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1

As a professional voice instructor, I can assure you there's not much you need to worry about. Many times a natural vibrato (as long as it's variation in pitch, not air control - i.e. inconsistent breath support, and not laryngeal or "gospel jaw") is actually sign of proper singing technique. This includes things like proper diaphragmatic support, posture, ...


1

Reason for practicing with harmonium as a beginner is to make you familiar with notes. For example, if I played sa and asked you to sing ma, you'll not be able to do it without singing the whole sargam. Eventually, he will ask you to stop using harmonium once you develop a rough idea of how the notes sound. Even then, you may not be able to sing a note ...


1

If your teacher asked you to do it, then the benefit of this practising outweighs any risk of acclimatizing to equal temperament, especially if you also do some practice away from equal temperament. Even within the European tradition, unaccompanied choirs and string quartets have no difficulty producing chords and melodies untampered by equal temperament, ...


2

(This is supposed to be a comment!) Maybe these scores you present are transcriptions of mensural notation, which allowed for a special notation for ligatures in vocal music. Brackets above the notes are used to represent ligatures in transcriptions of mensural notation to modern notation. You may find many details on the transcription of mensural notation ...


0

Before operating muscles, it's always a good thing to warm them up by exercising them. There are lots of muscles involved in singing, mostly little ones in the throat, etc, and a big one operating the diaphragm. Humming uses far less air and air pressure than singing with open mouth, so as a starter, it is a more gentle warm up than 'proper' singing, albeit ...


3

Not only are such exercises good for getting your voice in tune but for learning to get the correct resonance and support for all types of syllables. The specific do-re-mi- etc sequence you provided is just one of several (hundred or thousand) that one can come up with. The same sequence can be practiced using the following: Lip trill Staccato (on "pa" ...


2

"Warming ups" together with solfege (the relative doremi system) will help you to get used and find the root and tonic. There are many different vocals and consonants to train your voice, resonance rooms of head, nose, breast, to control your throat and tongue, your breathing etc. It makes a lot of sence to practice these exercises together with the ...


0

The article suggests the second syllable of a naturally spoken "Uh-huh" is your 'natural pitch'. But there are so many ways of saying "Uh-huh". Some have a rising inflexion, some a falling one. Or it may be a monotone. Now speak a few sentences. Unless you're Australian (or moronic), in which case every phrase may rise in the 'Antipodean interrogative'....


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It appears to me that you are taking your pitch cue from whoever you are singing with. Try instead learning to read your choir parts from the written page. When you have learned to read the parts, then you can practice them in solitude or with others and become well enough versed in the part that it becomes more natural to sing. In addition, if you can play ...


-1

Tremolo is playing a note repeatedly very quickly. Violinists (and fiddle players) do this by moving the bow back and forth very quickly (think Charlie Daniels' playing long sustained sliding tremolos in "The Devil Went Down to Georgia"). Mandolinists and guitarists do this by rapidly picking a note with a plectrum or fingers. A pianist commonly does a ...


2

One thing to clarify, the concept of harmonizing (to a melody), i.e. singing a different melody line, lower or higher than a given main melody, but still able to “fit well” with that given melody, is NOT the same as singing in a different key, whether higher or lower. It means both the main melody and and that different melody line you are singing (the ...


0

If you are not singing the correct note, you are either completely missing the intended key or most likely you are singing in 3rds, 4ths or 5ths of the intended note. If you are singing the correct note, Your Dad could be picking up on modal changes (or even note borrowing/substituting) They are quite popular in music. It happens when a song includes a ...


1

Some actors only take parts where they can be themselves. What you see is pretty well what they are like in real life. Watch a good character actor, and you'll be convinced that's what they're like in real life. Except they're not. They take on a different persona - characteristics, gait, facial expressions, accent, etc. You seem like you need to do a fair ...


0

In terms of the physics of sound, vibrato is usually defined as a variation of pitch, while tremolo is a variation of volume. Basically, a singer's vibrato happens naturally when they are singing healthily with good technique. A well-trained/well-skilled singer can modify the pitch and speed of their vibrato, or sing with straight tone (without vibrato) ...


6

Not even Beethoven, even when he was trying, could pull off what we now call "changing keys" for a single word. Four bars at a minimum. Your dad means something else. Ask him to phrase it differently, if he's had some musical training. Better yet, both of you listen to a recording of you singing. Have him point out where it happens therein. Then use ...


