Wednesday, June 22, 2011
How Posture Effecting Your Singing Method
Posture
The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.
There are eight components of the ideal singing posture:
- Feet slightly apart
- Legs straight but knees unlocked
- Hips facing straight forward
- Spine aligned
- Abdomen flat
- Chest comfortably forward
- Shoulders down and back
- Head facing straight forward
Breathing and breath support
Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.
These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems
Source：
http://en.wikipedia.org/wiki/Singing
Tuesday, June 21, 2011
Extending Vocal Ranges & Exercises
Extending vocal range
An important goal of vocal development is to learn to sing to the natural limits of one’s vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by
(1) establishing good vocal habits in the most comfortable tessitura of the voice, and then
(2) slowly expanding the range.
There are three factors that significantly affect the ability to sing higher or lower:
(a) The energy factor — “energy” has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
(b) The space factor — “space” refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer’s mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the “beginning of a yawn”.
(c)The depth factor — “depth” has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.
McKinney says, “These three factors can be expressed in three basic rules:
(1) As you sing higher, you must use more energy; as you sing lower, you must use less.
(2) As you sing higher, you must use more space; as you sing lower, you must use less.
(3) As you sing higher, you must use more depth; as you sing lower, you must use less.
How To Increase Your Vocal Range
What ever you think your vocal range is, there’s always more. Singing vocal ranges is a very misunderstood topic. In fact, most singing teachers have it plain wrong! And how do I know this? Because I personally increased my range by over an octave, in a very short amount of time.
And this was after studying singing for years! I went through four vocal teachers, none who knew how to increase my range. Actually, their message was more like “you don’t have the ability to sing any higher”.
“This is the range you were born with”…… But I didn’t believe them. After finding and using the right instruction, my range increased dramatically, and yours can too. You Don’t Need To Strain To Hit High Notes
I see it all the time. Singers pushing their neck’s forwards, poking their chin’s out. Reaching…. and hoping for that note to come out. And it does…. but by the time it reaches my ears it’s been destroyed! Every last bit of sound quality has disappeared from the voice.
Another unfortunate thing. This technique will burn out a voice, in a matter of minutes, leaving it hoarse and useless!
The problem with this belting technique, is it encourages the wrong muscles to become part of the singing process. Because there is too much air being forced through the vocal chords, your swallowing muscles ‘jump in’ to try and help out.
But unfortunately they do more harm than good. They prevent the correct singing muscles, the inner muscles of the larynx, to function correctly.
There Are Muscle Coordinations That Will Increase Your Range….. Dramatically
To increase your singing vocal range, all you need to do is discover a new muscle coordination. This new muscle coordination will allow you to sing in a range beyond your wildest dreams. And you will not have to strain for your high notes! Your highest note will actually be as easy as speaking it. Here’s why…
When you sing correctly, and move up into your higher range… you use less air, not more. This is an important key to LARGE singing vocal ranges.
It allows your vocal chords to form a new muscle coordination… a shortened vocal chord. With good technique, your vocal chords will learn how to ‘zip up’ as you sing higher. Yes…. just like zipping up a sweater!
As you continue to zip up your chords, there is less chord free to vibrate (it’s the vibration that creates the sound). As a smaller part of the chords are vibrating, it takes less air to move the chords faster…. And a faster vibration means a higher note!
Simple Exercises That Produce Incredible Results
There is a method of teaching, the speech level singing method , that is the most effective way to increase your singing vocal range. Remember how I spoke of my dramatic range increase earlier? This is how I did it…
Speech level singing uses many special (but very simple) exercises that teach your vocal cords how to ‘zip up’. As your chords get more and more efficient, you begin to see how easy it is to sing higher and higher. It’s actually not uncommon for a speech level singing student to increase their range by an octave in the very first lesson!
The exercises are so effective that many people find their upper range immediately. And as you go through the process, your range gets larger, stronger, and the tone quality improves. This is the key to LARGE singing vocal ranges.
Firstly, let me say….. You can extend your vocal range….. Dramatically. To do this you need the right training…. Exercises that target very specific muscles in your larynx (voice box that sits in your throat).
