Tips for beginners. Loud and loud

If during important negotiations you have a tickle in your throat all the time, you will have to clear your throat and drink water. Or it will happen during a speech at a conference... Not a very pleasant prospect. Moreover, the excitement here may not have anything to do with it. And just before the performance, you ate a handful of roasted nuts or drank tea with lemon. There are foods that cause itching, hoarseness, a feeling of stiffness in the throat. Vocalists are well aware of them. This knowledge will also be useful to speakers, as well as to everyone who has to talk a lot during the working day.

Those who work seriously with their voices, like opera singers or pop singers, even follow special diets. For example, a vocalist should not go on strict diets: with malnutrition, poor calorie content and a monotonous diet, the voice fades, loses its strength. The vocal cords, as well as the whole body, need vitamins. It is especially important for the voice to regularly receive vitamins C, A, E. Foods containing protein and fiber must be in the diet.

What is good for the voice

raw eggs . Classic, but where without it. True, eggs do not need to be drunk immediately before the performance or during it. Raw eggs are really good for the ligaments, increase their elasticity and can even reanimate the voice if you overstretched the ligaments or caught a cold the day before. But you need to drink them once or twice a week. And choose quality

Fish and seafood. Sources of healthy fats and quality protein. At the same time, these products are not too heavy for the stomach, they are well digested. So singers eat fish and seafood at least 2 times a week.

Butter. Quality fats in reasonable amounts are good for ligaments. But butter singers also use immediately before the performance. The oil softens the throat, ligaments, the voice sounds better. A piece of oil is absorbed an hour before the load on the throat, or they drink a glass of warm milk with the same oil.

Water. Not cold, not hot, water room temperature must be in the diet in sufficient quantities. Singers and speakers should not allow their throats to dry out at any time. They also drink water before the performance: it will improve the voice, it will be easier to speak or sing.

Milk. Also warm, but not hot. Restores and strengthens ligaments. It is useful both to use before the performance, and simply enter into the diet.

Warm black tea. It is used for easier warming up of the ligaments. You can drink warm, not too hot tea before a speech or negotiations, it will replace the warm-up for the voice. But it is better not to add lemon or honey to tea. Citrus fruits dry out the throat before a performance, and honey can cause a sore throat.

By the way, both honey and citrus fruits are generally good for the voice, they supply us with the necessary vitamins, but it is better to avoid them immediately before the performance. And it is best not to use these products in their pure form, but add them to warm tea.

What harms the voice

Gluttony. Too much food, like too little, is a contraindication for singers and speakers. If you overeat before a performance, then the stomach will put pressure on the diaphragm, it becomes difficult to speak and sing, even the vocal range of the singers may not change for the better.

Fast food. It contains hot sauces, and particles that scratch the throat, and harmful trans fats. And too much fat, salt, various additives. All this will not benefit the throat and ligaments, it can negatively affect, and it will add heaviness in the stomach if you go to a restaurant fast food before the performance.

Seeds, crackers, salted nuts. For singers, this is a taboo. All these small dry snacks scratch the throat, cause itching, you start to wheeze from them. Moreover, even on the days of "silence" it is not recommended to indulge in eating seeds, they have a too negative effect on the voice.

Bright tastes. Very sweet, very salty, very spicy, very sour foods and dishes are contraindicated for people who make a living by voice. They irritate the mucous membranes and throat. Therefore, it is better to refrain from sour fruits and most sweets.

Iced drinks. And just cold drinks. Everything is clear here, there is a danger of a cold. And also icy drinks and dishes can cause shock to the mucous membranes, then the voice can disappear completely.

Hot sauces, spices, seasonings. Spices and sauces can be added in scanty amounts and up to 6 hours before the performance. They irritate the mucous membrane of the throat, and in some cases provoke the production of excess mucus, which further interferes with singing and talking.

Chocolate, coffee, cocoa. Sweets are generally not recommended for singers, but they can eat chocolate. But only not before the performance and not an hour before singing, rehearsals. It causes a slight sore throat. Like cocoa and coffee.

Alcohol. Beer, cognac, vodka, cocktails are harmful to the voice, especially all these drinks with ice. But sometimes a small amount of alcohol can be consumed to relax and warm up the voice a little. But only very small, no more than 40 ml, and shortly before X hour. You need to understand your body's reaction to alcohol well. In some cases, alcohol can help, and in others it will remove the limiting factors. You can even break your voice, trying to hit a particularly high note or shout to the farthest corner of the audience. In addition, when the warming and relaxing effect of alcohol wears off, you can become slightly hoarse. Therefore, it is better to drink warm tea or milk to warm up.

Doctor's advice to vocalists and non-vocalists.

1.Inhalations- there is no better direct effect on the ligaments, except for aerosol ("inhalation") methods. And therefore, if it is they who are inflamed (say, laryngitis, etc.), then it is better to do inhalations - pour boiling water into a bowl or a wide cup, there 3-4 drops essential oil eucalyptus or sage. We cover ourselves with a towel and breathe, slowly inhale through the mouth and exhale calmly through the nose.

