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In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows; on the larynx, which acts as a reed or vibrator; on the chest, head cavities and the skeleton, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose ...
Pages in category "Singing techniques" The following 36 pages are in this category, out of 36 total. This list may not reflect recent changes. A. Ammoniaphone;
There was, therefore, a difference of opinion between these two very distinguished singing masters of the 19th century as to the meaning of portamento, and its relation to the legato and the musical slur. It reflected not merely a distinction of terminology but divergent understandings of a fundamental aspect of singing technique.
Singing techniques (6 C, 36 P) V. Voice registers (12 P) Voice types (1 C, 35 P) Pages in category "Singing" The following 64 pages are in this category, out of 64 total.
Vocal styles, such as learning to sing opera, belt, or art song; Phonetics; Voice classification; All of these different concepts are a part of developing vocal technique. Not all voice teachers have the same opinions within every topic of study which causes variations in pedagogical approaches and vocal technique.
Tahrir is a melismatic form in Persian classical singing that employs a vocal technique involving rapid glottal strokes over a series of notes. [1] It is considered "an ornament of the melodic line," consisting of one or more short frequency jumps—called tekye—towards higher pitches. [2] Tahrir is sometimes referred to as a form of yodeling ...
Singing techniques (6 C, 36 P) String performance techniques (1 C, 26 P) Pages in category "Musical performance techniques" The following 34 pages are in this ...
The earliest compositional use of the technique was in the first version of Engelbert Humperdinck's 1897 melodrama Königskinder (in the 1910 version it was replaced by conventional singing), where it may have been intended to imitate a style already in use by singers of lieder and popular song, [3] but it is more closely associated with the composers of the Second Viennese School.