Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. One who sings is called a singer or vocalist. Singers perform music known as songs that can be sung either with or without accompaniment by musical instruments. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing requires time, dedication, instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their career.

The human voice

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.

Vocal registration

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:

A particular part of the vocal range such as the upper, middle, or lower registers.

A resonance area such as chest voice or head voice.

A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)

A certain vocal timbre or vocal "colour"

A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.

Vocal resonation

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.

Chest voice and head voice

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.

History and development

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice. In particular, the use of the terms ''chest register'' and ''head register'' have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms ''chest voice'' and ''head voice'' over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette. However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.

Classifying singing voices

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration. The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German ''Fach'' system and the choral music system among many others. No system is universally applied or accepted.

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.

It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.

Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.

Vocal pedagogy

Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:

Human anatomy and physiology as it relates to the physical process of singing

*Vocal health and voice disorders related to singing

*Breathing and air support for singing

*Phonation

* Vocal resonation or Voice projection

*Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

* Voice classification

Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.

* Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Vocal technique

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence: #Breath is taken #Sound is initiated in the larynx #The vocal resonators receive the sound and influence it #The articulators shape the sound into recognizable units Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are: : #Extending the vocal range to its maximum potential #Developing consistent vocal production with a consistent tone quality #Developing flexibility and agility #Achieving a balanced vibrato

Developing the singing voice

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.

There are three factors that significantly affect the ability to sing higher or lower:

# The ''energy'' factor — "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound. # The ''space'' factor — "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn". # The ''depth'' factor — "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."

Posture

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.

There are eight components of the ideal singing posture:

# Feet slightly apart # Legs straight but knees unlocked # Hips facing straight forward # Spine aligned # Abdomen flat # Chest comfortably forward # Shoulders down and back # Head facing straight forward

Breathing and breath support

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.

Vibrato

Vibrato is used by singers (and many instrumentalists; for instance, string instruments that are played with a bow can produce vibrato tones) in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus. Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music

Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music

Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

Popular and traditional music

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both the lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment. Some types of rapping consist mostly or entirely of speech and chanting, like the Jamaican "toasting". In some types of rapping, the performers may interpolate short sung or half-sung passages. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

One difference between live performances in the popular and Classical genres is that whereas Classical performers often sing without amplification in small- to mid-size halls, in popular music, a microphone and PA system (amplifier and speakers) are used in almost all performance venues, even a small coffee house. The use of the microphone has had several impacts on popular music. For one, it facilitated the development of intimate, expressive singing styles such as "crooning" which would not have enough projection and volume if done without a microphone. As well, pop singers who use microphones can do a range of other vocal styles that would not project without amplification, such as making whispering sounds, humming, and mixing half-sung and sung tones. As well, some performers use the microphone's response patterns to create effects, such as bringing the mic very close to the mouth to get an enhanced bass response, or, in the case of hip-hop beatboxers, doing plosive "p" and "b" sounds into the mic to create percussive effects.

While some bands use backup singers who only sing when they are onstage, it is common for backup singers in popular music to have other roles. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as rhythm guitar, electric bass, or drums. In Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones.

Careers in singing

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing. Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve, because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary". Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent, by doing auditions in front of an opera director, choirmaster, or conductor. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R; representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

Health benefits

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity. Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called ''Advancing Interdisciplinary Research in Singing'' (AIRS).

Singing in non-human species

Scholars agree that singing is strongly present in many non-human species. Wide dispersal of singing behavior among very different animal species (like birds, gibbons, whales, and humans) strongly suggests that singing appeared independently in different species. Currently there are about 5400 species of animals that can sing. At least some singing species demonstrate the ability to learn their songs, to improvise and even to compose new melodies. In some animal species singing is a group activity (see, for example, singing in gibbon families.)

