It's All In The Rhythm - An Exercise For Cool, Swinging Singing

Making the music swing isn't about volume or high notes - it's all in the beat. Recently I helped one singer in Stockholm find a cooler, more powerful performance by experimenting with the beat using the Rhythm and Pulse exercise




During a musical theatre class, one singer arrived with the piece "What's the Buzz" from Jesus Christ Superstar, the Andrew Lloyd Webber and Tim Rice musical. He was performing it well, but his whole body was involved with the (very fast) pulse inherent in the song. He was bouncing with every eighth note and was displaying a highly tensioned body which was detracting from his performance, both vocally and as an actor.




In the song, the ensemble sings "what's the buzz, tell me what's a happenin'" repeatedly, with high energy. The singer then has to cut them off, stop their chant and calm them down very quickly. The character needs to silence them with his first three quarter notes (crotchets), starting on a high F. Because he was using the same frenetic pulse as the ensemble, his entry was having little impact, and the feel of his performance was not strong enough. Rather than getting him to sing stronger or higher, I took him through the following exercise for finding a different pulse.




1. This involves using your body, so standing is best. Sing two or three phrases of an up-tempo piece, like "What's the Buzz". Find the fast energy of the piece and move to it, using your foot, leg, body or clicking your fingers. "What's the Buzz" contains four quarter notes in each bar, but for now I'd like you to indicate the eighth notes (quavers). So for example your foot taps on the beat and your fingers click on the offbeat. The important thing is to have some part of your body moving on every eighth note.




2. Now we're going to change the pulse while keeping the "speed" the same. Begin to show only the quarter notes - you are now moving in "half time". Keep the energy high, but move only on the quarter notes. Again, you can either move your body to each quarter note, or divide the quarter notes between foot and hand. The speed of the piece stays the same, but the pulse has now changed to a less frantic one.




3. Now begin to show only the half notes (minims). Once again, maintain the speed of the piece, keeping the energy high. Now you are only marking two pulses per measure instead of the four or eight previously. The speed of the piece has stayed the same, but the feel is now different, with a bigger scope, somehow funkier.




Continue with this exercise, by indicating only one pulse per measure, or even extending to one pulse per two measures.




In the case of the singer in the masterclass, the use of a different pulse was electrifying. Using the different, slow pulse (the halfnote or minim beat) he was able to differentiate himself from the ensemble (who were using the eighth note or quaver beat), and stop their singing in its tracks. This easily marked out his character (Jesus) as a man to be listened to, who did not march to the beat of the people around him. By following this exercise, the singer was able to convey that effortlessly.




I have used this exercise in many different genres of music, including opera arias (O Zittre Nicht, Questa O Quella), German lieder (Gretchen am Spinnrade), music by contemporary singers such as Duffy or Christina Aguilera, and of course musical theatre pieces from West Side Story to Spring Awakening. Try it for yourself!

Jeremy Fisher trains singers and performers to find and maintain their best. He's the author of Successful Singing Auditions, and creator of two sellout training DVDs (featured on the BBC and broadcast to an estimated 44,000,000 people). Sign up for Jeremy's free newsletter containing original interviews, pre-release offers and receive your BONUS free copy of "86 things you never hear a singer say" at http://www.vocalprocess.co.uk

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All You Need To Know About Computer Game Programming

The different parts of the computer game programming, many people play games without any knowledge of how much work the game. It is true that much thought and creativity should be employed to make the game work, but the game also requires a lot of computer programming and knowledge of different programming languages, so the game is not believes that real, but also attractive.




There are many parts of the programming of computer games, so if you are interested in programming and computer games in May to take courses in the future, a look at this list. The game physics programmer is someone who directs how a game uses physics to clearly see and feel. In most cases, a computer game is not completely simulate the physics of a real world, but some important aspects of physics in May to come into play for some games. For example, the wind resistance can be important to Sighthounds, while the fluid moves, but with a delay of some characters in water might be necessary for an RPG. The developer of artificial intelligence is in charge of developing the logical outcome of the game itself.




For example, when a game is to find a path, employing strategies, or giving rise to the tactics of the enemy, an artificial intelligence programmer May be called upon to play smart in other words, the purpose your own. In general, the language used for programming the artificial intelligence is simpler than other languages, and can be shared with the players of games. Graphics programmer uses a series of codes and algorithms to provide the graphics in the game world. In modern times, a graphics program should work in an environment in three dimensions, and therefore have a knowledge of computing, vector mathematics, algebra and other elements that are needed for May specializes in providing these images .




There are very few graphics programmers, and can generally demand higher wages for their work. A programmer who provide audio sounds in terms of character, dialogue, music, sounds and may even make the game seem more real, like the sound of your spreadsheets or as a character walking in the grass.




The developer of the game, added to the gaming experience, and it will focus on the strategy game and printing. Computer Game Programming will also require a team of scripters, designers, often in the game Scripters These write the code for the game itself, usually with a base language. Developers are also required of the user interface or the user interface: the user interface, the software developers to create a library of different aspects that can be used in a wide variety of worlds in the game, or wide variety of games of a manufacturer. The programming language of the user interface includes a good dose of mathematics, to produce special effects.




It is also an important entry programmer who writes the code of how different types of equipment such as keyboard, mouse or joystick, will affect the match. The network programmer will find ways to make the game runs on a network where people can play against each other. A programmer transmission ensures that the game can run on different platforms and operating systems. The control of these tasks is the developer of the game. These are just some of the programming aspects of computer games. In the area develops, more and more different types of programmers must be known and identified as important.

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