2.Falimints and other pastilles for the throat can help with sore throat. It’s somewhat different here (the throat has little effect on the voice, unless the process is started and the infection does not go down to the ligaments), then it’s better to use some kind of aerosol again (kameton, joks) and drink a pill of something anti-inflammatory (paracetamol, coldrex etc.). Who does not like pills, it is never superfluous to make tea from medicinal herbs: chamomile, sage, eucalyptus. Again, they are just as strong anti-inflammatory drugs as the pills.

3.Lugol. Having the practice of working in an ambulance, I can say the right remedy for starting tickling, hoarseness, sniffing, tickling in the throat area is Lugol's solution (sold very cheaply in a pharmacy). Wrap a piece of cotton wool on a stick, but so that it does not fall off, soak it in Lugol's solution and lubricate the throat (that is, the tonsils and the back wall of the pharynx (if possible, as it will) and where it hurts.

4.Drink. In general, for any ailment (colds, etc.), especially when there are a lot of performances and loads in a row, I advise you to drink plenty of liquids (and tea, coffee and juices do not count), you need mineral water, just water or hot drinks (herbs, fruit drinks in a thermos, etc.) and be sure to get enough sleep.

5.Hot wine or mulled wine- warms up the ligaments, but this is more like an emergency rather than a therapeutic measure, and it’s better not to get carried away.

6.Diazolin refers to anti-allergic drugs, it relieves swelling from inflamed places (the same throat, ligaments, etc.), but has a sedative effect, so only at night, otherwise you won’t be able to really get together to sing, not because of the throat and ligaments, but from the fact that the consciousness becomes dull. and will simply want to sleep. Honestly I advise, if there is no allergy to anything, then it is better not to get carried away with it. Removes phlegm from the throat, coughs up straight pieces!

Folk recipes
1. Gymnastics of the tongue. Stick your tongue out of your mouth and pull, for example, first to the chin, then to the nose, etc.
Leo pose: sit down, relax, stick your tongue out of your mouth as much as possible and make a sound similar to the letter Ka.

2. Drop a couple of drops of burdock oil on the root of the tongue.

3. Chocolate Butter:
Melt honey (how many do not mind 100g. For example), sugar (gr. 50-100), chocolate or cocoa, melt everything and at the very end - butter, (gr. 200-250). While cooling, stir all the time. You can eat with spoons and ladles. Very tasty and helps well, even with pneumonia.

4. Hot milk - a liter with honey at night.

5. Yulia Savicheva's recipe:
A). "Emergency": Heat 50 grams of cognac, add 3 teaspoons of honey and 3 drops of lemon to it. Drink up. After 5 minutes, the voice is restored.

B). "Sparing": This cocktail should be drunk exclusively at night. Whip 2 egg whites with 2 teaspoons of sugar. Add 50 grams of cognac. Pour into a separate glass of warm water. Each sip of the prepared cocktail should be washed down with a sip of water. After that, you should immediately go to bed. In the morning, the voice is completely restored.

7. Vodka with the addition of anise drops.

8. Heat unfortified red wine to a pleasant temperature and take small sips so that it gets on the ligaments.

9. Cut dry figs into two parts. Put milk on the stove We scrape off the pulp from these two halves and throw it into the heated milk. Then, with a teaspoon, smear it on the walls of the dishes with milk. Do not bring to a boil, but whatever is hot. Milk takes on color. You can drink twice a day.
A method used by many opera singers.

10. It is advisable after an hour of singing to let the ligaments rest for at least 20 minutes, while drinking very warm (not boiling water) tea with lemon, if without a machine COGNAC in small sips! Or tea with cognac!

Forbidden:

1. click before singing: seeds, nuts, pistachios (dries and tickles in the throat).

2. While working, drink mineral water, especially with all kinds of dyes, especially ORANZH.

3. Have chocolate.

Exercises for the vocal folds
Attention! These exercises are designed to develop the correct sound extraction, promote the resorption of singing nodules, restore the closure of the ligaments.
So, the exercises should be performed for two weeks.

In the first three days, we perform the following exercises EVERY HOUR (of course, exercises do not apply at night!):
1. We imagined that we were gargling, but we didn’t throw our heads up, but slowly turned from left to right, making the sounds of “gargling” until there was enough breath.

2. We took a deep breath with our mouth, slowly exhaling, we mumble, while at the same time we lightly tap our nostrils with our index fingers.

3. The same as the second exercise, only instead of tapping on the nostrils with our fingers, we tap on the nasolabial (mimic) wrinkles.
Three days later, we add the following to these exercises, doing the same every hour:

4. Lightly tap your fingers on the upper lip, while saying "would-would-would-would-be" until there is enough breath.

5. Gently tap your finger on the lower lip, while saying "you-you-you-you-you" or "ze-ze-ze-ze".

6. Take a deep breath with your mouth. We knock on the chest with a fist, from one shoulder to the other, chanting "A-a-a-a-O-o-o-o-o-o-o-o-o-o-o-o-o-o-o." Let's not rush, save our breath.

