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یکشنبه 25 تیر‌ماه سال 1391 ساعت 11:04 ب.ظ

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

.

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.

 

یکشنبه 25 تیر‌ماه سال 1391 ساعت 01:51 ب.ظ

تولدتون مبارک


امروز روز تولد استاد صنم پاشا‌ست. و این شعر کوتاه رو از طرف همه‌ی هنرجوها بهشون تقدیم می‌کنم و امیدوارم همیشه همگی، افتخار بودن در کنارشون رو داشته باشیم.


امروز خورشید درخشان‌تر است

و آسمان آبی‌تر

نسیم زندگی را به پرواز می‌کشد

و پرنده آواز  جدید می‌سراید

امروز بهاری دیگر است

در روز تولد مهربان‌ترین

در میلاد کسی که خالصانه دوستش دارم

امروز را شادتر خواهم بود

و دلم را به میهمانی آسمان خواهم برد

جشنی برای میلادت بر پا خواهم کرد

تمامی گلها و سبزه‌ها در میهمانی ما خواهند سرود

ای مهربان‌ترین

روزهای زندگی هر روز گوارا باد


میلادت مبارک



پنج‌شنبه 22 تیر‌ماه سال 1391 ساعت 05:02 ب.ظ

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

دوشنبه 19 تیر‌ماه سال 1391 ساعت 11:29 ب.ظ

Diaphragmatic breathing

مطلب زیر توسط خانم ترانه از شاگردان استاد جمع آوری شده و در مورد تنقس دیافراگمی است.

Diaphragmatic breathing

Diaphragmatic breathing, abdominal breathing, belly breathing or deep breathing is breathing that is done by contracting the diaphragm, a muscle located horizontally between the chest cavity and stomach cavity. Air enters the lungs and the belly expands during this type of breathing.

This deep breathing is marked by expansion of the abdomen rather than the chest when breathing. It is considered by some to be a healthier and fuller way to ingest oxygenHYPERLINK "http://en.wikipedia.org/wiki/Diaphragmatic_breathing" \l "cite_note-breatheproperly-0", and is sometimes used as a therapy for hyperventilation, anxiety disorders and stuttering.

 

How it is done

“Deep breathing involves slow and deep inhalation through the nose, usually to a count of 10, followed by slow and complete exhalation for a similar count. The process may be repeated 5 to 10 times, several times a day."

To breathe diaphragmatically, or with the diaphragm, one must draw air into the lungs in a way which will expand the stomach and not the chest. It is best to perform these breaths as long, slow intakes of air – allowing the body to absorb all of the inhaled oxygen while simultaneously relaxing the breather.

To do this comfortably, it is often best to loosen tight-fitting pants/belts/skirts (nude also works well), as these can interfere with the body's ability to intake air. While at first one may not feel comfortable expanding the stomach during breathing, diaphragmatic breathing actually fills up the majority of the lungs with oxygen – much more than chest-breathing or shallow breathing

 

A sample exercise

 diaphragmatic breathing exercise is as follows:

1.  Sit or lie comfortably, with loose garments.

2.   Put one hand on your chest and one on your stomach.

3.   Slowly inhale through your nose or through pursed lips (to slow down the intake of breath).

4.   As you inhale, push your belly/ stomach out and feel your stomach expand with your hand.

How it happens

The term 'diaphragmatic' is sometimes misinterpreted to imply that the thoracic diaphragm is not used in shallow breathing. This is a misunderstanding as the diaphragm is used in either case. In belly breathing, the lower ribs are stabilized and the central tendon of the diaphragm is mobilized so that a contraction of the diaphragm pulls the tendon down. In rib cage breathing, the central tendon is stabilized and the lower ribs are mobilized so that a contraction lifts the lower ribs.[

Due to the lung expansion being lower (inferior) on the body as opposed to higher up (superior), it is referred to as 'deep' and the higher lung expansion of rib cage breathing is referred to as 'shallow'. The actual volume of air taken into the lungs with either means varies. Attaining maximal lung expansion may require both diaphragmatic contraction as well as rib cage expansion, as the amount of room created by the abdominal depression or rib stretching may not create an adequate enough vacuum space on their own.

Many people tend to think of diaphragmatic breathing as something unique to singing; as a special skill that must be taught to them, rather than the body’s natural way of working. However, the fact of the matter is that we are born knowing how to breathe properly, and no one has to teach us how to do it when we come out of the womb. The tummies of sleeping babies rise and fall effortlessly, without any tension or movement in their chests and shoulders. The parts of their bodies that support their breathing work in effortless coordination and synchronicity. Even the breathing of adults is correct when they are relaxed or asleep and not actively trying to control it. The body naturally knows what to do and how to do it, even when our need for oxygen is greater due to increased physical activity or in response to boosts of adrenaline (as when we are frightened)

The fact that diaphragmatic breathing is both natural and ideal is why so much emphasis is placed on 'breathing from the diaphragm' while singing. Breathing in this natural way enables us to regulate our airflow, and is correct whether we are singing, exercising, speaking or watching television. 'Diaphragmatic breathing' is not just a trick or a specialized skill that singers must learn. It is a product of the natural functioning of the human body. In other words, it is how our bodies have been designed to take in and expel air. In breathing for singing, the mechanism of breathing is not an aberration from that of the breathing technique used by the body during other activities

Sources:
http://www.wikipedia.org/

http://www.singwise.com

.

