prior to 1960, Wes Montgomery used a variety of other Gibson guitars. These included an L4 with a Charlie Christian electric bar pickup, an ES-125D and an ES-175. Kenny Burrell once stated that Wes borrowed his L7 and a Fender Deluxe amplifier for the 1959 album session of "The Wes Montgomery Trio". He was pictured on the cover of "The Incredible Jazz Guitar of Wes Montgomery" with an ES-175. Wes strung his guitars with heavier gauge Gibson Hi Fi flat wound strings.

Wes amplified his guitars throughout the Riverside Records years with either a late 1950s or early 1960s Fender tube amp. Reportedly, Rudy Van Gelder always kept an old Fender Deluxe amp permanently on hand in his New Jersey recording studio where Wes recorded with Creed Taylor for Verve Record Company soon after 1963. Wes later on switched to Standell Custom solid state combo amps and alternated between these and the Fender tube amps throughout the the rest of his record making career.

Wes Montgomery left us all too soon on June 15th, 1968, the victim of a coronary heart attack at the top of his popularity. In spite of that premature death, his legacy stays undiminished. He carved the way for new generations of jazz guitar players, which is evidenced in the work of George Benson, Pat Martino, Pat Metheny, Emily Remler and almost every single other guitar player after 1959. Wes was the archetypal fusion musician, experimenting with a variety of ensemble settings from modest bop combos to large orchestral groups with grandiose arrangements! His approach embraced just about every kind of straight ahead jazz and bebop and Afro-Cuban, latin rock, semi-classical, proto-funk and pop music styles. Wes Montgomery introduced a freshness and vitality to jazz guitar songs that has in no way been surpassed or equaled. He is sorely missed by all who enjoy jazz music and outstanding jazz guitar playing!

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Once More With Feeling - Putting Emotion Into Singing

Adding emotion to your singing is one of the most powerful ways of raising your profile. Many albums are bought because of the lead singer's ability to express strong emotions

And of course you couldn't really call it singing if it didn't have emotion. So how do you sing with the same emotion as your favorite artist?

First, let's separate out a couple of things. If you want to sing for yourself, it's perfectly ok to feel the emotion and get really tied up in it (sometimes we just need to do that to help us feel better). However, if you want to sing for other people (and particularly if you want to sing professionally), getting tied up in the emotion of the song is just not going to work long-term. Strong emotions have an unfortunate tendency to make our throats close down. The result? You can't sing. That's a bit of a problem for a singer!

I'm about to reveal something that not many people realise. When your favorite singer is suffering through their song, he or she is not necessarily feeling those emotions. Part of the job is to help you to feel them, to show that they understand what you are going through, that they've been through it themselves. So you can really identify with them and their pain (and of course buy their album).

So the "trick" is to sound like you are feeling the emotion without letting it overwhelm you. That way you can make everyone believe you are going through something huge, but you can carry on doing the gig, and repeat it night after night without becoming a vocal wreck.

Here's an exercise I use in my vocal studio to help my singers discover how to portray strong emotions. You might want to do this by yourself (when no-one else is home).

First, listen to the song you like and decide what the main emotion is - sadness, anger, hurt, happiness. Listen to how the singer expresses the emotion - not just with the words but with the way they use their voice, the sounds they make.

Now talk out loud as if you have that emotion too - if it's happiness, tell an imaginary friend how happy you are. If it's anger, act out shouting at the dog. Notice what your voice does, what sounds you make, what tone of voice you use, how fast or slow you speak, whether you speak high or low, and even whether you stay speaking high (or low) or move around with lots of different pitches. (At this point, don't worry what your body is doing).

Happiness will often have the sound of an inner smile or a "bubble" going on behind it. Hurt might sound slow and heavy, or sound like there's a "sob" in your voice. Anger might sound sharp and hard. Remember each feeling/sound.

Now take a phrase from your chosen song and make it sound happy. Start by "being" happy or "thinking" happy, and move on to sounding happy without feeling the emotion. What do you have to do?

Now sing it again and make it sound hurt. What do you have to do? It might be the same as what you do to portray "happy", it might be different.

Go through as many "emotions" as you can, and discover what you have to do for each one.

This is a very powerful way to discover emotion in your own singing - you start by feeling the emotion itself, then you notice what that emotion does to your voice, then you reproduce the effects of the emotion in your singing, so you "portray" that emotion without feeling it. And if you're thinking of this as cheating in some way, rest assured that it's part of a professional singer's life! If I really felt angry or hurt or deeply sad when I performed, I wouldn't perform well - I'd be too wrapped up in the emotion to be able to sing at all.

So now you can put everything you've learned together. You will be surprised how much your singing and communication skills have improved. And I'm sure it's given you a greater understanding of how skilled your chosen singer really is.

Enjoy!

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jazz and blues music instruments

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Music Promotion - A Layman's Guide

Many people turn to music for inspiration, relaxation and also to learn more. Some people also turn to music to entertain and to make money out of it. Many people who are talented in good vocals and good entertaining skills end up making billions in profits from shows, sale of music and royalties. However, in most countries, young and new musicians always find it difficult to edge out their competitors who have been in the game for quite a while because they have already built steady foundations. Therefore, every young and upcoming must understand that he or she has no choice but to dedicate a lot of time and energy into getting his or her music career into the right course. There are some few methods that one can use to popularize his or her music and they include;

Use of social websites

If there are people who promote and listen to lots of music, the teenagers and children top the list. They are always vibrant and energetic about the kind of music they like and are always ready to accept any new artist who will take them by a storm. To capture the attention of such people, a musician must first come up with good music. If the music is excellent, then using the social sites such as Facebook, Skype, Twitter and others to promote your music will save you a very great deal. This is because the majority of people who are always flocked in these sites are the youth who also mobilize each other when they learn something new. They use these social sites to update each other on the current trends in music and fashion so they might end up sharing your music among themselves if they are impressed with it.

Develop a good marketing plan

Sometimes, young and upcoming artists are distracted by the fame or popularity that they achieve after releasing some few hits. They end up forgetting that competition is very stiff thus one has to focus more on the future and not riding on the current fame. Coming up with a good marketing plan will really help the upcoming artists to not only build a good foundation for themselves but also make money. All the money made will be channeled on improving the quality of music produced by this upcoming musician for him or her to make the best music. Consider options such as offline or online advertising, radio or TV advert or using the other channels of advertising. A good plan will help you focus and not at one time get distracted.

Invest in effort and time

An upcoming and new musician has to accept the fact that competing for attention with the people who have been in the music game for a long time can't happen. Fans will always flock and follow the bigger artists to every corner whereas a new musician has to follow them instead. Use the appropriate channels to reach your fans until they are impressed by your music. There are many websites which promote all kind of music and they will definitely play a huge part in ensuring that your music is heard by all.

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