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< Singers, Teachers & Voice ~ Pearl Fishers admitted keys, voice accompaniment

Yann Dompierre

Posted: 00:50, Thu 11 Mar 2010

LurkerJoined: 02:38, Thu 04 Mar 2010Posts: 2

Hello, I am a freshman on this forum (and on this website a friend of mine was kind enough to make me know). After years of (lazzy and hidden) practice in a choir, I have finally decided to confront my voice alone. I am attending a course for beginners and have only two problems so far I submit to everybody keen to help me :
- I am currently working by my own on Pearl Fishers and wonder if it is admittable to sing it in Gm rather than in Am. I have been told that some singers take it this way, but would like it to be confirmed ;
- I have been used to sing with a dense background of voices and I fell a bit disappointed when singing alone. I heard of sites proposing an accompaniment (if anyone has a clue about it, I would be interested), but the charming old (hope she won’t be reading that) lady teaching me despises that sort of help (kind of orthodox, isn't she?). Any comment/info on these types of websites and on your judgment about this way of practising will be much welcome. Best regards to all of you.

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Vocal Mechanics

Posted: 02:34, Fri 12 Mar 2010

Pianissimo Member (100+)Joined: 04:01, Sat 04 Aug 2007Posts: 196Location: Chicago

Yann -- If you are to sing it for a contest, it serves you to be in the original key. If you are doing the role, you are probably in the original key. In a program or a recital, you can do it in any key you want. The original key, however, is where it's at. You say you are in a "course for beginners" and you are working on the aria from P-F. That's a pretty good course. (I couldn't help that.) I just can't get a "beginner course" and "Je crois entendre encore" together at the same time. Then again, I was working "Vesti la giubba" when I was 8.

Bob

_________________
”Art is the communication of ecstasy.”
Pyotr Demianovich Ouspenskii (1878–1947)

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Juke

Posted: 03:43, Fri 12 Mar 2010

Pianissimo Member (100+)Joined: 07:17, Mon 05 Feb 2007Posts: 244Location: London

Hello Yann

I don't think you've named the specific aria?
Can I assume you mean Je crois entendre?
I love the Pearlfishers aria "de mon amie, fleur endormie"

Schubertline.co.uk has a method of listening back to the (je crois) aria with accompaniment, though you'll also find versions on the sibelius scorch website.

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Yann Dompierre

Posted: 13:41, Sun 14 Mar 2010

LurkerJoined: 02:38, Thu 04 Mar 2010Posts: 2

Thank you for your answers.
Yes I mean "je crois entendre", but as I said, I work it on my own and it has for that time nothing to do with the exercises (a bit boring, but maybe I'm impatient) my teacher inflicts me.
I have tried to find an accommpanieent on the site schubert.co.uk (or whatever name it has, I did not note it before answering

) but did not find any. Basically, regarding the accompaniement, when I sing this piece together with Alagna to have the orchestra back, I cannot help to feel desperate. Besides, I don't have D. Gilmour's glamourous voice and therefore I need some strong backup

. Regarding the choice of this (again, personal) piece for training, would you advise me to avoid difficult pieces at least during the first year or what ?
best regards

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Michel Auroy

Posted: 13:57, Sun 14 Mar 2010

LurkerJoined: 13:53, Sun 14 Mar 2010Posts: 1

Sibelius Scorch is good to begin with, but you’d rather catch a glance too at « yoursolo.com » : I do not know how these guys do that but, obviously, that’s not a MIDI thing, and you can hear the difference !!!

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kevinh

Posted: 05:39, Tue 16 Mar 2010

LurkerJoined: 11:23, Tue 01 Dec 2009Posts: 29

Are you looking for an accompanist for a performance or just an accompaniment to practice (orchestral accompaniment with no one singing). If it's the 2nd one, you can just youtube it. Here is what I found:

http://www.youtube.com/watch?v=C20WypxYgLY

Ofc, these things won't follow you and will have you adapt to its tempo and ornamentation, and it's in the original key. But it does help you to know what things sound like before each entrance and helps you locate notes from the accompaniment if you need it.

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Dan F

Posted: 16:36, Tue 16 Mar 2010

Piano Member (250+)Joined: 00:05, Mon 14 Jan 2008Posts: 398

There are lots of recorded accompaniments. I put some of them up on this site, but there is a lot more out there.
www.grandi-tenori.com/sheetmusic.html
http://www.grandi-tenori.com/concrete/i ... sic-store/

Recorded accompaniments are often not used at their full potential. I don't know how technical you are, but you can use hardware or software to render the recorded accompaniment in just about any key (transposition) and with any dynamics (style) you want - electronically. In the long run, this is far cheaper, and you will be set-up to record yourself with accompaniment every time you sing.

Paying someone to do this (a soudn engineering student can do this in his sleep) is cheaper than a lot of accompanists. Certainly cheaper than the same accompanist working with you 20 times on the same song.

Happy to chat with you if you want. You can email me, or wait till I put up a chat option on GT.

Dan

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Vocal Mechanics

Posted: 21:50, Tue 16 Mar 2010

Pianissimo Member (100+)Joined: 04:01, Sat 04 Aug 2007Posts: 196Location: Chicago

Kevin, that was cool. Thank you.

Bob

_________________
”Art is the communication of ecstasy.”
Pyotr Demianovich Ouspenskii (1878–1947)

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Vocal Mechanics

Posted: 22:11, Tue 16 Mar 2010

Pianissimo Member (100+)Joined: 04:01, Sat 04 Aug 2007Posts: 196Location: Chicago

It’s the “or what?” Yann. I tell singers if they can sing the aria or song effortlessly on [a], they have earned the right to sing it. That’s the ‘or what?’ Whatever one can sing effortlessly on [a]. If you can do that with the Bizet, who am I to tell you what to work on? But that's how I like to approach music.

Bob

_________________
”Art is the communication of ecstasy.”
Pyotr Demianovich Ouspenskii (1878–1947)

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