سه‌شنبه 23 خرداد‌ماه سال 1391 ساعت 09:58 ب.ظ

بیوگرافی گروه judas priest


Judas priest

جوداس پریست


این مطلب توسط آقای ناصر بابایی از شاگردان استاد پاشا جمع آوری شده است




جوداس پریست (به انگلیسی:
Judas Priest) گروه نامدار و تاثیرگذار هوی متال انگلیسی است که در سال ۱۹۶۹ در بیرمنگام بنیان گذاشته شد.گروه در سال‌های فعالیت‌اش تغییرات متعدد در ترکیب نفرات را تجربه کرده‌است. اعضای کنونی گروه ایان هیل(گیتار باس)، راب هالفورد(آواز)، گلن تیپتن(گیتار)، کی.کی. داونینگ(گیتار) و اسکات ترویس (درامز) هستند. موسیقی جوداس پریست، بارها و بارها الهام بخش گروه‌های دیگر هوی متال شده‌است . شهرت و محبوبیت آنها باعث شد تا به آنان لقب خدایان متال داده شود. آنها توانسته‌اند رقم فروش جهانی ۳۵ میلیون آلبوم را در کارنامه خود ثبت کنند. جوداس پریست افتخار این را دارد که بر خلاف گروه‌های متقدم و اولیه هوی متال با هر آلبوم، موسیقی متال را دچار تحول و دگرگونی کرده تا جایی که این گروه در هر دهه از فعالیت خود به عنوان یک گروه پیشرو و بسیار تاثیرگذار بر سبک‌ها و گروه‌های متال مورد توجه بوده‌است. جوداس پریست در تمام نظر سنجی‌ها همواره یکی از سه گروه برتر و راب هالفورد خواننده گروه، به عنوان یکی از برترین خوانندگان تاریخ موسیقی متال مطرح بوده‌اند.



 

 آلبوم‌های گروه


معرفی اعضای شناخته شده گروه در جهان:

 

راب هالفورد


 راب جان آرتور هالفورد

اصلیت :انگلستان(والسال ، بیرمنگام)

سال تولد:25اوت1951

مدت فعالیت: از سال 1973 تا کنون

راب هالفورد (به انگلیسی: Rob Halford) (زادهٔ ۲۵ اوت ۱۹۵۱) خواننده و آهنگ‌ساز انگلیسی است.  او با پهنه صدای چهار اکتاوی، جیغ‌های خارق العاده و شیوه خواندن منحصر به فردش برترین خواننده هوی متال و از اسطوره‌های موسیقی راک و متال به‌شمار می‌رود. به راب هالفورد لقب خداوند متال داده‌اند.  وی که بیشتر به عنوان یکی از اعضای جوداس پریست شناخته می‌شود، خواننده گروه‌های فایت، تو و هالفورد نیزهست.


گلن ریموند تیپتن

 

اصلیت :انگلیسی

سال تولد: 205 اکتبر 1947

ساز ها: نوازنده گیتار الکترونیک ؛باس؛پیانو

مدت فعالیت: 1968 تاکنون



گلن تیپتن (به انگلیسی:
Glenn Tipton) یکی از دو گیتاریست گروه هوی متال انگلیسی جوداس پریست است. او قبل از آن‌که در سال ۱۹۷۴ به جوداس بپیوندد در گروهی به نام دِ فلاینگ هَت بَند عضویت داشت. در سال ۱۹۹۷ تیپتن اولین آلبوم شخصی‌اش به‌نام غسل تعمید آتش را با همکاری هنرمندانی چون بیلی شیهان، جانی اِنتویستل، کوزی پاول، رابرت تروهیو و جان ایری منتشر کرد.


ایان هیل

اصلیت:انگلیسی

سال تولد 20 ژانویه 1951

 ساز :نوازنده باس


ایان هیل (به انگلیسی: Ian Hill) از اعضای بنیان‌گذار و نوازندهٔ گیتار بیس گروه هوی متال انگلیسی جوداس پریست است.


درباره

هیل نواختن کنترباس را در سنین کودکی و نزد پدرش آغاز کرد. پدرش که به‌عنوان نوازنده با گروه‌های جَز محلی همکاری می‌کرد، زمانی که هیل ۱۵ ساله بود درگذشت.ایان هیل در سال ۱۹۷۰ به همراه یکی از دوستان‌اش به نام کی. کی. داونینگ جوداس پریست را بنیان گذاردند که هر دوی‌شان تا به امروز در آن عضو هستند. به زودی و با پیوستن جان اِلیس(گیتاریست)، اَل اتکینز(خواننده) و آلن مور(درامر) گروه ترکیب مناسبی یافت و آن‌ها اولین کنسرت‌شان را در سال ۱۹۷۱ برگزار کردند.هیل به‌خاطر شیوهٔ نوازندگی قوی و ملودیک‌اش با گیتار باس شناخته شده‌است. او در سال‌های ابتدای فعالیت‌اش با انگشت باس می‌زد ولی بعدها به نواختن با پیک روی آورد. معرفی راب هالفورد به جوداس پریست هم از طریق هیل انجام شد. او از طریق خواهرش-که با راب هالفورد روابط عاشقانه داشت- هالفورد را ملاقات کرد و به او پیشنهاد داد تا به عنوان خوانندهٔ جدید گروه‌شان به آن‌ها بپیوندد. هالفورد هم با ترک گروه  هیروشیما که آن‌موقع در آن عضو بود به عنوان جایگزین اَل اتکینز به جوداس پیوست.

منبع: http://avril-evanescence.blogfa.com/post-112.aspx

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