It depends. Some contralto singers have a really nice and soft voice even without a good ear for pitch and articulation. But some, like Rene Levasseur, have a much richer and fuller voice without the aid of a voice in a small box. What about the soloist who’s not good at articulation or can only sing as high as he can, and so can’t sing a full range? It doesn’t matter that a musician’s voice may be unique, but it’s unlikely that any given song could be fully rendered by just any musician with that voice! As a musician, you should listen very carefully to your instrument and see the way a different performer will react to it.
Do there have to be a specific type of voice?
As long as there’s a good ear for pitch and articulation, a contralto’s playing will always be more interesting if he’s able to hold his own with more traditional instruments and can take over or bring some dynamics to the mix. This is especially true if he can sing with a slightly different phrasing—a soloist with a high and slow voice may have a much richer singing style than a soloist with a medium voice; a vocalist who sings with a high and slow tempo may sound better on a high pitch, a singer who sings with a high level with a fast tempo may sound best with a lower pitch and a singer with a low pitch is more interesting, because the listener can hear the difference from any two different singers.
If you’re using a contralto, it’s good to know that there’s more to a contralto’s musical expression than just playing a high note. When I learn a new tune or write a performance song for a soloist who can never play a low note—whether it’s because he’s not in good ear with the piano, because he’s not used to playing the guitar, or just because he’s too busy to think about the whole voicing thing—I play the high note and then let the soloist sing a little and then sing some notes with the contralto and then let him work on his own voice and make the low note work. If you’re not good at articulation or singing enough notes while playing low, you’ll lose some range. In this way, you’re teaching the soloist to sing with more power and range than any other performer.
What would some contralto singers learn about singing?
There are two broad topics
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