By developing these muscles (known as the inner larynx of the muscles) they will learn how to “zip up” as you sing higher. When your vocal chords “zip up” or “shorten”, less of the vocal chords are left free to vibrate. It is now easier for the chords to vibrate faster………And this means you can hit higher notes, with ease.
How much air do you need to vibrate the vocal chords once they have shortened? That’s right……. less air!
It takes less air to sing higher notes.
It’s a dangerous myth that “more support” is needed to sing higher notes. Because “support” is often mistaken for “more air”. The result is singers blasting their vocal chords with air as they try and reach for their high notes…..
When you send too much air, you will have grave vocal problems. The muscles around your larynx (your swallowing muscles) become active every time you send too much air to your vocal chords. This is the main cause of vocal strain. To avoid this, you must use exercises that teach you to regulate your air supply.
To Sing Those Stunning High Notes, You Need The Right Exercises…
There are exercises that will do all this for you:
1. (force you to) regulate the air supply to the correct amount.
2. Make it easy for your vocal chords to “zip up”, giving you access to those spectacular high notes!
3. Balance your vocal resonance (which I haven’t discussed here, but is important to get your best tone quality)
The speech level singing method contains exercises that will help you do all this, and more. It is the technique used by the majority of the singers you hear on the radio.
This method of learning is the most effective way of increasing vocal range.
The common misconception is that high notes are only accessible to talented singers. Have you ever heard the saying “you have it or you don’t”? Many vocal instructor have told me this, but it is simply not true!
Vocal range extension is available to you, if you have the desire and motivation. (although, with correct training, you can achieve large vocal range extension, almost immediately)
With correct training, your vocal range can be expanded beyond belief. Large vocal range is achieved by a technique called “zipping up your vocal chords”.
In this new muscle coordination, your vocal chords will actually “zip up”, effectively closing off a section of the chord. This leaves less of the chords free to vibrate, and therefore can vibrate faster, producing a higher note.
When you learn to zip up your vocal chords correctly, every note, high or low can be accessed with the same ease. It’s almost like playing the piano. It’s no harder to press the highest note on the piano than it is any other note.
With correct technique, singing is the same. Every note in your range can be accessed without straining or reaching. This “zipping up” action is the most effective vocal range extension technique.
Actually, as you sing higher, you should be using less and less effort! The vocal chords will zip up more and more as you sing higher. This leaves less of the chords to vibrate therefore you need less air to vibrate the chords… It’s actually easier to sing high notes than lower notes!
There are two vocal registers that use this “zipped up” muscle coordination. They are:
- Head voice
- Mixed or middle voice
Both of these vocal registers form the upper part of your singing range. The mixed voice sounds quite similar to chest voice (chest voice is the voice you speak in, and it forms the lower part of your range). Mixed voice has a sweeter tone quality than chest voice though…
This is because half of the tone resonates in the head cavity.
You see, when you go into the mixed voice, your vocal chords will “zip up”. When this happens, the vocal resonance splits, with half going into the mouth, and the other half into the head. It has the best of both worlds… the power and depth of chest voice, and the sweetness and purity of head voice. Let me tell you… a good mixed voice sounds incredible!
The other register for hitting those high notes, is the head voice. This is what you use when you climb even further into your range. Your chords will zip up even more, and more of the resonance will travel behind the soft palate, and into the head (the soft palate extends back from your tongue and forms a divider between your mouth and nasal cavity).
The head voice also sounds sensational when done properly. And when you get to know your voice well, you can mix a little mouth resonance into your very high, head voice notes. This slight mix can give your sound more power on those extreme highs.
Don’t accept the range you have now, unless it is amazing!
Learn Vocal Range Extension
So firstly, if you can’t already, learn how to sing on a zipped up chord! Once you can do this, learn how to blend your vocal resonance. You will have an endless palate of vocal colors to choose.
Source：
http://en.wikipedia.org/wiki/Singing
http://www.become-a-singing-master.com/increasing-vocal-range.html
http://www.become-a-singing-master.com/vocal-range-extension.html
An important goal of vocal development is to learn to sing to the natural limits of one’s vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by
(1) establishing good vocal habits in the most comfortable tessitura of the voice, and then
(2) slowly expanding the range.
