Saturday, August 23, 2008

Do You Wish You Knew How to Sing Better?

Do you want to learn how to sing or just how to sing better? You may not be aware of it but its likely a case of learning how to sing better for most of us. Its not that absolutely everyone can sing, but most of us can if we take a sensible approach to trying.

There is a wealth of information available on the internet offering lessons and scales and claiming to reveal the Five least known Singing Secrets. Well heres something to ponder, there are no secrets. The ability to be a good singer is nothing more than learning how to listen to yourself, being able to correct you pitch if its off, breathing for a continuous supply of breath, and muscle control in your throat and body to produce the best tones, not to mention, tons of practice. Proper practice that is, not practicing mistakes.

Singing lessons will certainly help guide you to being able to recognize how all of these things go together but the reality is that you can quite likely do it yourself with only a little help.

Have you ever seen advertising that claims you can increase your range by an octave? That to me is a very big claim. Personally I would have to see it to believe it. Im not saying that its impossible but its not as possible as some would have you believe. The only real way to increase your range is to practice properly, without hurting yourself, and building your range up over a period of time. Thats the only way to do it safely and still keep a rich tone about your voice. My sense is that anything else would be falsetto singing and in my world, theres no real room for that.

This practice is where scales and such come in handy. You sing ascending scales and descending scales in a variety of phonetic phrases. Its a controlled environment and you can make improvements in your range for sure, but it will take time if you do it properly. Naturally the more you practice, the greater your improvement.

You may need to consider that range is not the be all and end all of being a great singer. When you listen to your favorite songs it becomes apparent that at least most of the song stick to a certain range and doesnt go too much higher or lower than that. Most of those notes are quite reachable by the average human so dont kill yourself trying to do something super-human when it comes to increasing range.

Instead of range, worry about pitch. It really doesnt matter how high or low you can sing if you cant hit the right notes in between. Stick to the easy stuff you know you can do and work up from there. Use your ears. If you sound like youre off, correct it and dont be shy about it. Youll be surprised at how quickly you stop singing wrong notes. Your ears are the greatest aid you have to being a great singer, you should learn how to use them first, then decide if you need lessons.

Ian Kurz is a singer/guitarist that has been performing for many years. He has played in front of thousands of people and has performed as an opening act for various recording artists. He uses the principles of singing found at http://www.discoveryoucansing.com

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The Rhythmic Tribal Belly Dance

Tribal belly dance recreates what might have been as far as different tribes and the interaction between them. There is no real evidence as to what really existed but it is understood that tribal belly dance has its roots in folkloric and traditional dance. It has really taken off within the last ten to twenty years.

Tribal Belly Dance is a Western style of Belly Dance derived/fused primarily from the dance/troupe style of Jamila Salimpour in the 70's. This style of dance fuses various folklore and contemporary dance movements, from various countries such as the Middle East. In addition it uses a mix of music, often preferring acoustic instruments, authentic tribal songs or tribal sounding songs. However, recently it has been incorporating a lot of the world trance and beat music.

This intriguing dance is characterized by an improvisational style, with dancers learning sets of steps and moves rather than choreographing entire dances. The dance is also very stress relieving and women often confess that belly dance class is the highlight of their week and that they feel so good when they leave class, not only physically, but mentally as well. Tribal belly dance is a powerful and fun way to express yourself, and share in something truly uplifting with other women.

Its roots are in folkloric and the traditional belly dance. That being said it is considered a recent innovation. It's really taken off within the last ten to twenty years because of the exciting nature of the dance. The visual display of several dancers all performing at once is very compelling and exciting to watch.

Performances are seldom choreographed but rather cued from a vocabulary of movement by a designated lead dancer. This encourages a spirit of team work, awareness and cooperation, all parts of being a "tribe". Performances of this style are quite energetic and exciting to watch. However, a side effect is that dancers who only study this style of dance could potentially be unable to dance without the lead of other tribal improvisational dancers.

http://www.my-belly-dance-4u.com/pages/tribal.html

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For Your Next Fundraiser, Take Advantage of the Hottest Craze Since Saturday Night Fever

I spent my Sunday afternoon in the presence of some of the best ballroom dancers I have ever seen. What an inspiration - what a party!