Singing in different natural environments

Joseph Jordania suggested that singing behavior is very unevenly distributed among animal species, living in different environments (on the ground, in the water, in trees). Most of the singing species live on the trees (like many bird species, or gibbons), some live in the water (whales, dolphins, seals, sea lions), and there are no animal species who live on the ground and sing except for humans. This uneven distribution of singing can be crucial for our understanding of the origins of the singing behavior in animals and humans. Jordania explains this fact as the result of the pressure from natural selection. Singing is a very costly behavior, not only because of the energy to produce sounds, but primarily for the security reasons, as all the possible predators can easily learn the whereabouts of a singing animal. Singing species that live on the trees are in a much more favourable situation, as trees allow different species to live according to their body weight. So different animals with different body weight live on different "levels" of the tree branches. For example, a 50 kilo leopard can see and hear the sounds produced by a 15 kilo monkey, but as a lighter monkey can live much higher on the tree branches, it is out of reach of a heavier leopard. Therefore tree living (or arboreal) species feel quite secure to sing or to communicate with a wide range of vocal signals. On the other hand, all the ground living (or terrestrial) animal species, despite the huge weight differences between them (ranging from rabbits to lions and elephants) live on the same "ground level", and maintaining silence is crucially important for them. Even most of the birds, the most ardent singers, stop singing and producing other sounds when they sit on the ground. Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.

See also: art music

A cappella

Aria

Bel canto

Chanson

Chiaroscuro (music)

Choral music

Fach

Group singing

Human voice

Opera

Overtone singing

Recitative

Singer–songwriter

Sprechgesang

Throat singing

Voice pedagogy

Voice projection

Voice type

Yodeling

Winsingad

See also: popular music

Beat boxing

Belt (music)

Death growl

Humming

Lead vocalist

Rapping

Screaming (music)

Vocoder

References

External links

A Brief History of Singing

Category:Occupations in music *

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Surat ar-Rahman (Arabic: ) is the 55th sura of the Qur'an with 78 ayats. It has the refrain: "Then which of the favours of your Lord will you deny?"

Verse

Ar-Rahman is often regarded as the 'beauty of the Quran', in accordance with a hadith: Abdullah ibn Mas'ud reported that the Prophet Muhammad (SAW) said, "''Everything has an adornment, and the adornment of the Qur'an is Surah ar Rahman''" [Bayhaqi in Shuab al Eiman]

The main theme of the Surah is giving manifestation and fruits to the attribution of Allah's mercy and grace, which is evident right from the beginning, till the very end.

الرَّحْمَنُ Ar'Reh'maan: Name of Allah

The Nouns in Arabic, whether Proper Nouns or Common Nouns, in their original/default state, as a rule are always "Nominative" or مرفوع i.e. the last consonant has a vowel sign as is here نُ.

The name is the code which gives the basic cognition of existence and presence of a thing and person. Hence name is the introduction for apparent/initial recognition of a thing and person. Cognition of the code/name of a thing or person is the elementary/first step in gaining knowledge about the thing or person. Name of a thing or person gives it or him a vivid distinction from all other things and persons and makes it or him distinguished/identified/definite/isolated [معرفة] and grants an ability to others to identify and describe/ remember/recall and/or mention-refer it or him to others. The name/code serves as a basis/foundation for others to enquire and study about it to gain further knowledge.

Attributive names/adjectival descriptions give further information, insight and knowledge about the thing or person introduced by a Personal Name. These are complimentary in nature and help to acquaint others about the inner-self [بَاطِن] of the named object or person/being. Every person and thing/object that exists has two aspects, the one evidently apparent [ظَاهر] notwithstanding whether or not it is in the range of focus of someone, and the other is the inner-self, hidden, infolded, not apparent but invisibly embedded therein [بَاطِن].

The evidently apparent [ظَاهر] is the reflection of the fact of existence, and its cognition and reference is by the Name. The pursuit-journey of knowledge is from cognition of existence/Name towards knowing and perceiving the inner-self [بَاطِن] of that which exists and its relationships and equations with all that exists. We cannot have the absolute knowledge of anything and person/being unless we know its/his inner-self [بَاطِن], after its cognition, i.e. introductory knowledge of its Name.

Once we know the inner-self, all that is secreted, hidden and its relationships with everything else, we know that thing and Person in near absolute sense. Thereupon, it or He becomes more visible and apparent than the shining sun in a bright and clear day, even without being physically in visual sight, the [ظَاهر] aspect of Him. Therefore, we know Him/him with such conviction, which is the absolute-exalted end of the knowledge. This type of knowledge, with reference to personalities, can be attained only about two, Ar'Reh'maan, the Exalted and Muhammad Sal'lallaa'hoalaih'wa'salam-The Mercy Personified, since the بَاطِن of both is quite extensively visible to us all around and through the courtesy of Grand Qur'aan.

Personal Names that introduce and grant cognition of an existing personality, unlike attributive/ adjectival names/descriptions, never have duality and plurality, and neither with personal names is done the process of feminization or masculinization.