There are three factors that significantly affect the ability to sing higher or lower:
(a) The energy factor — “energy” has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
(b) The space factor — “space” refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer’s mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the “beginning of a yawn”.
(c)The depth factor — “depth” has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.
McKinney says, “These three factors can be expressed in three basic rules:
(1) As you sing higher, you must use more energy; as you sing lower, you must use less.
(2) As you sing higher, you must use more space; as you sing lower, you must use less.
(3) As you sing higher, you must use more depth; as you sing lower, you must use less.
How To Increase Your Vocal Range
What ever you think your vocal range is, there’s always more. Singing vocal ranges is a very misunderstood topic. In fact, most singing teachers have it plain wrong! And how do I know this? Because I personally increased my range by over an octave, in a very short amount of time.
And this was after studying singing for years! I went through four vocal teachers, none who knew how to increase my range. Actually, their message was more like “you don’t have the ability to sing any higher”.
“This is the range you were born with”…… But I didn’t believe them. After finding and using the right instruction, my range increased dramatically, and yours can too. You Don’t Need To Strain To Hit High Notes
I see it all the time. Singers pushing their neck’s forwards, poking their chin’s out. Reaching…. and hoping for that note to come out. And it does…. but by the time it reaches my ears it’s been destroyed! Every last bit of sound quality has disappeared from the voice.
Another unfortunate thing. This technique will burn out a voice, in a matter of minutes, leaving it hoarse and useless!
The problem with this belting technique, is it encourages the wrong muscles to become part of the singing process. Because there is too much air being forced through the vocal chords, your swallowing muscles ‘jump in’ to try and help out.
But unfortunately they do more harm than good. They prevent the correct singing muscles, the inner muscles of the larynx, to function correctly.
There Are Muscle Coordinations That Will Increase Your Range….. Dramatically
To increase your singing vocal range, all you need to do is discover a new muscle coordination. This new muscle coordination will allow you to sing in a range beyond your wildest dreams. And you will not have to strain for your high notes! Your highest note will actually be as easy as speaking it. Here’s why…
When you sing correctly, and move up into your higher range… you use less air, not more. This is an important key to LARGE singing vocal ranges.
It allows your vocal chords to form a new muscle coordination… a shortened vocal chord. With good technique, your vocal chords will learn how to ‘zip up’ as you sing higher. Yes…. just like zipping up a sweater!
As you continue to zip up your chords, there is less chord free to vibrate (it’s the vibration that creates the sound). As a smaller part of the chords are vibrating, it takes less air to move the chords faster…. And a faster vibration means a higher note!
Simple Exercises That Produce Incredible Results
There is a method of teaching, the speech level singing method , that is the most effective way to increase your singing vocal range. Remember how I spoke of my dramatic range increase earlier? This is how I did it…
Speech level singing uses many special (but very simple) exercises that teach your vocal cords how to ‘zip up’. As your chords get more and more efficient, you begin to see how easy it is to sing higher and higher. It’s actually not uncommon for a speech level singing student to increase their range by an octave in the very first lesson!
The exercises are so effective that many people find their upper range immediately. And as you go through the process, your range gets larger, stronger, and the tone quality improves. This is the key to LARGE singing vocal ranges.
Firstly, let me say….. You can extend your vocal range….. Dramatically. To do this you need the right training…. Exercises that target very specific muscles in your larynx (voice box that sits in your throat).
By developing these muscles (known as the inner larynx of the muscles) they will learn how to “zip up” as you sing higher. When your vocal chords “zip up” or “shorten”, less of the vocal chords are left free to vibrate. It is now easier for the chords to vibrate faster………And this means you can hit higher notes, with ease.
How much air do you need to vibrate the vocal chords once they have shortened? That’s right……. less air!
It takes less air to sing higher notes.
It’s a dangerous myth that “more support” is needed to sing higher notes. Because “support” is often mistaken for “more air”. The result is singers blasting their vocal chords with air as they try and reach for their high notes…..
When you send too much air, you will have grave vocal problems. The muscles around your larynx (your swallowing muscles) become active every time you send too much air to your vocal chords. This is the main cause of vocal strain. To avoid this, you must use exercises that teach you to regulate your air supply.
To Sing Those Stunning High Notes, You Need The Right Exercises…
There are exercises that will do all this for you:
1. (force you to) regulate the air supply to the correct amount.
