Thank you so much for the support, may our Almighty God shower you with mighty blessings. Kindly receive our heartfelt appreciation. We wish you a healthy and happy new year. GOD BLESS YOU.

Learning how to write gospel music is different from learning how to write in most other genres. With gospel music, the focus is on God and the spiritual message of the song. Because of this, prayer is a big part of writing music for Him. If He didn’t give the ability, we couldn’t write our own names, so praying for guidance before and during the songwriting process is a necessary step in writing gospel music. Before you start writing, think about what you want to write. Some people believe you shouldn’t have a title in mind, but a working title (temporary title) is a great way to stay on track with your writing. Without a topic of some sort, your song could end up going off in several different directions, which is bad for the songwriter, but even worse for the listener. Ask any Christian songwriter you know, "Do you think of yourself as more of a lyricist or a composer?" Most would no doubt choose lyricist. The reason for this is that without the lyrics, it’s hardly a gospel song at all. A country song sounds like a country song with or without the words, so does a rock song. But because a gospel song is about the message, it needs lyrics to come alive. Whatever words you use, the lyrics of each verse should follow a similar pattern. You don’t have to rhyme, for instance, but you should do the same on each verse – i.e., if you don’t rhyme on the first verse, don’t rhyme on the second. And when you rhyme one verse, rhyme all of the verses In gospel music, especially songs written in hymnal style, most use the standard 2-4 verses leading up to a chorus. You can add a bridge or coda, but it’s optional, based on your sole preference for the song. Keep your working title in mind and make sure that your lyrics are centered on this one subject. Trying to cover too much in a song is confusing for those listening, so try to stay on topic and try not to over explain everything mentioned in the song. You don’t have to give every detail of the crucifixion for people to know what you’re talking about, so keep your lyrics as minimal as possible and trust that others have read their Bibles, too. One tip to remember when writing gospel music lyrics is that, while writing a song can be very personal, once the writing is done, it becomes more about the hearers. Write with the hope (and prayer) that God will receive the glory and that others will relate and benefit in some way from hearing these words you’ve written.

1. Drink up to 8-10 glasses of pure water every day (any caffeinated drink does not count). Water thins your mucus and lubricates your vocal cords like oil lubricates a car engine. Thick mucous causes friction and trauma to vocal cords. More water, less friction, less trauma, better voice. 2. Warm up your voice regularly. Simple warm ups are recommended, especially for auditions and performances (just as runners warm up for a marathon). Better yet, take a classical music approach: do glissandos (descending scales) and staccatos (punctuated breathing exercises) and messadivoce (controlling intensity of volume). 3. Take vocal “naps”. Your voice needs a rest, just like you do. So, find quiet time everyday – especially when on tour. 4. Get adequate sleep. Sounds like common sense — and it is. The more sleep you get, the more you will be awake and have more energy for a show. 5. Do not smoke anything. No finger wagging here, it’s just that smoke is an irritant that swells your vocal cords. And a reminder: New York bars are smoke free, so you can play in any venue without the damage of second hand smoke. 6. Use your microphone. There is no need to sing to the back of the room. Let the microphone be loud for you. Using the microphone prevents straining your voice. 7. Have good monitors. You need to hear yourself for vocal feedback. Use a floor monitor or ear monitor to be aware of what you sound like, what the band sounds like. You may be singing louder than you need and straining your voice. 8. Develop good singing technique. Vocal training will not change your style. It will strengthen your voice and allow you to sing longer, louder, more often and without fatigue. Vocal training will help make you a vocal athlete. 9. Develop a speaking voice to go with your singing voice. You speak 99% of the time and sing 1%. A poor speaking voice often leads to vocal strain that will carry into your singing voice. This is true especially on tours, when giving radio and other media interviews. 10. Most importantly, listen to your voice. Like any athlete, you will be the first to know when trouble is starting. If you voice hurts, back off. Change your set. Chose songs you can sing without straining your voice.

