Full Course VOCAL TECHNIQUE 1 Full Course VOCAL TECHNIQUE 2 I - Introduction How were you planning to read only

the first paragraph of this introduction and jump right to the next chapter - nobody reads the introduction of books - I'll g et a warning that you should give attention to training is the main and decisive factor for its success . If you continue with this whole laziness will not get anywhere. You have a hands on work extracted from sweat. So does justice to it a nd pass it to others with dedication of those who want to expand the music and c ulture to replace all this ignorance and violence that thrives today. This cours e is intended for those who want to stop bothering the ears of others. Want to l earn or perfect singing voice and to decorate the outside world. This is the cha nce to evolve and come out even, perhaps, to boost your music career or even inc rease the number of the choir of his church. If one of those who only sing in th e bathroom - perhaps fearing a rain of tomatoes - there are two paths, take a ba th on stage or read and follow all the contents of this material. Perhaps you ar e wondering about her current condition. "I have a voice? Can I upgrade? Should I get close to a Pavarotti? ". Unless you are dumb, who has smoked both cigarett es have eaten their entrails, or is too drunk, it is likely that the answer is " YES" for the first two questions. What about the third, I do not give a damn abo ut opera. Oh, you stutter? Depending on the degree, no problem. Even Nelson Gonç alves (one of the most beautiful voices I've heard) was a stutterer to speak. Wi ll be of extreme usefulness if you have some knowledge on some musical instrumen t. Otherwise, I suggest we consider now. And lucky for you, since right-handed c ourse you will find assistance for their initiation. We will take based on three of them. Namely, keyboard, guitar and flute. Will not have to learn to play lik e Sivuca or Hermetto Paschoal (two excellent musicians). It will only extract so me notes to measure with his Adam's apple. Very simple thing. But I did not prec lude that he wanted to be as good as many of my colleagues that I quoted. If you 're still there - and awake - bear in mind these tips to better enjoy this book: Read it slowly and carefully. If you have not captured a statement, reread many times as necessary until it becomes clear. Reserve two hours daily for training . Find a suitable place (with comfort, silence and privacy). Keep an accessible musical instrument (guitar or piano suggest). If you are studying in the group which is a good idea - establish a command and programming at all homogeneous. Keep in mind that cigarette, liquor and cold water are their enemies. Be obedien t to the program this course. Discipline is a great virtue. If you do not read e verything or surrender of the proposed exercises will get nothing. I am confiden t that good will from this course. It will be very satisfying for me to receive your e-mail telling of their success or get your CD signed. May God enlighten yo u and grant all that is favorable. Full Course VOCAL TECHNIQUE 3 II - Voice, Body and Mind II-1 The human temple If someone asks you to sing, you certainly say that it is with your mouth - and maybe even answer a question so stupid. In fact the question is relevant because , not only sing with her mouth, but with the mind and body. That means we need a good physical condition (I am not referring to the muscles of Sylvester Stallon

e or waist Büchen Giselle) and a lot of concentration (perhaps equal to a monk). The good condition of the body is essential for satisfactory performance. Not j ust the neck, but all the human temple. Beginning with the stance. A straight sp ine is a basic requirement. A large number of muscles interact when we speak or sing. It is necessary that they are prepared for a lengthy operation. For this r eason we will adopt some physical exercise to warm muscles. Do not disregard thi s practice otherwise cause muscle tension and limit their income. No wonder that people say that "the man sings with the soul." Concentration is a kind of vener ation, a sentimental expression. Hard to imagine someone singing without emotion or pleasure. Indeed, we should be involved with the singing as well as the acto r is for the character it represents. Our tuning depends a lot on concentration. II-2 channel voice You hate biology class? Me too, but ... Let's travel a little in the scientific theory and knowledge about the voice channel. The sound produced is still extern alized through the mouth and nose - yes, the nose.€The sound is produced and qua lified for a number of elements in our body. The air we breath is a kind of raw material. He is our voice that echoes through the efforts of some of organs (dia phragm, lungs, vocal cords ...). For all this to be perfect, make necessary that the organs are healthy. It is recommended to stand and sing with the head sligh tly raised. The explanation is that as the diaphragm works better, ie more and b etter seating, oxygen and the sound goes straight through the channel of the nec k. Have you noticed that the corals? II-3 Correct breathing Who has not heard that quote classic march "Belly and chest inside to outside" t ime to breathe? There's the misunderstanding. At the time of inspiration (receiv e) the air emissions subject squeezes the chest and gut causing the diaphragm to retract preventing oxygen to enter quietly. And then to expire (remove) the air that went wrong, it swells the belly of anything - not to mention the face that does. The correct way of working is to get the breathing air (preferably throug h the nose) in good quantity. At the time of exhale, use your nose (and mouth wh en you sing). The diaphragm is a big help for breathing. It is a muscle located near the abdomen that stretches and shrinks as our impulses. When relaxing, he o pens the chest to keep the air and close to dwindle. The diaphragm also moves th e lungs, which in turn eliminates the carbon body with the air. Indeed, when the belly bulge or pull back on their own will, he is with whom we work. 4 So, time to breathe, relax the diaphragm and to receive oxygen and shrink to exp ire stale air. II-4 Where's Adam's apple? And some people think has no Adam's apple. What happens is that the neck is one of the most sensitive places in the human body. Because it is where we breathe a nd eat food and drink - not always with the desired quality. This time, the soun d quality will depend a lot on the physical condition of his Adam's apple. Vocal cords are membranes (tissues surrounding the organs) supported by the larynx th at vibrate and produce sounds and qualify at the time of expiration. It is they who determine their vocal timbre and range of tones between severe (thick) and a cute (fine). Also the movements of the pharynx, tongue and mouth features to mak e sounds. We must therefore have a certain mastery over them. Take good care of his Adam's apple: • • • • • • • • Avoid alcohol not to resect organs. Get away f rom food or drinks hot or cold stupidly. There is a limit of acceptable temperat ure. Smoking is unacceptable. Acidity of foods can harm the party mouthpiece. Do not ever yell. The vibration of the vocal cords damaged disordered potential. A lways keep your mouth moist. The seat does damage. Eating good food (especially fruits) helps conserve the mouth. A gargle water and salt (a pinch of nothing) r egularly acts as serum. Warning: nothing to excess salt, brandy or vinegar. 51 C aninha also no way.