A peculiar and distinguishing feature of Arabic language is that, unlike other languages say English and Urdu in which the adjective comes first-prioritized than the described one, the مُوْصُوف/the one who is being described/portrayed is always mentioned first followed by the صِفَة/Adjective. Arabic, the language of our Guide Muhammad Sal'lallaa'hoalaih'wa'salam, is a language of truth and fact. مُوْصُوف/the one being described/portrayed is mentioned first since he is First in Existence and it is always the مُوْصُوف who has either inherently and intrinsically the mentionedصِفَة/adjective, quality, trait, or has acquired/adopted it. Hence Proper Nouns/Personal Names are NEVER placed at a secondary place as an adjective in the Adjectival Phrases.

الرَّحْمَنُ-Ar'Reh'maan is the Personal Name of Allah. It is unique, exclusive, unprecedented [19:65]; this has no parallel, no dual, no plural, no feminine equivalent. In Grand Qur'aan it is never placed as second noun of Adjectival Phrase, and nor one will find it in any Arabic literature mentioned as second noun of Adjectival Phrase.

Personal Names are also not the first noun [مضاف] of possessive construction/genitive phrases [الاضافة]. They are always second noun [مضاف اليه] in possessive phrases. One will never find الرَّحْمَنُ the Personal Name of Allah having been used as first noun [مضاف] of possessive construction/genitive phrases.

The fundamental and simple features and principles of Arabic language vividly reflect that الرَّحْمَنُ cannot be considered and perceived except as Proper Name. But in consideration of the fact that there has been a debate, spreading over thousands of pages, over this Peculiar Name of Allah, we may, without indulging into merits of controversy, request the Grand Qur'aan to let us know whether this is the Personal Name of Allah or it could be stretched and considered as an Adjectival Name attributing a qualitative trait.

The Grand Qur'aan unambiguously explains to us, in various references and contexts that this is but the Unique and Exclusively the Personal Name of Allah Who is the Sustainer Lord of all that exists. Some of contexts and references are as under:-

2. Surrender and allegiance is by the Title and/or Personal Name of Master-Lord; not by adjectival names. 2.1 Subject [عَبْد plural عباد] is identified only by the Title-Allah and Personal Name-Ar'Reh'maan of his Lord.

3. Creator of a thing is identified and referred only by Title-Allah and Personal Name Ar'Reh'maan.

4. Prostration-obeisance is before and for the Person, and not for his traits.

5. One is mentioned by Title and Personal Name who adorns the Throne/Seat of Sovereignty and not by adjectival.

6. A person makes a promise. Promise-maker finds mention by his title or personal name.

7. An agreement, treaty, compact, pact of obligation is with reference to Title or Personal Name.

8. Fear is induced by a perceived threat from a specific stimulus-Being or a named object.

9. Mention of Permission, Authorization, and Proclamation is always by the Title or Name of the authority.

10. People relate a son [very as well adopted] with Personal Name of the one with whom they relate a son.

[For detailed study kindly see the Link on 01-Surat Fateh "Word by Word Analysis"

