Jennifer Batten: Two Hand Rock for Guitar - Music, Tablature

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The other sound must be lightly touched either in arriving at or departing from the heavier sound. Now will be sung on a long note as nah... oo, news as nioo . . s. If a group of notes has to be sung to one of these compound sounds, it will be done entirely on the heavier, and the lighter will be dropped on the tone instantaneously—it is a sound which appears only to vanish immediately. The English oh and ay which have been mentioned should be prolonged on the simple heavy sound and if desired (or usual in any district) the second sound should be treated as a vanishing vowel.

The ay and ee sounds need particular care in this respect. There is a tendency to pull the lips sideways, to let the tongue rise and become rigid with the result that the tone becomes hard and even ugly. g. "A north country maid up to London had strayed, Although with her nature it did not agra," where every ay and ee cuts through the line with a knife-like bitterness. The teacher must listen to these sounds very attentively and try to eliminate all rigidity. There is a muscle which runs round the lips and a simple exercise for it is to make the class smile and then quickly push forward their lips to the oo position.

11, is a most useful help to getting clarity of consonants. Many teachers have found it useful to whisper thus: "The tip of the tongue, the teeth and the lips", which gives good consonantal practice as well as calling attention to the organs which produce it. Try it in songs like "Come lasses and lads", "A-hunting we will go", "John Peel" and many others such as the "patter" songs from the Gilbert and Sullivan operas. Consonantal difficulties will soon disappear. It is more difficult to time consonants in slow songs but the 50 THE SINGING GLASS technique of their production will have been learned and only needs to be applied.

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