Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Get Lonely is the tenth studio album by the Mountain Goats, released on August 22, 2006 on 4AD. It peaked at #193 on the Billboard top 200 album chart. All tracks written except where noted. John Darnielle - vocals, acoustic guitar, electric guitar Peter Hughes - bass, vibraphone Franklin Bruno - piano, horn arrangements, acoustic guitar, electric guitar Corey Fogel - drums Erik Friedlander - cello, string arrangements Gene Baker - trumpet Jen Baker - trombone Scott Solter - percussion, vibraphone, "landscapes", production Aaron Prellwitz - engineering Timin Murray - engineering Get Lonely at MusicBrainz
The Sunset Tree
The Sunset Tree is the ninth studio album by the Mountain Goats, released on April 26, 2005 by 4AD. The album's songs revolve around the house John Darnielle grew up in and the people who lived there, including his mother, step-father and enemies. While We Shall All Be Healed focused on Darnielle's years as a teenager involved with other methamphetamine users, The Sunset Tree focuses on his childhood, a recurring theme is domestic violence; the album title refers to a scene in Samuel Butler's The Way of All Flesh in which the character Theobald beats his son Ernest for being unable to pronounce a hard C when singing a hymn. The hymn, "The Tyrolese Evening Hymn," begins with the lines "Come, come, Come to the sunset tree." In the album's liner notes, Darnielle writes: "Made possible by my stepfather, Mike Noonan: may the peace which eluded you in life be yours now Dedicated to any young men and women anywhere who live with people who abuse them, with the following good news: you are going to make it out of there alive you will live to tell your story never lose hope"Many lyrics refer to Darnielle's abuse-riddled childhood – in the songs "This Year," "Dance Music," and "Hast Thou Considered the Tetrapod."
The tone of the album is somber, dealing with Darnielle's longing for escape and his feelings of powerlessness, building up to the song "Lion's Teeth," which Darnielle has described as a "revenge fantasy" in an introduction to a live performance of the song. The album concludes with the two final songs "Love, Love," in which Darnielle notes the virtue and folly of doing things for reasons of love, "Pale Green Things," in which he recalls a time his stepfather took him out to watch horses at a racetrack. Darnielle closes the song and the album with a lyric about his sister calling him to inform him of his stepfather's death; the Sunset Tree has a metascore of 83 on Metacritic based on 28 reviews, which indicates "universal acclaim." Pitchfork placed The Sunset Tree at number 102 on their list of top 200 albums of the 2000s. In 2010, the Art Of Time Ensemble featuring Steven Page covered "Lion's Teeth" for their record A Singer Must Die; the song "Up the Wolves" was used in the final scene of AMC's The Walking Dead episode titled "Still" that aired on March 2, 2014.
The song, "Love Love Love" was featured in the Moral Orel episode, "Passing". All tracks written by John Darnielle. John Darnielle – vocals, guitar Peter Hughes – bass, backing vocals Erik Friedlander – cello Alex Decarville – drums Franklin Bruno – piano John Vanderslice – production Scott Solter – engineering Aaron Prellwitz – engineering Timin Murray – engineering "Listening Party" - interview with John Darnielle about the release of The Sunset Tree The Sunset Tree at MusicBrainz Come, Come to the Sunset Tree at MusicBrainz
The Sign (song)
"The Sign" is a song by the Swedish band Ace of Base, released on 29 October 1993 in Europe. It was an international hit, reaching number two in the United Kingdom and spending six non-consecutive weeks at number one on the Billboard Hot 100 chart in the United States. More prominently, it became the top song on Billboard's 1994 Year End Chart, it appeared on the band's album Happy Nation. In Europe, Ace of Base's debut album was called Happy Nation, when Arista was prepping the American album release, the label thought it could use a few new tunes. Ace of Base had written "The Sign" for their second album; the execs decided to not only hasten its release, but to make the song the title track. "The Sign" has been described as a "techno-reggae confection with a killer chorus". It's about a couple contemplating the state of their relationship and deciding to split up, a summation Jonas Berggren in interviews has stated is "more or less" correct. In a 2015 interview with Billboard Jonas Bergren told about the recording of the song: "When we recorded'The Sign,' it was a bit too merry.
