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History of children's choirs



Etymologically, the term means choir school "singers in the morning" at the Renaissance

, training related to children's choirs in the parish of a cathedral singing at church services. The masters were schools that offered children a musical education member high level but also a solid general education and religion. They were therefore particularly popular with families who can afford to enroll their children. The vast majority of musicians of the time were trained at these schools. Several big names in music history have made their initial ranges, as

Johann Sebastian Bach, Wolfgang Amadeus Mozart

, Schubert
..


From the fourth century to the eighth century
In


313, the Edict of Milan

promulgated by the Roman Emperor Constantine
recognizes the right of Christians to practice their religion and makes
Christianity a state religion. Therefore, Christians are beginning to organize their liturgy to settle in Roman society. They quickly understood the importance of music at liturgies and are beginning to take an interest in choral singing and the training of choristers. From that moment, the Roman popes have maintained their chorus of singers trained.
is not known exactly when the first music schools, or masters were created, but it has documents that describe the purity of the voices of children from the middle of the sixth century. Under the pontificate of Pope Saint Gregory

at the end of the century, are developing the first choir structured

Rome, a kind of preserve the Roman liturgical chant.
At the end of the eighth century, Charlemagne

dream of rebuilding the Holy Roman Empire of the West dismantled during the barbarian invasions, to counter the growing influence of the Byzantine Empire
. He wants to include a cultural renaissance of the West and for this purpose based on the Church only permanent structure of the former empire and only force capable of spreading the culture by means of education and evangelization. It creates school link to the parishes, monasteries and dioceses, which master's education are an integral part of the song. It is in these schools that are born early
polyphonic masses and the art of counterpoint

, laying the foundations of what would become western music. The first French control was established at Amiens in 1324, followed by Senlis in 1349, St Quentin in 1356 and Beauvais in 1369.



