*This content was translated by AI.View Original
Even students who have received vocal lessons for a long time and possess quite stable vocalization often seek new lessons.
When asked what else they would like to learn, their answers are surprisingly vague.
Student A, who sings well enough, said, "I also want to learn about different genres. My singing feels like it lacks something. I think I sing well, but it has no style."
As they exchange a few words and address their vague dissatisfaction, a thirst for "groove" sometimes emerges.
In music, groove is an expression on a slightly different level than the accuracy of beats or rhythm. People often say, "You sing so deliciously," or "The groove is good," but it is not easy to explain where that flavor comes from.
Classical music, musicals, and popular music each have different patterns of rhythm and expression. Even within popular music, the vocal styles of rock, R&B, and jazz are each distinct. The fact that pitch and beat are accurate alone does not mean one can express these differences.
If pitch and beat are placed on the X-axis and Y-axis, groove can be likened to the Z-axis, which adds depth to the plane. Even when singing the same note on the same beat, a completely different impression is created depending on where the sound begins and how it moves to the next note. There remain countless movements that a singer can choose between the notes written in the sheet music.
If lyrics have grammar, singing has tone of voice. Just as the same sentence sounds different depending on intonation, speed, and stress, songs also have their own unique tone of voice. A singer has their own tone of voice developed over a long period, and there is also a tone of voice that suits the genre and character of the song. This is why it is necessary not only to have one's own style but also to understand and utilize the expressive methods of other music.
It is easy to say that groove is an innate sense. In fact, there are people who instinctively receive rhythm and express it naturally. However, if it is difficult to realize it intuitively, it must be analyzed and learned. It is also an area that vocal lessons should cover.
Even among ballads, R&B ballads and traditional Korean-style ballads show different rhythmic characteristics. Ballads influenced by R&B often feature prominent backbeats on beats 2 and 4, flexible timing, and subtle movements between notes. On the other hand, in Korean-style ballads, expression that emphasizes long phrases matching the sentences of the lyrics is highlighted on top of the basic strong-weak-medium-strong-weak flow. Of course, an entire genre cannot be distinguished by a single formula.
This difference can also be utilized in reverse. One can apply R&B-specific rhythm handling and stress to Korean-style ballads, or change R&B ballads into a more beat-centered, plain expression. It is also possible to attempt interpreting the same song with the syntax of rock or jazz. The character of the singing can be changed without changing the melody itself.
To do this, one must look more closely at the spaces between notes. One can start by examining the division of eighth and sixteenth notes, as well as the triplet movements of shuffle and swing. One must also choose whether to place the starting point of the sound on the beat, or handle it with a push (slightly ahead of the beat) or a layback (leaning behind the beat). The rhythmic feel of the song changes depending on where the weight is placed among beats 1, 3 and 2, 4; whether the attack is given short and clearly or connected smoothly; and how long the vowels are sustained.
In lessons, rather than changing these elements all at once, they can be adjusted one by one for comparison. For example, moving only the position of stress in the same phrase, trying a different moment for the sound to start, or changing the connection between notes. Even in the process of imitating the original song, one must know what is being reproduced and how. Only when one can hear that difference and realize it with their own voice can it be applied to other songs.
However, groove is not completed by a combination of just a few techniques. Layback is not always more sophisticated, nor does dividing notes finely necessarily create richer expression. Rhythm handling that does not consider the flow of the song and the character of the accompaniment can actually sound awkward. Learning techniques and judging where to use them must be done together.
"Can groove be learned?" It is a question often heard during lessons. The answer is yes. It can be learned. From a trainer's perspective, it can be taught. If one has an innate rhythmic sense, the range of expression becomes wider, but even if not, one can add dimensionality to singing through training that finely listens to and adjusts the movements between notes.
Singing is an auditory art. It is important that what expression was intended is conveyed as expression. What the student who asked in the lesson room at first, "Why does my singing lack flavor?", ultimately needs is also the process of narrowing that gap. Taking one step further from accurately matching pitch and beat, it is the ability to choose and express how to fill the space in between oneself. Learning groove is precisely learning that ability.
<© STARNEWS. All rights reserved. No reproduction or redistribution allowed.>
*This content was translated by AI.View Original
