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3

Short answer is yes, it comes with practice. But for the best results, you need to focus your practice on your goal, rather than just singing songs, and hoping to improve. Play a single note. This can be on a keyboard, a guitar, pitch pipes, or whatever other instrument you have, including a keyboard app for your phone. Instead of singing immediately, take ...


0

Do them both at the same time if you can. For sure, both require breath control, so lessons learned with vocal training will carry over to the horn, and vise-versa.


0

I would say that it doesn't matter. They don't affect each other. You can start with whichever you want and then continue with the other, or do them in parallel like Stephen said. The truth is that if you learn one of these, it will help you learn the other one in the future, especially if you learn theory -- I suggest you do.


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do them in parallel. learning any instrument is learning a whole bunch of skills in parallel anyway (sight reading, muscle memory, song acquisition optimizations, music theory, etc, etc). No point in putting off anything you really wanna do.


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The fixed doh system as used in France, as one example, can quickly become more of a hindrance than a help. If a tune is in , say, Eb, then doh automatically isn't the root key note (tonic); that will be called Me flat. One of the helpful bits to a movable doh is the lack of sharps and flats - usually, in simpler tunes at least. Thus, the whole ensemble ...


5

Can 'do' be any pitch one wishes?, i.e. does this mean everybody chooses their own key to sing in, transposing the music while singing? A movable 'do' can indeed be any pitch, however, in a group setting, the entire group must use the same any pitch. Otherwise, you get unintended multitonality, and chaos! If needed, the group's leader could pick a pitch ...


4

Movable Do is called such because it is just that: movable. Movable Do focuses on intervallic relationships. When you change keys, "Do" becomes the new tonal center for that key and all of the other solfege syllables are transposed accordingly. For example, in the key of D, "D" would be "Do". If we changed keys to "F", "F" would now be "Do." Fixed Do ...


1

Sounds like you have goals you'd like to meet, but art in general, including singing, is utterly subjective so as to whether you're meeting them or not is really up to you. I guess there are a few technical things which are easy to 'yae/nae', but with caveats: Are you singing in tune ? You can probably decide this for yourself but a second/third opinion ...


3

To be honest, I think you're on the wrong track. I don't believe that there can be a universal and objective tool that does what you want. What you need is an experienced teacher / vocal coach who will listen to the way you sing, the way you breathe, and who can tell you what you should focus on and which techniques and exercises should be used to achieve ...


0

Obviously being able to hit the right note is key, but you won't need to look at a spectrum analyser for that. Timbre us a much more complex question. There are successful singers with many different types of voice, so again, looking at the spectrum is unlikely to help you. You are best served by visiting a voice coach and getting them to instruct you on ...


0

The "cruel but fair" vocal education method... Sing four hours a day for a week, at full tilt, without destroying your voice if you can, but without quitting. Take a week off. Sing your heart out. Fixed. ...until you ever take a month off, then you'll have to start over.


2

I play both cello and E-bass live with rock bands. For cello (and I daresay this would extend to most other acoustic instruments, if to a lesser degree) in-ears are nothing short of a blessing. With conventional monitoring, feedback is always a very serious threat; with in-ear it's seldom an issue at all. I can always hear my notes excellently, which makes ...


0

It might alter the way you perform. Mikael Ã…kerfeldt of the metal band Opeth had issues performing death growl type of vocals live, when using in-ear monitors. The sound you get fed back is of a different nature, which will likely demand a change in how you react to it. This will likely have a bigger impact on vocalists, but hearing every detail of your ...


3

I do not know all the pros and cons, but I do know a few: Pros: Having an ear monitor means that you won't really need a normal monitor to hear. So, you move around the stage freely, and wherever you go, you'll be able to hear through your ear monitor. The sound is being sent directly into the canal of your ear, thus you'll be able to hear the music ...


1

There are DIY plans available online to build a "practice cube," or if you're rich you could buy a commercial one :-) . see for examples, http://www.drummagazine.com/features/post/DIY-Build-Your-Own-Soundproof-Home-Studio/ http://www.totallyhomeimprovement.com/other-rooms/soundproofing-band-practice-space ...


1

Check that if you rap it without any rhythm/instruments in the background, you can at least pick up a rhythm from the syllables in the lyrics - ie that they imply a rhythm, or work with an implied one. This depends on how it scans with the music, I guess. I don't think it's easy/possible to lay down rules about what works. Rap with gaps between the lines ...


1

Depends what kind of soundproofing but for singing maybe you'd want somethign with a bit of reverberation (ie not completely dead sound) ? If so then maybe something harder on the inside layer to reflect some sound back at you, then a layer outside of thick soundproofing panels. That would work both ways - stop sound going out as well as in, but the ...


2

Making sure to breath down and supporting your breath with your diaphragm, rather than to the chest, and not to exhale all your air at the same time is extremely important for anything that requires use of breathing. This is called 'breath support' or 'full breathing'. If you're doing it right, you should feel your stomach inflating when you breath in, ...



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