II-5 If the league that The great master of our body is the brain and part of it all pulses (orders) to be obeyed by the organs. Conclusion, the state of mind is the determining factor in time to drop the voice. Then you will have difficulties in entering the stag e knowing that his brother hit him with his car. Similarly, it would be better i f he knew who hit the jackpot mega-sena (and who would go on stage after such a prize?). As mentioned earlier, the concentration defines the pitch. That's becau se the distraction makes the brain to lose control of vibration of the vocal cor ds - which is something very sensitive. Moreover, if the strings are not well tr ained not produce the expected sound. Why are people who have no relaying has no control over the organs. If you're one of them and when they want to sing an "A " leaves an "O", forget their past and prepare for his new career. Full Course VOCAL TECHNIQUE 5 Classroom Practice Heating physical You already know the value of your body to the voice. For this reason, take up t he practical lessons with stretching exercises and relaxation. Wear light, loose not to impede movement. 1. Stretching: standing, raise both arms and go gently stretching upward as if to achieve a rope that is a little above his head. Keep your feet firmly fixed on the ground. 1 to 3 minutes. Relaxation: move your arms and legs freely and smoothly to enable better blood circulation and warm up wei ght training (give short kicks into the wind and simulate swimming, for example) . 3 to 5 minutes. Breathing: As the theoretical standards previously applied,€wo rk your breath and take time to get into a state of maximum concentration. Try t o feel the air entering and spreading in your body through the blood. Work the b rain impulses to parts of your body (such as slight movements of the fingers and toes). 2 to 3 minutes. Wake up the diaphragm, if you read the whole chapter bef ore (doubt) knows the importance of this muscle. Therefore, we will further deve lop its activities; inhale and exhale rapidly giving slaps on the diaphragm as i f we were bombarding the abdomen. 1 to 2 minutes. Heating muscular neck: lower t hrough the head (straight column, please) and start to lift it up slowly as you can as you inhale. Hold the air for some time and go down the head and releasing the air slowly. Synchronizes the time of movement with the breath. That is, mov ement time should be equal to the breath. Go delaying the time of movement and b reath slowly until you reach the average 30 seconds to lift the head (and inspir e), 10 to trap air and 30 to lower the head (and expired air). WARNING: Watch yo ur ability. If it works to extend further the time, do it. Otherwise, lower the limit. Perform 50-10 times in this direction, then reverse the order of movement and breathing. Heating muscular neck II: Similar to the above exercise, synchro nize the breath according to the movements of the neck. However, change the vert ical movement by the horizontal; put his head on the ceiling that it moves aside and turning to go the other working breathing. Oral drive: make movements with the mouth (even faces) to activate the muscles of the mouth opening and closing, stretching to the sides, etc.. These exercises should be performed every class or practice 2-3 times per week. Where are the practical lessons in singing? Prom ise the next. 2. 3. 4. 5.

6. 7. 6 III - Properties of Speech III-1 Sound and Tone Sound is all we can hear - including the estrous broomstick woman when the man c omes home late. The human voice when spoken, the sound of an engine or a thunder sounds are simple and pure. But there are some sounds with a particular advanta ge; tone. Sounds with a variation in tone make possible the existence of music. Without the difference in tone there is no melody. When we talk and we do not ex press tone, however, sing to produce sounds with the variation of tones. III-2 Timbre It's the sound identity. Nobody is able to confuse the piano a zinc plate being dragged. So, every sound your your tone and it's who characterizes the sound. Th e timbre is who differs from the sound of a guitar to a violin, even though they play the same tone. It also serves to distinguish the voice of a person. Consid er that, for two voices that are similar, there is discrimination techniques bet ween them. No wonder that there are many security equipment for voice recognitio n. III-3 Clarity As has so many people wanting to learn to sing there are others that, if you wan t, speak. A fundamental property of the voice is clairvoyance. If you speak thre e times and the other person does not understand and asked to repeat does not ne cessarily mean that she is deaf. You may not be the answer that speaks well. See this: Two guys who do not understand intersected: - Hi Joe, you go fishing? - N ot Cicrano, I'm going fishing. - Oh good. I thought it was fish. Although in thi s case, the two were even deaf. III-4 Learn to speak They say that Rio is so lazy that do not even speak the whole word. I disagree w ith this because not only are the locals. The fact is that we have more quality to adjudicate the entries. Pay special attention to all the syllables to make it clear what you mean. Scroll speech is the practice of those who forgot the lyri cs at the time of the show. However, clarity is one of the items evaluated the f reshmen. Be careful not to make the junction of two or more words when they spok e. This can distort the meaning of the message. Espie this classic sung (and wor ks): Full Course VOCAL TECHNIQUE 7 "Oh, honey, my heart freezes for you." Say the last words together, and the resu lts (a nice outside). Special attention to words beginning vowel. In the case of "America", powder sample, and separate the "A" from "me". In "Ambrose" is diffe rent, separated "Am" bro '. Words ending in "you" are not the same as with "t". In the first case "and" should sound good, while in others the sound is fast and almost imperceptible. Examples, "lovingly" and "Pierrot". In fact, consonants l ike d, f, p, t, v isolated at the end of the syllable should not be pronounced a s they are spoken in the alphabet. In ABC v read as "see." However,€Tchaikovsky at his word sound is a "v" fast. The onomatopoeia (written representation of sou nds) "zzzzzz" should not be read as "zêzêzê ...". Just like the dry sound of z p rolonged. In general, respecting the syllabic division, look more or less speak articulately. Or rather, air-ti-cu-la-da-men-te. That goes for when you sing too . Swearing (big words) should be slightly divided into two or three syllables in

