Classic Rock

مطالب زیر توسط خانم مهسا پور بخش جمع آوری شده که برای درک بهتر موضوع چند قطعه هم برای دانلود گذاشته اند.

دانلود پروژه:

تاریخچه ی موسیقی راک

What makes classic rock classic

دانلود قطعه ها:

Bad Company - Bad Company - Can't Get Enough.mp3

Fleetwood Mac - I'm so Afraid

 Bad Company - Bad Company - Bad Company

Green Grass

Punk rock

مطلب زیر توسط آقای امیر وفایی جمع آوری شده است.

Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock. Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."
Punk rock vocals sometimes sound nasal, and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles. The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or intonational style are relatively infrequent. Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common. Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone". Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through The Velvet Underground to the 1950s recordings of Ike Turner. Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm", although some punk rock bass players—such as Mike Watt of The Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule. Hardcore drumming tends to be especially fast. Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders or simple four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real", reflecting the commitment and "authenticity" of a live performance. Punk recordings thus often have a lo-fi quality, with the sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members, false starts, and background noise.

Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues. Trend-setting songs such as The Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life. Especially in early British punk, a central goal was to outrage and shock the mainstream. The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system and social mores. There is also a characteristic strain of anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way." However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship, heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards such as "I Wanna Be Your Boyfriend" to the more unambiguously sincere style of many later pop punk groups

source: wikipedia.

بهداشت حنجره ؛ تقویت حنجره و تنفس

مطلب زیر توسط آقای سید محمد موسوی تلاجیمی جمع آوری شده است که برای من به شخصه مفید واقع شد. برای دریافت فایل به لینک زیر مراجعه کنید.

بهداشت حنجره    ؛ تقویت حنجره    و تنفس

DELTA BLUES

مطلب زیر پروژه ی ترم خانم هاله هوشمند است.

The Delta blues is one of the earliest styles of blues music. It originated in the Mississippi Delta, a region of the United States that stretches from Memphis, Tennessee in the north to Vicksburg, Mississippi in the south, Helena, Arkansas in the west to the Yazoo River on the east. The Mississippi Delta area is famous both for its fertile soil and its poverty. Guitar, harmonica and cigar box guitar are the dominant instruments used, with slide guitar (usually on the steel guitar) being a hallmark of the style. The vocal styles range from introspective and soulful to passionate and fiery. Delta blues is also regarded as a regional variation of country blues.

Origin

Although Delta blues certainly existed in some form or another at the turn of the 20th century, it was first recorded in the late 1920s, when record companies realized the potential African American market in Race records. The earliest recordings were by the 'major' labels and consist mostly of one person singing and playing an instrument, though the use of a band was more common during live performances. Freddie Spruell is reckoned to be the first Delta blues artist to record, as he waxed "Milk Cow Blues" in Chicago in June 1926.[1] Some of these early recordings were made on 'field trips' to the South by record company talent scouts, but some Delta blues performers were invited to travel to northern cities to record. According to Dixon & Godrich [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that company's second field trip to Memphis, in 1928. Robert Wilkins was first recorded by Victor in Memphis in 1928, and Big Joe Williams and Garfield Akers also in Memphis (1929) by Brunswick/Vocalion.

Son House first recorded in Grafton, Wisconsin (1930) for Paramount. Charley Patton also recorded for Paramount in Grafton, in June 1929 (and again, at the same location in May 1930). In January and February 1934 Patton visited New York City for further recording sessions. Robert Johnson traveled to San Antonio (1936) and Dallas (1937) for his ARC, and only, sessions.

Subsequently, the early Delta blues (as well as other genres) were extensively recorded by John Lomax and his son Alan Lomax, who criss-crossed the Southern US recording music played and sung by ordinary people helping establish the canon of genres we know today as American folk music. Their recordings number in the thousands, and now reside in the Smithsonian Institution. According to Dixon & Godrich (1981) and Leadbitter and Slaven (1968), Alan Lomax and the Library of Congress researchers did not record any Delta bluesmen (or women) prior to 1941, when he recorded Son House and Willie Brown near Lake Cormorant, Mississippi, and Muddy Waters at Stovall, Mississippi; however, this claim is disputed as John and Alan Lomax did record Bukka White in 1939, Lead Belly in 1933 and most likely others.

Style

Scholars in general disagree as to whether there is a substantial, musicological difference between blues that originated in this region and in other parts of the country. The defining characteristic of Delta blues is instrumentation and an emphasis on rhythm and "bottleneck" slide;[citation needed] the basic harmonic structure is not substantially different from that of blues performed elsewhere. "Delta blues" is also a style as much as a geographical appellation: Skip James and Elmore James, who were not born in the Delta, were considered Delta blues musicians. Performers travelled throughout the Mississippi Delta, Arkansas, Louisiana, Texas, and Tennessee. Eventually, Delta blues spread out across the country, giving rise to a host of regional variations, including Chicago and Detroit blues

.