After three to four days, we add the following to these exercises, performing all the exercises every TWO HOURS:

7. Taking a breath with our mouth, we pronounce "MAM", we do not drop the consonant "em" at the end, but continue, exhaling through our nose, mumble, simultaneously tapping our fingers on both nostrils, until the breath supply runs out. We took three small sips of water. Then we say "Mom" again and slowly turn our head from the "straight - to the right" position, tapping the finger of the left hand on the left nostril. Again they took three SMALL sips of water. (It is important to drink in small sips, then the vocal cords work!). And the third stage of the exercise - with "straight - to the left", tapping your finger on the right nostril. They drank water again. It is good to replace water with tincture of herbs (calendula, chamomile, etc.). And do not forget to take a deep breath with your mouth before each syllable. We also perform the same exercise on the syllables "Mom", "Mum", "Mim", "Mym", "Mam".
Two days later, we change the syllable "Mam" to "Bam" (hence "Bam", "Bom", "Boom", "Bim", etc.), two more days later to "Zam" and two more days later to "Zham".

Next stage:

1. Chromatic chants are very useful. But it's too early to start singing. We mumble a chant (c, #c, d, # d, e, f, # f, g and back - g, # f, f, e, # d, d, # c, c) with pushes on the exhale, highlighting each note in moving pace. The range is not large, first - a fifth (gradually increasing) in a low register with a convenient tessitura.

2. The best song for the treatment and prevention of the vocal cords "Moscow Evenings". We take a deep breath with our mouth, then slowly, turning our head from left to right, mumble the well-known motive “Even rustles are not heard in the garden” into the nose, while tapping the left nostril with the index finger of the left hand. Accordingly, in the other direction: turn your head from right to left, with your finger right hand tap on the right nostril. We raise it by half a tone, we mumble again. Another semitone, etc.
Finally, we begin to sing exclusively on staccato:

1. Do not rush to vote! We don't sing songs yet. We begin the well-known chromatic chant. We increase the size of the chant to an octave (in no case do we strain the ligaments!) After mooing the chant, we sing it with an open mouth, on "A! A! A!" in the same spirit as we mumbled: before each note we take a breath, the voice is active.

2. According to the sounds of the triad, we perform staccato on the syllables "Ma-mi-mo-mi-ma", then we raise it by half a tone, etc.

3. On one note, we perform the syllables "Gra-gre-gri-gro-gro", then "Yes-de-di-do-du", etc.

4. The alternation of the syllables "Le" and "la" is very useful. On staccato, in one breath, we sing on the syllable "le" in a row the notes of the fifth range (c, d, e, f, g), quickly take a breath and continue on the syllable "La" (g, a, h, c, d) and down first in a similar way (first on "La" fifth down, then repeating on the note "g" we switch to "le".

And only when you are convinced that hoarseness and hoarseness do not appear, carefully switch to legato. First, these are short chants, chants (you can use children's songs), then, gradually increasing the load, we move on to songs. Do not forget to do very useful exercise No. 1 (gargling), and start chanting with your mouth closed. Much attention should be paid to breathing.

For the development of singing breathing, there are also a number of exercises:
1. At a distance of 10 cm, blow on a lit candle so that the flame tilts slightly, but does not go out.
2. We remember dogs in the heat. Also, open your mouth, stick out your tongue, and breathe with your stomach.

Helpful Hints for vocalists.
Almost all vocalists (including our show stars) on their creative way faced with the problem of loss of voice. This happens due to a number of reasons:
-Not right way sound extraction (as a rule, no one teaches our vocalists how to give voice correctly)
- overvoltage of the vocal apparatus
- work of the vocal apparatus during acute respiratory infections, tonsillitis, tonsillitis and other diseases.
- less often - under the influence of viral diseases or functionally.

Sooner or later, any person involved in vocals, the question arises: am I handling my instrument correctly? Unfortunately, this question often arises when something is already wrong: the voice does not sound, it is hoarse or wheezing, and so on. Meanwhile, this question is very important, because the vocalist has one instrument, and it is given for life. Therefore, let's try to figure out which of our actions harm the voice, and which are useful for it.

First of all, we note the obvious thing - vocal lessons should be beneficial. If you can’t even speak after the lesson, and the next day you wheeze, then you should seriously think about what you are doing wrong, of course, after going to the phoniatrist. It is harmful to sing for many hours in a row, as well as to “try” extreme upper and lower notes many times in a row.

So, if your vocal lessons are successful, you see, or rather, feel that your voice is developing. You sing better, someone from outside notes it, you develop a range, you can sing those works that were previously beyond your power. In short, you are singing correctly. It is also important WHAT you sing, because you need to sing only works suitable for your type of voice. So, if you sing correctly, you can sing for a long time.

