Anointed singing in the bible

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I felt that I should share some biblical examples of the effect of anointed singing. One of these is my favorite passages and is found in 2 Chronicles 20. King Jehoshaphat faced a national threat and fasted and prayed for the deliverance of his nation. He received a prophetic word from Jahaziel that God would fight for them. Next day, he sent his little army out to fight the multitudes that had come up against his land. He did a strange thing. He put singers ahead of the warriors. This is what happened.

The singers sang the words:

“Praise the LORD; for his mercy endureth] for ever” (2 Chron 20: 21).

“When they began to sing and to praise, the LORD set ambushments against the children of Ammon, Moab, and mount Seir, which were come against Judah; and they were smitten.”

This is a powerful testimony to the impact of singers who led an entire nation into deliverance by singing.

What is the technology behind this? Well, God loves singing. Joyfulness, singing and thanksgiving are essential parts of the protocol for entering the presence of God, according to Psalm 100. Furthermore, anyone who praises God can rest assured that He is going to draw near to enjoy their praise (Ps 22: 3). There is no telling what a singer will do when he or she implements the technology. Until!

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Anointed singing

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This topic is mainly dedicated to gospel singers who do have an edge over the secular artistes with this particular gift of the anointing. If you are wondering what it is, the term anointing means to rub or smear with oil (Exodus 28: 14, 29). The term symbolizes the presence and work of the Holy Spirit in the believer, enabling him or her to live a holy life and to accomplish tasks that are not humanly possible (Acts 4: 32). Here are some answers to the questions that you may be asking:

FAQ

1. Who gets anointed?

– All believers with the indwelling Holy Spirit (1 John 2: 27). The Holy Spirit will teach you how to sing.
– Believers living a clean life (Acts 10: 38).

2. What happens to the singer when he or she is anointed?

– It gives the singer fluency and ease in singing (Acts 2 : 4)
– Comforts the afflicted (Isa 61: 1-3)
– Breaks yokes of demonic oppression and possession (isa 10: 27)
– Gives the singer boldness (Acts 4: 29-31)
– Brings conviction to the hearers (Acts 7: 57)

I found as a singer that the anointing does all of these. The singer under the anointing brings greater blessing to the listeners and people can and do receive deliverance from burdens. You can call the singer a singing preacher. This is a gift that every singer should desire. Blessings.

Read more on the anointing at

http://pppministries.blogspot.com/search/label/baptism%20of%20the%20Holy%20Spirit

Expressive singing – style

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IF you do a word search on musical style, you will find loads of information about genres. This makes for great reading. However, when I refer to style in this article, I am not speaking solely about musical genres, but about certain interesting add ons to your song that add flair. These include, for example,

* improvisation or the use of spontaneous creativity when singing. Some musical genres seem to be particularly suited for improvisation, for example, jazz, gospel music. Improvisation can be a spur of the moment event, although one can find many books dedicated to teaching the art of improvisation. The singer has to feel the mood of the song, a shift in the mood of the song, a flow of the new words, tune or rhythm and go with the flow. Hopefully, you have a group of musicians who will follow where you lead.

* Change from one musical genre into another in the same song. I have heard songs in which the musicians and singer smoothly flowed from a ballad into a reggae beat, thus adding lightness and new feel to the song. My brother and his team were particularly gifted at this. The possibilities are endless. Caribbean people are particularly guilty of changing the tempo of many North American songs and singing them to either a calypso or reggae beat. We can’t help! It’s in the blood

These are only two examples, but I believe there is much more to be said. I will add as time progresses. See you soon!

Expressive singing – speed of the sound

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In my last article I spoke about techniques that singers could use to change the volume of the sound being sung. Today I will briefly explore the speed of the sound.