Renaissance

In

Ems From China Super Slow

singing voice


The classical singing requires years of learning because of its complexity. Not only the future opera singer must learn to use his vocal tract in a manner totally different from the one he usually uses it to talk, but it needs more, gain automatic neuromuscular extremely complex, unaided visual or touch as is the case for the learning of others musical instruments. The operation of the vocal tract can be likened to that of a wind instrument. Like him, it consists of three components: a wind tunnel (ie the lungs), a vibrator (vocal cords) and a resonator (cavity pharyngo-oral). What happens when one speaks or sings it? The breath from the lungs enters the top of the trachea which he faces the vocal cords. There are two muscles that look like lips, located at the upper end of the trachea, along with his section. The lung air will be charged in hot air at each opening of the vocal cords. These puffs of air will succeed at a faster or slower depending on whether the vocal cords vibrate faster or slower. The more they vibrate faster, the sound is sharp and vice versa. Thus, when the famous singer Mado Robin issued the highest note that a voice can be achieved: the RE6 a>, his vocal cords vibrate 2349 times per second! After this rapid overview of the vocal tract, we will now study in detail how the three work elements that compose it, starting with the blower. breathing that is used when at rest is reflex activity that requires no physical effort. The mechanism is simple: a message is sent by the brain to the diaphragm so that it shrinks. Diaphragmatic contraction this will lead to expanding the chest. Indeed, when it contracts, the diaphragm moves down, causing the floor to the bottom of the rib cage and simultaneously expanding the six ribs on which it is inserted. The enlargement of the rib cage will cause an increase in lung volume (which are secured to the extent they are attached to it by the pleura), creating a pressure less than intrapulmonary atmospheric pressure. This situation of relative vacuum inside the lungs will trigger a call to look important, and so the lungs will fill passively. During expiration, diaphragmatic contraction and relaxes the lungs and airways and chest sag again. This respiratory cycle is repeated about 17 times per minute in an adult at rest, the air intake being about 500 ml with each breath.
The practice of singing requires a larger amount of air in the range of 1000 to 1500 ml, according to data from BUNCH which requires a greater expenditure of energy. Breathing becomes in this case, a conscious or voluntary. What is the mechanism? During inspiration, lung volume increases dramatically as the chest expands in all its dimensions under the action of multiple muscle groups. The activity of these various muscles is coordinated with that of the diaphragm which, by contracting goes down, thus increasing the volume of the thoracic cavity. This movement of the diaphragm pushes down and forward the visceral mass producing a bulge in the upper abdomen called epigastrium. The expiration, which is passive in the tidal breathing, becomes active in speech and volunteer in the song where you have to precisely control the flow of the air. The muscles involved in the end are those whose business is to decrease the volume of the thoracic cavity, ie abdominal muscles whose contraction, coupled with the gradual relaxation of the diaphragm, lungs will expel the air in the manner of a piston.
But the imperatives of singing require regular sound intensity is related to the subglottic pressure, ie the pressure of the pulmonary air below the vocal cords. To maintain a constant subglottic pressure throughout the expiratory phase, the singer must coordinate the activities of inspiratory and expiratory muscles. This delicate balance is achieved "by maintaining the position of the inspiratory rib cage as long as possible while contracting the abdominal muscles and gradually releasing the contraction of the diaphragm (BUNCH). The basis of all education is based on voice control of the breath, the goal is not to store huge amounts of air but how to control the expiration so as to obtain a steady flow and constant subglottic pressure. That's what singers call the support of the breath. To sing the breathing type is the most effective one that can quickly take the amount of air required without inducing muscle tension interfering with the functioning of the organs of phonation. Thus, the predominance costal breathing is outlawed because it is necessarily accompanied by an elevation of the shoulders that can not be achieved with the contraction of muscles suspending the larynx, which hinders the operation thereof. The respiratory type most used because of its effectiveness is the costo-abdominal breathing, which not only precisely control the pressure and expiratory flow rate but also has the advantage of increasing the voice power. WEDIN has indeed demonstrated that the intensive work of the lateral abdominal muscles for five days, increasing vocal intensity driven in subjects 6 to 7 decibels. CORNUT for his part, highlighted the use of different muscle groups as the voice work to be done. Thus, "for the sounds required, linked or transmitted with a high intensity, the opera singer will use the abdominal muscles that are long does not allow rapid movement, but needed to develop a force expiratory important. In contrast, staccato notes (which are short notes, separated from each other) will require the use of intercostal muscles short allowing fast and precise movements but unable by themselves to produce expiratory pressure needed to support a required or her strong. " Lets see how the second element of the vocal apparatus: the vibrator. The larynx, which contains the vocal cords, is located at the upper end of the trachea. What is it made? Just above the trachea, in its extension, is the cricoid cartilage which has the appearance of a ring whose kitten is turned backwards. Articulated to the cricoid cartilage, thyroid cartilage prominence which is earlier Adam's apple. Finally, connected to the larynx, first at the base of the skull, tongue, mandible, the sternum to the clavicle and scapula on the other hand, the hyoid bone in the form of iron horse open toward the rear, which is the only isolated bones of the skeleton. This privileged position represents an important element in the song, because through it we will be able to indirectly control the mobility of the larynx using anatomical elements on which we can act consciously as the tongue, the mandible or the occiput which is controlled perfect position. We'll come back a little more detail on the thyroid cartilage which is shaped like an open book to the rear and within which lie the vocal cords. According to the anchor point, the joint cricothyroid allows either the thyroid cartilage from tipping forward or to the cricoid cartilage to switch back, the result in both cases an increase of longitudinal tension vocal cords vibrate, which thus faster. The vocal cords are attached to the front at the inner corner of the thyroid cartilage and to the rear, two small arytenoid cartilages called triangular based on the kitten of the cricoid. Thanks to their facet joints and muscles that command, the arytenoids can perform