The occasion was a fundraiser for a children's charity. For those who simply like to watch great dancing, it was a bonanza. For any who enjoy venturing onto the dance floor themselves, it was hour after hour of an almost endless variety of dancing styles.

And for those who may have never personally tried ballroom, every hour brought a different instructor, ready and superbly able to teach the fundamentals of the Fox Trot, Cha Cha, and Hustle (yes, disco divas, it's baack!!)

It was great exercise for those who participated, a fabulous floor show for those who watched, and a wonderful way to raise a bunch of money for a good cause.

If you are planning a fundraiser, now would be a very good time to consider something similar. Not since John Travolta infected us with "Saturday Night Fever" in the 70s has dancing (and dance instruction) been so popular. Entire families of our acquaintance are participating. And the beauty of it is that each and every person who walks in the door has the opportunity to participate (or not) at their own level. Today's event had seniors, boomers, Gen-Xers, and a few from Gen Y (which in "earth language" means that we had everything from 70-somethings to 20-somethings.) We had competitive ballroom dancers (like the pros on Dancing With The Stars) and rank amateurs. But ALL had fun.

How long this fascination with the terpsichorean arts will last is unknown and un-knowable. But - for now - I recommend that anybody with a good cause and a need for funds look into planning an event which combines dance exhibition and dance instruction with loads of good dance music.

And when you do, be sure I find out about it. I'll put my dancing shoes on!

For more information about this and other articles related to Corporate Events or Fundraising, visit http://www.davetannermusic.com

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Diversion Projects
08. Chitterlings Con Carne - Pucho & His Latin Soul Brothers ... 07. Let Love Find You - Pucho & His Latin Soul Brothers - Cold Shoulder ...
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Snowboy & the Latin Section. El Campeon Del Mambo. Afro Cuban Jazz. Pucho & His Latin Soul Brother . How'm I Doin? How'm I Doin? Tobin, Amon. Slowly. Supermodified ...
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Staying Power - The Bars And Restaurants That Stand The Test Of Time

Here today, gone tomorrow, bars have a reputation for short-term success. But a few have the ability to ride the times and keep on top of the game.

Ten years ago, I was sitting in The Groucho Club one late summers evening discussing with a now well known haute couture designer, the new wave of drinking culture that was enveloping the capital, arguing that London really had never been so exciting. Up until that point, drinks were very much a secondary element of the overall experience wine was simply white or red, beer came only in a pint glass and vodka was whatever paint-stripper the barman chose to pour. But in the nineties, we were on the cusp of a cocktail movement. New-world wines were making the Chardonnay and Shiraz as commonplace as the Bordeaux, while new conceptual drinks like Red Bull were seriously shaking up the market, broadening peoples drinking landscape and challenging us to think about drinking as more of a lifestyle. Slowly, what was behind the bar appeared to be taking over the focus of the night. People were whispering rumours of late night bars that were open into the wee hours, where glamourous glitterati rubbed hips with the international jet-set over Manhattans and Martinis. They, along with The Groucho, were the places everyone wanted to be seen and their popularity seemed untouchable to all but the most cynical.

Of course, everything has a lifespan, we cynically agreed: fashion is dead in a season, and a fashionable bar well you wouldnt want to bet the house on it would you? We both concluded that fashions simply cant last and those bars, which today were the subject of snaking queues, would quickly turn to yesterdays news as would the drinks that were being quaffed within. Of course, in most cases we werent far wrong. Mondo, Saint, Titanic, Riki Tik... all have fallen by the wayside having once been celebrity favourites of their day. Many others have turned from exclusive A-list excellence to godawful tourist tat. The Gin Sling became the Sea Breeze became the Bramble became the Vanilla Mojito

But its not all doom and gloom. Today, another ten years hence, I am back in the same leather couch of the same Groucho, and ordering from the menu a Red Bull, a drink whose ability to transcend fads and trends seems to symbolise the aspirations of nightlife culture. It has history and heritage and has attained almost timeless appeal. Fashionable works for a while, but every owner, manager and promoter hopes and strives for one thing ultimately and that is to be the next classic. Because the classics, while small in number, exist on a plain far superior to fashion. Dotted amongst the sprawling community of one-off wonders that populate the bar world, a few classics really have stood the test of time, riding the cyclical waves to achieve immortal credibility. The Groucho is one of those timeless classics. Through the years it has always been at the top of its game, its members list comprising the same names that populate the pages of the celebrity press together with the successful and powerful in the world of media.