DEFINITION OF SPEED

The term musical speed refers to the pace or speed of the music or song that is being sung. Common terminology to indicate the pace at which music should be sung include, from fastest to slowest (Wikipedia.com):

From fastest to slowest, the common tempo markings are:

* as fast as possible – Prestissimo (200 – 208 bpm)
* fast- Presto – (168 – 200 bpm)
* lively and fast – Vivace – (~140 bpm)
* cheerful and quickly – Allegro – (120 – 168 bpm)
* Moderately cheerful and quick -Allegro Moderato
* Rather lively – (but less so than Allegro)
* moderately – Moderato – (90 – 115 bpm)
* Andantino – Alternatively faster or slower than Andante.
* walking – Andante – (76 – 108 bpm)
* Rather slow -Adagietto
* slowly (literally, at ease)-Adagio – (66 – 76 bpm)
* heavy, seriously – Grave
* very slow – Lento – (60 – 40 bpm)
* broadly – Largo
* exceptionally slow -Lentissimo
* extremely slow – Larghissimo – (40 bpm or less)

The tempo or speed of a song can be adjusted by using the following techniques:

* speeding up – Accelerando – (abbreviation: accel.)
* delaying (slowing the speed) – Ritardando – (abbreviation: rit. or more specifically, ritard.)
* less movement or slower – Meno Mosso
* more movement or faster – Più Mosso
* slowing down, especially near the end of a section – Rallentando – (abbreviation: rall.)
* slightly slower; temporarily holding back – Ritenuto (Note that the abbreviation for ritardando can also be rit. Thus a more specific abbreviation is riten.)
* rushing ahead; temporarily speeding up – Stretto
* free adjustment of tempo for expressive purposes – Rubato
* growing broader; decreasing tempo, usually near the end of a piece – Allargando
* movement, more lively, or quicker – Mosso, much like ‘Più Mosso’, but not as extreme.

No problem if you want to ignore the Italian terms. Hope that you have fun playing around with variations in speed when you sing. You can vary the tempo in any one song as you see fit. It does not have to be sung in one speed. this would certainly add interest and enhance the mood that you are trying to portray. Until!

Expressive singing

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This is a very important element that all singers need to pay attention to. Singers, in my mind, can be equated with public speakers because they have something that they want others to hear. Expressive singing therefore helps to add to the beauty of the song and its presentation in much the same way that an expressive and vibrant public speaker holds the interest of the audience or even in the way that a well made piece of clothing adds appeal to its wearer. Have you ever listened to a speaker drone on in a flat, toneless voice? Some television speakers are particularly guilty. You want to toss an egg at them! Well, singers, don’t force anyone to toss eggs at you, even in their minds!

Here are some tips on expressive singing:

1. The key is to know what the song is about. What is its theme? This fixes the message in the singer’s mind and helps him or her to make the necessary interpretation of different parts of the song. This example may be begging the question, but if the song is about loving someone, the singer would want to use certain techniques that convinces the listener that he or she is really in love.

2. What is the mood of the song? Is is joyful, sad, pensive, lively etc. This is where the singer’s creative juices can be allowed to flow. Why is it important to know the mood of the song? Well, the songwriter depends on the singer to convey the mood or emotions of the song. The singer’s ability to convey the mood depends on a large degree to the way in which the he or she interprets and feels the song and its message. For example, joy can be conveyed by lilt and lightness in the singer’s voice, inflections in the voice on phrases or particular joyful words, placing emphasis on words that are important in the song. Most music scores (if used) would usually give the musical dynamics that are needed, but the singer, in my mind, can still explore with techniques that ad to the flavor of the song.

3. I just used an example to show how singers can convey the mood of a song. I discovered that these are general techniques that can be applied to any song for added beauty. I will therefore reiterate:

* You should feel the song. If the singer is distant from the meaning of the song, this will particularly impact on the interpretation and impact. This is particularly important for gospel singers who need to convey some truth about faith, God, worship etc. The listener only becomes convinced when the singer appears to know what her or she is singing about (more on that later).

* The singer should use inflections in the voice that fit the phrases and words of the song. Wikipedia.com says that “in grammar, inflection or inflexion is the modification or marking of a word (or more precisely lexeme) to reflect grammatical (that is, relational) information, such as gender, tense, number or person.” When applied to singing, an inflection would therefore be the marking of a word for emphasis in order to add to the meaning of the song. For example, if you are singing that someone or something is “sweet”, you would want to make the word sound “sweet”. If you are singing about joy, inflections could be placed on the word “joy” where it appears and where appropriate. In order to create the effect, the singer will have to change the tone in the voice to suit.