2. Make it easy for your vocal chords to “zip up”, giving you access to those spectacular high notes!
3. Balance your vocal resonance (which I haven’t discussed here, but is important to get your best tone quality)
The speech level singing method contains exercises that will help you do all this, and more. It is the technique used by the majority of the singers you hear on the radio.
This method of learning is the most effective way of increasing vocal range.
The common misconception is that high notes are only accessible to talented singers. Have you ever heard the saying “you have it or you don’t”? Many vocal instructor have told me this, but it is simply not true!
Vocal range extension is available to you, if you have the desire and motivation. (although, with correct training, you can achieve large vocal range extension, almost immediately)
With correct training, your vocal range can be expanded beyond belief. Large vocal range is achieved by a technique called “zipping up your vocal chords”.
In this new muscle coordination, your vocal chords will actually “zip up”, effectively closing off a section of the chord. This leaves less of the chords free to vibrate, and therefore can vibrate faster, producing a higher note.
When you learn to zip up your vocal chords correctly, every note, high or low can be accessed with the same ease. It’s almost like playing the piano. It’s no harder to press the highest note on the piano than it is any other note.
With correct technique, singing is the same. Every note in your range can be accessed without straining or reaching. This “zipping up” action is the most effective vocal range extension technique.
Actually, as you sing higher, you should be using less and less effort! The vocal chords will zip up more and more as you sing higher. This leaves less of the chords to vibrate therefore you need less air to vibrate the chords… It’s actually easier to sing high notes than lower notes!
There are two vocal registers that use this “zipped up” muscle coordination. They are:
- Head voice
- Mixed or middle voice
Both of these vocal registers form the upper part of your singing range. The mixed voice sounds quite similar to chest voice (chest voice is the voice you speak in, and it forms the lower part of your range). Mixed voice has a sweeter tone quality than chest voice though…
This is because half of the tone resonates in the head cavity.
You see, when you go into the mixed voice, your vocal chords will “zip up”. When this happens, the vocal resonance splits, with half going into the mouth, and the other half into the head. It has the best of both worlds… the power and depth of chest voice, and the sweetness and purity of head voice. Let me tell you… a good mixed voice sounds incredible!
The other register for hitting those high notes, is the head voice. This is what you use when you climb even further into your range. Your chords will zip up even more, and more of the resonance will travel behind the soft palate, and into the head (the soft palate extends back from your tongue and forms a divider between your mouth and nasal cavity).
The head voice also sounds sensational when done properly. And when you get to know your voice well, you can mix a little mouth resonance into your very high, head voice notes. This slight mix can give your sound more power on those extreme highs.
Don’t accept the range you have now, unless it is amazing!
Learn Vocal Range Extension
So firstly, if you can’t already, learn how to sing on a zipped up chord! Once you can do this, learn how to blend your vocal resonance. You will have an endless palate of vocal colors to choose.
Vocal range extension is really in the reach of anyone. that has the desire to achieve it.
http://en.wikipedia.org/wiki/Singing
http://www.become-a-singing-master.com/increasing-vocal-range.html
http://www.become-a-singing-master.com/vocal-range-extension.html
Monday, June 20, 2011
Singing
Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. A person who sings is called a singer or vocalist. Singers perform music known as songs that can either be sung a cappella (without accompaniment) or accompanied by musicians and instruments ranging from a single instrumentalist to a full symphony orchestra or big band. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. Nearly anyone who can speak can sing, since in many respects singing is a form of sustained speech. Singing can be informal and done for pleasure; for example, singing in the shower or karaoke; or it can be very formal, as in the case of singing during a religious ritual such as a Mass or professional singing typically done on stage or in a recording studio. Singing at a high amateur or professional level usually requires time, dedication, instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as classical or rock, and they typically take voice training provided by a voice teacher or vocal coach throughout their career.
In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostals and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.
The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.
Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.
Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following：
- A particular part of the vocal range such as the upper, middle, or lower registers.
- A resonance area such as chest voice or head voice.
- A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
- A certain voca timbrelor vocal "colour" A region of the voice which is defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.
Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.
Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area
History and development
The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.
However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice. In particular, the use of the terms chest register and head register have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms chest voice and head voice over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.
