Jimi Hendrix: and the gods made love
In the beginning were The Beatles. They brought music. Then Dylan came and he brought the Word. And then there was Hendrix. His gift was the guitar. And with it,…

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Sonata, musical composition for one or more instruments. In the classical sense, the term refers to a work for piano solo or for a string or spiritual instrument with a…

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Music and vocals: learning to sing
The exercises of this system are aimed at releasing the voice from tension, at developing and strengthening it, primarily as a human tool and as an actor’s tool. It is,…

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The mysteries of a beautiful voice

Today I would like to touch upon a question related to the timbre, beauty and harmony of our voice. It is often said that a woman loves with her ears, and a man loves with her eyes. But I have a feeling that everyone loves with their ears, and with their eyes, selectively, aesthetes and especially spoiled lovers of beauty.

So, the voice is important for everyone, especially for singers. And for ordinary people – not musicians – the beauty of the voice is also important, because it depends on whether your speech is harmonious or not, whether the girl loves you or not, whether the director is sympathetic or if you don’t like him right away, if the client will trust , or, on the contrary, immediately turn away from you and slam the door in front of your nose.
Let’s analyze the voice from a musical perspective, although this approach, I think, will be very useful for ordinary life.

So, as we said earlier, the voice is distinguished by height and timbre. Female voices are higher than male voices, although low female voices – contralto and high male ones – tenors are sometimes very similar in sound, even so that it can be difficult to distinguish between them.

When a child begins to play music and singing in childhood, it is very likely that his range will develop quite well, and by the age of 12-13 he will learn to use at least one and a half octaves. That is, a person, having matured, will be able to possess both high intonations of his voice, and very low ones – deep and soft. But, unfortunately, for some reason – upbringing, the habit of speaking in one way or another, environment, profession – people sometimes use a very small, frankly speaking, meager range in ordinary colloquial speech. Some women, for example, tend to talk on the bus with shrill, thin voices:

‘And I bought such blouses at the sale! Super!’

‘And I’m high boots – class !!!’ – the friend echoes with an even more subtle and piercing, ‘school’ voice.

The ladies speak in such a way that it seems as if they do not at all have the voice of deep, beautiful overtones in nature. But actually it is not. If you conduct a small vocal and speech training with women from the bus, then they will suddenly reveal soft, low notes in their voice. But slow speech, not a harsh and not shrill voice act on others soothingly and pacifyingly.
The mysteries of a beautiful voice

The delivered voice.

The incredible cries of children in a comprehensive school, when they are “resting” at recesses, studies have shown, increase the level of irritability of teachers. Teachers begin to get nervous from the screech of schoolchildren, break down and start screaming at the wards sometimes with equally high and sharp voices. And the children, in turn, start up. And it turns out a vicious circle. And the way out of it is a decrease in voice intonation, a decrease in the rate of speech. In order to achieve such skills, there are special vocal and speech exercises.

It must be said that among professionals there is a distinction between the so-called “delivered” voice (singers, lecturers, presenters and artists use it), and the “undelivered” voice is ordinary, everyday.

What are the signs of a posed voice? This is, above all, a beautiful timbre, as much as the natural qualities of a person allow. This is the power of voice (try, like an opera singer, to sing an orchestra playing forte from an orchestra pit). There is a special ability to withstand sounds for a long time. And this quality is gained through certain breathing exercises.

In order for the sound to be heard well in huge and even medium-sized halls and audiences, the voice must still have the so-called ‘flight’. What is flight? This is when you, lost in the forest, scream, and your ‘Au!’ everyone hears right away, because the sound flies well. And others shout, like trying hard, and the voice seems to be stuck and falls near the screamer. The flight of sound is made up of different things. This is the work of resonators, and proper breathing, and the skill to round and send sound.

In order for the voice to sound strong and beautiful, you must be able to use registers. Singers who belong to the strong half of humanity, as a rule, are able to use the chest (saturated and rich) voice register, and falsely (high, less bright) in one situation or another. Female vocalists, conveying the sensuality of romance or the drama of opera parties, use both the head (high) register, and the chest (low), as well as the central (connecting the head and chest registers).

The ability to switch to a particular register in time, lower or raise the voice, lower the volume or slow down the pace of singing or speech – these are, in general, mastery of the voice. The voice conveys certain sensations and experiences. The voice can arouse feelings, it can calm. The voice, in the end, can simply fall in love with itself.

When staging a voice, the teacher usually pursues many private tasks, which subsequently, when summed up, will necessarily lead to the desired result.

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