* The singer should pay attention to musical dynamics or create his/her own when there is no musical score. Musical dynamics “normally refers to the softness or loudness of a sound or note, but also to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). The term is also applied to the written or printed musical notation used to indicate dynamics.” (Wikipedia.com). This definition indicates that there are three elements of musical dynamics – volume of the sound, style of the sound and speed of the sound. Let’s examine each individually:

VOLUME OF THE SOUND

The sound (phrases/sentences, particular words) can be expressed by the singer in the following ways:

a. degrees of softness or quietness as in:

• “very quietly” (pp, pianissimo).
• “Softly” (p or piano)
• “medium or moderately quiet” (mp, mezzo-piano).

B degrees of loudness

• “loudly” or “strong” (f or forte).
• “medium-loud” or “moderately-loud” (mf, mezzo-forte)
• “very loudly” (ff, fortissimo).

The singer can also apply the following techniques which change the dynamics and add to the beauty and expression of the song:

• There could be gradual changes in volume. The two most common are crescendo and diminuendo. Crescendo means that the singer becomes gradually louder and decrescendo or diminuendo, means that the singer becomes gradually softer
• The singer can also make the sound fade away to nothing, die away, lose volume.
• The voice can also become softer on certain lines or words.
• Your voice can become louder (as above).
• The singer can place a strong, sudden accent on particular words to give them emphasis.
• You can also sing beneath the voice (not too long).
• The singer can also use mezza di voci which is a combination of crescendo and diminuendo. This is a beautiful technique in which the sound is gradually increased then decreased all in one breath.

Next time I will talk about style and speed of the sound. Meantime, the singer (including bands, choirs etc) should craft and hone his technique by studying the songs to be sung and applying the varied technqiues as you see fit. Of course, they should be tasteful and relevant. This will become a more effortless activity as time progresses and as the ear becomes keener. I recently heard Prophetess Juanita Bynum sing the song “One night with the King”. I thought this was a beautiful example of a song that was sung beautifully and expressively. See you soon.

Source of all definitions: Wikipedia.com

More on diction

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Well, hello there, friends. Today I would like to make a few comments about some common errors that singers tend to make. They relate to:

1. Pronounciation of the suffix ING (not ING Direct)

The prefix of some words should not be linked with this suffix “ing”. For example, some people sing goWING instead of goING. Try out the ING words before singing.

2. Words with the letters OWN

The best way to explain this is to say that these words should be rounded up. For example, DOWN is commonly pronounced DUNG and TOWN is commonly pronounced TUNG.

3. Linking of adjacent words in the same phrase

There are times when adjacent words in the same phrase can be linked to each other. However, this is not a good idea all of the time, for the purpose of esthetics (at least audible)or tasteful singing. For example:

– “I am, I am”. These words are linked by some singers to sound like “I Yam, I Yam”. Now what are you singing about? A root vegetable?

There are many more examples. The best way to avoid them is to listen with a keen ear to other singers and to your own self.

Until!

http://www.pppmiinistries.wordpress.com
http://www.thelordsangels.blogspot.com

Diction For Singers – Consonants

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Hello there readers. How have you progressed with your vocal exercises? I am having progressive improvement in my own vocal quality and hope you are experiencing the same. Today we will talk about consonants, which are the other letters in the alphabet minus the vowels.

Consonants

  • make words intelligible.
  • should therefore be sung clearly and pronounced distinctly and quickly.

The key word here is DISTINCTLY, meaning that the consonant should be heard, but not overemphasized.

Many singers tend to pronounce words without paying attention to the consonants, especially at the ends of words. This gives you the impression that the word is incomplete, leaving you hanging on the edge of your seat, waiting to hear the rest of it.

For example, perfecT – is sometimes pronounced as perfecK or perfec.

The secret to successful diction is to train the air to mentally hear the words of one’s songs as well as to sound them out during rehearsals. It may not always be possible to get it perfect always if the song is sung with a very quick tempo, but it is important to try.

The pronunciation of consonants therefore has the important effect of pronouncing words in their entirety, adding to the beauty of the song.

Now listen to songs with a keen ear in order to determine ways of improvement.

Bye.

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