Saturday 25 May 2013

VOCAL BLENDING



HOW TO BLEND VOCALS
Blending is the art of combining different and unique vocal sounds and make them sound like one. Blending involves mixing, merging and integrating individual voices, tone quality and even accents into one sound! It all begins with recognizing that no matter how good singers can be as soloist they’ll have to yield some individualities to obtain a blended sound! That takes willingness and a bit of education. How to blend:-
-  POSTURE. Your posture can either free u or bind you up; balanced, upright, athletic posture allows good breathing, resonant tone and a physical appearance that doesn’t distract from singing and the message.
- VOICE TYPE (TONE). It’s not possible for a group of singers to blend their voices if everyone will be singing their own preferable tones! Here am talking about the Head voice, Chest voice, Mixed voice and Nosal resonance. Before singing a song it is important to chose which type of tone you would like to use for that particular song and either with or without nosal resonance.
- DICTION. Agree on the vowel and consonant sounds that you want to use. Blending will be difficult if everyone will hold on to their own accents!
- FORGET YOUR INDICIDUAL SKILLS. Remember that you are not singing a solo instead you are singing as a team, there for this is not the time to show your vibrato, runs, tremolo and so forth unless you all agreed to do it as a team.
-UNDERSTAND AND WORK ON YOURSELF. Take time to study yourself if you have a very loud voice or a very low one, a very high pitch or a very low one and try to fit in so as to achieve the blending. For example if you know that your voice is too loud naturally you wouldn’t wanna use all of your energy when singing so as not to over shadow your fellows!
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*

Thursday 14 February 2013

HOW TO ENHANCE ON STAGE-PRESENCE



HOW TO ENHANCE ON STAGE-PRESENCE.
As Worship leaders, or (lead Worshipers) our purpose is not to model a personal Worship experience on stage. It’s not even most importantly to perform well, but to facilitate corporate-Worship; to enable the people to participate and engage to what is going on and to direct them to the truth of the Gospel! When we remember that our role on stage is primarily one of servant leadership, that it’s not about us and what we do but about God, we are freed to serve and lead well! Thus the following are some tips:-
1. PRAY. We should know that God is interested in our relationship with him more than what we do for him! Therefore we ought to have a constant fellowship with God “EVERY DAY” and he will fill us with insights and revelation on how to lead his people!
2. WATCH WHAT YOU DO. Be (or become) aware of your body language and gestures. If you can, have someone take a video of you leading worship so that you can observe yourself and see what you might be doing, consciously or unconsciously, that is awkward, distracting or helpful. Our body language and gestures should be natural, relaxed and appropriate. Remember that you are seeking to invite and enable the congregation as a whole to engage and participate in what is going on, not to be the poster child for how a person “should” look when worshipping. Carefully consider whether what you would normally do in private worship or as a participant in the congregation–or even what you do naturally when you hear music–will be more helpful or distracting when leading from the stage.
3.SING LIKE YOU MEAN IT. Sing clearly and in such a way that people can easily sing along with you. We’re not being good leaders if people can’t follow! Reflect on and give an appropriate facial or bodily response to the words we sing. The intent is not that we “act out” each song we sing, but rather show, by our expressions and actions, that we understand and agree with what we’re singing. If a song is joyful, smile! When singing a true statement about God, I will often affirm and agree with the statement by nodding my head as I sing that line.  When singing a truth about our hearts, I often indicate that by placing my hand over my heart. When we lead songs, we are proclaiming that truth (telling that “story”) to everyone there gathered, inviting them in to sing it and realize what we’re saying with us.
4.CUT DOWN ON “DOWN TIME”. There are two things that commonly happen to a congregant or a vocalist during an instrumental solo or extended instrumental break in a song: either they disconnect (because there’s nothing for them to do) and stand awkwardly waiting for their next cue to sing, or they start noticing and admiring the skill of the instrumentalist. Is this always the case? No. Is it often the case? Probably. This is not to say that arrangements should be so simplified as to cut out all intricacy and beauty, or to deprive instrumentalists of using their skills to offer their sacrifice of praise. But it is a call to worship leaders and arrangers to consider what is going on for the congregation and the singers during those times. Are all the interludes, solos, instrumental transitions necessary? An overly showy arrangement with extended instrumentals and/or solos can be just as distracting and awkward as a song sung off-key.
5.USE READINGS AND TRANSITION WISELY. Be reverent, conversational and sincere, but use appropriate expressiveness and emphasis when you read or speak. Slow down a bit: don’t drag, but remember that not everyone in the congregation is a fast or good reader. With regards to readings, a seminary professor once pointed out that verbs are actually the most important part of any given text. Practice emphasizing verbs instead of pronouns, adjectives or adverbs. You’ll be amazed at how this highlights the truths of Scripture.
6.SHOW AND TELL. Show or tell people how the song we’ve just sung relates to what we’ve just done or are about to do. Mention the Scriptural truth that gives us the basis for this action, song, or activity. Be honest about how our feelings may not seem to line up with what we’ve just sung or what we are about to sing, pointing out that truth is not so subjective.
7.PRACTICE. “Practice, practice, practice,”! One of the best ways to look and feel comfortable and relaxed and engaging on stage is to know what you’re doing. Learn the words and music to the songs so you can look up from the page and establish eye contact with the congregation. Practice your readings out loud several times so that you are familiar with all the words before the service. Run through the order of the set and service as a team before going up on stage so that everyone knows what’s happening when and where. 
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*

