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GRAMMY FÜR MEINE ARBEIT ALS MENTOR JUNGER SÄNGER

ÜBER 40 JAHREBÜHNENERFAHRUNG WWW.GREGORPRAECHT.COM

ICH BRINGE MEINEN SCHÜLERN VOR ALLEM DIE PERFEKTE ATMUNG UND STÜTZE BEI. DIE STIMMFÜHRUNG VON PIANISSIMI BIS FORTE OHNE DAS BELLTEN, DAS DIE STIMME ÜBER KURZ ODER LANG NICHT AUSHÄLT;-). DEN GANZ EIGNEN, INDIVIDUELLEN KLANG JEDES INDIVIDUUMS GEHT ES ZU STÄRKEN UND NICHT ZU VERÄNDERN.

GEMEINSAMES STUDIUM VON REPERTOIRE, VORBEREITUNG AUF AUFTRITTE, AUFNAHMEN UND TOURNEEN



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Learn how ton write your own hit, melody, hook, lyrics

Songwriting

COACHING for voice and breathing techniques for singers and actors

Learn and improve the expression and sound of your voice in this exclusive master class with star tenor Gregor Prächt, Prof. h.c. a.o. Franz Liszt Academy Budapest. Preparation for concerts, entrance exams, roles and talent shows.

Methodology: Bel canto

Procedure and course content:
1st lesson: Analysis of mood & breathing 
2nd lesson: Analysis of posture & position
3rd lesson: voice training/breathing technique, singing (as required)
4th lesson: Voice formation/breathing technique, singing (as required)
5th lesson: humming with the help of tuning forks and phonetic training
6th lesson: first voice training exercises
7th-9th lesson: voice training exercises, rehearsing song/aria/song
10th lesson: assistance for independent practising and individual development

This masterclass is offered exclusively on Matchspace Music and can be booked as 5 or 10 units.

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Meisterklasse für Stimmbildung und Atemtechnik für Sänger und Schauspieler

Lerne und verbessere den Ausdruck und Klang deiner Stimme in dieser exklusiven Meisterklasse mit Startenor Gregor Prächt, Prof. h.c. u.a. Franz Liszt Akademie Budapest. Vorbereitung auf Konzerte, Aufnahmeprüfungen, Rollen und Talent-Shows.

Methodik: Belcanto
Ablauf und Kursinhalte:
1. Lektion: Analyse der Stimmung & Atmung 
2. Lektion: Analyse der Haltung & Position
3. Lektion: Stimmbildung/Atemtechnik, Gesang (je nach Bedarf)
4. Lektion: Stimmbildung/Atemtechnik, Gesang (je nach Bedarf)
5. Lektion: Summen mit Hilfe Stimmgabel und phonetisches Training
6. Lektion: erste Übungen zur Stimmbildung
7.-9. Lektion: Übungen zur Stimmbildung, Einstudierung Lied/Arie/Song
10. Lektion: Hilfestellung für selbständiges Üben und individuelle Weiterentwicklung

Diese Masterclass wird exklusiv auf Matchspace Music angeboten und kann als 5-Einheiten oder 10-Einheiten gebucht werden.

The "lift of the throat:"
 In Bel Canto, the voice is NEVER directed towards the soft palate or the throat. This makes sense.... consider: you can whack a bean bag chair with a Louisville slugger and not make much noise... hitting a soft surface (ie soft palate, throat) is useless. You're much better off tapping your knuckles on the lid of a garbage bin. (less effort, harder surface, resonating chamber....) A lot of singers think they have to yell and scream to get any projection, but those voices tend to be absorbed in part by the soft palate.  A lot of effort for little gain. Directing the voice at a hard surface (teeth, hard palate...) will give much better projection. 
    Try smiling when you sing. Not a cheezy grin like someone is driving a nail into your baby toe kind of smile, but a more "open and relaxed" smile - like someone just complimented you on your new shirt, or like you've just recognized a friend in the crowd. By visualizing separating the upper and lower jaw at the back teeth, visualizing yawning in the back of the throat to open the airway, and singing with a relaxed smile - mouth turned up gently at the corners - the throat is relaxed.  If you actually DO yawn, you're probably doing it right. The result of this will be a lifting of the uvula (the punching-bag-thingy in the back of your throat). Your whole throat will be open and relaxed. Do this before you sing a note, and maintain this position at all times when you sing. Lamperti said, "While sustaining a good, easy tone, open mouth as in a yawn..." However, he also said to not open the mouth wider than a finger width. This suggests that the openness is created not by dropping the jaw, but by a lifting and widening of the throat.
The "mask of the face:"
    This is pretty widely used in many techniques. Essentially, the mask is an inverted triangle where the higher notes are thought of as wide and just below the cheekbones, but in reality are placed wide across the dome of the hard palate. (the dome of the hard palate is just below the cheekbones

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