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Accents and Rebounds: For the Snare Drummer by George Lawrence Stone

By George Lawrence Stone

Accents and Rebounds provides accessory exercises and extra complex rhythms to the fundamentals coated in Stick keep watch over, including finesse and regulate to the player's talents. This followup booklet to the vintage Stick keep an eye on, through George Lawrence Stone, comprises sections on accented eighths, accented dotted notes, accented triplets, rebound keep watch over, two-beat roll as opposed to the excitement, accents in innovative rolls utilizing correct and left leads, accents in five-stroke rolls, accents in seven-stroke rolls, and rolling in combined rhythm. while you are partial to Stick keep an eye on, Accents and Rebounds provides the ideal subsequent steps in your perform regimen.

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Sample text

The nasals in Italian, English and German should not be emphasised. Singers should note that the English ‘ng’ sound does not exist in Italian. The ‘ng’ in ‘languisce’ must not be pronounced like the ‘ng’ in English ‘languish’. Rather, the ‘n’ and the hard ‘g’ must be pronounced separately, ‘lan-guisce’. 2. THE GLOTTAL STOP Remember that the glottis is the space between the vocal cords. If a vowel sound is initiated while the glottis is still closed, a glottal plosive – also called a hard attack – is the result.

For example, in the following passage, the bright ‘a’ of ‘glad’ will be gradually darkened to a more open sound that approaches an ‘o’. Exercise 2 Many singers speak of adding ‘oo’ or ‘oh’ to any vowel in the passaggio. This is a different way of saying the same thing. At first, the distortion of the vowel may be so acute that it will be conspicuous. The muscular coordination of the vowel sound with the placement is generally the result of many months or years of work. Approaching the passaggio in this way will: (a) open up the voice to make the upper register of the voice accessible; (b) eventually smooth out the passaggio to achieve a seamless transition between the middle and upper registers; Letterpart Ltd – Typeset in XML A Division: Text F Sequential 46 Vocal Technique (c) 53 ensure that the voice maintains consistent resonance and brilliance throughout the range (another way of expressing (b) above); and (d) eventually establish the placement (the resonance) to the point at which the opening of the throat in the passaggio becomes a natural habit.

Unless the music or the exercise specifies otherwise, all music should be sung legato; that is, all the sounds should be connected smoothly. Involuntary breaks in the legato sound should not be caused by: Letterpart Ltd – Typeset in XML A Division: Text F Sequential 52 Vocal Technique (a) 59 Changing from one vowel sound to another. (b) Changing from a vowel to a consonant or vice versa. (c) Changing from one pitch to another. (d) Moving from one register to another. Section 4 (Placement and resonance) states that all singing is done on the vowels but that it is the consonants that make the words recognisable.

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