rotation, translation and scale, which will operate to exclude or to bring the vocal cords, to thicken or refine them, to increase or decrease their voltage. The frame which is formed cartilaginous larynx has an intrinsic musculature or endolaryngée composed of different muscles whose primary function is to ensure the opening and closing of the vocal cords but also change their shape and size. To this is added an intrinsic muscles extrinsic muscles formed by the suspensory muscles of the larynx and intended to maintain it in place while allowing sufficient mobility to enable it to perform vertical and anteroposterior during respiration, phonation and swallowing. We will now move to the last element which is the vocal apparatus: the resonator. With current methods of investigation, we have the ability to record audio at the output of the vocal cords. That is what is called the laryngeal sound. At this level, the only thing seen is the intonation or melody of the sentence. We know for example if the speaker asks a question, or says something, but what he says will remain completely incomprehensible. The voice in the rough, will be changed by passing through the various resonant cavities located above the vocal cords to become the floor. These cavities called supra-glottal cavities are formed by the pharyngeal cavity, oral cavity and secondarily the nasal cavity and lips. (Indeed, to say oral achievements, such as the vowel "a" pulmonary air escapes only through the mouth because the soft palate, applied against the posterior pharyngeal wall, preventing access of air to the nasal cavity. However, to say the achievements nose, for example, the vowel "an" due to the lowering of the soft palate, the air escapes both through the nasal cavity and oral cavity. Similarly, the realization of vowels like "or" requires major lip projection which will create an additional resonance cavity between the teeth and lips). The changes of shape and dimensions of the supra-glottal cavities are due to movements of articulatory organs (tongue, palate, mandible, lips, pharynx, larynx) and allow the formation of vowels and consonants whose estate is the temporal language. Singing voice requires a vocal tract completely free. If implementation vowels is not a major problem in the song, this is not true for the consonants. Indeed, they can be made with an obstruction or a momentary tightening of the vocal tract, which hinders the flow of the air and breaks the continuity of the melodic line. The art of singing is to find a balance between the accommodations buccopharyngeal essential to a proper vocal production and changes in the oral cavity necessary for the articulation of speech sounds, which are not always compatible and are often even contradictory. The Art of Singing is the result of a technical perfect voice whose main purpose is to enable the future opera singer to sing often, long, without effort or fatigue. Do not forget that it will occur several times a week, singing a whole evening, dominate an orchestra of eighty musicians or more without sound, he will not only sing but to comply with the requirements of staging: walk, run, kneel, fight, fall, dragging down, etc. ... All this requires excellent vocal technique and a physical strength and nervous foolproof and will require intensive daily training. learning of vocal technique can begin very early in children's choirs, but the voice work early in the young boy poses the problem of molting, the most controversial issue is whether or not you can sing during the pubertal period. Some educators believe that this is possible provided it is careful in the choice exercises. But most professors of singing, and speech pathologists are odologues supporters of absolute vocal rest for the duration of the moult, in order not to jeopardize the future voice of the child. According to statistics conducted recently in the United States, molt occurs between 12 and 15 years and can last several months or years. It Endocrine happens for reasons that molting is delayed or distorted, which gives the subject's voice a female character. In authentic barrows, molt never took place, castration with the specific aim of preventing occur normally. Schematically, we can say that the castrati possessed a larynx of a child on adult lung, the effects of a voice is a voice very extensive, covering more than three octaves, a powerful voice and breath-holding exceptional. Thus, the famous Farinelli could hold a note about two minutes, while the maximum duration of vocalization for a professional singer is about 30 seconds. The intensive work which were subject barrows (9 to 10 hours per day), also gave them an unusual vocal agility.
While castration was officially banned by the church several times, notably by Gregory XIV to XVI century and then by Clement XIV in the middle of the eighteenth century, castrati continued to be in the choir of the Sistine Chapel until in 1903, when they were finally excluded by Pope Leo XIII. The prohibition against women singing in churches and the Roman scenes is the origin of the primordial qu'occupèrent barrows for almost two centuries. After the abandonment of castration, the women resumed their prerogative and it is natural to them that will now be assigned jobs that match their voices. evolution of opera led to specialization more and more jobs that consequently leads to the emergence of a multitude of vocal categories. Indeed, if use is to distribute all the voices of singers who are six main categories, ranging from the acute to the grave: - for female voices
soprano mezzo-soprano contralto
- for men's voices tenor baritone bass
We will soon add their numerous sub-categories whose names reflect the range (part of the vocal range in which the singer is comfortable), the intensity of voice, timbre, and use the theater. Nearly 90 terms are currently used in France to denote different kinds of voices. Thus, for example, the category of sopranos is divided into seven sub-categories are from the acute to the grave: the light soprano coloratura soprano lightweight, light lyric soprano, lyric soprano, lyric soprano large The soprano lirico-spinto, the dramatic soprano. It's the same for every other major voice categories. Regarding children's voices, this classification is limited to two basic categories: pitched voices or voices of sopranos and deep voices or contralto voice. Ranking voice of a singer starting in one of six basic categories is one of the most difficult problems, faced by the singing teacher, speech pathologist and the odologue. Besides the vocal timbre and intensity, the main criterion on which it relies to classify a voice is the range. Each individual has a number of notes of the sub-bass to shrill he may issue more or less ease and forming his vocal range, while its range will consist of the portion of the vocal range that can radiate with maximum ease. The improvement in vocal technique in vocal studies, tends to match the limits of the range with those of the vocal range where the frequent confusion between the two terms. The range of average male voice is 2 octaves + 1 third, the female voices of 2 octaves 1 / 2 to 3 octaves. (Note that in speech, modulation pitch intonation which are rarely more than an octave). The range itself is subdivided into three main registers are: the serious