Themes

The Mississippi State Penitentiary at Parchman Farm was an important influence on several blues musicians who were imprisoned there, and was referenced in songs such as Bukka White's 'Parchman Farm Blues' and the folk song 'Midnight Special'. Delta Bluesmen also typically sang songs in the first person about sexuality, the travelling lifestyle and the tribulations resulting from leading this lifestyle

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Influence

Many Delta Blues artists moved to Detroit and Chicago such as Big Joe Williams creating a pop influenced city blues style, however, this was displaced by the new Chicago blues sound in the early 1950s pioneered by Delta Bluesmen, Muddy Waters, Howlin' Wolf and Little Walter, harking back to a more delta influenced, yet electrified sound. This Delta style blues folk music also inspired the creation of British Skiffle music, from which eventually came the persons and bands of the British Invasion, while simultaneously influencing British Blues which led to the birth of early hard rock and heavy metal.

Head Voice vs. Chest Voice

مطلب زیر توسط آقای نیما زالی جمع آوری شده است.

What is Head Voice?
Head voice is talked about as the falsetto register by some people in singing circles. There are certain resonance areas in your body when you sing and your head is one of them in addition to nasal cavities, diaphragm, etc. It’s almost as if you are singing from your diaphragm and you and push out the sound more through your upper mouth or almost into your nasal cavity a little. This could be called accessing your head voice. It will help produce your original sound and make things exciting.  You can variate from head voice to chest voice too.
:Accessing Your Head Voice
Now when you’re trying to access your head voice, that doesn’t mean you should be raising your larynx.  If you raise your larynx, you’re using wrong technique and you will really feel the difference.  Look in the mirror and if your larynx is being raised as you try to access your head voice, it will start hurting your throat and things will get sore.  This is a very common occurrence when singers are using wrong technique.  It happens all the time even by people who have been singing for a long time.  So first things first.  Try to master keeping your larynx, or your throat, still and don’t let it rise or lower while trying to access your head voice or while doing any other kind of singing.

You also what to keep your throat open as possible while trying to develop the so-called head voice and finding resonance up there.  Singers sometimes have a tendency to close up the throat as they sing higher notes.  This is incorrect; you should always keep the throat open as possible even when singing high notes.  This is really the soft palate that you’re opening up in the back of your throat to allow more air out while singing.  It’s much much easier to hit high notes or low notes while your throat is open and you can also use the resonance in your head to use your own head voice sound.

What is chest voice?

Although there are many technical definitions of what chest voice actually is, it is most widely known and understood as our normal speaking and/or singing voice. For our purposes, chest voice is the range in which we feel completely comfortable singing and speaking. It is marked by the majority of the resonance being located in the chest. There are more specific definitions than these, but the general outcomes are still the same.
I find that chest voice receives much less attention than it actually deserves. In fact, chest voice should deserves just as much attention as any other area of our voice. Why? Simply because we most often sing in our chest voice. Therefore I find it quite necessary that we engage and train our chest voice just as much as (if not more than) our head voice and mixed voice.
Somehow we get this faulty idea that since we speak and sing in our chest voice all the time, we are in no need of training it. Wrong! Your chest voice may be stronger than your head voice or mixed voice, but that does not necessarily mean it has been properly trained. And here’s why.
Even though we speak and sing in chest voice often, we never truly train our vocal cords to function in the proper manner. Since our vocal cords are not trained in the proper manner, they do not give the proper control over chest voice. It now makes sense why people could sing in chest voice for years and still be incredibly pitchy and inconsistent. They are relying on everything except proper vocal cord function. Even though their chest is strong, it still remains untrained.
So how do we train our chest voice?
1) We must first get to the root of the issue. An inconsistent chest voice is only a symptom of the real problem: improper function of the vocal cords. Vocal cord closure is an absolute necessity for properly functioning vocal cords. Getting the vocal cords to come together correctly is the first step in creating a smooth, rich and controlled chest voice. The proper amount of vocal cord closure implies proper breath support as well. Breath support is also key for developing your chest voice. Breath support is not the focus but rather a supplementary element of vocal cord closure. When you fill your diaphragm with the proper amount of air and control it correctly with cord closure, you have the ability to produce that rich and controlled sound.
Here is what I would do in order to start training your chest voice.
I would practice the exercises “mum” and “buh” on octave scales, repeating the “mum” or “buh” 4 times at the top and holding out that note. If I were to write it out, it be like this:
mum-mum-mum-mum mum mum muuuuuuuuuuuuum-mum-mum-mum
or
buh-buh-buh-buh buh buh buuuuuuuuuuuuuuuh-buh-buh-buh
As you ascend up the scale, focus on controlling the notes as you sing them.
You can also work on developing your chest voice by humming a particular note in your chest voice and holding it out for 10 seconds. Go to the next note higher, hum it and hold it out for 10 seconds. Focus on controlling the sound you are making. As you begin to gain control, increase the amount of time you spend holding out the note. This will help regulate your breath and develop your chest voice.
So what are the benefits of having a solid chest voice? Here are 2 tangible benefits:
1) excellent control over your vocals
2) a launching pad for adding energy into your mix
Like I said earlier, vocal cord closure is quite important to developing that rich sound in your chest voice