time to be pronounced. Eg "Thessalonians" can read very fast with a division in "Thes." Volume III-5 When we say "Speak up" (do not forget the "please"), we are asking the other to increase the volume. However, music (with sounds of varying pitch) high and low with respect to severe and acute (see this later). In this case we specify "more volume" or "less volume." The volume of voice is linked directly to the force w ith which the air flow with mouth off. Hence the need for proper breathing, and conservation of the internal organs. Each has its limit for the volume. Do not e ver force the volume of your voice. Not to sing, not to speak. But you can stiff en it with the passage of proper training, searching for what you have and not d eveloped. III-6 Change in tone Around the bass (thick) and acute (fine) to construct a melody, or the music its elf. There is thus a range of hues represented by musical notes with internation al standard to be performed by instruments or the human voice. Singing is to rep resent faithfully (do not forget it) down the musical notes in the melody. To do so, it is essential to master the voice. To learn the importance of this variat ion, pick a song (can be "Happy Birthday") and sing a single note and see if you like - make sure there is no stranger around. 8 Classroom Practice Heating physical Please perform the warm-up physical classroom practice past month. Only after pu rsuing. Do not be stubborn! Vocal warm up This exercise serves to develop the control of vocal sounds. It is important for the conduct of the voice. Do not ignore good posture and also is well hydrated (with water natural). 1. Ground: close your mouth and start ringing sound "hummm mm" like a lazy cow. Note that the sound (record) is stored in the pharynx (cavi ty at the beginning of the throat). Start with a time of 10 seconds for the soun d, stop, breathe deeply and start increasing the execution time of the sound. 10 times. Fonfom: the same exercise above, this time bringing the sound to the nos e. Staccato: we repeat the exercise 1 and 2 staccato (you do not know what's sta ccato?). I mean, cut into sound sequences fast and strong. ".. Hmm hum ... hum . .. hum. Use your diaphragm to push the sound. Fast: it is similar to staccato, b ut with a difference; sound softly. Exercise: Now open mouth, work along the lin es above a "shush" sound with the "ssssssss". 10 and 10 times normal staccato. E xercise: still following the previous model, run "Zzzzzzzzzzz. 10 and 10 times n ormal in staccato. Exercise: let's work volume by calculating the execution time and dividing in two, from zero to as high as possible and then to zero again. T hat is, the sound will be increasing and then decreasing. Make twice with every sound already trained. Exercise: Now to relax, to produce the sound "ffffffff" l ike a tire leaking air. Then a rain, "XXXXXXXXX" and finally, a machine gun, "rr rrrrrr. For the latter, place and flutter your tongue on the palate. Five times each. 2. 3. 4. 5. 6. 7. 8. Exercise phonology Look pronounce the following texts:

"The frog knew he knew that if the frog thrush know whether to be known wise." "Apapiru Jadad ALRI Ramat. E coso formulate terbia, ycalabjiady ehran. Mojerikitu caluberê ati raja Jiva, and pot UNIRE qal deliatibá. NOTE: If any term of the last text is a dirty word in some language you nsider my ignorance. Will be just a game of trill syllables created for t. Full Course VOCAL TECHNIQUE 9

would be raffle T know, co the join

IV - Musical Notes IV-1 range of notes Musical notes represent the tone (low-high range) of sounds. For a professional singer - even afraid of instruments - knows it is a matter of patronage. Or not a singer or learns that I value. The international standard establishes seven no tes call tone, and over five semitones called sharps and flats. To his understan ding, let's start with what every child (except in Afghanistan) know: the whole notes. Also note the order of the low-high range: C D E F G There GRAVE Si ACUTE Comparing the shades,€we see that D is sharper than C, and more serious than Mi. That is, insofar as scale grows each note then becomes thinner. Except that ins tead of writing the name of the notes, he agreed to use letters for graphical re presentation. We write letters and read them the original name. Below, the table of letters, beginning with there now: There The Si B C C D D Mi E F F Sun G It turns out that among these tones (notes) there are other semitones. They coul d have had other names (eg "OK", "node" or maybe my name). However, doctors have preferred the music combines them to whole notes. Result; came the pound sign ( #) (semitone on halftone in front of the whole note) and flat (b) (semitone on h alftone behind the whole note). Therefore, finding semitones between the notes C and D, we call them: C C # Db D

