Music Lessons For Toddlers Bristol

How To Sing Better Tips To Learn How To Sing Better Today

How to Sing Hi. My name is Aaron from Superior SingingMethod and in this tutorial, I want to talk about how to sing. OK. How to sing, kind of a broad topic butI'm going to narrow it down. At the end of this, I want to give you a really good exercise,one of my favorite exercises that will get you a little farther down the road of actuallyhow to sing. But let's talk for a minute about how to sing. What does that even mean to learnhow to sing and sing betteré I break it down into sometimes three, sometimes four differentcategories but I will give you four right

now. Learning how to sing is learning the instructionpart. So right now, this is part of the instruction. I'm going to give you that vocal exercisebut just to give you a little bit of instruction about the voice and how it works and how singingworks because the more you know about the voice and how the voice works when it comesto singing, the more you can apply these techniques and concepts to singing and to the exercisethemselves to start shaping your voice the way you want it to be so you have the besttone, the most resonant, full kind of sound. You can hit the high notes, all that kindof stuff.

So instruction is the first part. The secondpart is then I guess kind of obvious is the exercises. You got to have the exercises becausethe exercises are just like the rest of your body. You need to work out, exercise to keepin shape and to be able to make your body do the things that you want it to be ableto do to have the flexibility and the strength to do what you want to do. Third one is systematic. Learning singingsystematically is really the way to go. The link below is I have an eightweek systematicprogram that you can check out at some point but I believe that systematic is the way togo because you learn the right thing at the

right time and you're not only systematicallydoing the exercises but you're also learning the things in the right order and doing thingsin the right amount of time and repeating there's a lot of repetition which leads meto the next one and that's just being consistent. Use the repetition to consistently build andbuild and build your voice. So those are kind of the four main thingsand just along the lines of that last one, the repetition is I know that's kind of thedifficult part, righté I think we live in a culture that we don't want to do thingsover and over and we don't want to like work really hard to get to things and I get thatand with these tutorials, my point and my goal

is get you singing as good as you could possiblysing as fast as possible for sure but it does take repetition and it takes time. As youdo the exercises, this one that I'm about to give you and other exercises of courseyou need a variety of exercises but this is a really good one. It's not just going to take once and you'regoing to sing better. You know that. Intuitively, you know you're not just going to get betterby, Oh, do this exercise for 10 minutes and I can sing better. But if you do it this consistentlyfor two or three days, a week, two weeks, those kinds of things, you will start it'snot like all of a sudden you will be like

the greatest thing in the world but you willnotice a marked improvement in your voice. You will see improvement and that will encourageyou to be more consistent and get more instructions. Do more exercises. Do the systematic thingand the consistency and repetition. So what I want to talk to you about today,the instructional part, and this is all instruction but the instruction part of the actual voiceand how it works. What I want to talk about is the larynx. This is one of the problemsthat most singers have is that when they go to sing high notes, what they're doing isthey're raising their larynx up. Maybe you do this as well. When I'm not paying attentionand I'm singing, sometimes I still even do

Get on Board Music Curriculum for Bristol

quot;Wouldn't you like to go floatingéquot; quot;High in a beautiful ballooné quot;Drifting with ease, the way you please, high in your coloured balloonquot; So, today I did the start of the Year 34 Air unit. The first lesson of the six week plan, introducing Hot Air Balloons The idea of the six lessons is that they build so that the children have a composition outcome, they create their own Hot Air Ballooninspired piece as a group using their voices and percussion instruments

and then they notate it using graphic score, the children were using percussion instruments to create a soundscape of a Hot Air Balloon taking off, so we discussed how Hot Air Balloons move and we imagined that we were journeying in a Hot Air Balloon across the city of Bristol. We imagined what we might hear, and first they just had one percussion instrument per group and the idea was that they really experimented with the ways of making different sounds

with that instrument, that there isn't as such only one way to make a sound and I had things likes whisks as well and potato mashers just to be a bit more free, sort of Stomp style, about what an instrument might be and they took turns passing the instruments around the circle demonstrating the different ways they could make a sound with the instrument. And I introduced the terms piano and forte as well, and interestingly lots of them wanted to say it was somewhere in the middle. so then I could introduce mezzoforte and mezzopiano at the same time.

After they'd experimented with their instruments I then gave an instrument to the whole group and they used their instrument to create a particular sound of a Hot Air Balloon taking off, so we had wind whooshing, birds tweeting, basket creaking and metal clanging, those were the sounds the children thought of themselves. They made their own soundscape, then I conducted the whole class to create a soundscape together. The extension activity in the plan is to invite children to come up and conduct the soundscape themselves. I think this worked really well. I think I'll do it more.

quot;Wouldn't you like to go floatingéquot; I think it's really exciting that this new curriculum is going to roll out across Bristol. Particularly as a Music Coordinator I get a lot of questions from staff about supporting music in the classroom, I think with the timeconstraints of teaching it's difficult to fit, sometimes to fit music in and I think the great thing about these plans is that they're free, so they're easily available. All the resources are there and the plans are very clear so you can, as a nonmusic specialist, or as a music specialist, you can pick them up and use all the resources for your teaching.

Also, it's great that they link in with other topics that you might be doing so they're quite topical. They would be good to make crosscurricular particularly with all the plans centred around Bristol. Which I think is really exciting to link Bristol in to the children's learning. To inspire History topics and other things in the classroom, so I think they will work, hopefully successfully, because you can just pick them up, insert them into a topic you're already doing, there're extension activities, ways to take it further if you wanted to, it's just a great starting point and I'm looking forward to the new things

Studying music at the University of Bristol

In many ways the music degreethat we offer here at Bristol is quite a traditional one in that students are encouragedto deal with the nuts and bolts of how music is put together. So we're very concerned to integrate theoryand practice here. There's also a high level

of practical music making going on. The Black Knightthat we're performing now is one of the piecesthat we're publishing in the Elgar Complete Edition. When you producea critical edition of a piece, you have to make sureit's absolutely perfect. It's got to be correct and the best way of checking itis in actual performance.

ELGAR: The Black Knight We're very excited thatwe're just starting a residency which has been generouslyfunded by private donors with the Brodowski Quartet, which is one of the mostexciting young string quartets to have emerged recently. In many cases, the work of the staff herehas been disseminated globally.

Research is quite an importantaspect of our teaching here in music at Bristol University. All of the staff offer unitsthat are, in some respect, related to theirresearch specialism. So we feel that this strengthens the kind of teaching that we offer because it meansthat what we do is informed, it's up to date

and we hope it's enthusiastic too. Thank you for all your work.

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