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Scientist and Musician (trumpet & voice) - author of 'Calisthenics for the Singing Voice' and constructor of backing tracks for an extensive song repertoire and selections of baroque trumpet music in a range of keys for Bb, C, D, and Eb trumpets.
Gigs by isonare
(Module 8) From the time of Pythagoras the octave has been the fundamental reference point for defining and ordering differences in pitch and our Western music scales have been selected from the plethora of different ways of filling in that octave gap. The most influential has been the group of “modes” ascribed to the Greeks which became the musical language of the Christian church and out of this collection came the powerful major/minor system which catalysed the incredible development of Western music in the 2nd millennium. These modes were based on steps of tones and semitones and their particular character was related to the position of the semitones in the sequence of eight notes. In the manuscript of each mode and scale, the semitone steps are asterisked. This section also gives examples of octave spanning scales which contain less than eight notes with the corollary that these patterns includes steps of a tone and a half or three semitones.
(Module 7) This study section demonstrates how to find the basic ‘scaffolding’ which underpins the complex melismas of the music of Bach, Handel et al. The basic pattern essentially tracks the chord progression of the segment which the singer should at all times have in mind in performance. The first improvisation indicates how ‘non-essential’ notes can be added in to give more interest to the line – as an exercise try adding in a few more notes to construct your own 2nd improvisation before moving on to the performance version-this being what the composer actually wrote. For each exercise an accompaniment-only track is provided to allow the exploration of the improvisation ideas by choosing at the start of a bar which version you are actually going to sing - in other words, setting up an aleatoric performance in which the result is due to chance.
(Module 6) Extending the choreography idea, these studies illustrate the use of the calisthenic vowels to create pathways either for a complete song (study 1), or for complex melismatic passages from the oratorio repertoire. Again, the principle is that repetition of the pathway will inform the placement of the words and syllables of the lyrics so that an inappropriate vowel shape does not destabilize the voice, especially when negotiating a register-break region.The tempo of these studies will also increase with each modulation within each pitch range. For each study an accompaniment only track is provided (Accomp/MR) which will allow you to explore the rubato achievable as you follow the calisthenic pattern while singing the words.
(Module 5) Exercises 15 and 16 are based on sections from Handel, introducing more complicated shapes and dealing with the analysis of such shapes to find sub- phrases which allow you to apply a ' grammatical' structure to a long sequence of notes and thus communicate the composer's intention to the listener . A long-note study is provided by exercise 17 and this will build stamina for those times when a sustained phrase is required, but there are many times when it is inappropriate to sing right through a long sequence of notes and/or words and the choreographic studies in the 'Super Calisthenic module will deal more with the use of the breath to apply the subtle punctuation required in these situations.
(Module 4) The advanced calisthenic section introduces some interesting challenges by changing the key of some of the basic calisthenics to their tonic natural or melodic minor. This means that you are looking at familiar shapes which now have to be reinterpreted according to the key signature. For instrumentalists this involves taking note of different visual information which defines which key or valve or finger position is selected, and this selection configures the instrument to play the modified note, whereas a singer has to develop a keen sense of tonality in order to effect this major/minor switch. The calisthenic ideas in conjunction with an understanding of the effect of the new key signature on interval size and relationships will aid this development. The particular points to watch for will be annotated for each exercise.
(Module 3) These exercises in build further on the ideas introduced in module 1 and continue taking the voice safely and comfortably through the vocal range. You will learn how to bridge the gaps often bestowed by nature's changes and create an instrument to give you and others great pleasure.
(Module 2) These exercises build on the ideas introduced in module 1 and begin taking the voice safely and comfortably through the vocal range. You will learn how to bridge the gaps often bestowed by nature's changes and create an instrument to give you and others great pleasure.
(Module 1) The Preparatory Calisthenics provide a simple introduction and rehearsal system to gain fluency in the principal syllabic and vowel patterns used in the main calisthenics. In the next 2 modules the 10 basic exercises are introduced with explanatory notes as to their use in range extension and voice register smoothing. The Adv. Calisthenics build on this by introducing minor key variations of the basic exercises as well as long-note and descending and ascending interval studies. In the Super Calisthenics,further studies will illustrate how the calisthenic ideas and techniques are applied to the learning and presentation of songs and to the development of a voice with the flexibility to sing successfully in different styles. Modules 2-7 provide backing tracks covering the extremes of vocal range in 6 overlapping ranges. They are equally suitable for all voices. eg LR(low range) means males start in bass and females start in alto and then on to MR(medium range) and so on
I offer backing tracks for each song in the cycle First track -Baritone - (melody line audible) Second track - Baritone - (melody line silenced). Third Track - Tenor - (melody line silenced) Sequenced using MOTU performer on a Roland D10 Tempos, rubato, and dynamics programmed in. TITLES - The Vagabond; Let Beauty Awake; The Roadside Fire; Youth and Love; In Dreams; The Infinite Shining Heavens; Whither Must I Wander; Bright is the Ring of Words; I Have Trod. These tracks are ideal for use in distance teaching via skype etc as the student can be sent copies of the MP3 files to play from their end of the 'line' allowing the teacher to focus on the performance.
I offer backing tracks for each song in the cycle First track - melody line audible Second track - melody line silenced Sequenced using MOTU performer on a Roland D10 Tempos, rubato, and dynamics programmed in. On Bredon Hill O Fair Enough When The Lad On the Idle Hill of Summer With Rue These tracks are ideal for use in distance teaching via skype etc as the student can be sent copies of the MP3 files to play from their end of the 'line' allowing the teacher to focus on the performance.
I offer backing tracks for each song in the cycle First track - melody line audible Second track - melody line silenced Sequenced using MOTU performer on a Roland D10 Tempos, rubato, and dynamics programmed in. Loveliest of Trees When I was One and Twenty Look Not in My Eyes Think No More The Lads in Their Hundreds Is my Team Ploughing? These tracks are ideal for use in distance teaching via skype etc as the student can be sent copies of the MP3 files to play from their end of the 'line' allowing the teacher to focus on the performance.