It means that after the note C (C) is the semitone C # (C sharp). Then Db (D ^) which is the predecessor of semitone D (D). Even among a whole note and a semito ne is no other sound variation, but were ignored. Indeed, the two semitones (sha rp and flat) were grouped into a single note. Between two whole tones. They get both names on their neighbors. In the former case, C # and Db form a single note (between C and D). Are no longer two semitones, but note both a sharp (compared to the previous note) and at the same time flat (in relation to the note below) . Forget the other semitones. You just have to learn the full range of notes. No te below: 1 2 A # Bb 3 B 4 C 5 C # Db 6 D 7 D # Eb 8 E 9 F 10 F # Gb 11 G 12 G # Ab 10 Note that the sequence ends in G (Sol) resumes in a (there). This is because the scale is continuous. There is a key standard for the notes. Thus, the height of C on a piano is the same on a guitar or the human voice. This measure sound pat tern is called the pitch. Also called pitch an instrument that emits one or more notes of the height standard that serves as a basis for tuning other instrument s (guitar, for example). It is said that a person is endowed with pitch has in m ind when she sings and the tone of the original note. Explaining, she sings in t he F sound pattern F. Learn to keep the pitch to head soon. However, it is neces sary to extract the sound from where it will serve as a basis. To do this we wil l study the structure of the notes on some instruments. IV-2 Keyboard (or piano) Keyboard instruments emit sounds corresponding to a note for each key. The keybo ard is composed of several octaves. Eighth is a set of eight whole notes (from C to another 7um C) represents the keys below (white). Note: The buttons above (black) are the sharps and flats. Thus, among the keys of D an d E has the key of D # and Eb semitone. Note the picture: Spy in the figure below the representation of a keypad 4 / 8: Each key is then your identity with your note and on the eighth. So after the D C2 D is the second octave, ie, the second D2. Now you know to draw notes on a ke yboard. Playing the keys you can identify the difference between the sound of ea

ch one. By varying the tone, the sound keeps getting thinner in ascending order of notes. Then, each key on the right is more acute than before. The same happen s with equal notes, the C1 is more serious than the C2. IV-3 Guitar Besides being the most popular, the guitar is a beauty unmatched acoustics. The sound runs from the vibration of the strings that select the notes when pressed in the order of the houses on the arm of the instrument. Looking at the picture on the side shows the distribution of strings and the houses of the guitar neck. Full Course VOCAL TECHNIQUE 11 strings are listed 1-6 starting from the bottom u p - the finest strings for the thickest. The houses are separated by junk and li sted in the order of the header at the mouth of the guitar. The strings played l oose match the house zero. Pressing the fret after the first become the first ho use and so on. The tone also follows this order. The higher the house the thinne r the sound. CAUTION: tighten the strings with the finger and head inside the ho use and not on the fret. The distribution of the notes of the guitar strings sta rts (box zero) and grows with the numbering of houses. Example: the first string is E. In the house will be a F, in the other house F # / Gb, then G, G # / Ab, A, and so on. See the scale until the eighth house illustrated below: Note that the order of notes is reversed. It grows in acute returning to the mou th of the guitar. Note also that some homes were without notes. Well, know that they have notes and so are the sharps and flats. For example, the note of a chor d in box 2 is F # and Gb To simplify the description of each note,€we use the le tter of the note and another number, the first for the rope and the next to the house. Combined so the C35 will note in the chord C 3 and Section 5. The note D of the fourth open string (zero house) will be D40. If you have not slept with r eading, may have noticed the large amount of notes that the guitar has. Only unt il the eighth house - as pictured above - we find five notes E. But that does no t mean that there are so many as the 8th is the number of notes, because there a re equal notes of one octave in different strings. To be exact, starting from th e lowest note E60, followed by the fifth house and down to the rope below. The n otes from this house, will be similar to the houses of the rope below. Example, A65 and A50, A # A # 66 and 51. Following this string, we reach the note went do wn to D55 and D40 and so on. Now you also know where are the notes on the guitar . EQUIVALENCE OF NOTES BETWEEN INSTRUMENTS Keyboard = E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 Guitar = A65 E6 0 F61 G63 B52 C53 F43 G45 D55 E42 A32 B34 C21 D23 E25 F11 G13 or A15 = - A50 --B67 C68 G30 D40 E57 F58 A47 B20 C35 D37 E10 F26 G28 A30 IV-4 Recorder Either keyboard or guitar? Okay. Let the recorder. Easy to play, and is found to carry the shops for $ 1.99. See how the structure of the notes on the flute: 12 representation of the notes. See the model of the flute in the picture above and beside the symbolism of how they behave in the holes On the left, look at how to use your hands to tighten the holes in the pipe musi c. Also note that the back hole of the flute is tight (when ordered) by the righ t thumb. Now meet some notes on the flute. IV-5 Melody and accompaniment The melody is the part of the music expresses. The part sung (vocals) is the exp

ression of his own music, so the melody. In turn, the accompaniment is the backg round sound made with chords. Wake is a union of several notes that form a prede termined position. The monitoring can be filled with introduction, soil and arra ngements. We can cite an example of this separation on the song "HOW BIG MY LOVE FOR YOU" by Roberto Carlos. She has a full complement (drums, bass, guitar, etc .). And it begins with an introduction on flute. Then comes the song with the ly rics sung on the sequence of chords of the accompaniment. During the melody, the flute reappears with small arrangements. At the end of the lyrics, comes the gr ound, also on flute, isolated with the accompaniment. After the solo, the melody is repeated in the verse "Not even the sky ...". For this melody is a sequence of notes that must be performed along with the words. Rather, sung. Normally, ea ch syllable receives a note. See: "EU TE - NHO TAN - PRA TO YOU FA - LAR ..." BB DDCACAC (Musical notes) But it can happen in two or more syllables are attached in a single note. Note: "CO - It's GRAN MO - FOR MY A - MOR ..." Full Course VOCAL TECHNIQUE # 13 GEGEEGED Or even a single syllable is inflected in two or more notes. Take the test by si nging this verse of the classic "Asa Branca" by Luiz Gonzaga, "I PER - GUN - TE - EI IAU GOD OF HEAVEN ..." GGA BDD BAGC IV-6 Vocal Power Between men and women there are more differences than the hairy chest and mustac he. The natural voice is a male or two octaves lower (severe) than they are. We can say that they sing on the track for first to fourth and eighth of them in th e second to fifth to eighth, as the potency of each. When the man has the super serious voice, he inevitably falls into the category below. To sing, he reaches around the first to the second octave. The class is called a baritone. The Sopra nos reach between the second to the fourth octave. The third classification is t he tenor. In this case, those with this class are most acute in the similar tone and sing to the ladies, and also reach the second round of baritones. The class ification of women's voices begins with contralto voice to those who have male-m outhed. At the time of singing, they use up the second to the third octave. The intermediate category is known as semi-soprano. Accordingly, the median sing on the track from third to fourth octave. The powerful third grade follow the order of musical soprano. The singers sing the third that level beyond the fifth octa ve. Each category sings around eighteen whole notes, which is almost three octav es. Like a melody is usually written with notes ranging from two octaves, it mea ns that, properly, a person can sing any song. When I say "properly" I mean to u se the appropriate notes for each voice. So if a song, the woman using the notes C, D, E, F and G of the fifth octave,€bound to the male voice can not sing this song with this tone as sharp. But if he takes those notes and move to an octave lower he certainly sing the same song perfect. Let's try this; see some verses of the song "Asa Branca" with the appropriate notes for each sex. Tap the instru ment and then sing at the eighth appropriate: "THE QUAN-O-LHEI The TER-RA RA-DEN -DO / FO How-gay-RA OF JOHN" GG and FF CDE CD EGGF And so, in practice, not shou ld be a baritone, tenor or soprano. In any situation you can sing your favorite songs correctly. It is also true that there has an extraordinary power able to f all into two categories at the same time, trading at kids, singing notes over th ree octaves. With that, he is able to mimic male and female vocals perfectly. Bu t do not be jealous because this is not much advantage, if you want to just sing . 14 Classroom Practice Heating physical Start with the physical warm-up described above. Vocal warm up