the medium treble

which correspond three transmission modes:

the chest voice to the serious
mixed voice for the medium,
the head voice and falsetto for the high range. Why these appellations
chest voice and head voice?
Simply because of the location of what the singers call resonance. This is in fact internal sensitivities produced by the vibrations transmitted to the skeleton and larynx. These internal sensitivities are at the chest wall for the bass, giving the impression that the singer's voice it resonates in the chest and in the craniofacial bone for the treble, which gives the singer the illusion that her voice echoing in his head. < What is the function of internal sensitivities? They are very important in singing because they allow the singers to place their votes by providing benchmarks and means of controlling their emissions, more reliable than the auditory control that is subject to significant changes in function the room acoustics.
How is the acquisition of domestic sensitivities? It
by ear only that the teacher will guide the student and teach him to associate an auditory image an internal sensitivity. This practice is the conditioning of reflexes allows the student to acquire the memory or kinesthetic memory and muscle movement memory pallesthetic, that is to say, the memory location of the most intense vibrations which are all both indispensable to control the emission. As physio-pallesthetic memory is acquired, that is to say as auditory memory is the only one to be used, students are absolutely incapable of judging their own production as soon as the conditions under which they used to sing are modified and especially the acoustics of the room. This proves the importance of domestic sensitivities in self-control issue.
When the voice is well placed, it is not only pleasant to hear, but it has a scope which is reflected on the acoustic level by enhancing the harmonics in the region of 3000 Hz is what SUNDBERG called the Singing Formant and others before him had called the ring. This "ring" or "Singing Formant" is always present in a cultured voice regardless of the vowel used, the frequency or intensity of sound that allows the singer to escape the masking effect of the orchestra (including sound energy maximum is located around 450 Hz). Instruments like the trumpet or bugle that have far-reaching sound, have the same characteristic harmonics building around 3000 Hz Similarly, the rooster, which, as everyone knows, is very far, we found a peak of intensity around 3000 Hz Why this spectral region near 3000 Hz determines Does the scope of a sound? Simply because on the one hand, it is beyond the zone of maximum intensity of different sounds that make up our sound environment and secondly, it corresponds to the frequency band where the hearing is optimal. The ear, in fact, does not receive the same intensity as they sound the same are located in the bass or treble. The relationship between the physical intensity of sound and perceived loudness is extremely complex, we note only that the hearing sensitivity increases from 25 to 3000 Hz
To better understand the mechanisms used to amplify the singing voice without effort or fatigue, take a concrete example. If you vibrate a tuning fork next to a box whose resonant frequency is equal to the pitch, the sound of it, barely audible from outside, will be enhanced by the cavity resonance that is the case and will get along perfectly. It is this principle that we used to sing. If we replace the pitch by the vocal cords and the box by the oral-pharyngeal cavity, to emit a powerful enough without giving any effort, just to give the cavity resonance (ie the pharyngeal cavity and oral cavity) on the laryngeal sound by changing their shape and therefore volume. But when you sing the bass to treble, there comes a time when the resonant cavities are no longer in agreement with laryngeal sound and do not amplify more. We must therefore adjust the volume of the resonator pharyngo-buccal, the re-tuning to some extent on his larynx. That's what the singers make the call path. When properly executed, the transition between the registers is inaudible and the singer's voice is so perfectly uniform from one end to another of its range, which has led some authors to deny the existence of vocal registers. It is the passage of the medium in which the upper is more difficult for beginners. The two main defects that are commonly found, a lack of muscle tone which will consequently weaken and détimbrer of notes located in the vicinity of the transition, an exaggeration of the muscular contractions that will lead to the so-called tightening. In this case, the sounds are shrill or strident and vibrato too fast.
The vibrato of the singing voice is characterized by periodic variations in frequency and intensity which may be synchronous or antiphase. It follows a perfect balance between different muscle coordination necessary to the performance of vocal gesture, which explains why it is found only in the voices worked and that their operation has a faulty vocal impact on its quality. It deteriorates in case of misuse of the vocal apparatus and with age. The parameters are mainly affected the amplitude (ie the musical interval between the extremes of sound vibrated) and frequency (ie the number of frequency modulations per unit of time):
