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Ce invatam la orele de canto?

CE INVATAM LA ORELE DE CANTO?

Orele de canto presupun un efort fizic complex. Vocea naturala poate fi dezvoltata la capacitatea ei maxima pe parcursul a mai multor ani de studiu si necesita antrenament sustinut si constant. In timpul antrenamentelor, vocalizele executate urmaresc mai multe obiective:

Imitarea sunetelor emise de un instrument.

Aceasta presupune emiterea sunetului auzit la pian sau la alt instrument, este practic un antrenament al auzului si al redarii sunetului auzit.

Intonatia corecta.

Presupune emiterea sunetelor unei vocalize sau a unei melodii in mod corect, practic este antrenamentul pentru a nu canta fals intonational.

Emisia sunetului cu ajutorul rezonatorilor faciali.

Se invata senzatia prin care sunetul ajunge sa se amplifice cu ajutorul rezonatorilor, fara efort, conducand vibratia spre spatele nasului.

Respiratia costo-diafragmala.

Pe langa exercitiile de respiratie care se invata si se fac in particular, cu ajutorul vocalizelor se urmareste dozarea exacta a aerului expirat si a presiunii formate de diafragma pentru fiecare sunet in parte.

Extensia vocala.

In afara zonei de confort, vocea poate fi extinsa spre sunete mai inalte si mai joase. Vocalizele reusesc sa obisnuiasca musculatura cu sunete din ce in ce mai inalte si, in timp,  cantaretul reuseste sa dobandeasca doua pana la trei octave, chiar si mai mult.

Identificarea registrelor vocale si folosirea lor optima.

Vocea umana are diferite registre: registrul de piept, registrul de cap, mixtura intre cele doua, falsetul si falsetul intarit pentru vocile barbatesti.

Rezistenta in timpul cantatului.

Cu ajutorul exercitiilor care se desfasoara timp de o ora cu pauze din 10 in 10 minute,  se formeaza o rezistenta a organismului in timpul cantatului, oboseala aparand din ce in ce mai rar.

Folosirea microfonului.

Microfonul are anumiti parametrii cu care cantaretul trebuie sa se obisnuiasca pentru a reda cat mai bine calitatile sale vocale. Necesita antrenament in acest sens.

Transmiterea emotiilor cu ajutorul cantecelor/ariilor.

De multe ori inhibitia este o bariera in calea actului artistic. Gesturile pot fi necontrolate, mimica si mesajul corporal poate fi ridicol si necontrolat. In orele de canto acestea se pot corecta; deasemenea antrenamentul gesturilor si insemnatatea lor pot fi insusite prin exercitiu.

Alegerea repertoriului corect in conformitate cu calitatile si limitele fiecaruia.

Cele mai marei greseli se produc in momentul in care alegem un repertoriu gresit astfel incat nu reusim sa aratam intreaga noastra capacitate de exprimare prin cant.

Progresul depinde de inteligenta, tenacitatea, concentrarea, implicarea, motivarea, capacitatea de munca si talentul fiecaruia in parte. Nu exista o reteta exacta pentru succes!

Cu toate acestea, se spune ca necesita 1% talent si 99% munca!

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WHAT DOES VOCAL TRAINING TEACH US? 

Vocal training imply a complex physical effort. The natural voice can be developed at a maximum capacity over a number of years of study and it requires constant exercise. During the training, the vocal exercises aim multiple goals:

Imitation of the sounds of an instrument. 

This means vocally rendering a sound played by the piano or another instrument, it is practically an exercise for the hearing and for rendering the sound heard.

Correct intonation. .

It implies emitting the sounds in a vocal exercise or a song in a correct manner, it is practically the exercise for not singing off key.

Emitting the sound with the help of  facial resonators. 

You learn the sensation through which the sound amplifies with the help of resonators, effortless, by sending the vibration in the back of the nose.

Costal-diaphragmatic respiration. 

Besides breathing exercises which you learn and perform separately, the vocal exercises also aim at obtaining an exact dosage of exhaled air and the pressure of the diaphragm for each sound in particular.

Vocal range extension 

Outside of your comfort zone, the voice can be extended towards lower or higher sounds. The vocal exercises will help the muscle get used to higher and higher notes, and, in time, the singer will be able to reach 2 or even 3 octaves, or even more.

Identifying vocal registers and their optimal use.

The human  voice has different registers: the chest register, the head register, a mix of the two, falsetto and strengthened falsetto for male voices.

The resistance during singing. 

Wit the help of exercises which should be an hour long with breaks every ten minutes, you shall obtain a strength of the body during singing, fatigue occurring very seldom.

Using the microphone. 

The microphone has certain parameters with which the singer should get accustomed in order to make the best use of their voice. This requires training.

Communicating emotions through songs/airs. 

Often, inhibition is an impediment for the artistic act. Gestures can be uncontrollable, mimics and the body language can be ridiculous and uncontrollable. During vocal training, these can be corrected; also, the training of the gestures and their meaning can be obtained through exercise.

Choosing the correct repertory, according to the qualities and limits of each performer. 

The biggest mistakes occur when we choose an unsuitable repertory, thus not being able to show our full capacity of expression through song.

You progress depends on the intelligence, the tenacity, the concentration, the level of involvement, the motivation, the work capacity and the talent of each. There is no recipe for success!

The saying is: 1% talent and 99% work!

 

# 15 Agility vocal exercise on a ninth

Vocaliza de agilitate pe interval de nona urmareste lejerizarea vocii. Atentia se indreapta spre o intonatie cat mai curata si spre diafragma care trebuie sa fie cat mai elastica. Aceasta vocaliza e bine sa fie executata cu un volum mai mic de voce urmarindu-se atingerea notelor acute intr-o constructie fireasca fara a forta sunetul sau fara a-l ingreuna de armonice joase.

The agility vocal exercise on a ninth is designed to help the voice loosen up. The focus is on a clear intonation and on the diaphragm which must be very elastic. This exercise should be carried out on  a low intensity, the aim being reaching for the high pitched notes in a natural way, without forcing the sound and without imposing on the sound the lower harmonics.

# 14 Agility vocal exercise on a fifth using vowel A


Vocaliza de agilitate pe vocala A pe interval de cvinta.

Aceasta vocaliza urmareste intonatia corecta precum si elasticitatea diafragmei in timpul executiei exercitiului in viteza (allegro).

This exercise aims at correct intonation and diaphragm elasticity during the exercise at a high speed (allegro).

# 13 Vocal exercise on a ninth


Aceasta vocaliza urmareste atingerea sunetelor inalte avand grija de construirea lor cu ajutorul a noua sunete alaturate. Pozitia primelor sunete din vocaliza trebuie sa fie foarte inalta dar sunetele nu trebuie sa aibe un volum prea mare. Volumul se creste pe parcursul vocalizei avand in vedere ca cel mai inalt sunet sa fie si cel mai puternic. Atentie deasemenea la intonatia corecta a sunetelor iar in ce priveste respiratia, aerul nu trebuie sa fie retinut ci trebuie consumat in totalitate.

The purpose of this exercise is to reach high notes by constructing them with the help of a range of nine tones. The position of the first sounds in this exercise must be very high pitched but the volume must not be high. The volume will increase during the exercise making sure that the highest note will also be the strongest. Be careful at the correct intonation, and, regarding breathing, the air must not be held in but completely consumed.