The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette. However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration
Classifying singing voices
In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration. The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.
However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.
It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.
Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.
Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.
Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:
# Human anatomy and physiology as it relates to the physical process of singing
- Vocal health and voice disorders related to singing
- Breathing and air support for singing
- Phonation
- Vocal resonation or Voice projection
- Vocal registration : a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
- Voice classification
# Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.
- Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura
Vocal technique
Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence:
- Breath is taken
- Sound is initiated in the larynx
- The vocal resonators receive the sound and influence it
- The articulators shape the sound into recognizable units
Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.
Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.
Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:
- Extending the vocal range to its maximum potential
- Developing consistent vocal production with a consistent tone quality
- Developing flexibility and agility
- Achieving a balanced vibrato
Developing the singing voice
Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.
Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.
Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.
Health Benefits
Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity.Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS)
Source：
http://en.wikipedia.org/wiki/Singing
In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostals and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.
The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.
Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.
Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following：
- A particular part of the vocal range such as the upper, middle, or lower registers.
- A resonance area such as chest voice or head voice.
- A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
- A certain voca timbrelor vocal "colour" A region of the voice which is defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.
Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.
Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area
History and development
The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.
However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice. In particular, the use of the terms chest register and head register have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms chest voice and head voice over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.
The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette. However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration
Classifying singing voices
In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration. The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.
However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.
It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.
Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.
Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.
Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:
# Human anatomy and physiology as it relates to the physical process of singing
- Vocal health and voice disorders related to singing
- Breathing and air support for singing
- Phonation
- Vocal resonation or Voice projection
- Vocal registration : a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
- Voice classification
# Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.
- Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura
Vocal technique
Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence:
- Breath is taken
- Sound is initiated in the larynx
- The vocal resonators receive the sound and influence it
- The articulators shape the sound into recognizable units
Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.
Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.
Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:
- Extending the vocal range to its maximum potential
- Developing consistent vocal production with a consistent tone quality
- Developing flexibility and agility
- Achieving a balanced vibrato
Developing the singing voice
Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.
Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.
Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.
Health Benefits
Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity.Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS)
Source：
http://en.wikipedia.org/wiki/Singing
Tuesday, June 14, 2011
Vocal Range - Octav
-Georgia Brown
Inilah penyanyi dengan oktaf tertinggi di dunia,ia lahir di Naples Italy tanggal 29 Juni 1980. Dengan kemampuan''Vocal Range''dari nada G2 sampai nada G10. Tentu saja namanya terdaftar dalam ''Guinness World Record'' sebagai manusia dengan kemampuan nada tertinggi. Georgia Brown juga memiliki suara setinggi 8 oktaf. Bahkan, kemampuan ''Belting Battle''nya atau kemampuan bernyanyi dengan Lirik(Bukan Falsetto) ia mampu melakukannya sampai setinggi 5 oktaf .Bandingkan dengan Mariah Carey atau penyanyi ternama lainnya yang biasanya hanya mampu bernyayi dengan lirik sampai setinggi 3 atau 2 oktaf.
-Adam Lopez
Jangan heran penyanyi dengan oktaf tertinggi urutan kedua adalah laki-laki. Adam Lopez lahir di Brisbane,Australia tanggal 26 Agustus. Ia merupakan penyanyi pria dengan oktaf tertinggi di dunia. Ia adalah penyanyi dengan oktaf tertinggi di dunia sebelum Georgia Brown mendaftarkan diri ke''Guinness World Record''. Ia memiliki kemampuan''Vocal Range'' dari nada Eb2 sampai Eb8. Pada saat ia''membunyikan'' nada Eb8 dari mulutnya, suaranya terdengar seperti Paus yang sedang berkomunikasi. Berarti total keseluruhan, ia memiliki suara setinggi 6 oktaf.
