Kitabu sauti hiki cha mashairi ya mahaba kutoka JC-RECORDS kipo tayari, kitaingia sokoni mda mfupi ujao, sikiliza mfano wa mashairi yatakayokuwepo katika kiunganishi hiki http://www.hulkshare.com/studiojc-records/sample-title-of-audio-book-hot-romantic-poems-studio-jc-records. You don't need a love song to put someone's heart on song. All you need is a romantic poem to get things going the way you want.. So, how about an exclusive, heartfelt collection of love poems. To set off the right mood, the right reaction, the right response. This book of hot romantic poems, especially because of it simple artistic language and a stimulating essence of its words , it is hoped would present an alternative reading material for spicing up our romance creativity in love life and also to celebrate the art and beauty of love in many different romantic ways. We need to explore the world of our emotions and imaginations to cultivate happiness and love. The most powerful organ in making love and creating a sensual romance is brain. The more we allow ourselves to be so imaginative the more creative we become in our love life and romantic world at large. It is in this light that I wish to share my poems. In an effort to entertain and celebrate the most powerful force in the universe called love. This collection of romantic poems is the result of innovative thoughts and great imaginations. We must learn to appreciate the good in each other; we must feel pride being in love and exploring in a deeper sense what love life has to offer. All the ingredients of romantic love life are here just add faith and self-esteem. I would love to share with you few God’s words from songs of Solomon chapter 8: verse 6-7. “Close your heart to every love but mine; hold no one in your arms but me. Love is as powerful as death; passion is as strong as death. It burns like a raging fire, water cannot put it out; no flood can drown it but if anyone tried to buy love with wealth, contempt is all they would get”

A song's melody is usually the first thing a listener will remember. It is what gets, and keeps, their attention.The melody is comprised of the notes that are played or sung on top of the song's chord progression. In many circumstances a typical song will actually consist of several melodies, a separate one for each section of the song. As you can imagine, a song with the same melody just repeating itself over and over could become pretty boring. So you will normally hear a distinct melody for the verses, a different one for the choruses, and yet another different melody in the bridge, if the song has one. 1.Chorus Melody; Many consider the melody for the chorus to be the most important element of the song. The chorus should "soar" above the rest of the song and be the one thing that "sticks" to the listener after only hearing the song one or two times. In the writing process the chorus melody is often the first part of the song that is written, and the rest of the song is written around it. 2.Verse Melody; The melody for the verses is typically more subdued than the chorus melody. The melody notes are often in a lower range than the chorus melody and the verse melody serves as a "setup" for the big "payoff" of the chorus. The verse melody will normally transition smoothly into the chorus melody. 3.Bridge Melody; If the song has a bridge, then the bridge melody is usually different than the verse and chorus melodies. Sometimes radically different. The bridge melody typically serves to break up the repetition of the verse and chorus melodies and keep the overall song fresh to the listener.

Many times the melody of the verses will be subdued in comparison to the melody of a chorus that "soars". Quite often, the melody in the lift will raise slightly higher than the verse, but still remain lower than the chorus. It is in this way that a lift has the effect of "lifting" the song from the verse up to the climax of the chorus. Hence the name "lift". The tricky part of a lift lyrically is to have it say something that reiterates what was said in the verse, but still lead into the message of the chorus. The lyrics of the lift will often summarize the sentiments of the verse in such a way that it naturally brings the listener into the chorus. In many songs, the lyrics of the lift are repeated throughout the song.

Unlike a bridge which often goes in a brand new direction musically, the lift tends to stay in a similar musical "tone" as the verse. The chord progression of a lift usually flows seamlessly from the verse to the chorus but is still different enough to signal to the listener that the song is moving to the chorus. For example: If the verse of a song played back and forth from G to D during the verse, and the chorus started on a C, the lift might come in on an Am to a D before starting the chorus on C. That movement to the Am triggers a signal that the chord progression is coming to a change and allows the progression to move smoothly to the first chord (C) of the chorus.

Many songs have a component known as a "lift" or "pre-chorus". The lift, or pre-chorus, typically follows a verse and serves as a lead-in to the chorus. Although a lift is basically an extension of the verse, it will normally differ from the verse musically, melodically and lyrically. I will explain how it differs musically, melodically and lyrically in the coming post, so that we can have a wide range discussion. One step at a time, that's how it is. Keep following JC-RECORDS' Blog and share to your friends.

