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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

Things you should know about Insurance for musical Instruments

 Things you should know about Insurance for musical Instruments

This article originally appeared on Nationwide.com

Piano insurance
Photo Credit: Lark Insurance

Finely crafted musical instruments can cost a significant amount of money. But just as classic cars and high-end jewelry can be insured, so can musical instruments. By getting an insurance policy, owners can cover their instruments in case they are stolen or damaged from
disasters.
Insuring a musical instrument is a good idea if it would be cost-prohibitive to replace it, or if the instrument is needed regularly for performances or teaching. Insurance often covers more than just the actual instrument; it might also cover the case, accessories and even sheet music. Here is a rundown of how you can get insurance for musical instruments.

Homeowners or renter’s insurance

You might not need a separate musical instrument insurance policy to get covered. Musical instruments can be insured under homeowners or renter’s insurance, though it’s important to find out coverage details. These policies have a limit for the home’s total property damage and may have a limit per item. The per-item coverage may be lower than your musical instrument costs. In addition, the homeowners or renter’s policy only covers damaged from “named perils” such as fire and theft, but not flood. One option for enhancing the protection for musical instruments under your home property insurance is to get a rider, sometimes called an endorsement, floater or scheduled personal property. This policy add-on provides additional coverage for specific valuables. A rider may have a lower deductible than the homeowners policy. Such riders usually are “all risk” providing much broader protection than “named perils.”
Also, not all homeowners insurance riders cover instruments for professional musicians, since there’s a higher chance of damage or loss. In that case, a commercial musical instrument policy is advised.
When deciding between musical instrument insurance through your homeowners policy or a specialized policy, here are some considerations.

Location

If loss of or damage to your instrument occurs outside your home—say, if you’re traveling to another state or country for a performance—is the instrument covered? Musical instrument insurance policies vary on how they handle this.

Value

How much is your instrument worth? Some companies have a maximum insured amount per instrument, which may narrow down coverage options. Also, a commercial, or specialized, musical instrument policy will provide several ways to value the instrument, depending on whether you want to get paid for a claim based on the instrument’s value at the time of the loss, an agreed-upon value determined when purchasing the policy or its replacement value at the time of the loss. A homeowners policy or rider may handle this differently than a specialized policy.

Deductible

Determine what your deductible is for both your homeowners policy and a rider, and compare that to a specialized policy. You’ll also need to take into account the cost of each policy and the coverage details. If the policy’s deductible is higher than the instrument’s value, then the insurance may not be useful.

Claims staff

Some insurance companies specialize in certain types of instruments. If you have a rare or highly valued instrument, consider working with a company who knows your instrument type well. Claims adjustors will better understand your instrument if there’s a claim.

Additional coverages

Commercial insurance policies have other coverage clauses that may not be available in a homeowners policy or rider. These are aimed at professional musicians who need their instruments for work. This coverage might include business interruption (compensating the insured if his or her instrument is lost or damaged when needed for a paid performance), coverage for borrowed instruments and rental reimbursement if the insured instrument is damaged.
If you have an instrument, whether it’s a rare, high-value one or a good quality student or amateur instrument, talk to your insurance agent about your options for insuring your instrument.

How to get insurance for your musical Instrument

How to Buy Instrument Insurance

musical instrument Insurance
Photo Credit: LARK Insurance

This article originally appeared on StringsMagazine.com

What a special music policy costs, what it covers, when it makes sense for you by Erin Shrader
“You have to buy insurance when you don’t need it,” says Peter Anderson, president of the Anderson Group, one of a handful of companies specializing in musical-instrument insurance. That is, before disaster strikes.

At what value should you start considering purchasing a policy? “About $5,000,” says Ellis Hershman of Heritage Insurance. Even if your instrument isn’t quite that expensive, by the time you add a couple of decent bows to the list, plus a case, accessories, maybe a good microphone, even your sheet-music collection, the total value adds up surprisingly fast. At that value, insurance starts looking like a good idea, especially if you depend on your gear and can’t afford to repair or replace it.
There are a few things you’ll want to know before buying a policy. Each of the handful of companies handling musical-instrument policies offers similar services, but with a slightly different focus. For example Heritage specializes in professional-quality wooden instruments, dealers, and a unique workbench policy for makers and restorers. At the opposite end of the spectrum, the Music Agency focuses on insuring school-aged children, schools, and rental fleets, and offers policies beginning at $9.60 a year with a $15 deductible.
Merz-Huber, insuring musicians since 1937, covers a lot of orchestras and develops group programs with such associations as the American String Teachers Association, where the risk is shared by a pool of members. Belonging to an association may also get you a break on an individual policy with Clarion Insurance. “If you belong to a group, you’re out there learning to play and take care of your instrument, [and you understand] how to be professional,” says Dan Schoenfeld, president of Clarion.
That makes you less of a risk, he adds.

Where to Start

Research these companies on the Web to get a sense of their specialties and services. Then follow up with phone calls to the company that you feel most comfortable with to discuss your particular requirements. “Our competitors are very good at what they do,” says Bill Calter of Merz-Huber. “I don’t know any you wouldn’t be happy with.”

Perils & Premiums

The details of minimum premiums and deductibles vary among companies. For example, Heritage has a minimum annual premium of $250, but no deductible. This insures instruments and bows up to $20,000 or possibly $35,000, depending on exactly what is being insured and the risks involved. There is no one-size-fits-all policy with Heritage, Hershman says.
Anderson Group’s $125 minimum premium is half that of Heritage, but there is also a $250 deductible. By and large, deductibles serve more as an incentive for the insured to be careful than as a money-maker for the insurer.
Peril-prone instruments, such as cellos and double basses, are more expensive to insure. Bows, with their fragile heads, are high-risk items, too. Want to be covered for leaving your gear in an unlocked, unattended vehicle? That will cost more than insurance that covers you only if there’s a sign of forced entry at the time of a loss—at least with Heritage. At Clarion, it’s included, “fortunately and unfortunately,” says Clarion president Schoenfeld ruefully.
Merz-Huber won’t charge higher premiums for that, either. But as Calter explains, their policy basically dictates that you will be careful with your instrument. Circumstances count. “If you don’t care, we don’t care,” Calter says.