-Whitney Houston & Mariah Carey
Whitney Houston lahir di New Jersey,Amerika Serikat pada tanggal 9 Agustus 1963. Kemampuan ''Vocal Range''nya adalah dari nada A2 (belum diketahui nada tertinggi yang pernah ia capai), namun, suara yang ia hasilkan bisa mencapai sekitar 5 oktaf, sama dengan Mariah Carey meski beda Vocal Range. Sementara Mariah Carey, ia lahir pada tanggal 27 maret 1970 di New York. Diva papan atas ini sering disebut sebut sebagai wanita dengan kemampuan vokal setinggi 7 oktaf, nyatanya, ''Vocal Range''nyalah yang mencapai nada F#7 dan nada terendah F#2. Berarti, suara yang dihasilkan mencapai 5 oktaf, terbukti salah bukan berita berita yang selama ini menyebutkan bahwa Mariah Carey adalah Diva pop dengan kemampuan suara setinggi 7 bahkan 8 oktaf.
-Rachelle Ferrel
langsung saja. Ia lahir di Brwyn,Pensylvania tahun 1961. Ia memiliki''Vocal Range'' dari nada G2 sampai nada Eb7, jadi ia memiliki suara setinggi 4 Oktaf 5 Nada. Tak hanya suaranya yang tinggi dan kuat. Nafas saat ia bernyanyipun bisa mencapai 25 detik, lebih panjang dari Mariah Carey yang sepanjang 20 detik. Waduh, atlet renang ya bu ??
-Minnie Reperton
Penyanyi dengan suara yang unik ini lahir di Chicago,Amerika Serikat tanggal 8 November 1947. Namun, karena penyakit Tumor di lengan kanannya, ia meninggal pada umur 31 di Los Angeles, Amerika Serikat pada tanggal 12 Juli 1979. Ia memiliki''Vocal Range''dari nada D3 sampai nada F#7 atau artinya ia dapat ''mengantongi'' suara setinggi 4 Oktaf 2,5 nada
-Regine Velasquez
Penyanyi wanita berkelahiran di Manila,Filipina tanggal 22 April 1970 ini memiliki ''Vocal Range'' dari nada B2 sampai B6. Berarti,suaranya pas 4 Oktaf.
-Christina Aguilera
Penyanyi bersuara kuat ini lahir di Pulau Staten New York tanggal 18 Desember 1980. Ia memiliki kemampuan ''Vocal Range''dari nada C3 sampai nada A6. Secara keseluruhan, ia telah ''mengumpulkan suara setinggi 3 Oktaf 5 nada, hampir 4 oktaf. Namun karena suara bertenaga yang dimilikinya membuat banyak orang membanding-bandingkannya dengan Whitney Houston dan Mariah Carey. Nafas terpanjangnya saat ia bernyanyi adalah 17 detik.
-Beyonce Knowles
Beyonce Knowles lahir pada tanggal 4 September 1981. Ia memiliki''Vocal Range''dari nada A2 sampai nada E6. Setelah di total-total, ia memiliki suara setinggi 3 Oktaf 4 nada. Nafas terpanjang Beyonce saat bernyanyi adalah sepanjang 14 detik
-Nicole Scherzinger
Penyanyi wanita cantik ini lahir di Hawai,Amerika Serikat pada tanggal 29 Juni 1978. Ia juga memiliki suara kuat seperti Christina Aguilera dan ia juga memiliki''Vocal Range'' dari nada D3 sampai nada G#6. Berarti, ia memiliki suara setinggi 3 Oktaf 3,5 nada atau 3,5 Oktaf. Ia juga ''memperoleh'' nafas saat bernyanyi sepanjang 13 detik.
-Toni Braxton & Patti Labelle
Toni Braxton, penyanyi wanita bersuara berat ini lahir di MaryLand, Amerika Serikat pada tanggal 7 Oktober 1967. Ia memiliki''Vocal Range'' dari nada Bb2 sampai nada tertinggi C#6. Berarti, ia mampu menghasilkan suara setinggi 3 Oktaf 2 nada sementara Patti Labelle, penyanyi Afrika Amerika ini juga mampu menghasilkan suara setinggi 3 Oktaf 2 nada, Ia lahir pada tanggal 24 Mei 1944. Ia juga memiliki''Vocal Range'' dari nada D3 sampai nada F6.
-Michael Jackson
Pasti semua udah pada tau kan, ''Jacko'' dilahirkan di Indiana,Amerika Serikat pada tanggal 29 Agustus 1958 dan meninggal pada tanggal 25 Juni 2009. Suara''Jacko'' ternyata tinggi juga, ia memiliki ''Vocal Range'' dari nada G#2 sampai nada C6. Berarti ia mampu menghasilkan suara setinggi 3 Oktaf 0,5 nada. Lumayan lah....
