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#46 MusicMatters!

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Posted 14 August 2017 - 20:33

Today went sing well. 

I found this sublime version of Evening Hymn by Eveltn Tubb....my inspiration smile.png

 


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#47 MusicMatters!

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Posted 20 August 2017 - 11:23

Over the last few days, I've been continuing my journey into early music. 

 

I am tempted to listen and watch loads of Emma Kirkby on youtube, but I also know I have to be careful with that, as I'm liable to copy..Less is more! Best I get a grounding first on the subject in as many ways as I can....listening to lute playing and singing but also historic studies, reading etc..

There is something so striking about the texts of these songs...I'm in happy bunny mode today biggrin.png


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#48 MusicMatters!

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Posted 24 August 2017 - 19:07

Something rather surprising and delightful happened today. For some reason at 11:50 pm last night I got the idea into my head to try "Oh, had I Jubal's Lyre" Handel. 

A few years ago i tried it but just could not handle the runs...they ran away from me..clap.gif I know, I should go into comedy...

Well, since I have been singing so much early music, I wondered if my approach to runs might have changed as a result....and boy o boy has it!

Now I'm not saying I will ever be able to perform music of that speed but there is such an ease to how I'm singing the runs, I am hopeful for the future.

I do love coloratura. In the past, it has been accuracy, not height that has hindered me. I dont really care if I ever could perform bel canto..but it feels so healthy to practice these runs. Almost like oiling up my voice.

The more I delve into early music, the more I see the benefits or it. Dowland kicks a**biggrin.png

 

Speaking of Dowland, in the book of early music I'm going through, I've notice a definite shift in difficulty with the Dowland songs. Something about the height and interval progressions. idea.gif


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#49 MusicMatters!

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Posted 25 August 2017 - 20:37

Why I admire "What if a day"

 

It speaks in universal truths by starting out with questions, what is the purpose of life? How much power do we really have? What is the real value of glutinous selfishness? why are our joyful moments simply that? 

And then it answers all these questions somehow within just two verses by comparing all these situations and thoughts with death and the passage of time. Love itwub.png

"All our joys are but toys, idle thoughts deceiving. None have power of an hour"


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#50 MusicMatters!

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Posted 29 August 2017 - 09:36

Over the last few days I've been focusing on research and sight singing. I found myself an app that is working out a treat for sight singing. I got pretty confused as to weather I should use fixed or movable DO system but after some very helpful comments on the teachers forum, I'm firmly set into movable DO! 

I've always considered my sight singing skills to be poor but after using the app for a few days, I am genuinely seeing improvement. It just suits me so much more then sitting at the piano and having to to play the notes at the same time. It allows me to focus entirely on singing the right notes. Lets see how it progresses party1.gif

 

As far as the research goes, I've been reading some books and treaties on early singing and its so fun to delve into the original texts, although I can't really understand most of whats writtenwacko.png , its still kind of magical to read the prefaces, dedications etc...and all those lovely engraved pictures. One modern book mentioned the "burning of the ballads" during the reformation, and so I googled the phrase, trying to find out more. But haven't really succeeded yet on that score.

 

What I did find yesterday is a totally interesting documentary on youtube. I'm only about 20 minutes in but its fascinating to hear very early music performed and the stories of the monarchies relationship to music. Am looking forward to delving into it today!

David Starkey's Music and Monarchy Crown and Choir


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#51 jjosiejo

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Posted 03 September 2017 - 11:23

I have a big fat lyric voice and love singing early music - I can't bear the kind of musical snobbery that says that something should only sound one particular way - there are no Art Police who are going to slam us in jail for singing Purcell with a bit of warmth biggrin.png 

 

I am really enjoying reading your progress, thanks for sharing your thoughts.  What is the sightreading app you are using? It sounds really interesting.  I think you are right that moveable Do is the way forward for singers as unless you are blessed/cursed with perfect pitch, you will be using relative pitch to sing so it is much more useful.

 

I am planning to put my LRSM application in next week, suddenly having a fit of nerves about doing it, but I will plunge on regardless!

 

I emailed ABRSM and asked if they would approve my songs before I presented them, but they replied to say that the programming is part of what they judge you on and your ability to judge the complexity and content is basically up to you, so I was left none the wiser!  


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#52 MusicMatters!

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Posted 03 September 2017 - 19:01

I have a big fat lyric voice and love singing early music - I can't bear the kind of musical snobbery that says that something should only sound one particular way - there are no Art Police who are going to slam us in jail for singing Purcell with a bit of warmth biggrin.png

 

I am really enjoying reading your progress, thanks for sharing your thoughts.  What is the sightreading app you are using? It sounds really interesting.  I think you are right that moveable Do is the way forward for singers as unless you are blessed/cursed with perfect pitch, you will be using relative pitch to sing so it is much more useful.

 

I am planning to put my LRSM application in next week, suddenly having a fit of nerves about doing it, but I will plunge on regardless!

