By Lincoln Goines, Robby Ameen
Designed for drummers and bass gamers, this book/CD lays out a step by step method of combining Afro-Cuban rhythms with rock, funk and jazz.
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These are the nose, the mouth, the back of the mouth (the pharynx) and the windpipe. These structures vary from person to person, and are, to a large degree, responsible for the uniqueness of each human voice. Their size, shape and quality determine the quality (character) of a singer’s vocal resonance. The cavities are surrounded by muscles which modify their shape and size, re-configuring them into an infinite number of combined shapes and producing the enormous array of sounds unique to each human individual.
Secondly, it demonstrates the importance of sound imagery and sound memory in conscious muscle control. ) Placement in and beyond the ‘passaggio’ Singers who wish to sing the classical repertoire will find that they need to develop the extremities of the vocal range. For Letterpart Ltd – Typeset in XML A Division: Text F Sequential 43 The Right Way to Sing 50 these singers, two points are salient. First, a young singer (that is, one in her early to mid teens) must approach both the high and the low extremities of the range with great caution.
Before she produces the sound, she has to know how to produce it. And in order to know what kind of sound she wants to produce, she has to have an image (idea, mental picture) of that sound. 37 Letterpart Ltd – Typeset in XML A Division: Text F Sequential 31 The Right Way to Sing 38 To understand what this means, sing any note and actively listen to it. Is there anything you can do to the sound once it has been sung? No, it’s too late. The only way to exercise control over the sound is to train your body to perform the appropriate actions, which will in turn produce the sound you want.