Thursday 7 February 2013

VIBRATO & TREMOLANDO


VIBRATO AND TREMOLANDO.
These two vocal techniques are very important for a singer; they enable you to add flavor and life in your singing! However a lot of people mix these two terminologies to have the same meaning; it’s true that they are so much alike, but they are still different!
VIBRATO: Is a periodic variation in pitch of a musical note. It is typically characterized in two factors: the amount of pitch variation (extent of vibrato) and the speed with which the pitch is varied                    (rate of vibrato)!
TREMOLANDO: Now tremolando is not a periodic variation in pitch of a musical note, rather it is the periodic variation in amplitude of a musical note!
The following are some techniques that will help you develop your vibrato and tremolando skills:-
-         BREATHING TECHNIQUE. Now you should know that whenever you sing you ought to breathe from your diaphragm and not from your chest, and also remember not to squeeze your tummy. Breathing from your diaphragm will help you control your breath and play with your voice anyhow; this is in regardless of doing or not doing vibrato!
-         LOOSEN YOUR JAW. Don’t try to force the vibrato by twisting your jaw because in that way you surely won’t get it right; rather you just have to relax and let it come automatically from the diaphragm! Remember you might not get it in one day, but it will surely come gradually as you practice!
-         LOOSEN YOUR TONGUE ROOT. Make sure you release your tongue while singing. A lot of singers face this problem and they are already addicted to it thinking that straining the tongue root makes them sound better; well that’s not true however straining your tongue in any case would just cause pain to your throat and make your voice crack easily!
-         OPEN YOUR MOUTH WIDE. This is another important secret in singing. You should know that you will never get to sound better if you won’t let your mouth open wide! Opening your mouth wide brings a powerful and a better voice; trust me try it out and you’ll notice changes!
-         SING IN YOUR COMFORTABLE NOTE. As you're practicing the vibrato and tremolo you should try to sing in your very comfortable note so that you won’t be straining yourself or forcing anything!
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*

Friday 25 January 2013

MUSIC EAR



DEVELOP YOUR MUSIC EAR.
“A GOOD MUSIC EAR” simply means the ability to identify notes, pitch, chords, rhythm and instruments! A good Worship leader/ musician should have a good music ear in order to be able to coordinate music, arrange music and write good songs! It’s true that the best way to develop music arrangement and songwriting craft is to listen to the music of professionals; but if you are unable to identify what you are hearing it’s quite useless! Before you start trying to develop your music ear you should first understand that music ear goes hand to hand with music theory; Therefore developing your basic music theory would really help you develop a good music ear. You can also try the following:-
 1. Find somebody to play a major scale for you; for example, C, D, E, F, G, A, B, C= (1, 2, 3, 4, 5, 6, 7, 8 or do, re, mi, fa, so, la, ti, do); Then have him/her play random notes from the scale while you  name each scale degree of the note he/she plays; eg. If “D” is played you name it “3” or “mi”, if “F” you name it “4” or “Fa” and so on! Mind you the example I gave was according to the major scale of key C (major) but you can do it in any key you want!
2. Get yourself some ear training software from different sites! It’s easy just type “online ear training” in a search engine! 
3. Use numbers when referring chords in a song; for example, if the song is in the key of G major and you find that G, C and D are the most common chords then you’d name them 1,2 and 3 consecutively! That will help you help you identify chords in every key!
I believe that will gradually help you develop your music ear and once your music ear is developed, you’ll find yourself writing better songs, arranging better music and even singing or playing better!
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*

Monday 21 January 2013

TEAM COMMUNICATION ON STAGE.



MUSICAL SIGNALS TO BE USED ON STAGE.
Using verbal communication on stage between musicians and singers without a “talk back mic” is always very destructive, it destructs the audience and sometimes might even destruct the flow of Worship! Therefore, to get rid of such kind of destructions, the following are some basic musical signals that can be used:-
·         HAND SIGNALS. If you got your hands available, you can try or modify the following signals:
             A  -Closed fist = End of the song
                         B -Closed fist = End of the song
         C   -Swirling finger in the air = Repeat current section of the song
.                       D -A “V” sign behind the back (just like a peace sign) = Go to verse
                         E   -A “C” sign behind the back (as if you’re holding a drink) = Go to chorus
                        F    -Shaky side hand ( like you’re panning for gold) = Build musically ( Crescendo)
    
 ·         FOOT SIGNALS. If your hands are occupied with an instrument (such as a guitar) you could try the following:
.                     G    -Stomping a foot = Build musically (Crescendo)
.                    H     -Leg lift (towards the back) = Bring down (decrescendo)
I.                  I    -Tip toes = End the song

·         BODY GESTURES:
  1. -Lean back = End of the song or cut back musically
  2. -Tilt and lift guitar neck towards the drummer = End of the song
  3. -Drop guitar neck = last note/chord
  4. -Pump guitar neck = End with retard in sync with neck pump
·         HEAD SIGNALS:
  1. -Rhythm nod = Set song tempo
O      -Big up and down nod = start or end of a section of the song
P-Sideways head turn = watch for the next signal – its coming ……..now

·         VERBAL CLUE. Say or sing the first or two words of the section you want to go.
NB: The above are just some of the many musical signals, you can modify them or even create your own signals with your team for better team communication on stage!
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*