Nowadays, octogenarian founder members sit comfortably alongside young achievers and its long-term future would appear to be set in stone. Embassy is another long-time winner or more to the point, its ever-present Rock n Roll proprietor, Mark Fuller, who ran the original Embassy twenty years ago with equal success. This most recent incarnation of one of Londons most famous clubs, now with a fine dining restaurant that counts among the capitals very best, and glitzy nightclub in the basement, is a rare constant in the oscillating world of the fashionable. Another face that has always been associated with bar and club supremacy is Jake Panayiotou who ran original celebrity hot-spot, Browns for a decade before moving on in its hay-day. His last few years at the helm of the Wellington Club in Knightsbridge have seen the age-old members club climb to yet new heights. But its not only members clubs that can battle through the ages unscathed. Music-led venues such as Medicine Bar in Islington, Bar Rumba, The Cross, Bar Vinyl and The End have all proved their mettle, while the likes of Hanover Grand, The Gardening Club and Iceni have collapsed into the annuls of hip history.

So, what is it that sets the one-hit-wonders apart from the immortals? What makes a classic? Three characteristics seem to pump through the veins of all the long-term winners.

Quality, choice and adaptability, says Cas, The Grouchos pre-eminent bar manager, as he deftly shakes up cocktails from behind the bar. You have to offer a quality experience in the drinks, the music, the food and the people. You must give customers what they want and you have to adapt to the times. Subtly underlining the point, my Red Bull silently arrives at the table on its own tray, dressed with a single, perfectly folded napkin.

Can staying power really be so simple to achieve? With twenty years of success behind The Groucho, the club is quite an authority on the subject, but it was Darwin who concluded that the fittest win out at the expense of their rivals because they succeed in adapting to their environment. Sounds pretty familiar to me and, lets face it, you cant argue with Darwin.

HERE TO STAY

Our selection of bars that we think will still be doing it in ten years time

MAYFAIR: Embassy

An all-round club for the all-round socialite, Embassy offers food on a par with Michelin starred restaurants, drinks that are as good as any great cocktail bar, a basement club and a guestlist that could double as a whos who of London.

COVENT GARDEN: The End & AKA

One of the capitals most respected dance music venues, with Mr C behind its success. Music is always ahead of its time and drinks are a world away from most dance music venues.

KNIGHTSBRIDGE: Wellington Club

With over 100 years of history, The Wellington has been reborn as an exclusive hangout for the citys hippest. Lounge bar and club rolled into one and popular with the paps and the press alike.

WEST: Woodys

On the banks of Londons longest canal, Woodys has become accepted as the members bar for the music industry. Three floors of food drink and dance with a collection of the best music and cocktail mixologists in the country.

ISLINGTON: Medicine Bar

It was the bar that put Islington on the credible map. One of the original DJ bars that has been made a home to the clubbing community of the 1990s.

CAMDEN: Bar Vinyl

Reputedly the first DJ bar in London, Bar Vinyl combines a record shop with the only bar in Camden really worth its salt. The bar is minuscule, but the offering is enormous and the future is vast.

SHOREDITCH: Home

One of the originators of the Shoreditch movement, Home made its mark before all of the others and continues to hold its own. It has moved from a scraggly basement bar to a slick, but funky cocktail bar and restaurant and continues to define the times.

SOHO: The Groucho

A favourite media hangout, The Groucho is like a party in your own front room with the kind of people that anybody would eat their own right arm to have turn up at their party. Now with a more modern bar on the first floor to complement the leather and wood ground floor classic, it is a members bar that suits all and bound to see in another twenty year term.