Regarding amplitude, the standard is between 1 / 4 and 3 / 4 / tone. Below 1 / 4 tone, the sound is dull, hard, unpleasant, over a tone, the sound is unstable: it is said that the voice moves.
For periodicity, the norm is between 5 and 7 times per second. Below 5, the voice quavers and above 7, there tremolo.
But besides this role of "barometer of vocal health", the vibrato has several functions:
he first denied an aesthetic function. A sound emitted without vibrato is indeed unpleasant to the ear because it seems hard, flat, dull, détimbré, expressionless.
vibrato can sing less fair: when its amplitude reaches a semitone, for example, this means that the singer has a margin of safety of a semitone within which it can allow for variations in height without the audience noticing. According
Leippe, vibrato can also sing very least: "We know that the fixed offers contribution that a particular nerve cell gets tired and becomes less and less effective. With vibrato, each one has time to recover (refractory period) and vibrated sound seems more intense than the same sound vibrated not for that reason. "
vibrato serves Finally, according Leipp, increase efficiency by allowing the voice vote to avoid the masking effect of the orchestra. "On a sonogram visually, which transposes reality as it is perceived, the instruments of the orchestra will appear as a line spectrum. The voice with vibrato emerges and detaches easily from the orchestral accompaniment. The vibrato makes it possible to increase the vocal performance at lower costs. "
Because it reflects a correct use of the vocal tract allows the vibrato singing teacher to diagnose certain faults in the students, especially those under the coordination between breathing and phonation.
Contrary to what one might think, the vocal performance (represented by the relative efficacy / fatigue) does not depend on the proper functioning of all three floors of the vocal apparatus (bellows lung, laryngeal vibrator, oral-pharyngeal resonator ), but the result of perfect coordination between these three levels. The coordination between breath and laryngeal function as Tarneaud called pneumo-phonic coordination will allow a very fine regulation of the subglottic pressure as a function of frequency and intensity of the sound, thus ensuring a supply laryngeal correct, while accommodation cavity resonance on the laryngeal called by phono-résonantiel Tarneaud agreement will be responsible for the quality of the sound, especially with regard to its tone and color.
to secure a student's completion of all neuromuscular coordination necessary for song learning, the teacher uses a variety metaphors which rarely coincide with the physiological reality but usually allow the young singer to understand what is expected of him. However, insofar as it has no way to act consciously on some elements of the vocal tract, such as the pharyngeal diameter, the position of the soft palate or the larynx, instructions such as: " Open your throat! "," Lift your veil! " or "Drop your larynx!" pose enormous problems for novice singer. Yet after a number of years of study, students will be perfectly capable of performing them. How is it possible to acquire gestures or movements that are totally beyond voluntary control and more muscular adjustments require extremely accurate? Research conducted in experimental psychology on motor learning and reported by DENIS KNIGHT & ELOI show that to imagine anyone running a movement accompanied by neuromuscular activity subliminal (detectable by electromyography) at muscles involved in performing this movement. One hypothesis advanced to explain the mental repetition of a gesture or movement promotes its effective implementation and improves performance is that this muscle activity would leave a trace of the movement that would be recorded and stored as an image kinesthetic and reused during execution of actual movement. One might assume that the acquisition of movements that are not under the control of voluntary control as is the case for the song, the engine program, activated by the mental representation of the movement to accomplish them could trigger it . If
song learning is so difficult is because you ignore the automation used in the word to learn new coordinations neuromuscular extremely complex, with no help visual or tactile, as is the case for learning other musical instruments. At this difficulty is added, the constant search for a delicate balance between the aesthetics of sound and intelligibility of the sung text. But it is precisely the ability to add lyrics to music that makes the human voice the most complete and most moving of all the instruments. Nicole Scotto di
CARLODirecteur CNRS Research


