Feature articles, lessons and tutorials on audio and music

To finish with the performance question, today we'll discuss a somewhat particular topic which was inspired by a comment posted in the French forum by ex-Moderator in Chief, Will Zégal, in response to a previous article

Dear friends, do allow me to open a brief parenthesis in our harmony series with this article.

Today we'll continue exploring the art of performance with an installment that could be easily renamed into "Theatrics for Dummies." However, anyone who takes the time to put into practice these tips will see an amazing improvement in the recording of vocal performances. Cross my heart and hope to die if they don't!

You might be wondering why I'm writing about these scales as a "particular case" even though I hadn't mentioned them when talking about the altered and Bartok scales. Well, these two scales often lead to a quite legitimate confusion so I decided to straighten things up and write an article to clarify things before moving forward. Even if that mean…

As you saw previously, the singer, as a performer, can be compared to an actor. However, unlike a "traditional actor," the singer must only rely on his/her voice to bring to life his/her character within the framework of a recording production.

In the previous article we started studying two particular cases among altered modes. Remember that altered modes are those built from a scale that is not major. The two cases in question are the altered scale and the Bartok scale. After having explored the first one in the previous installment, today we'll study the second one.

In the last article, I introduced you to the modes of harmonic and melodic minor scales. Before we begin to study each of them, I invite you to discover two of them more in detail right now, namely the altered and the Bartok scale. Today we'll begin studying the first one.

In this new installment of the chapter dedicated to vocal recording we will tackle the delicate issue of performance.

In the previous article we made a brief pause in the study of the characteristics of the different modes to introduce two particularly useful forms of writing in the modal system: the pedal and the ostinato.

Second installment dedicated to the things to do to prepare better for a recording session. Once again, certain things I'll write here might seem statements of the obvious for some of you. That said, I'm the kind who thinks that if something goes without saying, it always goes better if you actually say it.