14

First off, let's start with the definitions of the terms. False Bass (or "Fauxbourdon") is a French term relating to the harmonization of plainchant melodies in which the bass would be a 6th below the melody; thus creating a serious of first-inversion chords as the organum would typically be harmonized a perfect-fourth below the melody. I believe you ...


11

Vocal cord nodules are benign (noncancerous) growths on both vocal cords that are caused by vocal abuse. Over time, repeated abuse of the vocal cords results in soft, swollen spots on each vocal cord. These spots develop into harder, callous-like growths called nodules. The nodules will become larger and stiffer the longer the vocal abuse continues. Some ...


7

According to this Reddit post, the numbers are roughly as follows: Men: 20% Bass / 45% Baritone / 35% Tenor Women: 15% Contralto / 35% Mezzo / 50% Soprano For males, the ordering implied by these numbers agree with this statement in Merriam-Webster, which is listed under the entry for "baritone": baritone In vocal music, the voice or register ...


7

It's almost like you answered your own question! Yes, a single line of music can act as both the "bass line" and the "melody". The term "bass line" usually refers to the set of lowest sounding notes in a piece of music that has some form of harmony or counterpoint or other tonal structure. If there isn't much of a tonal structure, then that meaning has less ...


5

Not being able to hold certain notes as well as others could have to do with a number of things. 1) Range - it is very possible your range is higher than these notes you mentioned. I would recommend having a vocal coach determine your range for you. Sometimes after years of singing, your range can go up or down. Sometimes you might lose the ability to sing ...


5

Yes, it's at the composer's discretion, and no there are no Rules of Thumb. However, there are some commonalities in certain genres. Most pop music genres there is a chord change at the beginning of each new measure, with an occasional change mid-measure. In RAP and Hip-Hop, the changes tend to be farther apart, or sometimes not at all. I've heard a few ...


4

People don't normally call a bassline 'the melody' as such, because... it's a 'bassline'! Nevertheless, it's absolutely possible for a bassline to be a focal point of a tune, and it's a standard feature of funk, disco, and especially hip-hop genres, some reggae, dubstep.... and more.


4

Both are nice. Both can be (and have been) used with the same root progression. Take the "La Folia" progression: i,V,i,VII,III,VII,i,V,.... One bass progression is 1,5,1,7,3,7,1,5.... Another is 1,#7,1,2,3,2,1,#7,1. The second case makes a nice discant to the first bass line.


3

It's hardly what one could (or would) call a melody. It's just a recurring pattern - an ostinato. But, I suppose, yes, in the absence of any other instrument, it's the 'lead'. Although to me, it's crying out for something else to go over it all, with a melody... Sounds to me like a bass guitar going through a synth patch, or indeed, a synth itself.


3

Where do chord changes occur? Is it at the composer's discretion or are there any rules of thumb like it must change every bar, every measure, or every beat? As L38 says, it's at the composer's discretion - with a frequency of change that can range from changing not at all, every few measures, every measure, or every beat... or in theory, even faster, ...


3

Lower notes require more breath. To see for yourself, blow up a balloon. Pull the neck out to make that squeaking noise we all loved as children. Measure the time it takes for the air to run out with a high note, and the time it takes for a lower note. The vocal cords work on pretty much the same principle.


3

I think that it is possible for anyone to develop nodes, but it's more about whether you care enough to try not to encourage it. Also, some people try to avoid people who might have it but it should be understood that nodes aren't contagious. You can't catch them per se, but you do have just the same chance of getting them as that person who has them, just ...


3

Very quickly & very broadly - anything that needs to "carry the tune" needs to be mixed "thin". Don't emphasise the bass frequencies, use the bow attack & main harmonics to make it cut through your mix. You can - though gently - dip those same frequencies out of your 'pad' strings at that point to let your melody shine though better.


3

Subharmonic tones are theoretical and aren’t actually present in a given wave form; they don’t exist. The “croak” sounds you’re currently making are called “vocal fry”. It’s really not good for your voice and you can’t count them as part of your actual vocal range. Your vocal range includes notes you can produce with a clear coordinated tone. Vocal warmups ...


