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Soprano, alto and tenor tonic solfa of “Excess Love” by Mercy Chinwo

mercy chinwo excess love

The part of the song where the singers were split into parts is the chorus. Our attention is therefore going to be shifted to the part of the chorus.

Soprano
Jesus You love me too much oo
too much oo    too much oo              s f m    s f m
Excess love oo                                  f f m r

Alto
Jesus You love me too much oo
too much oo    too much oo               d l s     d l s
Excess love oo                                   l l l s

Tenor
Jesus You love me too much oo
too much oo    too much oo                m r d    m r d
Excess love oo                                    r r d t

Soprano, alto and tenor tonic solfa of “Halleujah Eh” by Nathaniel Bassey

This is the solfa notation of the soprano, alto and tenor part of “Halleujah Eh” by Nathaniel Bassey. It is suitable for vocalist/singers and gospel musicians.

nathaniel bassey singing halleujah



Soprano

m m r d m            Halleujah Eh
m m r d l              Halleujah Oh
r r d t r                 halleujah  Eh
r m f f f m m         it’s the sound of victory

m m r d m           Halleujah Eh
m m r d l             Halleujah oh
f m r                    Let the sound
r m f f m r d d      of rejoicing fill this place




Alto

d d l s d             Halleujah Eh
d d l s f              Halleujah Oh
t t l s t               halleujah  Eh
t d r r r d d         it’s the sound of victory

d d l s d            Halleujah Eh
d d l s f             Halleujah oh
r d l                   Let the sound
t d r r d l s s      of rejoicing fill this place

Tenor

s s f m s             Halleujah Eh
s s f m d             Halleujah Oh
f f m r f              halleujah  Eh
f s l l l s s           it’s the sound of victory

s s f m s             Halleujah Eh
s s f m d             Halleujah oh
l s f                    Let the sound
s l t t l f m m      of rejoicing fill this place

Check here for the tonic solfa of the trumpet solo that he did in the song

Soprano, alto and tenor tonic solfa of “Wo nu mi oo, ko wa bami soro” by Nathaniel Bbassey

This is the soprano, alto and tenor tonic solfa of “wo nu mi oo ko wa bami soro”. It is suitable for vocalist and musical instrumentalist.

Soprano



d m d r t                        wo nu mi oo
m f f m r d d                  ko wa bami soro

d d m d r t                     owo nu Elijah
m f f m r d d   r m m    Elijah ba ina soro   ina gbo

Alto

m s m f r                        wo nu mi oo
s l l s f m m                    ko wa bami soro

m m s m f r                   owo nu Elijah
s l l s f m m    f s s         Elijah ba ina soro   ina gbo

Tenor

s d s l f                           wo nu mi oo
d r r d l s s                     ko wa bami soro

s s d s l f                        owo nu Elijah
d r r d l s s      l d d      Elijah ba ina soro   ina gbo

Solfa notation of “Wonu mi oo, ko wa bami soro” by Nathaniel Bassey

This is the tonic solfa of “Wonu mi oo ko wa bami soro”. This is an ancient song, but nathaniel bassey only made it more popular.

d m d r t                       Wo nu mi oo
m f f m r d d                 Ko wa ba mi soro

d d m d r t                     Owo nu Elijah
m f f m r d d r m m       Elija ba ina soro ina gbo

The same solfa goes on for the part of mose(Moses) and Maria(Mary)

Solfa notation of Old Church Choir by Zach Williams

This is the tonic solfa of old church choir by Zach williams. It is suitable for saxophonist and other solo instrumentalist.

s l d l         There’s revival
l f s l and its spreading
s l d l    d l s like a wild fire in my heart

s l d l         sunday morning
l f s l Halleujah
s l d l    d l s and its lasting all week long

m m m r d can yo hear it
d l r l s         can you feel it

s l d l l s d d d It’s the rhythm of a gospel song

m m s m once you choose it
d d r l s  you can lose it
d t d d   m r m m  m m m m m There ain’t nothing, there ain’t nothing gonna steal my joy

m r d d l s d l s  r r m I got an Old Church Choir singing in my soul
m r d d l s d l s  r r s I got a sweet salvation and it’s beautiful
m r d d l s d l s  r r m I’ve got a heart overflowing ’cause I’ve been restored

d l s d d l s r r d l There ain’t nothing gonna steal my joy
m d l s d d l s r r d l No, there ain’t nothing gonna steal my joy

Tonic Solfa of “Halleujah Eh” by Nathaniel Bassey

nathaniel bassey

This is the solfa notation of “Hallelujah eh” by Nathaniel Bassey. It is suitable for pianist, guitarist vocalist and solo instrumentalist.

m m r d m            Halleujah Eh
m m r d l              Halleujah Oh
r r d t r                  halleujah  Eh
r m f f f m m        it’s the sound of victory

m m r d m           Halleujah Eh
m m r d l             Halleujah oh
f m r                    Let the sound
r m f f m r d d     of rejoicing fill this place

You can get the solfa notation of the trumpet solo here

Treble, alto and tenor tonic solfa part of “Draw” by Victoria Orenze

Victoria Orenze on stage

Soprano, alto and tenor part of “Draw” by Victoria Orenze. This is suitable for Singers and voice coachs.

