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ArtistWorks Vocal School Lessons: Singing Harmony: Matching Dynamics -NEW!

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[MUSIC]
There are many possible, or
at least a certain number of possible ways
or
contexts that harmony is used.
Let's list a few of them.
Certainly, there's the chorus.
Or choral singers where there will be more
than just three voices.
There'll be larger sections.
A chorus will pretty much always,
one hopes, have a conductor.
The conductor will tell rhythm, get the,
the tempo and unify everyone in that
regard.
And will also give signals for
the increase of dynamics and the decrease
of dynamics.
And the musical term for that is crescendo
and
decrescendo, for which I have an exercise
earlier
in the school in the working with style
section.
It's important to practice that
change in dynamic when you're singing a
song.
So then, as you add other singers,
the agreement on raising and lowering
volume,
dynamics, becomes really important.
And again, in a chorus situation, you've
got the conductor.
Now, there's also backing singers.
Where there's a lead singer, and then
there's two or three, maybe a few more.
They will tend to be doubling each other's
parts, maybe an octave apart or whatever.
To add more sound, luciousness.
But they need to sit those, those harmony
parts,
need to sit more behind the lead singer.
Still, there may be some dynamic change,
but
it's lower key for most styles of music.
Most, not all.
Then you've got certainly recording studio
level
where frequently the quality of the
backing singers or
the harmony parts if you're just doing
like backing parts for the lead.
They need to know what the tonality is
that they're
going to use which generally will be
lighter.
And then have some sense of any places
where the volume needs to raise or lower.
These are some of the final aspects of
developing your harmony parts and
of course we've got our just kicking
around,
having fun and nobody really cares.
You're just singing your part however it
goes.
As long as you know your part, these
lessons will help you with that.
Now, we're gonna get into more finesse, as
they say in French.
Okay.
Come hither all singers.
[LAUGH] So dynamics add interest.
If we only spoke like this, it would not
really get
across the message and we'd all be droids.
[LAUGH] So the ebb and the flow of the
dynamic in speaking
emphasizes those things that are
important.
And the and doesn't emphasize those things
that aren't.
There's, there's a a TV show called
Friends, and
one of the characters always puts accents
on the words that aren't important.
I want the story, you know, type of thing.
So, those are things to watch for though,
when singing song because
it can happen that an unimportant word is
made more, is given more volume.
And then a really important word ends up
falling in the shadows.
We're going to see how that works using
our song Lean on Me.
We've got these words.
Lean on me when you're not strong.
You know, how would you say it?
Lean on me.
You say if for me.
Lean on me when you're not strong.
>> Lean on me when you're not strong.
>> Good.
Now I want you to say it like you mean it,
to somebody.
Lean on me when you're not strong.
>> Okay, that's one interpretation that I
wouldn't use, but
it's a different interpretation which gets
into personal style.
So that's very cool.
Now, sorry for not asking you to say it,
you wanna say it?
>> Sure.
>> Okay.
Mean it.
>> [LAUGH].
>> Go.
>> Lean on me when you're not strong.
>> Now we've got the emphasis on me is
important.
So when you are working a song,
decide how you, what are you saying with
it.
What's the importance of the words that
you're saying?
And those are going to carry the more, the
the importance, the step forward.
Now, if we're doing it as harmony,
this becomes kind of interesting to find
our blend.
[SOUND] We'll just take it through the
word strong and
let's actually start all in on lean on me.
So
[MUSIC]
I'll count.
One, two, three.
[MUSIC]
Good.
Do it again.
One, two, let's put more emphasis on lean.
One, two, three.
[MUSIC]
Good.
Now, to put emphasis on lean, we actually
had to hold it a little bit longer,
didn't we?
>> Mm-hm.
>> Got the message.
[SOUND] Now we're gonna put the emphasis
on lean,
me, when and strong.
[SOUND] Lean, me, when, strong.
One, two, three.
[MUSIC]
So you see,
the unification of moving forward and
back, all in agreement based
on what is the message to you and
how you wanna get it across.
Then if you're working out more of a
calculated harm,
harmony structure with your singers,
you make sure that they know that and
you're all doing it together.
[MUSIC]