1.Changing from minor to major. This is a common musical device, involving writing a verse in a minor key, and then switching to relative major for the chorus. The minor to major shift has the advantage of brightening the overall mood of a song. ADVICE: Use the bVII of the minor to make the change to major. Example: From the key of A minor to C major: Am G Am Dm Em Am G___||C G C F. 2.Changing from major to minor. This is less common, because switching to minor can tend to feel like a bit of a downer. But in songs that have considerable instrumental energy it can put a desirable edge on the feel of a song. ADVICE: It can work to do a switch to the relative minor (i.e., switching from C major to A minor), but it can also add the energy you’re likely looking for by doing a switch to the parallel minor (i.e., from C major to C minor). Example: Relative Minor: C F G Em Am G Em___ || Am G Am… or Parallel Minor: C F G Am D7 F G||Cm Gm Cm. 3.Moving key up by a semitone or whole tone. Be careful with this one, because it can sound tired and trite very quickly. Many listeners interpret this kind of modulation as a cheap way to get an energy boost. ADVICE: It’s relatively easy to make this modulation work: simply end a progression with the dominant chord (the V-chord) of whatever key you want to move to. Example: Semitone modulation: C F G C Ab ||Db Gb Ab. Whole tone modulation: C F G C A7 ||D G A… 4.Avoid downward modulations. It’s not that they can’t work, but they’re definitely trickier. ADVICE: Try sliding into the new lower key at an unexpected moment, like in the mid-point of a progression. Example: C Am Dm F Gb7 F C/E F7 ||Bb Eb Bb. 5.Modulations that build energy should be accompanied by an intensifying lyric. We know that all aspects of a song need to work together. The energy that comes with upward key changes can sound odd and out-of-place if the lyric doesn’t intensify. ADVICE: Lyrics need to ride the energy wave created by a key change. 6.Most modulations feel more natural at structurally important places. In other words, it’s hard to make sense of a modulation that happens near the beginning of a verse. ADVICE: The most common places for key changes are at the change between verse and chorus, or in final repeats of a chorus. 7.Most songs don’t need a key change. And in fact, since key changes result in rather distinctive moments, they can sound predictable and hackneyed if used too often. ADVICE: Look for other ways to boost song energy, like intensifying instrumentation, moving the melody line higher, and increasing volume.

Happy Birthday To My Lord and Savior JC (JESUS CHRIST), and Merry Christmas To The World. God Bless You All. Much love

Let's start by looking at what song arrangement isn't: It's not finding a chord sequence for a song (although it often is changing the pattern of a chord sequence to make a more sympathetic harmonic bed). It's not writing the lyrics to a song (although it can be working out exactly what the backing singers will be doing with themselves). It's not deciding what the rhythm to a track is (although, in truth, it sometimes is). Actually, the line between composing or producing a tune and arranging it is a very thin one. If you're either the producer or the composer, arrangement goes with the territory, whereas if you're being brought in by a composer or producer specifically as an arranger, it's usually to arrange the strings or the horns or the backing vocals (we'll examine those particular aspects and what the job pays later in the series).

Changing key is a great way to inject a bit of song energy. But it’s got to be done well, or it can just sound confusing.The key that you choose for your song has more to do with your (or your performer’s) vocal range than anything else. That original key choice is a whole topic that requires considerable thought. There’s a notion that you should choose a key that allows your voice to reach all melody notes easily. But good performers know that you sometimes want to sing in the highest range possible, even if it means straining to get those notes out. But that’s an entirely different topic. What we want to look at right now is how to change key in the middle of a song, and why you’d do it. Putting a key change within your song will usually dramatically alter song energy. Listeners get used to a key, and even though most of your audience doesn’t really know much about music, they know enough to know when chords belong, and when they don’t. In other words, most people can say that “something just happened” when a key changes, even though they can’t usually say what it was. So you can use that awareness to your advantage. Changing key can bring a song to life. In the coming post we will explain amazing tips on how to change key in a professional way.