So we put the da na-na na-na na-na in between the melody lines. It's a bit minor in that part, it becomes minor, as a total. But the chorus is major."The song is performed in the key of G major for the verses and chorus but in G minor for the intro and instrumental breaks. The song follows a tempo of 97 beats per minute in common time; the group's vocals span from A3 to E5. Neil Strauss from The New York Times wrote about the song: "Ace of Base creates another pop ballad about an imperfect relationship by repeating a deceptively mystical hook over a minimal bass line." Music & Media commented: "More pop reggae from the same Swedish chiefs."David Thigpen from Entertainment Weekly wrote in his review: "Once you get past the quirky novelty of their hugely popular reggae-styled hit ”All That She Wants,” you wind up in a wasteland of neutered hip-hop and lumbering dance rhythms, all dragged along behind Linn Berggren's inert, colorless voice on The Sign. If nothing else, Ace of Base's chart success here and abroad proves that reggae is still the only true world music."
In 2014, Idolator ranked "The Sign" No. 1 on their ranking of The 50 Best Pop Singles of 1994. John Seabrook, a staff writer at The New Yorker, praised the song in his 2015 book The Song Machine: Inside the Hit Factory: In 2016, Rolling Stone placed the song at No. 42 on their list of 50 Best Songs of the Nineties. BuzzFeed listed the song at number 28 in their 2017 list of The 101 Greatest Dance Songs Of the'90s. Billboard put "The Sign" at No. 65 on their 2018 ranking of All-Time Top 100 Songs. They wrote: In Europe "The Sign" reached #1 in Denmark, Finland and Spain. At November 28 it peaked at # 2 eight weeks later, it peaked at #1 in Australia, New Zealand and Zimbabwe. And in the US it topped the Cash Box Hot 100 charts; the song was the No. 1 song of 1994 according to Billboard magazine's year-end charts. The song was ranked at number 65 on The Billboard Hot 100 All-Time Top Songs for the first 60 years of the Hot 100 chart and received a nomination for Best Pop Vocal Performance By a Group or Duo at the 1995 Grammy Awards."The Sign" entered the European airplay chart Border Breakers at number 10 on November 21, 1993, due to crossover airplay in Central-Europe.
It peaked twice at number 1. Together, "The Sign" and Ace of Base's next single "Don't Turn Around" monopolised either the number 1 or 2 spot on Border Breakers for 36 weeks. "The Sign" in the end of 1994 held the record for longest-running single on Border Breakers, with a total of 42 weeks before slipping off on August 20. The music video of the song features the pop group singing amidst joyful images; the music video is directed by Mathias Julien and was shot on Filmhuset in Stockholm in November 1993. The beginning of the video is an homage to Depeche Mode's Enjoy the Silence. Amid the images is a little story of a man and woman sitting side by side until the man leaves abandoning the woman. However, he offers it to the woman; the woman graciously takes his hand. However, a bright light shines in the woman's face, drawing her away, abandoning the man and dropping the rose on the chair; the video was released in five different edits throughout various territories. In the US, the original edit of the video was re-edited, changing some of the shots with Jenny in the foreground from black and white to color.
Other versions show more shots of the group singing with their backs in a circle, as well as more shots of Linn singing her parts in her solo black and white take. The song was featured in the sitcoms Full House and its sequel Fuller House where it was performed by the fictional band Girl Talk; the song interrupted Eddie Huang's music, in the pilot of the ABC's sitcom Fresh off the Boat. The song was sung by fictional a cappella group the Barden Bellas in the movie Pitch Perfect and appears on the soundtrack for the movie. In the American Dad! Episode "Great Space Roaster," Roger can be heard singing the song while plotting his vengeance against the Smiths for cruelly mocking him on his birthday. In 2016, Uncle Ben's featured a cover version of the song in a nationwide television commercial. CD single – Australia "The Sign" – 3:08 "The Sign" – 4:43CD single – Germany "The Sign" – 5:40 "The Sign" – 6:49 "The Sign" (D
The Mountain Goats
The Mountain Goats are an American band formed in Claremont, California by singer-songwriter John Darnielle. The band is based in Durham, North Carolina. For many years, the sole member of the Mountain Goats was Darnielle, despite the plural moniker. Although he remains the core member of the band, he has worked with a variety of collaborators over time, including bassist and vocalist Peter Hughes, drummer Jon Wurster, multi-instrumentalist Matt Douglas, singer-songwriter Franklin Bruno and vocalist Rachel Ware, singer-songwriter/producer John Vanderslice, guitarist Kaki King, multi-instrumentalist Annie Clark. Throughout the 1990s, the Mountain Goats were known for producing low-fidelity home recordings and releasing recordings in cassette or vinyl 7" formats. Since 2002, the Mountain Goats have adopted a more polished approach, recording studio albums with a full band, while still maintaining organically emotional lyrical motifs; the band's name is a reference to the Screamin' Jay Hawkins song "Yellow Coat".