But since the singer carries his instrument in himself, and wears it constantly, this instrument is affected by the environment and the habits of the singer himself. The most obvious bad habit- smoking. A smoking singer is just suicidal… Someone will say: after all, even Caruso smoked! Well, yes, he smoked, but you know what his last days life? Do you know that he has had several ligament surgeries? Not the fact that because of smoking, but the example is not the best. Unfortunately, now you can meet a smoking vocalist at every turn, and these are not accomplished singers, but students of conservatories and music colleges(among the established singers, there are also enough smokers)! It is well known how this habit is harmful, including for the voice. Therefore, avoid this addiction, it will not add anything good to your life.

To continue the conversation about what is harmful and useful for the vocalist, let us recall the fact that each person is unique and has his own incomparable body structure. It seems obvious, but just think about it: your larynx and entire singing apparatus is not identical in the whole world! This is important, first of all, for mastering vocal technique. But now about something else. If you are so unique, then you must "tune in" to your apparatus. What does it mean? Sometimes singers singing in a stuffy room begin to lose their voice, breaking a little; at the same time, in an interview, singer Jose Carreras admitted that he loves to be very hot at home, even stuffy, because this makes his voice sound better. Luciano Pavarotti preferred to hold a couple of ice cubes in his mouth before singing. Others have a sore throat from cold. Some people need to drink water with lemon before singing, for others, lemon dries their throats a lot. You can endlessly give examples. In a word, by trial and error, determine what your throat reacts positively to and negatively. This will make your life much easier.

But there are also general, fair for all rules. We talked about smoking. Now about food. If you know in general terms, then you will be surprised what food has to do with it. After all, all the same, during swallowing, the epiglottis closes the entrance to the windpipe, where the ligaments are located. But there is a mucous membrane. Her condition directly affects the sound. A healthy mucosa should be even, smooth, and hydrated. When you have a cold, your mucous membranes are inflamed, red and irritated, so: IF YOU HAVE A COLD, DON'T SING! If you eat something very spicy, it again irritates your throat. Ramon Vargas (tenor) said in an interview with regret that despite being Mexican, he tries not to eat traditional Mexican food, which is known to be very spicy, in order to keep his voice fresh and sounding good. The same applies to nuts, seeds, various crumbly cookies. They are especially harmful to eat before vocals, as small particles of such food will tickle your throat. Also, keep an eye on the temperature of your food. Of course, you don’t have to do it like one tenor in the 19th century, carrying a thermometer with him everywhere and dipping it into soup or into a cup of tea. But if you think about it, it makes sense... In any case, your food should not be piping hot. And experiment with ice cream yourself, it is possible, but not for everyone. The same with respect to sweet, often the throat sticks together from it, which makes it difficult to sing normally. Strongly sour is also harmful. As for the amount of food, it is better not to eat at least an hour before the vocal so that the food does not press on the diaphragm. On the other hand, you should not sing on an empty stomach either, but you need to take strength from somewhere! It is best to eat an hour and a half before class.

Now a couple of words for the ladies. It would be useful to recall that during certain days it is impossible to sing, even speaking loudly is not recommended. How many days to observe a voice fast depends on your cycle, 3 days are enough for some, even 5-6 for others, everything is individual. And a couple of words 18+. Even 7 years ago, in the books of foreign authors, one could read about pernicious influence oral contraceptives to the singer's voice. Contemporary literature states that modern facilities contraception does not affect the voice. As the saying goes, trust but verify, be vigilant.

Applies to everyone: screaming is harmful. And it’s also harmful to sing unsung, especially if you are a novice vocalist and have not yet fully mastered the technique of singing. Why else can a voice sit down? From severe stress. If a person is experiencing some kind of strong shock, his voice can sit down to the point of a hoarseness. It turns out that the ligaments seem to be in order, but there is no voice. We cannot protect ourselves from all stresses, everything happens in life, but we are able to create the most comfortable living and working conditions for ourselves. In a word, observe yourself and adapt to yourself and to environment, think about what you are doing and how.

In contact with

Take care of your voice . Do not sing in the cold and during illness. Most the best medicine for the voice - silence (" Voice care"). Give up "spicy", sour, sweet, alcoholic, smoking. Before the start of the lesson, chanting is required! Do not force your voice. Sing in the voice you speak.

Before singing (for 10 hours) you can not eat: - seeds, nuts, "loose", finely crumbled cookies.
Before singing (for 6 hours) you can not eat: sauerkraut and similar fermenting foods.
Do not drink carbonated water (especially cold!).
ONE HOUR BEFORE SINGING, YOU SHOULD NOT EAT AT ALL!
Need to eat/drink:
- milk with butter, tea with lemon (but don't drink too much). I think many "soft" varieties of jam will do.
BE CAREFUL!!!
Don't go overboard with mint (menthol, mint, lozenges, including HALLS). Menthol dries the ligaments, and also negatively affects the heart.
If you have problems with your throat, it's better not to sing at all!
However, if there is nowhere to go, take the maximum time to chant. Do not regret even 2 hours - the voice should warm up and clear. In this case, in any case, do not strain!
During the chanting, you can (and should) gently clear your throat.
Make sure that you have a fairly free nose - drip if necessary.
After singing, NEVER drink cold water!!!
Also try to avoid for a while what you can not eat before singing - at least an hour. The main thing - under no circumstances do not strain the ligaments. Take care of them keep warm!