ISSUANCE OF ACUTE
The issuance of the fever is a problem that faces every singer at one time or another of his studies or career. If a privileged few have natural highs, most singers spend years looking for them, others find them by chance. The literature is replete with lyrical elsewhere in "recipes" of all sorts that are transmitted from generation to generation singers to acquire or improve their highs and that is reflected not only the importance that it may have for them, but also confusion that reigns in minds. The advice given by teachers of singing are not likely to solve the issue since mean daily instructions such as "Lift your veil!", "Lower your sails!", "Open your mouth long!" Open your mouth wide! " "Your tongue should be flat," "Your tongue should be a dome", etc ...
A work in progress within the URA 261 reveals that the instructions given by teachers of singing, although seemingly contradictory, are actually quite consistent with the physiological reality.
The emission is accompanied by the acute effect of two types of physiological changes: those designed to facilitate the switch thyro-cricoid, which are common to all singers and those designed to give oral-pharyngeal cavity on its laryngeal, which will be different depending on the subject's vocal intensity.
The purpose of the first is, as we have said, to facilitate the switch earlier thyroid cartilage on the cricoid cartilage which has the effect of stretch, lengthen and thin the vocal cords, thereby will vibrate faster. The most important changes that can be observed for all types of voice when issuing a high note against a serious note, are the following: increased mouth opening, anticipation of the mass lingual standing of the hyoid bone, anterior tilting of the thyroid cartilage, posterior convexity of the curvature pharyngo-tracheal dilatation of the hypo-pharyngeal space, posteriorization pharynx and larynx, cervical spine posteriorization, reverse cervical curve (lordosis physiological giving way to a functional kyphosis).
The second type of physiological changes is intended to give the resonant cavities on his larynx. These changes will be different, even completely opposite depending on whether the singer will have a powerful voice or light:
* Among singers with powerful voices, one observes during the emission of high notes: a significant lowering of the block that lies between laryngeal the 6 and 7 cervical vertebrae (C6/C7) (whereas in the rest position, it is at C4/C5 for women and for men C5/C6), lifting the soft palate, a lowering of the tongue mass, a vertical lip opening, strong labialization (anterior projection of the lips).
All these physiological changes are what the singers and singing teachers call coverage sounds.
From acoustic point of view, lowering the larynx, associated with the lifting of the soft palate is to lengthen the vocal tract (ie the tube that goes from the vocal cords to the lips). On the other hand, the lowering of the lingual mass will increase the volume of the oral cavity, further enlarged by adding a labial resonator (due to the projection of the lips) and the shape of the lip opening, which will reinforce the low harmonics and give the corresponding sound a somber tone.
* Among singers with low volume, there for the issuance of the acute: a mild elevation of laryngeal block will be between C3 and C4, and lowering voltage cross of the soft palate elevation the post-dorsal part of the tongue, lip horizontal opening, a lateral stretching of the labial commissures.
On the acoustic level, the elevation of the larynx, associated with the lowering of the soft palate, the effect shorten the vocal tract. The elevation of the post-dorsal of the tongue will have to reduce the volume of the resonator mouth. Finally, by plating the lips against the dental arch, stretching side corners of the mouth will lead to removing the labial resonator, which, combined with a horizontal lip opening will further reduce the volume of the oral cavity. In this case, it is the high harmonics that will be strengthened. The vote will therefore have a clear tone.
techniques analyzed here represent only two extremes between which lie an infinity of intermediate technology.
In conclusion, can make sharp with a veil is lifted, a language platform, a vertical lip opening, a lip projecting large, if one has a powerful voice, with a veil is lowered, the raised back of the tongue, lip opening horizontal lip stretching important if one has a light voice.







diction exercises







Piano basket, basket piano.



