PDF In der Fremde (My darling was so fair)

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In der Fremde. (Aft/ darling was so fair) W. TAUBERT. Andantino con moto je - пет Thal, yon - der glade- dar - uu - ter sass ich man - ches-mal mit My love and I.
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The most important feature of communication is your point of view of what you're saying - what is your, the singer's, perspective of the text? It adds another level to the vowels.

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Beautiful sound is one level, artistic communication is another. I needed that. Sing INTO the harmonies. Watch for chord structures that you as the singer can exploit to your advantage.

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When singing an opera aria, really look at the role itself. What has happened to the character before and after the aria? Is the obvious emotion what the aria is supposed to be, or is there another level to it? The "bedrock" or foundation must be engaged and practice is needed in order to train muscles to do what they should do. We must train our muscles to do what they need to do. The rib cage is the "bedrock. Singing is a long "scream" and the sound can never stop "spinning. Support is everything, everything! Practice octave jumps in an attempt to equalize high and low range.

Scoop and slide in octave jumps, feeling all the notes in between. Work for a more homogeneous sound with the top notes growing from the bottom. Make the character come to life physically by taking the posture and body language that would be assumed by the character. Things such as the wideness of stance, positioning of fingers and hands, and facial expression all communicate the message and disposition of the character. Take time to think about the different sections of the piece you are singing.

How is the material of the piece set up? What is the climax?

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How do we get from the beginning, to the climax, to the end? What does that path look like? Ask these questions Then, a sense of a low center comes into play, not just the lungs, voice etc. Make sure that repeated words, as are common in arias and oratorios, are phrased well and with clear purpose. It is easy to lose concentration. She had the vocalist sit down and slouch. That was a really interesting technique and she had to move around to figure out how to lose the tension that she had.

This made me think about how I need to really get my foundation established because many of the same 'problems' continuously arise in my singing. The singer kept pulling her chin down to her neck when trying to hit high notes. I relate to this because I often bring my head forward when I sing and I am beginning to hear a difference when I sing with my head in the correct position and when it is in a forward position.


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She has her vocalize and sing phrases through a straw. She then moves her to humming, working to build a high and focused tone with space in the vocal track. She also had her stick her tongue out to get it out of the way. Tongue tension. That's big too. Great class to watch! She has her lean against the piano, so that she can connect her breath more.

I'm going to try this in the practice room tomorrow.

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I did not feel like my breath was very connected today, so hopefully this technique will help. I learned so much about the accompaniment, what it means, what it is trying to express, etc. I had some things wrong or at least there were things I did not understand. Save it for when you need it. It helps the singer enormously and launches the singer into the top. When we focus too much on technique and too little on the story, we fall short in our expression.

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If we don't convey the emotion we wish to employ properly then why are we singing? He wants us to know every moment of our piece. If we repeat a line, who is it directed to? What is the scene we have set up in our mind as to what we are singing about? Did you hear how cook-like and daintily and dinner-like he serves up to himself?

Then go your own way. My dearest sir, measure me out a particle of peace, if it be but for five years, for you only are possessed of peace. I am undone, having lost my two oxen. Thrice miserable wretch! And that too, certainly, by Jove, which used to keep me in all kinds of—cow-dung. I am ruined in my eyes 2 with weeping for my oxen. But, if you have any regard for Dercetes of Phyle, anoint my eyes quickly with peace. At least 3 drop for me one drop of peace into this little reed. The man has found out something sweet in the peace, and does not seem about to give a share to any one.

You will kill me with hunger, and your neighbours with savoury smells and bawling, if you shout in this way. Well done he, 4 whoever he was. And he requested you to pour, on account of the meats, into his ointment-box one cyathus of peace, that he might not go on service, but might kiss his wife at home. But who is this here? The bridesmaid wants to say something to you in private from the bride. Come now, what are you for saying? Do you know what ye are to make of this? Bring the funnel, that I may take and pour some wine into the Pitchers.

And see! The generals 2 ordered you to march to-day in haste with your companies and crests; and then, though snowed upon, to guard the passes.


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O generals more numerous than brave! Is it not hard that I should not be permitted even to celebrate the feast? Ah me, miserable! Will 2 you fight with a four-winged Geryon? Come to dinner quick, with your box and pitcher; for the priest of Bacchus sends for you. But make haste; you have delayed the dinner this long time.

In der Fremde (Liederkreis Op.39-1) - Accompaniment

For you have 4 chosen the Gorgon as your great patron. Shut the door, and let some one get ready the dinner. Bring hither, slave, an 5 olio of rancid salt-fish. Fellow, will you not gaze at my thrushes? Fellow, will you not address me?