1. You can practice vocals only when you are physiologically formed. Preferably not before 18 years. The other extreme limit for starting studies with an eye on the profession is no later than 30 years for male voices and approximately 25 years for women. Although, starting at this age, it is no longer worth hoping for a career. This does not apply to amateurs..
2. Having decided to practice singing, consult with a specialist - a vocalist. Not with a chorus player, not with an accordion player in a club, and not with a music lover, but with a teacher in the vocal department at a music school or the vocal department at a conservatory. If you have a choice, stay away from “near-musical” institutions such as cultural institutes, art colleges, etc. Find out who you're going to see. Teachers are also different.
3. If a trustworthy person has directly said or made it clear that you do not have the data, accept it. Do not despair, do not fight in hysterics and do not go to ten more teachers. Well, persuade with tears, well, they will take it. And you will endure daily humiliation, suffer from your inferiority and pride for as long as you wish to do what is not yours. You can break down, "go crazy", get drunk, etc.
There is another option that not conscientious teachers will simply “milk” you for money. Hypocritically praising you and giving false hopes. And when you leave the classroom, they will make faces and make fun of you.
4. It makes sense to take private lessons only to prepare for admission to an educational institution. It cannot be cheap, as a quality lesson requires the presence of an accompanist. That is, two people have to pay.
Although if there is free time and money is a private matter.
5. It is natural to want to start learning from someone in whose class you would like to enter. If this is not possible, find out if your future teacher is not a persona non grata for those on whom your vocal fate will then depend. It is important. In the musical, theatrical, vocal world, there are “parties”, “own parties” and “gatherings” everywhere.
6. Starting to study with a teacher, listen carefully to your feelings. Any physical discomfort, unpleasant fatigue of the vocal apparatus is an alarm signal. Remember! Your voice, not "official". And you have one. Spoiled, there will be drama. That's why, don't be afraid to leave, if needed. Spit on "polites" and false propriety. Not that case. And so that you do not get revenge, immediately estimate such a development of events and do not strive, if you are not sure, to get into the class of the head of the department, the leading soloist of the theater, etc.
7. Don't try to collect technology advice from everywhere. What suits one may be detrimental to another. Yes. There are common vocal principles. But their heels!
Everything else is alchemy.
8. The quality of the vocalist's work directly depends on his physical condition. In this we are like athletes.
Do not take the teacher's calls to comply with the regime as "mother's grumbling." Even if you are talented, do not think that everything is allowed. On this, many died both as singers and as people. Don't drink, don't smoke. Nothing to say about drugs. healthy image life is not a feat, but a prerequisite. One of the signs of an honest attitude to the profession. Concerning overweight, it is more difficult here. Just keep in mind. No matter how well you sing, a full person may not be taken to the theater or kept in the position of an artist of the “second and third plan”.
9. Be self-critical. This is an indispensable condition for development. As soon as you feel wealthy in the profession, let the "star" disease into yourself, the inevitable degradation will begin. And arriving in complacency without any reason at all, you will become a laughing stock.
10. As soon as you enter a special educational institution, you can consider yourself a vocalist. That is, professionals. Since singing has already become for you main activity. School or work, it doesn't matter.
(Amateurs are just singing people, not vocalists.)
Immerse yourself in the spirit of "guild" corporatism.
Be friendly with classmates and colleagues in the profession, regardless of the degree of your or their giftedness and position. Praise more, even if not deservedly. Not out of flattery or benefits, but out of good intention to support. The maximum that you can afford from the assessments is an evasive and diplomatic "something I liked more, something less." I am writing about this “in the first lines” because consciousness must be brought up almost before everything else.
11. Do not neglect the general music education. Without it, the vocalist is a flawed "sound blower", and not a musician. Often in the school and the conservatory, people are taken for vocal data even without knowing the notes. If you are one of those, greedily make up for everything you can. Solfeggio, theory, musical literature, piano. And then it gets ridiculous! The soloist of the theater cannot make out the notes of his part and learns it from the voice of the accompanist, who simply sings them to him!
12. Vocalists have a semi-joking notion of "fish tongue". This refers to the nebula and difficulty in explaining singing sensations. Everything is built on subjective associative thinking. For example, a teacher might suggest that you "feel a white vowel at the bottom of your throat." And in this nonsense (from the point of view of a normal person) you will be obliged to delve into and try and reproduce what is requested. This is where problems can start. All people have their own creative thinking. Not everyone knows how to articulate what they mean. It is important to learn to understand what they want from you.
13. Even if you understand the teacher's thought, it is not a fact that his advice suits you personally.
I still doubt whether men should learn from women and vice versa. But even a teacher of the same sex as you can have a completely different voice apparatus from yours, and therefore his feelings are subjective. And to impose them on all students is strange and dangerous. There are teachers with whom you can discuss this, but there are also "tyrants". Either way or out! Further, it is appropriate to refer to point 6 of the proposed advice.