Ms. Mrs. Mamadi said.



I want and I demand sixteen damn fine shirts and six goals.



I dry the hair at this dear Serge.



Dad painted in the woods, Dad drinks in the pines, Dad painted and drinks in the pines, drunk dad and painted in the woods.


drink one evening pear black and believe redrink have to believe they could sit.


The dragon dragon ranking ranking degrades.



Small pot of butter, when you die-small-beurreriseras bribe you? I de-petit-pot-de-beurreriserai when all the little pots of butter de-petit-pot-de-beurreriseront.



big fat grain of barley, when you die-big-fat-high-grain-d'orgeriseras you ? I de-big-fat-high-grain-d'orgeriserai all about big fat grain of barley de-big-fat-high-grain-d'orgeriseront.



Give him at 0:08 stewed fruit, and if these eight fruits cooked harm him, give him at noon eight fruits raw.


the bird nice and big, big and beautiful, flies over the water, however, far less than a penguin Malo.

agile and wise monkeys, apes wise and agile.

1. I'm looking at these puppies Sancho. I'm looking at these cats Sasha. I am looking for these sixteen one hundred and sixteen chairs in Sanchez.
2. If six (percent) saws saw six (percent) cigars, six hundred six saws will saw six hundred and six cigars.
3. Five Capuchins were in their breast the hand of Saint-Cere.
4. An angel who was contemplating changing his face so changed lives that far from praising the change, he thought that all the other angels angel also deem that never changed the reciprocation does not and never thought no more angel to change .
5. We need a wise gamekeeper knows remove any cats that hunt in the hunt.
6. Heaven knows if this happens, these treatments are unsuccessful.
7. The taxman express each fixed fixed charge excessive exclusive luxury and exquisite.
8. I think I see three times three goose livers, You think you see three times three goose livers, He thinks he sees three times three goose livers, we believe we see three times three goose livers, You think you see three times three goose livers, they believe they are three times three goose livers.
9. Dragonfly hoots and multiply.
10. If so sure.
11. The assassin on her breast sucked his blood constantly.
12. The Dalai Lama in Lima and the slab breaks the slab in Dallas. From Lima, Mali and Mali in Lima it reads badly, the Dalai Lama. The blade of the file filing off the magnet that binds it to the dregs of Lima's friend who loved him who had said that Dali Lama in the friend of the Dalai Lama in the Himalayas.
13. Stand Up and unpacks deficient.
14. oil cruets these eight huilent hearing the bailiff.
15. Dryer, licks monkey.
16. Madame Sans Souci Hello, how are these six hundred and six sausages it? These six hundred and six sausages it are six sub. Under six, these six hundred and six sausages it! If these six hundred and six sausages are six under, six hundred and six of these sausages are too expensive.
17. Three small baked trout, three small trout floods.
18. Pontault-Combault.
19. I'm an eccentric who does désoriginalisera ever.
20. Wolf Sloth read Oulipo.
21. pile of rice, lots of rats. Tempting rice heap, tempted bunch of rats. Tempting rice heap piles of rats tempted, tempted fingered bunch of rats trying lots of rice.
22. The cat escaped Natacha and it annoyed Sacha, Sacha chased her cat, chased her cat Sasha.
23. In this dear Serge, so gentle in his cottage without lime, struggles each strain susceptibility.
24. The handsome bearded Barnaby lost his arm by a shell of debris.
25. three very large rats in three very big holes gnawed three very large grain of barley.
26. brass thighs fat kid that scrutinizes the cook praises his astigmatism.
27. Gisele freezes under the armpits across her home in Courchevel.
28. A lapping lapping crackling and cackling capitulated to the cove for a cap.
29. Of six strains were drying lying sixteen and sixty shirts socks all upside down.
30. From zoot eccentric who sought their shoes drove carefree whistling snakes.
31. Drank beautiful blue blood.
32. Levallois-Clichy.
33. You, suede stubborn, you're totally wrong, both in your totems in your attitudes to both your finicky sweet totems.