2

Bass voices continue to mature and deepen into their thirties and beyond, so your true potential as a bass singer depends on maturation and on training. A singer develops muscle strength and mass as well as muscular skills. As you mature and develop more muscle, you need to learn to use it. This is a process that takes time and work over many years. As Paul ...


2

Male voices come in bass, baritone and tenor, usually.Not many men have the ability (or tone) to sing too high and too low. Whatever your range is, that's it. It will increase, probably both ends, as you take more lessons and sing more. If the key of a song needs to be changed to accommodate your vocal range, so be it.If your teacher (not you) is ...


2

Every voice is different. Every voice is unique. I think you should keep practicing and always do it while you enjoy singing. Sing if you have a wish to sing, stop if you don't have a wish to sing. If the song is in a bad key/tonality for your voice, change it. If you have a Bass or Baritone voice it will be difficult to reach more high pitches. As its ...


2

I've found this to be quite a challenge personally. Developing the bass tone is difficult precisely because focusing attention tends to induce muscular tension and raises muscle tone making lower vibrations more and more difficult to achieve. If at all possible, do your practice first thing in the morning and stop when you notice tension rising. Bass note ...


2

For longer-term development, there's vocal fry and false-cord vibration. But probably the best thing you can do short-term is lots of rest. If you can manage to take a 2-hour nap before singing, it should make the low tones easier to achieve because the muscles are relaxed. The "two hour" part is to try to get one full 90 minute sleep cycle. The deep-sleep ...


2

You can sing lower when you have a cold for the same reason that your speaking voice often lowers when you're sick - your vocal folds are swollen or inflamed, thicker, and vibrate at a lower frequency. The same is true of being able to reach lower pitches in the morning except for it's caused by mucous or simply from the folds being in a very relaxed (and ...


2

According to the Wikipedia article on vocal range, E2-E4 is the general range for a bass, whereas the general range for a baritone is G2 - G4. I've been singing in choirs for over 40 years and have always sung bass. My range is roughly E2 - E4 as well and I'm most comfortable from F2 - A3. That said, there is a fair amount of overlap between bass and ...


2

Something that you may want to do is slowly work your voice into a higher range, by slowly trying to make yourself sing higher. For example, try practicing something that you think is slightly higher than you're comfortable with. You could try singing a Bass 1 or a Tenor 2 part if you sing Bass 2 for a majority of your choir's pieces. Another ...


2

A bass can absolutely play the melody. It's not "standard," but that doesn't mean an aspiring bassist can't do it. Rush would be an excellent source of countless examples.


2

Not a lot to say except that yes, V - I bass lines are good and strong, and so are stepwise ones. I wouldn't consider 'traditional theory' preferred one or the other.


2

You can try turning this question around and see how voice leading paradigms result in the different root movements. Basic voice leading holds common tones between chords and moves the other voice the smallest distance to the tones of the other chord. With triadic harmony there are only 3 possibilities for moving the voices: move 1 voice, 2 voices, or 3 ...


2

Sometimes when a mixing problem seems impossible to fix, it's because it's an arrangement/orchestration problem. If you have bass and cello pizz that you want to "stand out", you'll have to make everything else hang back. That's because bass and cello pizzicato is inherently very quiet. They won't be producing a lot of upper harmonics, they won't have a ...


2

Just wait & see. At 17 I had an easy 3½ octaves - full voice, no falsetto, down to a low E♭. The next 30 years gave me another tone below that... that was it. At the same time, of course, I lost half an octave off the highs. In compensation, the tone I now have is better than it ever was. Time will tell. You can't force it. It is, when push comes ...


2

Okay, Nick. We've got to unpack some things. Your voice doesn't mature at the same rate as the rest of you. Believe it or not, your voice won't really reach full "maturity" until your early-mid 30's. It is very common for people's voices (especially trained singers) to change several times before it matures (i.e. "settles"). Do you have to practice? Well, I'...


1

To be honest, it doesn't sound like you are doing anything wrong. From your description, I think you've just hit the low end of your vocal range. We all have a low and high note that try as we might, we just physically can't get past. Sounds like you found your low note. I don't think practicing more is the solution - it will just be frustrating and ...


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