14. One of the most heartbreaking problems most beginners have is range.
This is where you need to calm down. The range primarily depends on the maturity of the organism.
Do not try hard to "stretch" it. One respected professor says: “Voice like grass. From the fact that you pull it harder, it will not grow faster. And it can break."
One fine morning, you will wake up with a full range. Unless, of course, you become hoarse before, trying in vain to “drag a hippopotamus out of the swamp.”
Normal progress in this direction with regular, correct exercises is half a ton in six months. (At least for low male voices.) Of course, within the limits normal for your real voice (bass, baritone, tenor, etc.), and not up to "infinity". Bass, after a lapse of years, naturally will not become a "sopranist".
15. It's " simple tips”, so I’ll say that I don’t believe in the “miraculous properties” of gogol - mogul (or other similar recipes). However, it is well known that before singing one should not eat (or drink) sweet, sour, spicy.
By the way, I noticed many times that singers have some kind of “own faith” in what you need to drink before a performance or concert. The simplest thing I've seen is coffee, tea, water, kefir. They often drink alcohol. This is the path to death. Even some teachers sometimes advise cognac in small quantities before the performance. Deadly self-deception. Then, for such singers, the dose quickly increases, goes beyond all conceivable limits. Inevitably, scandals begin that quickly bury a career. And the singer himself - an alcoholic will not last long in the profession. You need not only physical, but also emotional endurance. It is destroyed much earlier than the liver.
16. Do not disdain "semolina", as they call not very complex "school" works. "Eat" it slowly. Do not beg famous arias from teachers. They are usually "aerobatics". And it could end badly. Losing your voice forever.
17. It happens that at the beginning of classes (even, maybe for several years), it is not possible to come to a consensus about who you are in terms of voice. This is not a tragedy. Know only that most often, there are no natural "dramatic" voices. All baritones are lyrical from the beginning. Dramatic tenors are former baritones or "mature" lyric tenors. Dramatic tessitura suggests a hardy apparatus, roughly speaking "thick" ligaments.
18. Don't practice vocals on your own. This is not only fruitless, but also dangerous.
In our business, a qualified “outsider” is especially important. In principle, we cannot perceive ourselves adequately. Have you tried listening to a recording of your voice? It's like someone else you don't know. So don't waste your energy. You will only learn mistakes.
19. Vocals are in many ways a pleasant profession. In particular, here it is even worse to recycle than not to finalize. The best thing, I think practice every other day for one hour. I've heard another pattern. Two days later, twice a day, with a long break. In educational institutions 3 times a week, and for the "most harmful and greedy" - 4 times. This is ideal. And if your teacher is a touring singer, you will see him for 10 minutes every two months, in the format of a “master class”. This is when, in addition to you, he simultaneously deals with a dozen more people. Learn this too.
20. I tend to agree with those teachers who believe that there is no “correct” way to take breath. Some voices "diaphragm", others "chest". As with the position of the tongue in the mouth, etc. In general, there are many myths about "academic" singing. Look at the great singers! Who is into what. If only it sounded. Therefore, the main thing here, probably, is personal convenience and the result - high-quality sound in the absence of any clamp. Clamp, however, can be expressed in different ways. Not necessarily in a red, tense neck and bulging eyes. The habit of holding on to the lid of the piano while singing is also one of its typical manifestations.
21. It greatly develops and supports the vocalist listening to masters' recordings. But on one condition.
Such "teachers" should be chosen with no less care than the real ones. Not on the principle of "like it, don't like it", but it fits or doesn't fit, close or not close.
And not in an aesthetic, but, excuse me, in a “physiological” way. On the disks of Pavarotti or Hvorostovsky, you can write a warning: “Do not try to repeat it!”, As is done with a running line in stunt television shows. Their nature is unique. Their methods of using it, respectively, too. How to determine whether this or that performer is suitable for you as a kind of sample or not? At a minimum: with prolonged listening, fatigue, discomfort, and pain should not occur. It’s good if an “unobtrusive” tone appears in your device. When compared with drinks and their effect on the body, it is not like from coffee - espresso, but like from good tea.
I would suggest not listening to the "old men". (So ​​it is customary to designate singers of the early 20th century.) With all due respect to their merits. Today, the aesthetics are completely different. "Sheep" in the voice - unsuitability. Even vibration is desirable to use as a means of expression, and not a permanent property of sound. That's why, V for educational purposes, it is better to consider singers starting no earlier than the fifties of the twentieth century, or even later .
22. You can imitate. On early stage development it teaches, forms taste. (Unless, of course, a worthy object to follow is chosen.)
Consider the following:
- it can be difficult to correlate what is heard with the correct understanding of how it is done;
Don't blindly copy everything. Everyone (even the great ones) can have flaws;
- at a certain stage, you need to move on to expressing your own individuality.
"Clones" are only interesting at low-profile "doubles" shows.
In fairness, it must be said that there will be no complete similarity even with great desire and abilities of the imitator. His "I" will manifest itself in one way or another.