34. I want and I demand a spasmodic climax.
35. Chat live rat, rat tried cat, cats put paw to rat, rat paw burned cat.
36. A cruel and squealing fiddle and fiddle Criss-you-you relentlessly?
37. Your aunt sometimes dyed tea yesterday.
38. Babylas buffoon simply packed bales while Babette ballerina ballet swaying gently on the tip of a wooden bar.
39. I examine this axiom Xenophon demands, excesses and atonement.
40. I am extraordinarily frustrated, you try to excuse yourself, despite your explanations given, you have no excuses.
41. I want and I demand an apology exquisite.
42. His wise cat, his wise dog, his wise monkeys.
43. I think I see the wooden cross of Blois.
44. The huge elm tree adorns the dreary melancholy valley.
45. dined Dido told the back of a plump turkey.
46. Ninon nous1'avait does not give nor do we appointed him.
47. Am I at this dear Serge? The rushes littering
48. Judea have been generous sun under the junta of Jason.
49. A crook execrable fenced with excitement to climb a stepladder cramped.
50. Tas a lot of ticks and you dying out; you going on with your dyed t'entêtant Totor, you're wrong, you kill yourself and you got wrong.
51. I excuse this exquisite feat, you apologize feat exquisite.
52. I staggers under the chance (to join).
53. Let us know that the song Samson dryer in the dream hot Delilah drying her hair.
54. Fruit, escape and made fried fry and drain fruit.
55. fresh foie gras. Cold foie gras goose costs.
56. The mosquito Mastoc excited chews Max, the masked Mexican mysticism.
57. The groaning without roaring magic peasant genius did his best to hinder the muse. Amused, the peasant has built the museum and the muse has dared.
58. Three turtles head sad trotting out of three very narrow roofs.
59. The nail of his uncle, the angle of the nail.
60. Eleven uncles, eleven nails are juggling.
Kitchen
61. eight nights eight iguanas.
62. Hisse next six Irsina hirsute hispid.
63. The Nubian nubile, the Nubian moron.
64. The intruder obtuse closes the shell. The intruder closes the shell obtuse.
65. The oddball stunned to scream brawn.
66. Beautiful brunette, beautiful plum. nice shovel, plum brown.
67. Ridicule does not harm or kill.
68. Anastasius outlines the exquisite ecstasy.
69. Panse and bless thy penance your sustenance.
70. Aglae glides gracefully over the ice in Greenland glaucous.
71. What Lili bed under these lilacs that? Lili reads the Iliad.
72. regild I surely these thirty-three gold spoons.
73. hesitate and exists.
74. Low, reliable, dependable and low.
75. Under each bag is dirty look at Charles Six owls moist by the sap oozing from a dwarf tree.
76. The essence of science gives the sense of ease.
77. Brush the sheet, drop spindle.
78. Bruno spade Benedict bine, bine Bruno Benedict spade.

80's Aeorobics Instructor

History of Opera

birth of opera

Opera was born in Italy

in Florence

seventeenth century. Among the ancestors of the opera include

Italian madrigals, which began in music situations with dialogues, but showmanship. The

masquerades, the court ballets

the intermezzi

and other performances of Renaissance court of

, involving extras, music and dance are all precursors. The opera itself originates from a group of musicians and intellectuals Florentine humanists who had given the name of Camerata ("living room" in Italian

). Camerata, also called Florentine Camerata or Camerata de 'Bardi, named after its main sponsor, had set two main objectives: to revive the musical style of ancient Greek theater

and oppose contrapuntal style of

music of the Renaissance. In particular, they wanted the composers dedicated to making music reflects simply and word for word, the meaning of texts. Camerata believed it back in the characteristics of ancient Greek music. To achieve this goal, we use the monody accompanied by basso continuo, the

madrigalesque choirs and instrumental tunes and dances. On February 1, 1598, Jacopo Peri

wrote Dafne, which was then considered the first opera.

Italian opera Monteverdi

The first great composer of operas was the Italian Claudio
Monteverdi