HOXTON: Zigfrid

A newcomer to the Hoxton set, Zigfrid is most likely to be here in ten years. Brainchild of leading bar designer, Paul Daly, it appeals to the more creative Hoxtonians and since the district is a hotbed of creativity, its proving pretty popular.

FITZROVIA: Social

A collaboration between bar gurus The Breakfast Group and music gurus, Heavenly Social, this backstreet concrete bunker of a bar offers some of the best DJ-led and live music about. Now with sister venues in Islington and Nottingham, Social is destined for a big future.

Jeremy Mascarenhas has been editorial director of the seminal London Bar Guide magazine http://www.londonbarguide.com for 10 years. He is also global editor of The World Bar Guide, an online guide to the best bars in the world http://www.worldbarguide.com, publisher of The Big Directory (a bar industry bible) and a freelance drinks marketing consultant. He has worked with most of the leading drinks groups including Red Bull, Mot Hennessy, Diageo, Brown Foreman, Budweiser, Asahi, Tiger Beer and Grand Marnier. Through his publishing company Scene It, as well as the London Bar Guide, he has published guides to Sherry, UK nightlife, cocktails, Japanese restaurants, the much lauded London Restaurant Guide and much more besides.

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On Cinema

What does this word, "Cinema" mean for each of us? Surely this word, with all its connotations including the images and sounds it evokes in one's memory has different meaning for each one of us. However, the approach towards it is more or less similar amongst most of us, that is, as a form of entertainment, pastime, escape, etc. The original meaning of the word was: "moving images", however as this medium evolved, sound was also introduced into it. Therefore, perhaps we can now give this meaning to the word - "moving images and sounds".

Suppose I've completely negated all my experience of cinema and have no memory with which to compare - what then do I see it as? I see it as nothing but images and sounds. Everything that is done and would be done would be done with mixtures, different qualities, proportions, of images and sounds. The story, the plot, the dialogs, song, dance, actors, locations, are all secondary - they are a part of this movement. Then every part is equally important and has its own place in the whole movement. What else do I see? I see that for the first time in the history of mankind, human beings can see themselves - they can watch themselves! This, if one ponders upon it, opens limitless possibilities for the human consciousness. Humans can take giant leaps towards breaking the barriers of consciousness and watch themselves, observe themselves - for cinema reveals.

It is an art of revelation, not of hiding - It shows things as they are, though one may translate the seen into one's own image.

Though all art forms have declined and mediocrity has taken over, the decline of Cinema has been instantaneous. It has not even existed for a hundred years and has been totally and ruthlessly strangled. This is the more serious because the degradation of cinema reflects the degradation of human mind. Cinema, as an art form can far surpass all the other art forms, though the others will still have their place. Cinema can use everything - images, sounds, written words - all music, all painting, all literature can be contained in it.

Cinema can have a profound influence on the human consciousness. The trouble is, the mind that goes to see cinema and the mind that creates cinema usually get what they want out of it - that is, providing a form of escape, quick entertainment, wherein for some time the mind can be pt to sleep and one can forget the self with all its problems and worries. In India, it started badly, as a form of dramatized "nautanki", and it still suffers terribly from tradition and people's lack of ability to break away from it. Most practitioners of cinema use it for mercenary purposes. Obviously, anything that is created for making money, fame, and for personal ambition, will be mediocre. Furthermore, it is also to be popular - that is more and more people should like it, that it should have mass appeal. Art, be it music, literature, paintings, was never meant for the masses. It can never be for the masses. Therefore, since the reason and approach towards a thing reflect most on the final product, the state of present cinema, since it is approached from the point of view of popularity and commercialism, has declined beyond measure.

Cinema, not only in India, but the world over has suffered premature death.

Ashutosh Ghildiyal is a salaried professional based in Mumbai, India. He was born in Lucknow in 1984, where he completed his schooling. He completed his graduate studies in New Delhi and his post-graduate education in Mumbai. He is the author of "To Think or Not to Think and Other stories" (Book), various blogs, articles, and short stories.

Email: ashutoshghildiyal@hotmail.com

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