The excitement before the performance – the so-called pop excitement – can spoil a public performance, even if it is the fruit of long and persistent rehearsals. The thing is that on stage the artist finds himself in an unusual environment – a zone of discomfort. And the whole body instantly responds to this discomfort. Most often, such adrenaline is useful and sometimes even pleasant, but some people can still get pressure, tremors of arms and legs begin, and this negatively affects motor skills. The result – the performance is not at all what the performer would like. What can be done to reduce the influence of variety excitement on the musician’s performing activity? The first and most important condition for defeating stage excitement is experience. Some people think, “The more performances, the better.”
In fact, the very frequency of the situation of public speaking is not so important – it is important that the speeches be in order for them to be targeted at. Continue reading
The presence of musical memory, musical ear, possession of a sense of rhythm, emotional susceptibility to music are called musical abilities. Almost all people to one degree or another have all these gifts from nature and, if desired, can develop them. Outstanding musical abilities are much less common. The phenomenon of exceptional musical talents can be attributed to such a “set” of mental properties of an artistic personality: absolute hearing, phenomenal musical memory, outstanding ability to learn, creative talent. HIGHER MANIFESTATIONS OF MUSICITY The Russian musician K.K. From childhood, Sarajeva discovered a unique ear for music. For Sarajev, all living things and inanimate objects sounded in certain musical tones. For example, one of the artists familiar to Konstantin Konstantinovich was for him: D Sharp Major, moreover, having an orange tint. Sarajev argued that in the octave he clearly distinguishes between 112 sharps and 112 flats of each tone. Among all musical instruments K. Saradzhev singled out bells. The brilliant musician has created a musical catalog of sound spectra of bells of Moscow belfries and more than 100 interesting compositions of playing bells. F. Liszt, S.V. Rachmaninov, D. Enescu and other brilliant musicians had a phenomenal memory: they could, looking into the musical text, without a tool remember a musical work with fantastic speed and accuracy. Continue reading
High notes can be difficult for beginner vocalists, and more so for those who did not sing in the choir during their childhood. You can learn to sing them correctly at any age. Training will go faster if the vocalist already had experience in singing during school years. For many reasons, many performers are afraid to take high notes, but in fact, with the help of special exercises you can learn to correctly and beautifully take them.
A few simple exercises will help you learn to sing high in the upper part of your range without additional sound amplifiers and reverb. But first you need to figure out what prevents you from singing easily and beautifully and staying on top in a complex head tessitura.
WHY HIGH NOTES ARE DIFFICULT TO SING EVEN SOPRANO There can be many reasons for singing difficulties in high parts of the range. The vocalist begins to be frightened of them both due to physical and psychological factors. However, his voice can really sound ugly on the top notes. Here are some of the most common reasons why it’s hard to sing them: Singing on ligaments with improper breathing. Compensating for the lack of air and trying to control the intonation, the vocalist begins to sing high notes not in an operative sound, but in ligaments. Continue reading