You can use freely these accompaniments for either private or public rehearshal or concert performance (with the singer). You can use them for for radio broadcast if you mention that all accompaniments are by Xavier Palacios. For Tv broadcast you will need to ask a written permission to Xavier Palacios (The artist and Producer).
Xavier Palacios studied at the Ecole Normale de Musique de Paris de Paris with Antonio Ruiz Pipo, a pupil of Alfred Cortot, and Billy Eidi, a renowed accompanist of French song. He also studied Musical analysis with Ginette keller, a pupil of Nadia Boulanger. He has given many recitals in France and has been the assistant and accompanist of Laurence Russel Albert (Pushkin Prize, Metropolitan Opera) for a few years.
This volume of Classical Wedding Songs Accompaniments with Melody Added, for Low Voice contains 10 favorite Classical Arias with various transpositions to suit your voice perfectly.
The Vocal Melody played on the Piano is Added to the accompaniment . Please note that the tracks in this Album with Vocal melody added match exactly the album with accompaniment only : "Classical Wedding Songs Accompaniments for Low Voice with transpositions"". The accompaniment is exactly the same in this two albums, only the Vocal Melody has been added, allowing the singer to focus on Voice Production and on the Lyrics.
The Voice of a singer singing the melody with the accompaniment would disturb the practising singer who has to be "his own teacher" . Sometimes the melodic line played by the piano is interrupted for breaths, or cesurae, or articulation (slightly detached notes). For instance after two slurred notes of equal value (see lesson XIII). The ability to "articulate" i.e to sing slurred notes follow by detached notes, pausing briefly without breathing, etc... is very important. It develops the mechanics of vocal folds closing properly before singing the following note, in association with the muscles of the Larynx and the abdominal muscles.
This Album has been carefully worked out. Particular care has been given to phrasing, breathing , as well as rendering the atmosphere of the song, allowing the singer to sing freely, but also putting him on "the right track" for phrasing, tempo and musical content. We also recommend that the singer rehearshes without the accompaniment as well. But these Wedding songs backing tracks with melody added (or karaoke, a term that should not apply to the classical genre) will give him the necessary tools to give a consistent interpretation of these arias that he should be able to convey to another accompanist.
This volume contains :
Ave Maria D 839 (latin version : 2 verses) : F. Schubert
Ave Maria : J.S.Bach/ Ch. Gounod
Ave Verum K 618 : W.A.Mozart
Bist du bei mir : J.S.Bach/G.H Stölzel
Greensleeves : traditional)
Ich liebe dich (Melodies of the Heart Op 5 N° 3) : Edward Grieg
Jesu, Joy of Man's Desiring (Cantata "Herz und Mund und Tat und Leben" BWV 147) : J.S. Bach
Laudate Dominum (Vesperae Solemnes de Confessore K 339)
Panis Angelicus (Messe Solennelle Op 12) : C. Franck
Wher'er you walk (Semele, HWV 58) G.F.Handel
Vocal range : the keys used for the transpositions are determined by usage of renowned recording artists, and by usage of authoritative editions. The classification High-Medium-Low favoured by these editions varies sometimes : the key chosen for ,a transposition for, say, "Low Voice" in a given edition can be different from the key in another "Low Voice" edition. We try to provide as many transpositions as the authoritative Editions do.
We use 5 vocal ranges instead of 3 : High, Medium-High, Medium, Medium-Low, and Low.
The "Medium Low" and "Low" albums apply to "True low Voices" , Mezzos, Baritones, Contraltos and Bass-Baritones. The High, Medium-High and Medium apply to sopranos -From Coloratura to Dramatic Sopranos-, to light Mezzos (Mezzo Leggero), and from Tenors to Light Baritones. Our "Medium Voice " classification can sometimes suit young Baritones, or Young Mezzos,, and even Young Sopranos, they should in that case follow the advice of their teacher.
For Male Voices :
High Voice : Top note(s) G4 or higher
Medium High : Top note(s) F#4
Medium : Top note(s) F4
Medium-Low : Top note(s) E4
Low : Top note(s) Eb4 or Lower.
For Female Voices :
High Voice : Top note(s) G5 or higher
Medium High : Top note(s) F#5
Medium : Top note(s) F5
Medium-Low : Top note E5
Low : Top note(s) Eb5 or Lower.
Of course this classification applies to the notes found in the music. To secure singing these notes properly, the singer should be able to sing one tone or one tone and a half Higher, and one tone or one tone and a half lower for the lowest notes.
For this "Melody Added" volume onwards, the tessitura does not appear in the title anymore. For the "Medium and High Voice" volume, the lowest key is always the "Medium" key, the one just above it is the "Medium-High" key, and the highest the "High Voice" key.
For the "Low Voice " Volume, the lowest key is the last key listed, and only suitable for Bass Baritones, Contraltos and Countertenors.
Last, but not least, Vocal range is only one aspect of Voice classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and the advice of your teacher.