Do vocal warm-up you've learned. What is your power? What is the capacity of your voice? Could you be a Pavarotti or a Louis Armstron g? His voice is thin or thick? What notes and that you reach the 8th? Let the te st with the aid of an instrument (keyboard or guitar). FOR MEN Touch and listen well to note E (E3 and E42 keyboard guitar) and try to sing it. Sounds comfortab le? Great. Now we will measure your ability to the limit more serious. Touch and sing reducing a whole note, or joining a note. Measure and record until you rea ch serious note - without forcing. Keyboard E3 = D3 C3 B2 A2 G2 F2 E2 C2 D2 B1 G uitar = A65 B52 C53 D55 E42 F61 G63 E60 Now let's measure your limit acute incre asing a whole note. Keyboard = E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D6 Guitar = A32 E42 F43 G45 B34 C21 D23 E25 F11 A15 B17 C18 D20 G13 OUTCOME Low reaches be low F2 - F61 as the limit goes to the grave and acute C4 - C21. Baritone sings n aturally among serious near B2 - B52 and stumbles around the limit acute A4 - A1 5. Tenor bass note starts near the C3 - C53 and has an acute upper limit to the C5 - C18. FOR WOMEN Touch and listen well to note B (B3 B34 guitar and keyboard) and try to sing it. Sounds comfortable? Great. Now we will measure your ability to the limit more serious. Touch and sing reducing a whole note, or joining a n ote. Measure and record until you reach serious note - without forcing. Keyboard = B3 A3 G3 F3 E3 D3 C3 B2 Guitar = B34 G45 F43 A32 E42 D55 C53 B52 Now let's me asure your limit acute increasing a whole note. Full Course VOCAL TECHNIQUE 15 Keyboard = B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 Guitar = B34 C21 D23 E25 G13 F11 A15 B17 C18 D20 E22 F23 RESULT: Contralto reac hes below E3 - E42 limit as serious and goes to treble G4 - G13. Semi-soprano si ngs of course from the grave near G3 - G45 and stumbles around the limit acute C 5 - C18. Soprano gets close to the bass note A3 - A32 and acute upper limit has to F5 - F23. Sounding notes Let us sound a sequence of notes to begin training the voice. Use the eighth rig ht for your voice, starting with the most severe. For example, the baritone begi ns with C3 - C53 and soprano by C4 - C21. Play the notes, listen and sing them w ell. 1st Sequence: a) Play the notes; CDEFEDC (about 2 seconds for each note). b ) Take the sound "ê" and sing the above sequence of notes (with the same time). c) Now repeat the sequence once for each style, normal, grounded, fonfom, stacca to and creep. Like it? Then repeat the exercise by changing the sound of "ê" wit h "a", "ô", "O", "i" and "u". 2nd Sequence: Repeat the previous exercise, this t ime changing the sequence described above for this new, DEF # GF # E D. 3rd Stri ng: The same way, now with the sequence; EF # G # AG # F # E. 4th Sequence: Same with this sequence; FGA Bb AG F. 5th Sequence: Again another sequence; GABCBA G . 6th String: Is ending; A B C D C # B # A. 7th String: And the output; A B C D C # B # A. 16 V - Acordes V-You are a smart? If you are a caring person - and complies with the recommendation to do the exer cises straight - must have noticed something interesting in the last financial y ear, the notes were altered in a sequence to another, but the sound sequence ass embly (the melody of the sequence ) was very similar - or rather equal. Just had a slight variation in tone. By chance if we changed the sound of the lyrics for a verse, we sang a melody of words. Suppose that the composition was: "I'll go back and forth" CDE FE DC If we replace the above sequence for all other classes given in the final practice€we sing this original letter with different sequenc es - that is, in different shades - and the melody would not change. Why? Conclu sion soon.

