4 Vocalists Teach the Secrets to Legato Singing
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- Опубликовано: 2 окт 2024
- In this RUclips feature, you will learn the fundamental building block of all singing - joining one pitch to another. Join several tonebase artists as they offer you a guide to developing legato.
All of these clips come from larger courses on the tonebase Voice platform. Get started with a 14-day free trial!
➡️ voice.tonebase...
All of these clips come from larger courses on the tonebase Voice platform. Get started with a 14-day free trial!
➡ voice.tonebase.co/?
WHAT THE HELL this lady is a genius😭 i've never been able to accept that the portamento is the true way to achieve "legato" in singing because i was first a violinist, and sliding my finger between notes is not legato...
It certainly IS! As a lifelong concert artist, when playing cantabile ("in a singing style") I like to slide imperceptibly softly between notes
What a wonderfoul class!
Thank you. My vocal coach has always emphasises don't take a breath.
😊😊👏👏👏👌🤗
How can I contact the heavy set guy in the end of the video? I liked everyone but related to him the most. What’s his name? Does he have RUclips tutorial videos? Thank you. I’m William Swan.
Derrick Goff! We have several courses with him on the tonebase voice platform :)
Opening statement WRONG. All string instruments can slide between notes! (Obviously, in imitation of the voice).
And what about slurs, where the finger is added (or, as the lady says, removed revealing the lower one) without stopping the bow??
It’s more complicated on fretted instruments (like the guitar).
A violin is not a mechanical instrument. It doesn't have hammers or levers or pistons or anything of the sort. So the opening statement is correct.
Thank goodness for this sage wisdom from Rachelle and Derrick. That guy in the middle needs to get a few lessons himself. His tired vibrato and tuning is out of control
Also he seems to be confusing vibrato with the harmonics produced by a well positioned voice.
@@mav030 ALL notes (except tuning forks, synthesisers, and sometimes the low notes of a flute) produce the upper partials you call harmonics. It is the varying strengths of these that give each instrument it's characteristic sound. (Manchester University 1954, non-optional acoustics course. I learned far more about sound production and bowing from scientists in white coats at the Institute of Technology than the meaningless ill-informed guff from most of my teachers.) Keith Ramsell. (".. the Elgar was a total success... " Strad. magazine Dec. 1984) And by the way, I was born with a single functioning finger on my right hand.