 

I emailed ABRSM and asked if they would approve my songs before I presented them, but they replied to say that the programming is part of what they judge you on and your ability to judge the complexity and content is basically up to you, so I was left none the wiser!  

Hi, thanks so much for your reply. I'm afraid my thread is turning out to be 90% my online blog but its great to have a record of my progress and to hear the perspectives of other singersbiggrin.png

I must correct you though...there are indeed "Art Police! They lurk around at the back row of concerts and in the corners of wine bars. You can always spot them because they have the most elaborate, restrictive opinions. Usually they don't play or sing and scan performances for errors and correctness! ninja.gif They also think all other genres of music are laughable!  I'm being mean I know...but they do exist I'm afraid...hopefully less and less with timeunsure.png

 

The app I'm using is called Sight Sing Step. I do find it really useful and straight forward. Its a bit expensive but I definitely recommend it....or something similar. Having an app lets you focus totally on the important bits, not being distracted with checking your line yourself. 

Congrats on entering for the LRSM...hopefully I'll get there one dayrolleyes.gif

What pieces have you chosen?? It is a bit annoying the board is not forthcoming on approving your pieces, I guess it would be very time consuming if they had to do it for every candidate. 

While I have you, I might ask if you can help me with a "trill" question thats bugging me. I understand that different eras and different composers require either a half tone or whole tone thrill. But what about Arne (1710-1778)? Specifically 

"O come, O come, my dearest"   I asked in the viva voice section but no response yet. Not many people check  out the vice voice I find. Maybe I'll put the thread in the teachers section soon. 


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#53 MusicMatters!

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Posted 05 September 2017 - 23:01

So..singing songs in languages we don't understand...

Like many young singers, in years past I merrily learned to pronounce words in different languages and since I had taken a peak at a translation at some point....my work was done right? And I could focus on the mechanics of singing the piece and adding expression....Well, in a word..NO!

 

Like many young singers, in years past, I studied the grammar and vocab of different languages and since I knew more than I had in the beginning...my work was done right?? And I could focus on sounding like a native in my pronunciation..Well, in a word...NO!

 

The truth is if I don't first translate a song into English, apply the words to the way the music moves (staying as close as possible to the foreign word placement)....and then sing the piece in English while being conscious of why the composer has written this word to express this note etc....well, if I don't do this, there is forever a disconnect when I sing the song in it original language. 

 

Lesson learned!!!morningcoffee.gif


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#54 Sylvette

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Posted 06 September 2017 - 14:14

Interesting!  I certainly need to know what the lyrics of songs in other languages mean, but I don't feel the need to set a translation to the music.  I think it depends on how well I speak the other language.  I tried to learn some songs in Neapolitan dialect a while ago and it was much more difficult to connect with them (and remember them!) than songs in normal Italian (which I speak reasonably well). 


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#55 MusicMatters!

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Posted 10 September 2017 - 10:58

Interesting!  I certainly need to know what the lyrics of songs in other languages mean, but I don't feel the need to set a translation to the music.  I think it depends on how well I speak the other language.  I tried to learn some songs in Neapolitan dialect a while ago and it was much more difficult to connect with them (and remember them!) than songs in normal Italian (which I speak reasonably well). 

Thats so true....when I find words in other languages I know off the top of my head, there is no need for me to translate....but the ones I half know or get lodged somewhere in the back of my mind...for me thats most of the lyrics.


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#56 jjosiejo

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Posted 12 September 2017 - 20:40

 

 

While I have you, I might ask if you can help me with a "trill" question thats bugging me. I understand that different eras and different composers require either a half tone or whole tone thrill. But what about Arne (1710-1778)? Specifically 

"O come, O come, my dearest"   I asked in the viva voice section but no response yet. Not many people check  out the vice voice I find. Maybe I'll put the thread in the teachers section soon. 

 

 

I just had a look at the score, personally I would start the trills on 'hither bring' & 'blend' on the Bb, all the others I would begin on the tone above the written note, except for maybe those that fall on joy where you might not have much time to start on the upper note.  What does your singing teacher say? 


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#57 MusicMatters!

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Posted 13 September 2017 - 10:47

 

 

 

While I have you, I might ask if you can help me with a "trill" question thats bugging me. I understand that different eras and different composers require either a half tone or whole tone thrill. But what about Arne (1710-1778)? Specifically 

"O come, O come, my dearest"   I asked in the viva voice section but no response yet. Not many people check  out the vice voice I find. Maybe I'll put the thread in the teachers section soon. 

 

 

I just had a look at the score, personally I would start the trills on 'hither bring' & 'blend' on the Bb, all the others I would begin on the tone above the written note, except for maybe those that fall on joy where you might not have much time to start on the upper note.  What does your singing teacher say? 

 

Very interesting. Thank youhappy.png  I've been researching and found some interesting info on performance practices (relating to trills) at the time in England compared to other countries. You'll find the thread in the teachers forum. Some other people were also kind enough to share their ideas.biggrin.png I find the history of singing so fascinating! 


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