Systemic vocal education is:
1. Academic training in singing. It consists:
- from the "technical" side;
- mastering a diverse repertoire. Not only opera. All certifications include: vocalization, folk song, two different arias, two romances. And about the same every semester, for 4 years at a music school and 5 years at the conservatory. There are also graduate schools. (Many vocalists study this way. At the same time, there are no guarantees that you will be in the profession at all. You can end up in a choir, or you can not. I know many such cases.)
- teaching ensemble singing.

2. General musical preparation:
- solfeggio, music theory, musical literature, piano.

3. Acting skills:
- "general" acting skills (theory);
- opera class (opera studio) - acting skills on the opera stage (practice);
- dance.

4. General subjects:
- Italian language;
- World Art.

And constant stage practice. As part of educational institution(with and without grades), and wherever they send.

24. Question: is it possible for a student - vocalist to sing in a church (or other) choir?
If a person studies at the conductor-choir, he has a direct path there. Receive, consider, additional qualification. You could say it's a second job.
If a person studies in the specialty "solo singing", then it is better for him to visit the temple as a parishioner. Why?
1. Solo and choral singing are different things in terms of setting a task for the vocalist. Accordingly, according to the parameters of sound and the spectrum of sensations of the singer. It's extremely difficult to change. Moreover, in the Church, in general, a peculiar manner of singing.
In the choir, the singer is constantly "removed", asked not to stand out not only in strength, but also in timbre.
The soloist is the opposite. If not to block the choir with his voice, then at least not to merge with it timbrely in common scenes.
2. The psychological aspect is also important. Professional attitude, which is also difficult to break. An individual or a member of a team. In a pack or in single combat for himself.
3. In the church choir are huge physical exercise. It's hard for a student.
A typical service lasts from one and a half to four hours.

But, for the sake of objectivity, I will say. There are cases when great singers grew up from chorus guys. The most famous example is, again, Hvorostovsky.

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2. Musicians ( how to practice).

Many mistakenly believe that the main thing for a musician is the voice. To develop it to a professional level, singers spend fabulous amounts of money and a lot of time. However, hearing is much more important. It is from childhood that you need to start developing hearing. Listen to ringing, knocking, cod, whisper, rustle and other sounds. Tones and modes - that's the goal for the little musician. It is also important to train your fingers. Scales, scales and again scales. They need to be played long and often. Nevertheless, it is not necessary to train the same thing until old age, bringing it to amazing skill. With such success, you can only get into the Guinness Book of Records as the owner of the fastest fingers. An illustrative example is the primer. It makes no sense to read it all your life, increasing the speed and memorizing the pages. It is important to properly allocate time.

Another piece of advice you can give to a novice artist is to comprehend harmony. Don't play like a drunk, like many virtuosos. Stick to the rhythm, rushing and being late when playing is catastrophically dangerous. Also, don't hit the keys too hard. It will be melodious only if you follow the above tips.

At least two people are involved in creating a melody: a person and an instrument. Therefore, we must not forget about the cleanliness and tuning of the instrument. A musician must always know how he sounds, this is what allows melodies to be played in his head. Such an exercise helps to develop the imagination, it is advisable to perform it as often as possible while exercising, walking in the park or moving in transport.

It is worth paying attention not only to how to play, but also what to play. Easy pieces are much better for practice than difficult pieces.

If you don't have a very good voice, don't despair. Hearing can be developed. To do this, it is worth practicing singing from a sheet without melodic accompaniment. If you have a wonderful voice, do not be shy, sing wherever the opportunity arises.

It is also important to constantly feel the eye on yourself. Play like the greatest musician is listening to you. If daily allowance exercises are completed, and there is no desire and inspiration to work “overtime”, you should not force yourself. Classes through force will not bring much benefit, they will only kill time.

You can also advise not to play adulthood fashionable contemporary pieces. You can't keep up with fashion, and the life time is too short to miss truly great creations.
Just as one cannot grow a healthy person on sweets alone, one cannot grow an artist on second-rate but popular music. If possible, you need to stop listening to "cheap" music, take care of your hearing with early childhood. Classics will help to grow the concepts of beauty and harmony. When playing one of the plays, do not try to think out, play out and rearrange the accents set by the author.

When choosing a piece to play on an instrument, it is better to consult with older, more experienced people. They will save you from the very "cheap" music.

Not worth it get involved play in society and the praise of people. It is better to study music alone or in the presence of a professional. However, do not miss the chance to play a duet with someone, to accompany the singers. This will diversify the skill and bring enough new emotions.