Soprano

d d t l t d                     I’ve come to draw draw draw
f f f m m                     Draw from you again
d t d l                          eh eh  eh eh

Alto

m m m r d r m                     I’ve come to draw draw draw
l l l s s                      Draw from you again
m r m l                          eh eh  eh eh

Tenor

l l l s f s l                     I’ve come to draw draw draw
r r r d d                      Draw from you again
l t l l                           eh eh  eh eh

Solfa notation of “Draw” by Victoria Orenze

victoria orenze

This is the tonic solfa of “Draw” by Victoria Orenze. It is suitable for pianist, guitarist and other solo instrumentalist.

d d t l     t    d                                                I’ve come to draw, draw, draw
f f f     m m                                                   draw from you again
d t      d l                                                       eh eh    eh eh

 

Health Precautions for Singers and vocalist

adele vocal

 Health Precautions For Singers and vocalist

1. Maintain good general health. Get adequate rest to minimize fatigue. If you do become ill, avoid “talking over your laryngitis” – see your physician and rest your voice.


2. Exercise regularly.

3. Eat a balanced diet. Including vegetables, fruit and whole grains, and avoid caffeinated drinks (coffee, tea, and soft drinks) and alcohol. Avoid spicy, acidic, and dairy foods if you are sensitive to them.

4. Maintain body hydration; drink two quarts of water daily.

5. Avoid dry, artificial interior climates. Las Vegas has an average daily humidity of 36%, a relatively low amount of moisture. Using a humidifier at night might compensate for the dryness.

6. Limit the use of your voice. High-ceilinged restaurants, noisy parties, cars and planes are especially damaging to the voice. If necessary, use amplification for vocal projection.

7. Avoid throat clearing and voiced coughing.

8. Stop yelling, and avoid hard vocal attacks on initial vowel words.

9. Adjust the speaking pitch level of your voice. Use the pitch level in the same range where you say, “Umm-hmm?”

10. Speak in phrases rather than in paragraphs. Breath slightly before each phrase.

11. Reduce demands on your voice – don’t do all the talking!

12. Learn to breathe silently to activate your breath support muscles and reduce neck tension.

13. Take full advantage of the two free elements of vocal fold healing: water and air.

14. Vocal athletes must treat their musculoskeletal system as do other types of athletes; therefore, vocal warm-ups should always be used prior to singing. Vocal cool-downs are also essential to keep the singing voice healthy.

15. Don’t smoke

16. Be aware that some medications,
such as allergy pills, may dry out your vocal tissues. Be aware of side effects and talk to your doctor if you have questions.


This article originally appeared on simpson.edu

Health precautions for instrumentalist to avoid injuries

guitar injury

 Health precautions for instrumentalist to avoid injuries

Anyone who practices, rehearses or performs instrumental or vocal music has the potential to suffer injury related to that activity. Instrumental musicians are at risk for repetitive motion injuries. Sizable percentages of them develop physical problems related to playing their instruments; and if they are also computer users, their risks are compounded. Instrumental injuri
es often include carpal tunnel syndrome, tendinitis, and bursitis. Incorrect posture, non-ergonomic technique, excessive force, overuse, stress, and insufficient rest contribute to chronic injuries that can cause great pain, disability, and the end of careers. Follow these precations to avoid injuries:

1. Evaluate your technique. Reduce force, keep joints in the middle of their range of motion, use large muscle groups when possible, and avoid fixed, tense positions.

2. Always warm up. As an athlete would not begin a vigorous physical activity without warming up, a musician must warm up carefully before practice or performance.

3. Take breaks to stretch and relax. Take short breaks every few minutes and longer breaks each hour. Two or more shorter rehearsals each day are more productive than marathon single sessions. Even in performance, find those opportunities to relax a hand, arm, or embouchure to restore circulation.

4. Pace yourself. No pain, no gain is a potentially catastrophic philosophy for a musician. Know when enough is enough, and learn to say ‘no’ to certain performances or lengths of performing that might result in injury.

5. Check out your instrument. Does your instrument place undue stress on your body? Is your instrument set up optimally for you to relieve pressure on hands, joints, etc.? Is there a strap, carrier, or stand available to relieve the stress?

6. Evaluate other activities. Pains and injuries affecting your music making could be caused by other activities in your daily life. Computer use is notorious for causing afflictions including carpal tunnel syndrome and tendinitis.

7. Pay attention to your body. Pain is the mechanism by which your body tells you that something is wrong. Listen to your body; if it hurts, stop what you are doing.

8. Get medical attention. Do not delay in seeing a doctor. A physician may prescribe a minor adjustment or, in worst-case scenarios, stipulate not performing for a period of time. As drastic as this may sound, a few months of rest is better than suffering a permanent, career ending injury. Likewise, the demands placed on singers’ voices are immense. Hardly a month goes by where a top singer is not forced to interrupt a tour, take a break, or undergo a medical procedure due to problems with their voice. Medical professionals are making the case that the demands put on one’s voice when singing one to three hours is as intense as those made on an Olympic marathon runner’s body. Additional factors such as nutrition, smoking, drug use, noisy environments, and proper voice training (or the lack of it) all play a role in a singer’s ability to perform at her/his best.

This article originally appeared on Simpson.edu