37 lesson 13

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37 lesson 13

  1. 1. Lesson 13 CREATIVE SINGGING THE ART OF SINGING Objectives: After doing though this lesson you should be able to; 1. enumerate the different pointers to remember while singing. 2. practice the different points when singing. 3. express one’s feeling while singing. NEXT CONTENTS PREVIOUS 14 15 Lesson 16 17
  2. 2. INTRODUCTION <ul><li>John Dewey said,” As sculpture expresses the enduring, the stable, and universal, so music expresses stir, agitation, movement, the particular, and contingencies of existence.” Therefore music is the unifying element where man finds adequate expressions and inner satisfaction for feelings. It is an emotional response after determining the particular ideas the music conveys. Playing, listening and singing to music makes to develop “music lovers.” </li></ul>NEXT CONTENTS PREVIOUS
  3. 3. THE VOICE <ul><li>Our voiced is produced by the vibrations of the vocal chords in our voice box. Since the sound produced by these vibrations is not loud enough, there us a need for resonators. These resonators are hollow enclosures with bodies of air that vibrates sympathetically with another body thus, increasing the volume of our voice. Our lungs, esophagus, head and mouth cavities serve as resonators, hence the position of our body, head and mouth should serve as resonators, hence the position of our body, head and mouth should be such that air can vibrate freely. </li></ul>NEXT CONTENTS PREVIOUS
  4. 4. CORRECT POSTURE <ul><li>When singing one should stand erect in order to allow the air in the different cavities of the body to vibrate and flow freely. Furthermore keeping one foot forward will help maintain body balance. What seated one should keep his back away from the chair taking a position is though he is about to rise from it. </li></ul>NEXT CONTENTS PREVIOUS
  5. 5. CORRECT BREATHING <ul><li>The method of breathing is of vital importance in singing the quality volume of the voice depend a lot on it. Breathing should be diaphragmatic. This means that the breath should be supported by the diaphragm, a membrane separating the thoracic from the abdominal cavities. </li></ul>NEXT CONTENTS PREVIOUS
  6. 6. <ul><li>There are two processes involved in breathing: </li></ul><ul><li>1. Exhalation – This is the act of putting out air. When we exhale, the diaphragm and the muscles around it contract. Try this for experiment. </li></ul><ul><li> Open your mouth and put one of your palms in front of it. You will feel warm air. That is the breath you are exhaling. Do it again. This time, put the other hand near the location of the diaphragm. You will feel the muscles receding. Repeating. This time, sing “ah” with the pitch of a. you are exhaling, when you sing. </li></ul><ul><li>2. Inhalation – this is the process of taking air. Try this experiment to observe the diaphragmatic action when you inhale. Sing “ah” on A using the technique described in inhalation and sustain it for 8 counts or longer. Observe what happens when you stop singing. The muscles expand to give room for the incoming air. This is the proper thing for us to do when we inhale. </li></ul>NEXT CONTENTS PREVIOUS
  7. 7. CORRECT PLACEMENT OF THE VOICE <ul><li>When singing project the voice upwards the head to produce head tones. Emphasize the use of head tones especially when teaching children. Children’s voices have a light and floating quality when placement is correct. To develop good tone quality, avoid forcing out the voice to prevent throaty singing. At the start, require pianissimo singing until the correct placing of the voice becomes a habit. </li></ul><ul><li>Here are a few vocal exercises called Vocalizes that will help in establishing the correct placement of the voice and improving the tone quality. Sing them in a sequential manner (descending first then ascending) starting each figure a semitone lower or higher. </li></ul>NEXT CONTENTS PREVIOUS
  8. 8. NEXT CONTENTS PREVIOUS
  9. 9. DICTION <ul><li>Correct pronunciation, clean enunciation and distinct articulation in singing constitute good diction. Pronunciation the utterance of words with regard to sound and accent. Enunciation is the manner of the utterance as regards fullness and clearness. Articulation in the action of speech organs in the formation of consonants, vowels, syllables and distinct words. In articulating, vowels should be sustained for the maximum amount of time on every note and with the greater possible. Consonant must be articulated vigorously and rapidly with the tongue, lips throat muscles and with a minimum amount of breath. </li></ul>NEXT CONTENTS PREVIOUS
