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.