More often it is worth communicating with people who know more than you, you can learn a lot from them. Talk about your achievements modestly, laconic. After all, you have not yet created anything outstanding, everything that you have done was invented by someone else. But if you managed to invent something really good, do not be too proud, but let it become a common property.

Look at the history of music. It is she who will allow you to truly understand the works and their performers. Listening to the classics will get rid of conceit, mark the horizons of creative growth. Folk songs will be a source of inspiration. Their melodies are a real treasury from which you can extract new motives for yourself.

If the opportunity arises, listen to the organ in the church. Its powerful yet clear sound. Do not try to play it, but if you manage to sit down at the bench, admire the greatness of the sounds. You can try to play several already well-known works, training on the organ will be useful and enjoyable, it will bring out all the mistakes and emphasize all the virtuoso techniques that show the skill and talent of the performer.

Separately, it is worth noting the choir and its significance in the work of the musician. It is worth singing in an average voice, trying to develop your ear when there are about ten of the same choristers around. Develop your memory, learn all the songs by heart. You're a bad musician if you keep your eyes on the notes, if you stop when someone accidentally turns the page. But you are talented if in the next play you can guess what you need to play next. Music, notes, tempo should not be on paper, but in the head and heart.

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3. Composers and sound engineers

The tips are general in nature and geared mainly towards beginners, but I think some of them will be suitable for more advanced players as well.

1) There is a fairly widespread opinion that sound engineers simply need expensive equipment, expensive studio monitors (speakers), professional sound cards, analog synthesizers, and so on. Of course, all this is necessary and will appear with you as your skill grows. But on initial stage there is no point in acquiring some expensive equipment other than perhaps the computer itself.

In order to start getting involved in the topic of music production, all you need to do is:

Wish;

The most ordinary computer, the more powerful the better;

Simple multimedia speakers;

Time and electricity.

2) First you need to choose a sequencer in which you actually will write music. A sequencer is a program that combines: midi editor, audio editor, mixer, etc. On the market good programs not many, so it's not too hard to choose.

- Apple “Logic”

- Steinberg “Cubase”/”Nuendo”

- Image Line “Fruity Loops Studio”

- Ableton Live/Suite

More about these programs:

Image-Line “Fruity Loops Studio”

A very convenient and, importantly, intuitive sequencer, but at the same time quite powerful. Learning how to work in the program is not difficult, unlike “Logic” or “Cubase” / “Nuendo”. In FL Studio it is easy to learn how to WRITE music, forgetting about the technical difficulties of this process. Having a fairly large built-in toolkit (synthesizers, effects), the program allows you to start writing music immediately after installation, eliminating the need to download, buy and install third-party synthesizers, effects, etc. At the same time, the tools built into FL Studio will last you for quite a long time. But over time (2, 3 or 4 years), you will still hit the functional “ceiling” of FL Studio and you will need to “change” to another sequencer.

Apple "Logic" andSteinberg “Cubase”/”Nuendo”

The programs are very powerful, functional, professional, but at the same time quite complex, and less intuitive. In general, these programs are more high level, so they are in the vast majority of cases not suitable for beginners.

Ableton Live/Suite

But about this program, everything is rather ambiguous. Just like FL Studio, this sequencer is quite intuitive. The program is really created by musicians for musicians. The built-in synths aren't particularly strong, but the processing effects aren't. In addition, this program has a wider functionality, because it was originally conceived for live performances. It makes sense to pay attention to musicians who are part-time DJs or plan to perform live.

In general, the choice of the program is of course yours, but for a more efficient start, it probably makes sense to start with FL Studio.

3) Once the choice of the sequencer has been made, you should purchase some video course or book on the selected program and start learning the sequencer from these materials. The fact is that they will CONSISTENTLY tell you about the interface, settings, engine, functions and features of the program. With training materials, you will spend several times less time studying any program. And the saved time is better spent on studying musical harmony, notes, etc.

4) If you have never encountered writing music, then in parallel with studying programs, it will be very, very useful for you to learn how to play at least somehow on any musical instrument to understand what music is "from within". Studying from books or video lessons, or by hiring a tutor. Once you have at least a little mastery of musical theory, writing music will become much easier, faster and more interesting.

5) It will also be very useful to enroll in a specialized school where they teach modern production or make friends with an experienced producer. In this way you will have direct contact with very experienced people who will pass on their invaluable experience to you.

6) Do not chase, for almost daily appearing on the network, new synthesizers, effects and other plugins. You need to clearly understand that in this matter, more is not better. Plugin companies are essentially in business, so they need to constantly offer something to consumers. Better to be very good at one thing than a little, but a whole bunch of things.

7) A few months after your start as a composer, it makes sense to think about buying a midi keyboard, this is not very expensive, but at the same time a necessary and useful thing. With it, you will begin to write and feel music in a completely different way. For beginners, with a small budget, I recommend the M-Audio KeyRig 49 midi keyboard.

It is very important to listen and analyze a lot of high-quality, commercial compositions. Of course, as in any business, the main thing in music is patience and work, which is what I wish you!