One more tip for delivering a passionate performance is this: Add a small “cry” beneath every note that you sing. Use this “cry like tone” to deliver your performance and you will not only communicate your passion to the audience, but your singing will feel easier as well. This small cry will add a richness to your voice as well as make your tone production easier. Just listen to Michael Jackson performance on stage, and see how he releases each note with a “cry”. Try adding a “cry like tone” to your performance and watch the audience response. It must be off the hook.

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•If you've ever wondered how to sing on stage and dominate, then read on for some tips that you won't find anywhere else except here, JC-RECORD' blog. Do you know the secrets of singing a stellar performance?. When you’re performing on stage, what should you be thinking of?. What should you be listening for?. How do you know that the performance is going well?. All interesting questions, now let’s get some answers,When you’re on stage performing and you are singing well, you know this because you can hear it, right? WRONG!! The truth is, when you are performing on stage, with many types of music it’s quite difficult to hear your voice perfectly. Especially any type of music that involves having a band playing in the background. Fold back speakers and “in-ear monitoring” do help matters. (In-ear monitoring is when you wear special headphones that help you to hear yourself). But it’s not completely perfect. It’s not the same as practicing in your bedroom where your voice powers over the stereo. Listen up: when you sing, your ears aren’t the only things that give you feedback. Yes, you can hear yourself sing and it is valuable feedback. But even more important, you can feel yourself sing. This feeling when you sing is probably more important than actually hearing the singing yourself! It’s these feelings that allow you to navigate your voice. This means that when you jump on stage, and you can’t hear yourself perfectly, just relax. Instead of desperately trying to listen for your voice, tune into the feelings. Pay attention to the sensations that your singing produces. This can literally make or break a performance. It’s very likely that many of the performances you do won’t have perfect fold back systems. This means that many times, you won’t be able to hear yourself perfectly as you perform. This is why it’s vital to begin tuning yourself in to the sensations you feel when you sing. You can begin doing this in your practice sessions. Instead of just listening, be curious about how your singing feels. What does it feel like to hit a high C? What does it feel like to hit a low C? When you memorize these sensations (and it doesn’t take long when you begin “tuning in” to them), you will be much more comfortable on stage. You will have two feedback systems instead of one. You can hear yourself and feel yourself sing.

Every singer has bad days. Remember, you are a human instrument made of flesh and blood. It's normal for a singer to have one of those days where the voice just doesn't function like you want it to. On these days, you need to deliver the performance with passion. A passionate performance will be more appealing than a technically perfect performance any day of the week. Always remember, music is about expression and feeling. You are up there to communicate an idea with your audience. So add that passion to your performance. They will feel your emotion, your pain, your joy. This is what makes a truly great performance. The ability to make your audience understand the emotion behind the song. Also, as I mentioned earlier, having great technique will make you sound great, even on your bad days. Take these free singing tips and apply them to your performance. Standing up on that stage is a great feeling, and listening to that thunderous applause afterward, is even better. I hope these tips help you enjoy that thunderous applause.

7.Take Criticism: ask others what they think and ask your friends to check it out. You want a fan base, yes, but you want some criticism to help you grow in your career. 8.Have a mentor: ask them for their opinion on things, and ask how they could make it better. 9.Find studios where you can record your music: make a demo/ recording of your best freestyles and songs. You can even record high quality material at home with music software you can find online. 10.Dope name: take up a real dope stage name that will represent who you are as a rapper. 11.Choose style that fits you: you will get judged on your appearance as a female, so put in some thought as to what you wear. Your outfit should match your style.

Do you want to be a dope female rapper like Rah-diggah, Lady of rage, Lil Kim, Nick Minaj etc. Here are few things that you need to consider. 1.Start with confidence: you won’t get anywhere without positive attitude. 2.Practice all the time: keep a composition notebook handy. This will be your “Book of Rhymes” 3.Have inspiration: know your favorite rappers, and look up to them. They started at the bottom too. 4.Hang out with people who are interested in rapping: They can help you in a long run. 5.Perform at gigs when you have an adequate amount of material to work with: this gives you the opportunity to work on stage presence, as well as exposing your music to new people. 6.Create a YouTube, Soundcloud, Hulkshare Account etc: In fact utilize all types of social media to expand and build a rapport with your fan base. We will continue with more things of paramount importance on how to become a dope female rapper in the coming post.