-Britney Spears
Britney Spears ternyata masuk dalam 15 besar artis wanita terkaya di dunia dengan total kekayaan sebesar $ 35 juta. Ia lahir di Mississippi,Amerika Serikat pada tanggal 2 Desember 1981. Ia memiliki''Vocal Range'' dari nada terendah C#3 di lagu Oops...i did it again dan Head Voice A5. Berarti suaranya mampu mencapai 2 Oktaf 4,5 nada.
Penyanyi dengan oktaf tinggi lainnya :
-Celine Dion, sekitar 4 Oktaf
-Anggun.C.Sasmi, lebih dari 3 oktaf
-Avril Lavigne, 2,5 Oktaf
-Luciano Pavarotti, sekitar 4 oktaf
Inilah penyanyi dengan oktaf tertinggi di dunia,ia lahir di Naples Italy tanggal 29 Juni 1980. Dengan kemampuan''Vocal Range''dari nada G2 sampai nada G10. Tentu saja namanya terdaftar dalam ''Guinness World Record'' sebagai manusia dengan kemampuan nada tertinggi. Georgia Brown juga memiliki suara setinggi 8 oktaf. Bahkan, kemampuan ''Belting Battle''nya atau kemampuan bernyanyi dengan Lirik(Bukan Falsetto) ia mampu melakukannya sampai setinggi 5 oktaf .Bandingkan dengan Mariah Carey atau penyanyi ternama lainnya yang biasanya hanya mampu bernyayi dengan lirik sampai setinggi 3 atau 2 oktaf.
-Adam Lopez
Jangan heran penyanyi dengan oktaf tertinggi urutan kedua adalah laki-laki. Adam Lopez lahir di Brisbane,Australia tanggal 26 Agustus. Ia merupakan penyanyi pria dengan oktaf tertinggi di dunia. Ia adalah penyanyi dengan oktaf tertinggi di dunia sebelum Georgia Brown mendaftarkan diri ke''Guinness World Record''. Ia memiliki kemampuan''Vocal Range'' dari nada Eb2 sampai Eb8. Pada saat ia''membunyikan'' nada Eb8 dari mulutnya, suaranya terdengar seperti Paus yang sedang berkomunikasi. Berarti total keseluruhan, ia memiliki suara setinggi 6 oktaf.
-Whitney Houston & Mariah Carey
Whitney Houston lahir di New Jersey,Amerika Serikat pada tanggal 9 Agustus 1963. Kemampuan ''Vocal Range''nya adalah dari nada A2 (belum diketahui nada tertinggi yang pernah ia capai), namun, suara yang ia hasilkan bisa mencapai sekitar 5 oktaf, sama dengan Mariah Carey meski beda Vocal Range. Sementara Mariah Carey, ia lahir pada tanggal 27 maret 1970 di New York. Diva papan atas ini sering disebut sebut sebagai wanita dengan kemampuan vokal setinggi 7 oktaf, nyatanya, ''Vocal Range''nyalah yang mencapai nada F#7 dan nada terendah F#2. Berarti, suara yang dihasilkan mencapai 5 oktaf, terbukti salah bukan berita berita yang selama ini menyebutkan bahwa Mariah Carey adalah Diva pop dengan kemampuan suara setinggi 7 bahkan 8 oktaf.
-Rachelle Ferrel
langsung saja. Ia lahir di Brwyn,Pensylvania tahun 1961. Ia memiliki''Vocal Range'' dari nada G2 sampai nada Eb7, jadi ia memiliki suara setinggi 4 Oktaf 5 Nada. Tak hanya suaranya yang tinggi dan kuat. Nafas saat ia bernyanyipun bisa mencapai 25 detik, lebih panjang dari Mariah Carey yang sepanjang 20 detik. Waduh, atlet renang ya bu ??