"WITHOUT YOU" ni nyimbo iliyotungwa kwa ajili ya kushukuru na kuthamini malezi ya kipekee yanayotolewa na kina mama, nyimbo hii imeimbwa kwa ufanisi na kutumia lugha ya kisanii ambayo imeipa nyimbo hii wigo mpana zaidi katika maudhui yake. Utunzi na uimbaji umefanywa na MULLAH Jr. Nyimbo hii imetambulishwa rasmi kwa mara ya kwanza tarehe 16th November, 2013 kupitia redio ya watu CLOUDS FM. Sikiliza wimbo huu kupitia kiunganishi hapo chini. http://www.hulkshare.com/studiojc-records/artist-mullah-jr-song-without-you-studio-jc-records

1.Write your bridge to happen after the second chorus. Most of the time, you’ll insert the bridge after a second go-through of the chorus: Verse 1 – Chorus – Verse 2 – Chorus - BRIDGE. 2.Create a new chord progression, one that explores an “opposite mode” from the chorus. For songs in a major key, it’s not unusual to have a verse focused primarily on minor chords, switching to major for the chorus. An effective bridge should therefore either switch temporarily to a minor key, or at least focus on using minor chords. 3.Good bridge chord progressions tend to be “fragile” in nature. In other words, a bridge is a good place to allow the music to move briefly to a new key, or use so-called “altered” chords (i.e., ones “borrowed” from a different key, like flat-III etc.) 4.Create a new melody, one that differs in shape and feel from the verse and chorus melody. Because the bridge heightens the emotions, you may want to experiment with a melody that explores the upper regions of the voice. 5.Allow bridge lyrics to deepen the emotional impact of your song. Verse lyrics tend to describe, while chorus lyrics usually centered on an emotional response to the verse. A good bridge lyric goes deeper and tells us more by alternating quickly between describing situations and being emotional. All in all, a bridge lyric needs to heighten the emotional level of your music. 6.If your song needs a 3rd verse (to continue a story), allow the bridge energy to dissipate so as to properly connect to verse 3. 7.If your song feels complete by the end of the bridge, follow it with a repeat of the chorus. In that way, a bridge will build energy so that the final run-through of the chorus is even more powerful. 8.Allow the final chords of a bridge to connect smoothly to what happens afterward. It’s not common to end a bridge on a tonic chord, because it has a way of killing energy. It’s better to end a bridge with some sort of “open” cadence: a V-chord, for example, or some other non-tonic chord. That chord will cause the listener to want to hear more, and sets up a return to a verse or the chorus very well. Before you look for ways to break out of the norm and be creative, try some of the suggestions above. You may find that a bridge will be that missing bit of your song that pulls everything together and helps the listener make a connection.

Lyrically, the bridge is the spot where you shed new light on the story. It's the plot twist. You're telling the listener something they didn't know before that puts the song in a whole new light. Musically, you're trying to do the same thing, interject something new into the song. It's sort of a way to say "Hey! Something new is happening so listen up!" Often a different rhythmic structure can work well too. There is a point during the songwriting process where a song takes on a life of its own. If you listen carefully each song will tell you where it wants to go. Not every song needs a bridge, so if you’ve never included one in your songs before, it may be that it’s never felt necessary. There are times, however, when a bridge can sound like the missing bit that finally breathes life into your music. A bridge provides a new melody, deepens lyrical meaning, and takes a song in a slightly new direction before returning to either a repeat of the chorus or a new verse. When it’s done well, a bridge provides a pleasant sense of contrast from the rest of the song.

Exercises for the voice range in difficulty and value. Some exercises are used to improve impairment, such as a speech impediment, by teaching the patient how to correctly use his voice. Singers use vocal exercises to expand their vocal range. By strengthening his vocal cords, a singer can achieve sound quality far beyond that of a person with no vocal training. It is important to never do exercises that strain the voice, as too much strain can change the tone of your voice. For a singer, the benefits of vocal training can include increased range and the ability to hold notes for extended amounts of time. A singer with stronger vocal cords might be able to perform music that is more difficult than an untrained singer. A patient who follows a therapist's vocal exercise plan might find that improved vocal ability increases her/his self-esteem. She/he might even overcome her/his speech impediment or disability. Vocal training should always be supervised and performed as directed, as not to harm the very sensitive vocal cords.

