Selain Hobby Menyanyi (PS ... bukan Solo :-) ), dalam lubuk hati yang paling dalam dan postur tubuh yang ada, semua orang yang melihat pasti dengan yakin dan satu hati berkata "Kong Nintau Makang jo katu dia kang?" .... hehehe. yah itulah kesan pertama.
Sebelumnya kita so se maso tentang Menu Keseharian dan sempat juga sambil tunggu jam makang siang di kantor, cari2 menu yang ada di jagad Inet. Eh .. akhirnya dapa beberapa web yg ulas banyak ttg Kue dan Masakan ...
For yang ada jiwa Enterprenur, ini boleh jadi salah satu cara ato solusi utk mulai usaha kuliner :-), apalagi kalo gratis .. heheheh
Ada Resep Makanan Eropa di Web ini, selain itu juga berbagai artikel lain yang menarik di ulas di situ.
Berikutnya dari Web Budi Sutomo, S.Pd, terdapat banyak sekali resep - resep masakan. yang menarik perhatian adalah 10 Resep Hidangan Sea Food Populer dan resep Aneka Soto Populer selain menu2 yang berseliweran di web tersebut.
Selain itu juga kita dapa Menu Tradisional yang Membahas sebagian besar Menu yang ada di hampir semua Propinsi di Indonesia, Sampe Menu Khas Sulawesi Utara le ada mulai dari TinuTuan sampe Ikang Rica2.
Nah ... depe Laste ada Web yang selain kase Masalah ... eh Masakan, dia kase resep Kukis deng Roti.
Nah ... For Tamangs Around the World, Semoga Artikel kali ini bisa berguna selain menambah Variasi Makanan di rumah, juga semoga bisa memberi Inspirasi untuk Usaha Kuliner dengan Pesan "Jangan Lupa Saya Diundang untuk Mencicipi Masakan dan Kuenya" hehehehe .... Inga ... Inga ...
Before You Sing a Note: Scan for Tension !!!
by Suzann Kale
No matter how well-practiced we are, tension can always creep in. Any kind of physical tension (except for the natural tension necessary in your breathing technique) will hurt the quality of your voice.
Look, feel, and listen for the following "red flags" while you're singing or speaking. Then consciously let them go.
Elbows pressed too tightly against your body. (Antidote - Loosen up your arms. If you're practicing or in rehearsal, swing your arms and roll your shoulders.)
Knees locked. (Antidote - Walk around to unlock them. Dance, if appropriate.)
Lips tense. You can feel it if your lips are tight, and you can hear it as your sound becomes pinched. (Antidote - If you're vocalizing or in rehearsal, take a break and do lip trill exercises (p. 227 in Vocal Vibrance) or take a moment to gently move the muscles around in your face. If you're on stage, make sure you are dropping your jaw on the vowel sounds.)
A pinched sound or the beginnings of pain in the throat. (This means you're not breathing! The antidote - remember to breathe and sing from the diaphragm and lower rib area. When you inhale, only your midriff should expand - never your shoulders or upper chest.)
On upward interval jumps, you're not hitting the top note precisely. Or, you're hitting below the note and sliding up. (You're exhausted. Antidote - If you're vocalizing, it's time for a break. If you're new to singing, you may only be able to vocalize 10 to 20 minutes a day while your breathing muscles develop. If you're an experienced singer or if you're onstage when this happens, you've got to get that adrenaline going and consciously make those intercostal and diaphragm muscles work for you. Straightening your posture will help tremendously.)
Your knuckles around the microphone are turning white. (This indicates whole-body tension. It creeps up on the best of us. If you can be aware of it, you can let it go.)
Your voice sounds thinner than usual. (This is a part of stage fright. Antidote - Support that breath! Walk around while you're singing - walking loosens up the body. If you're between songs, talk to the audience, and laugh if you can work that in. Laughter is an immediate healer. Tell yourself that this gig is not the beginning and end of the world and remember that the Universe is made up of billions and billions of galaxies.)
No matter how well-practiced we are, tension can always creep in. Any kind of physical tension (except for the natural tension necessary in your breathing technique) will hurt the quality of your voice.
Look, feel, and listen for the following "red flags" while you're singing or speaking. Then consciously let them go.
Elbows pressed too tightly against your body. (Antidote - Loosen up your arms. If you're practicing or in rehearsal, swing your arms and roll your shoulders.)
Knees locked. (Antidote - Walk around to unlock them. Dance, if appropriate.)
Lips tense. You can feel it if your lips are tight, and you can hear it as your sound becomes pinched. (Antidote - If you're vocalizing or in rehearsal, take a break and do lip trill exercises (p. 227 in Vocal Vibrance) or take a moment to gently move the muscles around in your face. If you're on stage, make sure you are dropping your jaw on the vowel sounds.)
A pinched sound or the beginnings of pain in the throat. (This means you're not breathing! The antidote - remember to breathe and sing from the diaphragm and lower rib area. When you inhale, only your midriff should expand - never your shoulders or upper chest.)
On upward interval jumps, you're not hitting the top note precisely. Or, you're hitting below the note and sliding up. (You're exhausted. Antidote - If you're vocalizing, it's time for a break. If you're new to singing, you may only be able to vocalize 10 to 20 minutes a day while your breathing muscles develop. If you're an experienced singer or if you're onstage when this happens, you've got to get that adrenaline going and consciously make those intercostal and diaphragm muscles work for you. Straightening your posture will help tremendously.)
Your knuckles around the microphone are turning white. (This indicates whole-body tension. It creeps up on the best of us. If you can be aware of it, you can let it go.)
Your voice sounds thinner than usual. (This is a part of stage fright. Antidote - Support that breath! Walk around while you're singing - walking loosens up the body. If you're between songs, talk to the audience, and laugh if you can work that in. Laughter is an immediate healer. Tell yourself that this gig is not the beginning and end of the world and remember that the Universe is made up of billions and billions of galaxies.)
AN ALTERNATIVE, SCIENCE-BASED THEORY OF REGISTER PHENOMENA
READ This PAPER ... It's Very Usefull for Singers ....
"This paper analyzes and evaluates several explicit and implicit assumptions that are embedded in the concepts, terminologies, and practices related to vocal registers. A reconciliation of the varied and conflicting register concepts, terminologies, and practices is proposed, including:
Read MOre .....
"This paper analyzes and evaluates several explicit and implicit assumptions that are embedded in the concepts, terminologies, and practices related to vocal registers. A reconciliation of the varied and conflicting register concepts, terminologies, and practices is proposed, including:
1. a brief historical context of vocal registers,
2. a documented science-based theory that accounts for vocal register phenomena from perceptual, physiological, and acoustical perspectives,
3. criteria for selection of science-based categorical word labels for register phenomena and suggested colloquial English terms that meet the criteria,
Read MOre .....
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