Darnielle released his first recording under the band name, Taboo VI: The Homecoming, on Shrimper Records, in 1991. Many of his first recordings and performances featured Darnielle accompanied by members of the all-girl reggae band The Casual Girls, who became known as The Bright Mountain Choir. One of this group's members, Rachel Ware, continued to accompany Darnielle on bass, both live and in studio, until 1995; the first five years of the Mountain Goats' career saw a prolific output of songs on cassette, vinyl and CD. These releases spanned multiple labels and countries of origin released in limited numbers; the focus of the Mountain Goats project was the urgency of writing. Songs not recorded adequately to tape within days of being written were forgotten. Cassette releases during this time include The Hound Chronicles, Transmissions to Horace, Hot Garden Stomp, Taking the Dative, Yam, the King of Crops. In 1994, the Mountain Goats released their first full-length studio album, Zopilote Machine, on Ajax Records.
It is the band's only full album featuring the entirety of The Bright Mountain Choir. By 1995, most of what could be considered classic Mountain Goats conventions were abandoned in favor of a more thematically focused and experimental sound; this period was marked by Darnielle's collaborations with other artists including Alastair Galbraith and Simon Joyner. In November 1996, Darnielle announced a vow to "clear his musical tendency for profanity" to promote a more optimistic reception to the ideas outlined in his material. In 1995, the album Sweden was released. Soon after its recording, a sequel titled Hail and Farewell, Gothenburg was recorded, but never released, it remained unheard by the general public until 2007. In 1996, the Mountain Goats released the album Nothing for Juice, Full Force Galesburg the following year. Rachel Ware left the band between recording the two albums, bassist Peter Hughes took over her position. Between 1998 and 2000, the Mountain Goats slowed down their prolific output, releasing The Coroner's Gambit in October 2000.
The album returned to the band's roots, as most songs were sporadically recorded on Darnielle's old Panasonic RX-FT500 cassette deck Boombox, which produced a loud background noise to the songs. 2002 saw the release of two Mountain Goats albums: Tallahassee. These albums mark a distinct change in focus for the Mountain Goats project, being the first in a series of concept albums that explore aspects of The Mountain Goats' canon in depth. All Hail West Texas featured the resurrection of Darnielle's early boom box recording for a complete album. Darnielle considers this album to be the culmination of his lo-fi recording style. Tallahassee, recorded with a band and in a studio and concludes the relationship of a couple whose lives were the subject of the song cycle known as the Alpha Series. Released that year was Martial Arts Weekend, attributed to The Extra Glenns, a collaboration with Franklin Bruno on several unreleased Mountain Goats songs. Following that recording, Bruno joined Darnielle in the studio along with bassist Peter Hughes, the second official member of the band and accompanies Darnielle on tour.
These three musicians formed. In 2004, the Mountain Goats released We Shall All Be Healed; the album marked a number of changes for the Mountain Goats, as it was the first time Darnielle worked with producer John Vanderslice, the first album of directly autobiographical material. We Shall All Be Healed chronicles Darnielle's life with a group of friends and acquaintances addicted to methamphetamine in Portland, though the album is set in Pomona, California; the following year, The Sunset Tree, was released. Again autobiographical, Darnielle tackled the subject of his early childhood spent with an abusive stepfather. Darnielle had dealt with this subject in what he refers to as the only autobiographical song he had written before 2004, the unreleased song "You're in Maya." The Mountain Goats relocated to Durham, North Carolina in 2006, issued Get Lonely, produced by Scott Solter, who had worked with Vanderslice on engineering for prior Mountain Goats records. Jon Wurster joined the group in 2007.
The band recorded tracks for its next album at Prairie Sun studios. Entitled Heretic Pride, the album was released on 19 February, 2008. Produced by John Vanderslice and Scott Solter, the album saw Darnielle and Wurster joined
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B