Once you figure out what you want to say, you have to be able to fit it into the beat. You can learn this technique from my previous post “Translating speech into Bars”. In order for your punchline to have the biggest impact possible, you have to think about the structure. It’s always better to restrict yourself from the use of too many rhymes. The truth is that when you try to squeeze in too many rhymes, the content gets watered and the effect is diminished. Better to use one of the simpler bar structures. Something along the lines of 4-4 or a 2-4-2-4. If you don’t know what the bar structure looks like, I will come up with a post which describes bar structure into much details. Once you have the punchline written, the next thing you have to do, is thing about the way you’re going to say it (the delivery). You have to make sure that you portray the right type of emotion connected to the words, this is very important. Otherwise, you won’t achieve the desired effect. Look at the punchline, figure out what type of emotion does it portray and then relate to it, feel it and experiment. Whatever sounds best, use it.

-Research: Find a list of interesting metaphors or collection of wise words. Try twisting some of them in a way, which would be useful for you and your needs. You have to know that punchlines are everywhere. You just have to look for them (books,internet,journal etc). -Look around your own environment: The place where you live plays a large part in shaping your character and using a saying,common for that area, as a punchline, would only add to the “realness” of your words. (Code za maneno yatumikayo kitaa, maskani, kazini). -Be Creative: The most important factor in creating a punchline is how original are you. Think about your personal ideal. What is your personal philosophy. What was the slickest shit you ever said. In order to think of good punchlines you have to be confident in yourself. Respect your opinion.

Before you start writing a song, you have to know the reason for writing that song. Once you figure out this deep core reason (what I call the "inner why"), you will have a strong purpose to go out there and make song over and over again without feeling like you are wasting your time. Your inner why (your purpose) is very important to help you stay motivated from start to finish. Writing songs can be a frustrating task for some people but once you figure out your core reason, that will be a strong motivator that will fuel you to go forward every single day. So before you try to look for some formula for song writing, it is MORE important to figure out your CORE reason for writing songs. What is it that motivates you? It can't just be a superficial answer. Instead, you have to dig down deep inside yourself to figure out your deepest core reason. That will be your "inner why". Many of the great song writers have great techniques and formulas but one thing they have in common is that they know their inner why for writing songs. That core reason drives them to succeed over and over again. That is why I emphasize that it is VERY important for you to figure it out starting today. One of the best ways to improve your song writing skills is to focus on improving yourself. Yes, that's correct. While most musicians only want to focus on the technical side of song writing, it is as important to focus on improving yourself as well. Knowing yourself is VERY important because the more you know yourself, the more powerful your song writing will become. The more you know yourself, your message will be crystal clear. In addition, your listeners will sense the power of your songs because it will be congruent from the inside out.

A punchline is a one liner or a couplet, which has a bigger impact than the rest of your lyrics. It carries more weight, it shows your style and it’s damn hard to think of one. Some rappers base their whole lyrical content around punchlines. The actual punchline can be a number of things: -Bold Statement: This is the kind of statement which says the truth and nothing else. No filters and no political correctness. Just the truth, tell it like it is. Many people might get offended, but that’s okay. Over time, they will realise that you were right. For example, when Jadakiss said “Bush knocked down the towers”. -Timeless Laws: The punchline can also be from one of those laws of wisdom, that never gets old. Timeless Laws like “I keep my friends close and my enemies closer” is a slick example for a punchline of that type. Not only it shows the ruthlessness of your character, but it shows that you have wisdom and knowledge in you. Traits that your audience is looking for. -Metaphors: You could also use a metaphor as your punchline, however the metaphor has to be pretty deep and unique if you want to get the reaction you wish for. Anything mediocre wouldn’t cut it. In most cases, the metaphor punchine is direct to self glorification, making the character of the rapper seem bigger than it is. Here are some other examples, just so you know what I’m talking about: “I’m out for presidents to represent me.” (Nas-Bold Statement) “I’m a star, when you see me make a wish.” (Lil Wayne-Metaphor) “They say whenever someone dies with his eyes open, he deserved it” (Jadakiss-Timeless Law). “Hili ni jeshi la mtu mmoja” (Fid Q-Metaphor)