As performance is a big part of singing, I thought I would share a few free singing tips that will help you leave the audience stunned, and wanting more. I always say this, because it's important, for any singer. Warm up your voice. Find a nice quite space where you can be alone. Begin with some humming in your easy range. Then, move onto some lip rolls, and begin to move into your mixed and head registers. Also, sing a few scales on the word "mum" to help the larynx feel nice and relaxed. Warming up the voice before a performance will give you confidence. It will also make you sound much better. It's a great idea to develop or purchase a warm-up CD. All you need is a CD with a short scale, and a long scale. This way you can begin to hit pitches and feel comfortable with your voice before you take to the stage. If you get really nervous before a performance, the best medicine is to have a good warm up. Also, try and take every opportunity to sing in front of people. Always remember, no one performs completely free of nerves. Even those singers who perform every night of their lives feel nervous before the performance. The best thing you can do to avoid feeling nervous, is to perform as much as you can. You will get used to taking the stage and the nerves will decrease (but never disappear completely).

As you sing the note, press your lower belly in but keep your upper belly out; this is called a "lower belly boost". Drop your lower jaw dramatically but keep your mouth opened narrowly. Bend your knees slightly to make yourself feel like you’re moving downwards as your voice goes up. Try to minimize the height to which you lift your larynx up as you increase your pitch; though this is what people naturally do when raising their voices, this strains your throat and can cause your voice to crack. Monitor this by placing your fingers above your larynx while you sing and adjusting your technique to keep the larynx down. Don’t look up while you sing high notes; keep your vision directly in front of you to avoid bending your throat and straining the sound. Sticking your tongue forward may help give the high notes a richer sound. Always remember to not strain your voice. Don’t try to force yourself into a much higher register too quickly; there are often serious consequences when you do. Remember to always drink water before a performance or practice, which will keep your voice steady. Keep one near you for emergencies as well.

Where to begin on such an infectious subject plaguing modern music? Is pitch correction creating a whole new spectrum for artists to compose? Or is it merely a way of disguising the truth that you can’t tell a B flat from a C sharp? In my opinion, it's a little of both. Whilst it is worming its way into studios as a “get-out-of-jail-free” card, it can be used to create truly beautiful music. It’s fair to say that Auto-tune is widely recognized among the music community, although not everyone knows exactly what it is or it’s specific function. So for anyone who’s unsure, Auto-tune is an audio processor that specializes in pitch correction by using a phase vocoder. If an artist has a bad take, or maybe a million bad takes then the engineer can use Auto-tune to digitally convert the bad notes into a pitch perfect product. The processor has found its way into studios as a plug-in developed by Antares Audio Technologies since 1997. It comes as a surprise to many people that artists have been demonstrating their use of auto-tune for the past 14 years as it’s only really crept into the media spotlight in the last few years. This is down to the fact that recently musicians have been deliberately mistreating their voices “under the influence” of auto-tune to produce phantom timbres. Whereas before, artists were using the tool in a more “traditional” manner, for vocal correction. Having said that, the earliest dated use of auto-tune was in fact Cher! An accomplished singer who you’d never expect to be relying on a vocoder to tidy up her mix. The truth is, she was years (literally) ahead of her time when she purposely warped her vocals on the multi-million selling single, "Believe”. So, good or evil? Creative or destructive? You could cover every individual angle of this argument and still come escape a conclusion; the resolve must therefore be through personal opinion. In my case, I believe Auto-tune is a hazard to the studio. Like watching a car without brake control, I'd feel more comfortable standing to one side of it than in the way and bracing myself for the inevitable damage. If you can’t sing then why are you trying to record? Simple. I have more respect for artists who do make a conscious effort to advertise the fact that they’re success is built from a vocoder.