Recitation

http://www.facebook.com/pages/Surat-Al-Rahman/142565212521005?sk=info

By---Tafseet e Qurrtabi

Surah Ar-Rahman In the name of Allah, the Beneficent, the Merciful

The Most Gracious (Allâh)! (1) He has taught (you mankind) the Qur'ân (by His Mercy). (2) He created man. (3) He taught him eloquent speech. (4) The sun and the moon run on their fixed courses (exactly) calculated with measured out stages for each (for reckoning). (5) And the herbs (or stars) and the trees both prostrate themselves. (to Allah. See V.22:18). (Tafsir Ibn Kathir) (6) And the heaven He has raised it high, and He has set up the Balance. (7) In order that you may not transgress (due) balance. (8) And observe the weight with equity and do not make the balance deficient. (9)And the earth He has put down (laid) for the creatures. (10) Therein are fruits, date-palms producing sheathed fruit-stalks (enclosing dates). (11)And also corn, with (its) leaves and stalk for fodder, and sweet-scented plants. (12) Then which of the Blessings of your Lord will you both (jinn and men) deny? (13) He created man (Adam) from sounding clay like the clay of pottery. (14) And the jinn He created from a smokeless flame of fire. (15)Then which of the Blessings of your Lord will you both (jinn and men) deny? (16) (He is) the Lord of the two easts (places of sunrise during early summer and early winter) and the Lord of the two wests (places of sunset during early summer and early winter). (17) Then which of the Blessings of your Lord will you both (jinn and men) deny? (18) He has let loose the two seas (the salt and the fresh water) meeting together. (19) Between them is a barrier which none of them can transgress. (20) Then which of the Blessings of your Lord will you both (jinn and men) deny? (21) Out of them both come out pearl and coral. (22) Then which of the Blessings of your Lord will you both (jinn and men) deny? (23) And His are the ships going and coming in the seas, like mountains. (24) Then which of the Blessings of your Lord will you both (jinn and men) deny? (25) Whatsoever is on it (the earth) will perish. (26) And the Face of your Lord full of Majesty and Honour will remain forever. (27) Then which of the Blessings of your Lord will you both (jinn and men) deny? (28) Whosoever is in the heavens and on earth begs of Him (its needs from Him). Every day He is (engaged) in some affair (such as giving honour or disgrace to some, life or death to some, etc.)! (29)Then which of the Blessings of your Lord will you both (jinn and men) deny? (30) We shall attend to you, O you two classes (jinn and men)! (31) Then which of the Blessings of your Lord will you both (jinn and men) deny? (32)O assembly of jinn and men! If you have power to pass beyond the zones of the heavens and the earth, then pass beyond (them)! But you will never be able to pass them, except with authority (from Allâh)! (33) Then which of the Blessings of your Lord will you both (jinn and men) deny? (34) There will be sent against you both, smokeless flames of fire and (molten) brass, and you will not be able to defend yourselves. (35) Then which of the Blessings of your Lord will you both (jinn and men) deny? (36) Then when the heaven is rent asunder, and it becomes rosy or red like red-oil, or red hide — (See V.70:8|) (37) Then which of the Blessings of your Lord will you both (jinn and men) deny? (38) So on that Day no question will be asked of man or jinni as to his sin, [because they have already been known from their faces either white (dwellers of Paradise - true believers of Islamic Monotheism) or black (dwellers of Hell - polytheists; disbelievers, criminals)]. (39) Then which of the Blessings of your Lord will you both (jinn and men) deny? (40) The Mujrimûn (polytheists, criminals, sinners) will be known by their marks (black faces), and they will be seized by their forelocks and their feet. (41) Then which of the Blessings of your Lord will you both (jinn and men) deny? (42) This is Hell which the Mujrimûn (polytheists, criminals, sinners) denied. (43) They will go between it (Hell) and the fierce boiling water! (44) Then which of the Blessings of your Lord will you both (jinn and men) deny? (45) But for him who fears the standing before his Lord, there will be two Gardens (i.e. in Paradise). (46) Then which of the Blessings of your Lord will you both (jinn and men) deny? (47) With spreading branches. (48) Then which of the Blessings of your Lord will you both (jinn and men) deny? (49) In them (both) will be two springs flowing (free). (50) Then which of the Blessings of your Lord will you both (jinn and men) deny? (51)In them (both) will be every kind of fruit in pairs. (52) Then which of the Blessings of your Lord will you both (jinn and men) deny? (53) Reclining upon the couches lined with silk brocade, and the fruits of the two Gardens will be near at hand. (54) Then which of the Blessings of your Lord will you both (jinn and men) deny? (55) Wherein both will be Qasirat-ut-Tarf [chaste fmales (wives) restraining their glances, desiring none except their husbands], with whom no man or jinni has had Tamth[] before them. (56)Then which of the Blessings of your Lord will you both (jinn and men) deny? (57) (In beauty) they are like rubies and coral. (58) Then which of the Blessings of your Lord will you both (jinn and men) deny? (59) Is there any reward for good other than good? (60) Then which of the Blessings of your Lord will you both (jinn and men) deny? (61) And besides these two, there are two other Gardens (i.e. in Paradise). (62) Then which of the Blessings of your Lord will you both (jinn and men) deny? (63) Dark green (in colour). (64) Then which of the Blessings of your Lord will you both (jinn and men) deny? (65) In them (both) will be two springs gushing forth. (66) Then which of the Blessings of your Lord will you both (jinn and men) deny? (67)In them (both) will be fruits, and date- palms and pomegranates. (68) Then which of the Blessings of your Lord will you both (jinn and men) deny? (69)Therein (Gardens) will be Khairâtun-Hisân [fair (wives) good and beautiful]. (70) Then which of the Blessings of your Lord will you both (jinn and men) deny? (71) Hûr[] (beautiful, fair females) guarded in pavilions; (72) Then which of the Blessings of your Lord will you both (jinn and men) deny? (73)With Whom no man or jinni has had Tamth[] before them. (74) Then which of the Blessings of your Lord will you both (jinn and men) deny? (75)Reclining on green cushions and rich beautiful mattresses. (76) Then which of the Blessings of your Lord will you both (jinn and men) deny? (77)Blessed is the Name of your Lord (Allâh), the Owner of Majesty and Honor. (78)