A jingle is a short musical piece written to promote a specific product or service. Writing a jingle isn't difficult; the key to writing an effective jingle is developing a concept and a simple, memorable melody listeners will associate with the lyrics to the jingle, and as a result, the product or service itself. Write down what you know about the product you're writing a jingle about. Since the purpose of a jingle is to introduce listeners to a product and to tell them why they should use it, the more you know about the product, the better your ability to come up with the words that will accomplish this. Use your notes to brainstorm ideas. Make a list of words that you feel best describe the product and its purpose. Let the product suggest your ideas. By starting with a solid knowledge of the product you're writing about, you will gather enough information to begin sparking ideas you can work your way through. The lyrics should be clearly related to the product or service you're writing the jingle about. Determine the tone you want for the music you will write. The music to the jingle should be appropriate to the product. You won't write upbeat music for a jingle about auto accident insurance, but you would write something upbeat for a child's toy. Whether you are humming your jingle, singing it or writing with an instrument, choose a musical tone that complements your product appropriately. Write the chords for your jingle over the lyrics. Use a guitar or keyboard and strum variations on rhythm and chord progressions until you find the right tempo and tone for your jingle. Sing along as you try these variations. Listen for something catchy. This is the foundation of a good jingle. Record your jingle. Listen to it and have others listen to it. Determine any changes that might need to be made to the tune to make it easier to hum or to remember the words. Ask yourself if the tune is simple enough. A jingle should not require a lot of thought by listeners. A tune that sticks in your audience's head and they find themselves singing or humming is your goal.

Today JC-RECORDS will teach you how to translate a regular statement into various rhyme structures. The skill you will learn from this exercise is extremely useful and applicable when writing your lyrics. It will help you get your point across in a clear and straight-forward way, while at the same time, enabling you to add any kind of flow you desire. 1. We will be given a statement. The statement will be one long sentence, without any rhymes in it. 2. Our task is to translate this non rhyme statement into: a)Couplet with a 4-4 Rhyme Scheme. b)Couplet with a -2-4-4 Rhyme Scheme. c)Couplet with the same statement, but as a metaphor. The statement: With every year our conditions are getting worse, so I say let’s get violent and show them that we ain’t gonna take it no more. How To Put Into Various Ryhme Structure: a) |With every year my conditions are getting, worse. |Instead of keep on taking it I’m gonna bomb first. b) | With every year, living life in constant fear. | They were robbing us lets show them who’s the boss here. c) | They feed us with their leftovers we starve they getting fat. | It’s time to take the cake and never give it back.

YOHA a.k.a “Mwanangu”, one of our own, a humble dude behind the new fusion of HIP-HOP and OPERA…Shit is real!!! The work is still on progress, get ready for the unique creativity.

Singing well takes practice and time; often this means training or strengthening your vocal cords, often called vocal folds by medical professionals. By strengthening your vocal cords you can improve the sound quality of your singing voice and increase the range of notes you can sing. Strengthening the vocal folds requires repeating exercises over time so the steps will need to be repeated daily to notice results in your singing voice. >>Sit on a chair. Say the vowels "e" and "a" as loud as you can. Hold the vowel for 14 at least seconds each. Stop saying the vowel as soon as you voice starts to crack or fade. Repeat this exercise five times. >>Say the "a" and "e" vowel sounds again, but this time push your arms down. Put all your weight on your arms by pushing down on the seat of the chair. Hold the vowel for at least 14 seconds, if possible. After finished, repeat five more times. >>Say the "e" and "a" vowels but move up in pitch as you make the sound. Do this three times and then say the vowels again but go down in pitch another three times. >>Repeat "ah, ah, ah" as loud as possible. Aim to speak clearly as well. Do this ten times. >>Practice breathing from your diagram to strengthen your larynx and improve your singing voice. Sit or stand straight for this exercise. Place your hands over your stomach to feel the movement and breathe in as deeply as possible through your nose. After five seconds, breathe out slowly. Your hands should move on your stomach.