With the millions of songs that have ever been written it might be hard to imagine being able to write a melody that is completely new and that people have not heard before. But the fact is that new melodies are written everyday. The combination of note intervals along with variations in timing leave unlimited possibilities when writing melodies. It is inevitable, however, that as you are writing your own melodies you will come up with something that "sounds" familiar. Something you swear you've heard it before but can't put your finger on where. This happens to all of us. Melodies come out of our subconscious mind from something we heard in the past. This is not a matter of trying to "steal" a melody, it just comes out. Turn on the radio and you can hear evidence of this all the time. Songs that will have a line or two of melody that sounds like something else. This is simply matter of the songwriter's subconscious mind inserting a piece of a melody that they heard in the past.

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.

Meneja wa kitengo cha Mziki na Ratiba kutoka CLOUDS FM, Ndugu OTHMAN SUKA jana alitembelea studio ya JC-RECORDS, kusikiliza kazi za mziki zifanyikazo JC-RECORDS baada ya kuvutiwa na kazi ya Msanii Mulla Jr (Inayoitwa “Without You”) aliyeshiriki Fiesta Super Nyota, kazi hiyo bado haijatambulishwa rasmi na imefanyika katika studio zetu za JC-RECORDS. Mdau OTHMAN SUKA alipata wasaa pia wakutupa ushauri ili kuboresha kazi zaidi na pia kukabiliana na changamoto za soko la mziki. Asante kaka kwa kututembelea.

The opposite tactic is that you attack a bigger fish. Attack a big rapper. Don’t go overboard though. Think of a rapper with a reasonable difference in popularity. When you attack a more popular rapper, you have to remember that you have the advantage. There is so much information on that guy and you’re basically invisible. Nobody knows anything about you. So, before writing a general diss song, dig deep and research your enemy. What has he been though, where are his weak spots, where can you attack. After you get enough information, hit him ruthlessly. The main idea is to really affect him personally, get him emotional. Once you get a person emotional, doesn’t matter of his status, he’s likely going to do something stupid, like respond to you. If he does that, pop a bottle of champagne, because you managed to get some more fans. Another tactic is to stir the water, means attack a lot of people in a single song. Remember how 50 Cent wrote “How to Rob”, dissing almost everybody popular in the rap game. What happened? Almost everybody responded, including Jigga, fat Joe, Wizzy etc. What happens when all of those responses get released? A lot of attention was directed at 50 cent, which gained him power, removing him from the circle of indifference. Currently, you can see the same tactic, being used by Kendrick Lamar and his “Control” verse, where he disses a handful of rappers. What is happening right now? There is talk about that verse, views count are jumping, album sales are increasing, responses are being released. That’s the main idea. However, in order to pull this tactic off, you’d need a high number of listeners already. You have to be someone to diss a lot of people. Otherwise, you’ll end up looking like the next hater and nobody will care about your words, rendering your tactic useless.

Diss songs are fundamental part of the hip hop culture and thanks to their ground breaking nature, disses are driving innovation and attention for rapping as a whole. Have you ever thought of writing a diss song against somebody? Do you know what are you doing though? Following your momentary emotions is a losing strategy. Do you know the rules? The first thing you need to figure out for yourself is why are you writing the diss song? What do you want to accomplish with it? Don’t just write it because you got angry with someone. This will usually bring worse than good. You might want to Get some popularity on the back of others, Destroy the credibility of a certain rapper, Conquer the fan base and work opportunities of your enemy. Some of you might think that a diss song has all of those three components, but you have to decide the main objective on which you’ll be focusing on, since it will be the thing, that will dictate your pick of a strategy .If you find yourself in a position of being attacked, you first have to assess the situation. Who is attacking you, why and what does it all mean. If you’re attacked by a smaller rapper (popularity wise), you need to be careful not to get emotional from his words. The most probable reason for his attack is that he wants a piece of the pie. He wants to get noticed by your fans. That’s how it works: He attacks…you hear it….you attack….your fan base hears it….your fan base checks out who you’re beefing with. If they like him, some will stay. When you get attacked by a smaller rapper, just think of Jigga and how he deals with it. If you diss Jigga and he responds, you can take it as a “welcome to the game” sign. You can take it as an “I see you” sign. It gives you recognition and that’s priceless in the hip hop industry. So be careful not to help someone, by trying to harm or embarrass them. This article will continue……check it out