V-2 rating of the notes To play a note on a guitar just follow the table of chords and houses shake and shake. On the keyboard, just push the button and find your finger on it. But the re's more. Each note, including the semitones (sharps and flats), has a secret t o tell: they are sounded from a sound wave divided into small pieces that nobody notices of hearing, as if they were seminotas lower. In fact, there are three p ieces of sound waves that make a statement. How can not really distinguish these waves the naked ear - and not interest us - the power to raise musicologists re solve these seminotas a note below and the union of notes corresponding to a cho rd. Got it? No? Again, a music fanatic with eyes and hair mad scientist had noth ing to do and was tweak, tweak and tweak until he discovered that the note C con sisted of three sound waves lower, respectively similar to the notes C, E and G. So if these waves formed a joint statement, therefore the union of equal notes would form something - he gave the name of the chord. Therefore, the notes C, E and G form the chord of C. Therefore, there are positions (numbers) for guitar a nd keyboards that play several notes at once. If you are studying in groups, sel ect three people and determine for each voice notes forming the chord of C to ch eck the theory. V-3 Wake up to the chords After discovering the notes of C, there was no obstacle to find the others. In f act, this table of values of notes was taken so seriously that it, new propertie s of music. The most relevant findings were a big crop of chords for each note, major, minor, with the seventh, with minor seventh, etc.. The following table of values of the notes for each chord, and each note is a version of major chord a nd minor chord. NOTES FOR TABLE OF AGREEMENTS Full Course VOCAL TECHNIQUE 17 Note chord F # m BG # m C Am D Bm EC # m G Em F Dm Gm A # C # A # m Cm D # F # D # m G # Fm 1 AF # BG # # CADBEC FDGEA $ C # G # A # D # FC # D # G # F 2 BG # C # A # # F # D BecD GEAF # # # CAD CFDG # FA # G AD # 3 C # # DG BECF EAFBGDA # # FC # GD # A # F # GC # 4 BecD FDGEAF # # # Gcad Bb FC # D # G # FBG # C # A # 5 EC # F # D # BG # # GEAF CADBFDG FA # GC # # A # C $ D DG 6 F # # # AD EAFBGC ECGD # Bb F # A # CG # D # # BFC EA 7 G # F # # # AD # BGC BECF DAFCG # # # FC DA # GD # 8 AF # # NG CCDBEC FDGEA # # G # C # AD # CF # D # G # F Let us study some properties using the table above. a) Each sequence of notes is different between the chords. b) The first value (footnote 1) is always equal t o the eighth. c) We use only the description of sharps for semitones. However, s ubtends too that are flats. For example, is equal to G # Ab. d) The table does n ot end the eighth value, it continues to ninth from second. Thus, the ninth grad e is equal to the second and tenth grade value is the same as the third, etc.. e ) The notes of the table creates an equivalent value of the notes for each chord . This means that the note F is for C and D to A is # #, which represents the fo urth value in the table for their respective chords. f) If the notes C, E and G form the C chord (C major), we can conclude that the major chord is formed by th e values 1, 3:05. With this, we can determine that, taking advantage of the rela tionship of values, I can train all the other chords by selecting the notes equi

valent. For example, the D chord is formed by the first, third and fifth note of their sequence. Querying the table, then noticed that this chord will consist o f the notes D, F # and A. g) We need not delve too much, but it advance the mino r chords are also formed by notes 1, 3 and 5 of his smaller scales. Thus, the Cm chord exist with the sum of the notes C, D # and G. V-4 Following the melody Remember when we talk about melody and accompaniment? (See IV-5) because we were not kidding. Behind the Melody (sung or in the form of instrumental arrangement ) there is a sequence of chords. Like what you want is to sing and learn instrum ental accompaniment, meaning that the chords must be in accordance with the melo dy. The rule is clear: the melody note must match one of the chord notes and not necessarily with the actual chord. With this, the instrument is a 18 single chord and within it, may be executed several notes to the melody. When yo u need different notes to compose the melody, the chord changes. V-5 practical value of the notes The interesting thing about all this for anyone who wants to sing is to have in mind the value of the notes in a sequence.€You play the first note and know the others in sound order and beyond. For example, you sing the notes 1, 2, 3 and 4 and recognizes the value of each in that order and with a little practice, you c an skip to Note 1 for 4 without having to make stairs (play the notes between th em). Then you will know the value that is the first and fourth grade. Once you h ave these values in their infiltrates cuca, you will know automatically distingu ish the notes of a melody so listen first. We also know the notes carry from one key to another. See below. V-6 shades Transport Remember the verse of the song "Asa Branca" we sing in IV-5. Its sequence of not es belongs to the range of G. "CO - It's GRAN MO - gegeo MY A - MOR POR VO - CE" FE EF # D BG We can say that the notes used G, E, F # and B in the sequence of G corresponds respectively to the values 1, 6, 7 and 3. Knowing this, we use these values to c arry the melody of the scale for any other. We will show that changing the tone G to B: "CO - MO is GRAN - FOR MY A - MOR POR VO - CE" BG # BG # G # BG # A # F # A # B Similarly, we can transpose shades easily for a compelling purpose, fit the melody to his voice. Sing the verse up in two shades (G and B) and note in h is voice which one fits best. If no service, find another. Full Course VOCAL TECHNIQUE 19 Classroom Practice Basic Exercises You know those boring exercises of practical lesson last? Try to enjoy them and get this - and all others - out there. Recognition of note values This class aims to train your ability to recognize notes. More precisely, the va lues of notes in a sequence. We will build on the C scale (C major). For that, l ook for the eighth grade of C better suited to your voice and sing the following sequence, trying to understand the value of every note on this pitch. 1st strin g = full scale with all the values: CDEFGABC second string = original values of major chord (1, 3 and 5): CEG third sequence = 1 (the original note), 4: C = FC 4th string scale complete with all values: CDEFGABC fifth sequence = 1 (footnote original) and 2: CDC sixth sequence = 1 (footnote original) and 7: 7th string C BC = complete range with all values: CDEFGABC eighth sequence = 1 (footnote orig inal) and 5: CGC ninth sequence = 1 (footnote original) and 6: 10th CAC sequence

= full scale with all the values: CDEFGABC Where's your ear? I Gave you pick? Test your ear playing assorted notes without looking at the instr ument and try to find out what grade is. 20 Where's your ear? II Let's take the most played song in the world as an example, "Happy Birthday" son g and sing it in the C chord (look for the eighth under his voice). For starters , let's play the instrument after the first verse and sing. "PA - RA - PROPERTY PRA VO - CE / NES - THE DA - AT THAT - RI - THE" A3 G3 G3 G3 G3 G3 A3 B3 C4 D4 C 4 C4 G3 Piece of cake, right? Now write the rest of the lyrics with its notes ta king advantage of your voice and your ear. Sing the verse and search the notes u sing the technique of the values of shades. Where's your ear? III Now's a surefire trick to teach you to keep in your head, once and for all, the original sound and pattern of each note. It's as if you installed a tuning fork in your ear. Take a song you know and sing often. Sing it in the shade more fait hful to the original recording and try to find the instrument which the note of the first syllable sung. Now check if you sang the same note in the tonality of the recording comparing notes (which he sang and wrote after the original note o n disk). If you sang the note properly is because it has the tone of this music head. So, knowing which note is that, you can get the whole scale comparing the values of the notes. I, for example, when I sing the notes on the tone, I try to remember the song "Unchained Melody" (theme from movie "Ghost - The Other Side of Life") which is the key of C major and also begins with a note C. From this I calculate the height of the others. Full Course VOCAL TECHNIQUE 21 VI - Voice notes VI-1 Where is the second voice? The second voice became popular in country music and invaded the spaces of other rhythms. But there is even second voice? If that is so, how does it work? They are present, and not just the second as other voices that you can enumerate the third, fourth, fifth, Saturday or rays that leave. Turns out when you have a fol low-up on the tune, you get a series of notes that make up the chord played. The original melody - the voice - will have to choose one of the scores for each ti me.€It will then be a breach of other notes that could be sung by other voices. Take this verse below with its original melody and then exchange the notes: "PA - RA = Original Voice G3 G3 2nd 3rd Voice E4 = E4 = A3 C4 D4 PROPERTY PRA G3 C4 E4 E4 E4 VO - CE / NES G3 B3 C4 D4 E4 D4 D4 G4 G4 - AS OF G3 A3 G4 D4 D4 B4 - B4 THAT AT B3 G3 D4 A4 line B3 - C4 D4 G4 RI - THE "C4 E4 G4 With this radical change, it created two new tunes for a single letter and follo w up. The most practical way to seek a new voice for monitoring is to observe th e other notes of a chord. If you're singing about the chord of C, then you have three notes that form the original chord (C, E and G) and over the same notes in different octaves. Take three voices (if in group) and on the monitoring of C, sing three notes of the chord letter below, each on the same note: Voice = 1st 2 nd 3rd Voice = Voice = "The U.S. - MO VO - CE" CEG So you can change any other melody or create from the original putting other cor responding notes for monitoring. 22

Classroom Practice Rewriting voices Rewrite new voices for songs from just a melody, you know and also search the no tes of the voices from songs like "YOLANDA" by Chico Buarque, Simone, "POOR GIRL " from Leno and Lilia, DO NOT SAY GOODBYE've learned "Leandro and Leonardo has t wo voices well defined. Full Course VOCAL TECHNIQUE 23 VII - Harmony & Style VII-1 Agrado Music "I wish tomorrow was, however lovely. Approximately valley wind together. " Harm ony means to please the ears with a well-composed melody, sounds congruent and a ligned in a bar. In other words, the music must have a sense, your notes should be nuanced and combine with each other. Reading the first line of this topic, te ll me, what does he mean? Nothing, even a thing! In literary matters he says is gibberish text, without harmony, without direction. Although join right keywords , in general, they do not give a direction to any idea. We must therefore make s ense of melody running it faithfully according to the technical criteria which w e will study below. VII-2 tuning As noted, the standard scale has seven whole notes and five semitones that repre sent the sounds in a melody. However, there is a change of tone between one note and another that produces a dissonance, that is, a sound out of tune. The singe r must reproduce the most accurate, the notes in a pitch that meets the internat ional standard of music - the original sound of the notes. The trick is to imita te the instrument. Play a note or a string of them and try to reproduce the voic e. VII-3 Softness There is nothing more irritating to the ears that baby cry and strident voice. T his is typical of someone who is forcing the neck trying to give what is not, wh ich reduces significantly the phonological organs. The sound, rather it should g o smoothly, though it is high (treble), without forcing the Adam's apple. Furthe rmore, the voice should sound, preferably from a slight increase in volume. Also in late, you should take care not to cut the voice. Most often, the sound is te rminated with a gradient in the volume as if it were being closing the volume kn ob. However, there are cases where the sound is finished with a rough cut, simil ar to staccato. You can not leave the impression that it is stopped for lack of voice. Therefore, it is imperative that a good breath. Fill your lungs and blowi ng and go under the corner and synchronizing the resistance. Before pulling the new oxygen, expel the former to fit more. VII-4 Enter the compass I bet you've seen this scene before, someone will sing accompanied by another in strument played in that game and gets an eye as if to ask "Is this where I go?" Then he begins to sing such a hurry that while the musician plays the verse he i s already singing the chorus. After an earful - and who knows, boos - the singer gives an exaggerated way and ends up taking so long that the face of the instru ment comes out to drink some water until it exits the first verse. It is this el ement that simply do not know what's compass. Has no notion of the right time to sing. 24 In fact, this is not uncommon and you may then be identical protagonist of episo des - or rather was. With good training you can settle this problem. The key to success is attention and a trick; use their virtual battery. To learn how to kee p pace correctly, initially it is best to tap your foot, clap or Snap Ya Fingers simulating the battery. The beat of the drum pedal is usually the loudest, foll