8

When you're singing unaccompanied, it can be difficult to stay in the same key, or even to tell whether you're staying in the same key. (Ideally, you would "play" the other instrumental parts of the song in your head while you're singing, but that doesn't come naturally if you don't play an instrument or take music or singing lessons.) If you sing along ...


1

The ability of kids to mimic all kinds of singing is so constantly amazing that it hardly surprises us any more :-) Being able to hit a high note is good, but not of earth-shattering import. Being able to pick up new material readily is more interesting. Sounds like she'll swan through the choir auditions. Why not just take it from there for the time ...


1

Tim was right. The chords sounded too muddy with a baritone guitar.


0

Vibrato results from a slight modulation back and forth in pitch, which is caused, in the context of the voice or a wind instrument, by modulating the volume and over/underblowing, per se, the note. In strings it's different, of course, but mostly what it boils down to is a. Vibrato and tremolo are tightly connected in singing and wind contexts, so doing ...


1

OK this is a question that no-one here can answer because they do not know you, they have never heard you sing and they do not know how much effort you are putting into getting to the top/bottom of your range at the moment. Pushing your upper limit further has the potential to be dangerous and/or damaging; you need to take the advice of a professional ...


1

I could explain all the basic models of vibrating systems, string under tension, stiff rods and plates with boundary conditions, air columns, etc. But I am not sure that would answer you question. For one thing one of your basic statements is simply not true (and I think you suspected it). "With singing I generally understand that changes by step are ...


1

Increasing tension in a particular muscle raises pitch. (Secondary effects apply, too, but they really are secondary for this question.) The larger the leap, the harder it is to hit the target pitch accurately and quickly. This trade-off between leap distance, pitch accuracy, and speed is just an application of Fitts's Law. "Visualizing" a pitch before ...


0

The physiology behind speaking and singing is the same, which is why you haven't been able to find separate answers for acting. It's all vocal physiology. All of it uses the human voice. Singing could also be described as sustained-vowel speaking, which is what is happening in the videos you posted.


1

It's called vocal fry, vocal growl, or vocal distortion. Yes, it can sound great live.


1

Jawbrato or Gospel Jaw ...describes a method of simulating vibrato by rapidly quivering the jaw and tongue. This movement creates rapid changes in tone and in vowel formation, leaving the listener with the impression that the singer is creating vibrato. However, the vibrato that is produced by moving the jaw or head is generally not very natural sounding, ...


2

I usually only see a 'mouth quiver' if someone is singing with too much tension or trying to produce too big a sound without the proper technique to back it up, OR having to sing a demanding role in several performances weekly without time in between to recover or trying to perform when you're sick and should be on vocal rest.


1

Singers often will do breathing exercises before singing, especially opera and theatre singers. It's quite possible that the breathing you were doing while running functioned in a similar manner to those exercises, by "warming up" your lungs and getting them ready to work. Some example breathing exercises from the BBC "sing" website


0

In order to understand what is in tune and out of tune when you sing, you have to experience it by experimenting it in order to know what is right and what is wrong. Before you develop your inner ear and learn to trust it, you have to start out by play one note at a time then hear it in your mind and then you sing it. After you sing, check with the tuner ...


0

Hand-over-ear when singing. Listening to recordings. And STILL some singers, even 'great' ones, apparently can only hear the 'big' element of the bass sound or the 'cut-through' element of the soprano and completely miss that it's also a quarter-tone flat or sharp.


0

If you are "untrained" it is questionable that this is really a singing range. With no training some of the higher notes might not be sung with proper resonance or support! It is always a good idea to take lessons. Classical training would be good, you'll learn proper support and how to aim notes internally and you will get feedback on issues as they ...


0

I believe singing is all about mindset and physical training. First, you have to define your vocal range where you are at. Second, where do you want to go about your vocal range. Third, once you are able to hit your target notes, it’s all about how you project them in the artistic ways, e.g. in terms of full voice, falsetto, etc. To just hit those notes is ...


0

I mean I have a pretty similar range from Eb2 - G#4 But my full voice range is C2 - Bb4. It seems as though the more I sing the higher I go because at first I was stuck at E2 - B3 or C4 but as I started to sing more it increased to E2 - E4 and now Eb2 - G#4. I am untrained as well but I’m gonna take lessons for the next few years and see how that goes


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