Have you ever used a mind map to help you write your rap song lyrics? Do you know what a mind map is? This is a new idea, I will tell you what this map is and also show you how you can use this to help you write your rap songs. A mind map is actually an exercise that will help you come up with all sorts of ideas. These ideas can be used to write papers, books, rap hip hop lyrics or even to draw pictures. A lot of times, we think that we can come up with ideas if we just sit and think. Honestly, this isn't necessarily a bad idea. You may be able to come up with some great ideas. However, mind map is the best way to come up with some ideas. A mind map is a diagram that will help you to come up with your thoughts and ideas that you put on paper. Begin with writing down your main theme. Let's try some examples. My main theme is nature. I'll write that down in the center of the paper. Then I just start to jot down ideas that are related to the central theme. For example, I will put down the following words. Trees, flowers, birds, wind, rain, hail, thunder, lightning, that is just a start. My next step is to write more words that will underneath each of those words. For example I would write underneath trees, words like skin look sweet like brown-flower, I roar like thunder while I rain on you etc. As you can see, we have already come up with a lot of ideas. So the next time, you need some fresh ideas for your rap song lyrics use a mind map to come up with them.

Distance is your friend when it comes to microphone control. The distance from a singer’s mouth to the microphone can affect three things; Volume, Strength, and Accent. Singers who tend to get very close to the microphone can lose enunciation and make their voices sound warped. A well-trained singer doesn’t need to have her lips and teeth on the microphone in order to be heard. Learning how to project with the microphone just a few inches from the mouth can really help a singer learn to project and to help her sound engineer. Another technique that assists in maintaining tone is to move the microphone away when holding a note that is intended to fade out. Don’t attempt to lower the volume and intensity of the note at the same distance from the microphone. Hit the note strong. Hold the note strong, and move away. That ensures the same tonality of the note from start to finish. It will clash less with the supporting instruments, and require fewer takes when recording.

At the opposite end of the recording process, we have mastering, and it is here that we have to face the thorny question of loudness. Over the years, various strategies have been employed to try to make mixes sound loud when played next to another artist’s work, usually involving some pretty assertive compression and limiting. When used carefully, compression and limiting can help knit the elements of a mix together, making it sound more polished, but sadly commercial record studio/companies often pressure mastering engineers to push the subjective loudness of mixes to such an extent that real damage is done. The practical outcome of which is that the consumer finds the mixes harsh and fatiguing to listen to. Why such a quest for loudness? Radio play is part of the equation, naturally you want your record to sound just as loud and appealing as all the other commercial releases. However, radio stations usually add some fairly hard multi-band compression of their own, so that an over-limited mix can end up sounding truly horrible. The use of MP3 players to play songs in a random order, rather than as albums has increased the pressure to keep mixes loud. Experienced mastering engineers using the very best equipment currently struggle to make their mixes sound listenable at the loudness levels record companies and artists demand, so it comes as no surprise that those trying to make their home recordings match the level of commercial releases using only basic plug-ins often spoil their music in the mastering. Maybe it’s time to say ‘enough is enough’ and do what’s best for the song is not simply what makes it loudest. JC-RECORDS have been recognized as the best studio for producing amazingly great sound.

Vibrant mood at JC-RECORDS with Gospel and Inspirational Hip-Hop Artists and Producers from UGANDA (Thank you Mac-Elvis, see you in heaven brother, the place we it call home).