owed by taps on the boxes and drums. Equally follows here. It is very difficult to get out of rhythm like that, only it is not always possible - and personable - making these moves. Over time,€they can be replaced only by imaginary beat in your head. I also know who mimics the battery with the mouth. VII-5 Interpret singing You want to be a singer (singer) or actor (actress)? How about both? Well aware that one of the most showy in a live show is an expression, how to interpret the lyrics the singer physically. Combines singing "MY GOOD WILL" of Djavan jumping on stage? Or maybe giggle while singing "WAITER" Reginaldo Rossi? Can you imagi ne a sad face of the singer during the execution of a plot of a samba school? Of course not. The feature shall match the moment, the music in question. Beware o f over gestures not to get mania. For example, Julio Iglesias sings clutching hi s stomach with his left hand, Jose Rico, who is partnered with Millionaire, only issue is acute ear sandwich. Volume VII-5 uniform Regardless of the change in tone (bass or treble) the sound must generally under go a regular volume. Take the song "construction site" by Fagner and send any un derdog sing the first verse and he'll sing "When I think of you, close my eyes . .." a certain volume and "... saudaaaaaaades "he'll rip any. It's a mistake to c hange the volume proportions pronounced. This happens just at the most unnecessa ry, the highest notes. If the tone is sharp, less force is required. By contrast , in more serious tone, where sound is naturally lower, it requires more effort to balance the voice volume. VII-5 Microphone - terror Still there are people in this world who hate microphones. What stupidity! Reall y no difference between outdoor and sing sing into the microphone. In the first case, you get rid of accidentally swallowing the object and the second, you can sing or speak softly and be heard by thousands. By singing into the microphone, keep the voice in the same manner as if without him. No need to change the volum e. Who has the job to amplify your voice is it. Also, do not put the microphone in your mouth. Keep a reasonable distance (about half inch) and regular. Be sure also that the quality of your voice to the microphone will depend on both the e quipment and its settings as you. Hence, the need for an external agent. It is e ssential to have sound return to also listen to your voice. Caution with noise a nd unwanted sounds. The sound of breathing or chewing of the mouth may be picked up by the microphone. Can also be caused egregious slaps in some act of talking or singing syllables with "p" or "t". Or, wheezing, prolonged with the use of " s" or "ce". Full Course VOCAL TECHNIQUE 25 Classroom Practice Conclusion Now it's time to drop the voice putting into practice the whole technique studie d here. Do not forget the main recommendations: • • • • • • • • • Body Posture H eating Heating Proper breathing vocal tuning Softness in voice volume Compass un iform expression If you have learned all this and get it into practice, will certainly be ready t o face the stage. Otherwise, go back to your bathroom and stay there. 26 VIII - Music Vocabulary # = Symbol sharp. A = Letter representing the note and the chord of A major. Mon itoring = Background Music that fills the melody. See; Effects Monitoring. Chord = Union of musical notes to accompany the melody. Each hue has a series of chor

ds that may be higher, lower or relative. Pitch = Harmony between the sounds. Ac ute = Variable Tone sound to thin and tall. Opposite of serious. Effect = arrang ement that applies on the accompaniment of music. B = Letter representing the no te of Si and B Major chord. b = Symbol flat. Low = male voice more serious. Gift ed singer of that voice. = Baritone male voice intermediate between Bass and Ten or. Gifted singer of that voice. C = Letter representing the note of C and C maj or chord. Cipher = Graphical representation of note and chord. Bar = Organizatio n of rhythm. Runtime melody. Contralto = A female voice more serious. Singer hav ing such voice. D = Letter representing the note of D and D major chord. Desafin ado = no harmony between the sounds. Dissonant. Dissonance = Lack of harmony and timing between the sounds. Discord. C = First musical note. It is represented b y the letter C. E = Letter representing the grade of E and E Major chord. Monito ring purposes = See; arrangement, Introduction, Solo. Scale = Value of notes or chords with a certain order and values. Expression = Physical interpretation. F = Letter representing the grade of F and F major chord. F = Fourth musical note. It is represented by the letter F. G = Letter representing the sun and the note of G major chord.€Severe = Variable Tone sound to thick and low. Opposite of ac ute. Harmony = tuning between the sounds. = Introduction Effect of monitoring ab ove the melody. There = Sixth note. It is represented by the letter A. = String melody notes that defines the music and is sung or played prominently in instrum ental music. E = Third note. It is represented by the letter E. = Music note rep resentation of sounds in a predetermined order and scale with values. The whole notes are seven: do, re, mi, fa, sol, la and si. Rounding out the range of marks semitones sharps and flats. Eighth = A set of notes between the entire range of two equal notes. For example, a C1 to C2. Creep = style singing softly ringing notes. D = Second note. It is represented by the letter D. Seminotas = Originall y sounds were intermediate between the musical notes. Later, they became notes r epresented by the sharps and flats. Si = seventh musical note. It is represented by the letter B. Fifth Sun = musical note. It is represented by the letter G. = Effect instrumental solo performed during the follow-up. Soprano = The most acu te human voice. Singer endowed with this voice. = Staccato style of singing soun ding notes quickly and strong. Tenor = male voice more acute. Gifted singer of t hat voice. Identity = natural timbre of each sound that allows its distinction. Tom = See; Darkness. Tint = Change in sound between bass and treble down the not es and chords. Volume = intensity of sound. Voice = sequence of notes that make up a melody.