-Minnie Reperton
Penyanyi dengan suara yang unik ini lahir di Chicago,Amerika Serikat tanggal 8 November 1947. Namun, karena penyakit Tumor di lengan kanannya, ia meninggal pada umur 31 di Los Angeles, Amerika Serikat pada tanggal 12 Juli 1979. Ia memiliki''Vocal Range''dari nada D3 sampai nada F#7 atau artinya ia dapat ''mengantongi'' suara setinggi 4 Oktaf 2,5 nada
-Regine Velasquez
Penyanyi wanita berkelahiran di Manila,Filipina tanggal 22 April 1970 ini memiliki ''Vocal Range'' dari nada B2 sampai B6. Berarti,suaranya pas 4 Oktaf.
-Christina Aguilera
Penyanyi bersuara kuat ini lahir di Pulau Staten New York tanggal 18 Desember 1980. Ia memiliki kemampuan ''Vocal Range''dari nada C3 sampai nada A6. Secara keseluruhan, ia telah ''mengumpulkan suara setinggi 3 Oktaf 5 nada, hampir 4 oktaf. Namun karena suara bertenaga yang dimilikinya membuat banyak orang membanding-bandingkannya dengan Whitney Houston dan Mariah Carey. Nafas terpanjangnya saat ia bernyanyi adalah 17 detik.
-Beyonce Knowles
Beyonce Knowles lahir pada tanggal 4 September 1981. Ia memiliki''Vocal Range''dari nada A2 sampai nada E6. Setelah di total-total, ia memiliki suara setinggi 3 Oktaf 4 nada. Nafas terpanjang Beyonce saat bernyanyi adalah sepanjang 14 detik
-Nicole Scherzinger
Penyanyi wanita cantik ini lahir di Hawai,Amerika Serikat pada tanggal 29 Juni 1978. Ia juga memiliki suara kuat seperti Christina Aguilera dan ia juga memiliki''Vocal Range'' dari nada D3 sampai nada G#6. Berarti, ia memiliki suara setinggi 3 Oktaf 3,5 nada atau 3,5 Oktaf. Ia juga ''memperoleh'' nafas saat bernyanyi sepanjang 13 detik.
-Toni Braxton & Patti Labelle
Toni Braxton, penyanyi wanita bersuara berat ini lahir di MaryLand, Amerika Serikat pada tanggal 7 Oktober 1967. Ia memiliki''Vocal Range'' dari nada Bb2 sampai nada tertinggi C#6. Berarti, ia mampu menghasilkan suara setinggi 3 Oktaf 2 nada sementara Patti Labelle, penyanyi Afrika Amerika ini juga mampu menghasilkan suara setinggi 3 Oktaf 2 nada, Ia lahir pada tanggal 24 Mei 1944. Ia juga memiliki''Vocal Range'' dari nada D3 sampai nada F6.
-Michael Jackson
Pasti semua udah pada tau kan, ''Jacko'' dilahirkan di Indiana,Amerika Serikat pada tanggal 29 Agustus 1958 dan meninggal pada tanggal 25 Juni 2009. Suara''Jacko'' ternyata tinggi juga, ia memiliki ''Vocal Range'' dari nada G#2 sampai nada C6. Berarti ia mampu menghasilkan suara setinggi 3 Oktaf 0,5 nada. Lumayan lah....
-Britney Spears
Britney Spears ternyata masuk dalam 15 besar artis wanita terkaya di dunia dengan total kekayaan sebesar $ 35 juta. Ia lahir di Mississippi,Amerika Serikat pada tanggal 2 Desember 1981. Ia memiliki''Vocal Range'' dari nada terendah C#3 di lagu Oops...i did it again dan Head Voice A5. Berarti suaranya mampu mencapai 2 Oktaf 4,5 nada.
Penyanyi dengan oktaf tinggi lainnya :
-Celine Dion, sekitar 4 Oktaf
-Anggun.C.Sasmi, lebih dari 3 oktaf
-Avril Lavigne, 2,5 Oktaf
-Luciano Pavarotti, sekitar 4 oktaf
Saturday, June 11, 2011
Welcome
welcome to "Youth Music Academy" music blog..
we can spread music, spread experiences, spread everything about music in here..
welcome and enjoy!!
Together we can make it better!!
Admin,
Jayle Xu
we can spread music, spread experiences, spread everything about music in here..
welcome and enjoy!!
Together we can make it better!!
Admin,
Jayle Xu
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