  10. 10. <ul><li>Good diction is essential for the purpose of conveying the meaning of the song to the listeners. It also acts favorably or unfavorably on the tone quality and information of the singer. </li></ul><ul><li>One way of bringing out the meaning of the song, is to sing in the manner of expressive speaking. It is essential to subordinate the less important words or parts of wprds as in natural and meaningful speech. </li></ul><ul><li>Here is the first line of “Pilipinas Kong Mahal” </li></ul><ul><li>“ Ang bayan ko’y tanging ikaw” </li></ul><ul><li>Which words or syllables should be stressed? </li></ul>NEXT CONTENTS PREVIOUS
  11. 11. INTERPRETATION <ul><li>Interpretation is the re-creation of the composer’s work. To interpret properly, it is necessary for one to sense the message of the composer, and then make that message clear as it is sung. The text and the music convey the meaning of the songs. In interpretation, the whole conveying the meaning of the song. </li></ul><ul><li>Interpretation is very important in expressive singing. Without it, a song becomes dull and uninteresting. A very simple song can be fascinating if interpreted artistically. There are many things involved in interpretation. Listed below are some of them. </li></ul>NEXT CONTENTS PREVIOUS
  12. 12. TEMPO is the speed of the composition. An unsuitable tempo can ruin a song. The composer or editor usually indicates by words (usually in Italian) or metronome marks what he considers as the proper tempo. But while the printed marks are present to guide the singer, these marks are merely suggestions and he must finally sing the song at a tempo which permits him to sing tone correctly, distinctly and appropriately. Here is a list of terms commonly used to indicate tempo. Largo – very slow Adagio – slow Andante – walking pace Andantino a little faster than andante Allegretto – moderately fast Allegro – fast Presto – very fast Accelerando – gradually becoming faster Ritardando – gradually becoming slower NEXT CONTENTS PREVIOUS
  13. 13. DYNAMICS refer to the loudness or softness of the music. Here are some dynamic marks: pppmpmffffdim. pianissimo piano mezzo piano mezzo forte forte fortissimo crescendo decrescendo diminuendo very soft softhaft softhaft loud loud very loud gradually becoming louder gradually becoming softer gradually becoming softer MOOD MARKS Animato – with spirit Dolce – sweetly Sostenuto – sustained Maestoso - majestically Vivace – vivaciously NEXT CONTENTS PREVIOUS
  14. 14. PHRASING <ul><li>A song maybe divided into phrases. A phrase is a series of tones which more or less expresses a musical idea and should be sung in the breath. Breathing in singing is called phrasing. Here are few things we should remember about phrasing. </li></ul><ul><li>Always sing phrase – wise. Avoid bouncing from note to note. Sometimes two phrases may be connected, if the music requires it. </li></ul><ul><li>When you sing a phrase you will notice that there is a note or word which seems to be more important than the others. This is called the phrase climax. </li></ul>NEXT CONTENTS PREVIOUS
  15. 15. <ul><li>Let us sing the first phrase of “Dandansoy.” Which word or syllable is the climax of the phrase? </li></ul>NEXT CONTENTS PREVIOUS
  16. 16. 1. Analyze each phrase for color and mood. Is it sad, gay, or quiet? 2. In general sing the end of the phrase softer than the rest. NEXT CONTENTS PREVIOUS
  17. 17. STYLE <ul><li>Different songs have different styles. The period during which the song is composed and the composer has a lot to do with its style. The following questions will be of great help to us in interpreting style. </li></ul><ul><li>When was the song composed? To what musical period does it belong? What was the manner of interpreting songs in that period? </li></ul><ul><li>Who composed it? What are the characteristics of the music of the composer? </li></ul><ul><li>What is the form of the song? </li></ul><ul><li>Vocal forms may be classified into: </li></ul>NEXT CONTENTS PREVIOUS
  18. 18. <ul><li>Long vocal forms </li></ul><ul><li>An opera is a drama set to music with action, costume and scenery. </li></ul><ul><li>A cantata is a religious story told in music with action. </li></ul><ul><li>An oratorio is sacred story of epic proportions told in picking the conflict between the Christians and the Muslims. </li></ul><ul><li>The Moro-Moro is a Philippine drama set to music, depicting the conflict between the Christmas and the Muslims. </li></ul>NEXT CONTENTS PREVIOUS
  19. 19. The zarzuela is a Philippine play set to music. It is similar to an opera. <ul><li>Short vocal forms </li></ul><ul><li>Folk Song </li></ul><ul><li>Art Song </li></ul><ul><li>Kundiman </li></ul><ul><li>Balitaw </li></ul><ul><li>Danza / Habanera </li></ul><ul><li>Anthem </li></ul><ul><li>Motet </li></ul><ul><li>Madrigal </li></ul><ul><li>Ballad </li></ul><ul><li>Chorale </li></ul><ul><li>Round </li></ul><ul><li>Aria </li></ul>NEXT CONTENTS PREVIOUS

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