New answers tagged technique
5
For goodness' sake, get thee to a voice instructor! Rock/blues stars who appear to be screaming and shredding their vocal cords have taken many lessons in how to produce that sound structure without actually stressing their throat. (or their career is less than a couple years long :-( ).
3
I think you will be hard-pressed to find someone willing to endorse screaming as a viable means of sustainable vocal production.
Screaming is hurtful to the vocal folds. The reason why your voice gives out is because your vocal folds are inflamed from the screaming and cannot continue to resonate properly enough to sustain vocal production. This is why ...
0
It could be a problem of your sitting position and your body balance. If you're sitting too low or unbalanced on the stool, you might get problems because you need one leg to stabilize yourself while playing with the other one.
Try practicing at very slow tempos first, as slow as you need to go to be able to play it. Think of quarters and eighth and try ...
3
It is actually just practice but you need some consciousness while doing it. First of all it's a very very common problem so no need to alienate yourself.
Second, the problem is how you approach playing. You are trying to replay the, I would casually say, the muscle memory recording. Probably you had some nice time or you thought it sounds cool or you have ...
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To play arpeggios like this without all the figuring out you need to practise the common arpeggios by reading them off the page. What you are trying to get is an instant eye to hand recognition of common patterns. You can't achieve this by practising arpeggios from memory.
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Some use thumb, some do it the 'orthodox' way.Whatever works ! However, it sounds like your span is on the small side, like mine, so it's going to be difficult.Try using the index finger somewhat like a barré.It'll certainly work on the chord part, and on the other,a bent index will probably do the job.Your hand anatomy is different from other's - we're all ...
5
There are two opposing schools of thought as regards thumb-fretting. Many use it, citing Jimi Hendrix and others, but others say it isn't the way it "should be done"
My take is- do it if it works for you. On my 7 string I use it on some occasions where a barre wouldn't work but generally I find my hands aren't quite big enough to do it comfortably. For ...
3
My answer will largely contain excerpts from Robert Breithaupt's book "The Complete Percussionist."
The Cross Grip is derived by crossing a second mallet over a single mallet, held in a traditional style. This grip creates stability within the grip, but does not provide for the independent control of the mallets needed for much advanced marimba literature.
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It is important to remember that in learning any instrument some skills have to be reinforced on a regular basis, as without constant repetition they deteriorate. These need to be done during most practise sessions alongside learning new repertoire.
Scales and arpeggios are important for key recognition and finger patterns, they need to be practised for ...
1
Ok here's the correct definition of a countertenor. A countertenor is a "Alto", which generally has a texture between Tenor ~ Contralto, and primarily uses their head voice to sing. There are plenty of Female-Alto's, BUT THE "ALTO" CLASS IS ONLY ALLOWED AS A MALE CLASS, NOT A FEMALE ONE.
Anyway, range will obviously vary because texture isn't directly ...
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