بِسۡمِ ٱللهِ ٱلرَّحۡمَـٰنِ ٱلرَّحِيمِ

ٱلرَّحۡمَـٰنُ (١) عَلَّمَ ٱلۡقُرۡءَانَ (٢) خَلَقَ ٱلۡإِنسَـٰنَ (٣) عَلَّمَهُ ٱلۡبَيَانَ (٤) ٱلشَّمۡسُ وَٱلۡقَمَرُ بِحُسۡبَانٍ۬ (٥) وَٱلنَّجۡمُ وَٱلشَّجَرُ يَسۡجُدَانِ (٦) وَٱلسَّمَآءَ رَفَعَهَا وَوَضَعَ ٱلۡمِيزَانَ (٧) أَلَّا تَطۡغَوۡاْ فِى ٱلۡمِيزَانِ (٨) وَأَقِيمُواْ ٱلۡوَزۡنَ بِٱلۡقِسۡطِ وَلَا تُخۡسِرُواْ ٱلۡمِيزَانَ (٩) وَٱلۡأَرۡضَ وَضَعَهَا لِلۡأَنَامِ (١٠) فِيہَا فَـٰكِهَةٌ۬ وَٱلنَّخۡلُ ذَاتُ ٱلۡأَكۡمَامِ (١١) وَٱلۡحَبُّ ذُو ٱلۡعَصۡفِ وَٱلرَّيۡحَانُ (١٢) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (١٣)خَلَقَ ٱلۡإِنسَـٰنَ مِن صَلۡصَـٰلٍ۬ كَٱلۡفَخَّارِ (١٤) وَخَلَقَ ٱلۡجَآنَّ مِن مَّارِجٍ۬ مِّن نَّارٍ۬ (١٥) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (١٦) رَبُّ ٱلۡمَشۡرِقَيۡنِ وَرَبُّ ٱلۡمَغۡرِبَيۡنِ (١٧) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (١٨) مَرَجَ ٱلۡبَحۡرَيۡنِ يَلۡتَقِيَانِ (١٩) بَيۡنَہُمَا بَرۡزَخٌ۬ لَّا يَبۡغِيَانِ (٢٠) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٢١) يَخۡرُجُ مِنۡہُمَا ٱللُّؤۡلُؤُ وَٱلۡمَرۡجَانُ (٢٢) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٢٣) وَلَهُ ٱلۡجَوَارِ ٱلۡمُنشَـَٔاتُ فِى ٱلۡبَحۡرِ كَٱلۡأَعۡلَـٰمِ (٢٤) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٢٥)كُلُّ مَنۡ عَلَيۡہَا فَانٍ۬ (٢٦) وَيَبۡقَىٰ وَجۡهُ رَبِّكَ ذُو ٱلۡجَلَـٰلِ وَٱلۡإِكۡرَامِ (٢٧) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٢٨) يَسۡـَٔلُهُ ۥ مَن فِى ٱلسَّمَـٰوَٲتِ وَٱلۡأَرۡضِ‌ۚ كُلَّ يَوۡمٍ هُوَ فِى شَأۡنٍ۬ (٢٩) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٣٠) سَنَفۡرُغُ لَكُمۡ أَيُّهَ ٱلثَّقَلَانِ (٣١)فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٣٢) يَـٰمَعۡشَرَ ٱلۡجِنِّ وَٱلۡإِنسِ إِنِ ٱسۡتَطَعۡتُمۡ أَن تَنفُذُواْ مِنۡ أَقۡطَارِ ٱلسَّمَـٰوَٲتِ وَٱلۡأَرۡضِ فَٱنفُذُواْ‌ۚ لَا تَنفُذُونَ إِلَّا بِسُلۡطَـٰنٍ۬ (٣٣) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٣٤)يُرۡسَلُ عَلَيۡكُمَا شُوَاظٌ۬ مِّن نَّارٍ۬ وَنُحَاسٌ۬ فَلَا تَنتَصِرَانِ (٣٥) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٣٦)فَإِذَا ٱنشَقَّتِ ٱلسَّمَآءُ فَكَانَتۡ وَرۡدَةً۬ كَٱلدِّهَانِ (٣٧) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٣٨) فَيَوۡمَٮِٕذٍ۬ لَّا يُسۡـَٔلُ عَن ذَنۢبِهِۦۤ إِنسٌ۬ وَلَا جَآنٌّ۬ (٣٩) فَبِأَىِّ ءَالَآءِ رَبِّڪُمَا تُكَذِّبَانِ (٤٠) يُعۡرَفُ ٱلۡمُجۡرِمُونَ بِسِيمَـٰهُمۡ فَيُؤۡخَذُ بِٱلنَّوَٲصِى وَٱلۡأَقۡدَامِ (٤١) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٤٢) هَـٰذِهِۦ جَهَنَّمُ ٱلَّتِى يُكَذِّبُ بِہَا ٱلۡمُجۡرِمُونَ (٤٣) يَطُوفُونَ بَيۡنَہَا وَبَيۡنَ حَمِيمٍ ءَانٍ۬ (٤٤) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٤٥)وَلِمَنۡ خَافَ مَقَامَ رَبِّهِۦ جَنَّتَانِ (٤٦) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٤٧) ذَوَاتَآ أَفۡنَانٍ۬ (٤٨) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٤٩) فِيہِمَا عَيۡنَانِ تَجۡرِيَانِ (٥٠)فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٥١) فِيہِمَا مِن كُلِّ فَـٰكِهَةٍ۬ زَوۡجَانِ (٥٢) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٥٣) مُتَّكِـِٔينَ عَلَىٰ فُرُشِۭ بَطَآٮِٕنُہَا مِنۡ إِسۡتَبۡرَقٍ۬‌ۚ وَجَنَى ٱلۡجَنَّتَيۡنِ دَانٍ۬ (٥٤) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٥٥) فِيہِنَّ قَـٰصِرَٲتُ ٱلطَّرۡفِ لَمۡ يَطۡمِثۡہُنَّ إِنسٌ۬ قَبۡلَهُمۡ وَلَا جَآنٌّ۬ (٥٦) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٥٧) كَأَنَّہُنَّ ٱلۡيَاقُوتُ وَٱلۡمَرۡجَانُ (٥٨)فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٥٩) هَلۡ جَزَآءُ ٱلۡإِحۡسَـٰنِ إِلَّا ٱلۡإِحۡسَـٰنُ (٦٠) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٦١) وَمِن دُونِہِمَا جَنَّتَانِ (٦٢) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٦٣) مُدۡهَآمَّتَانِ (٦٤) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٦٥) فِيہِمَا عَيۡنَانِ نَضَّاخَتَانِ (٦٦) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٦٧) فِيہِمَا فَـٰكِهَةٌ۬ وَنَخۡلٌ۬ وَرُمَّانٌ۬ (٦٨) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٦٩) فِيہِنَّ خَيۡرَٲتٌ حِسَانٌ۬ (٧٠) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٧١) حُورٌ۬ مَّقۡصُورَٲتٌ۬ فِى ٱلۡخِيَامِ (٧٢) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٧٣) لَمۡ يَطۡمِثۡہُنَّ إِنسٌ۬ قَبۡلَهُمۡ وَلَا جَآنٌّ۬ (٧٤) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٧٥) مُتَّكِـِٔينَ عَلَىٰ رَفۡرَفٍ خُضۡرٍ۬ وَعَبۡقَرِىٍّ حِسَانٍ۬ (٧٦) فَبِأَىِّ ءَالَآءِ رَبِّكُمَا تُكَذِّبَانِ (٧٧) تَبَـٰرَكَ ٱسۡمُ رَبِّكَ ذِى ٱلۡجَلَـٰلِ وَٱلۡإِكۡرَامِ (٧

Translation

In the name of Allah, Most Gracious, Most Merciful.

1. ((Allah)) Most Gracious!

2. It is He Who has taught the Qur'an.

3. He has created man:

4. He has taught him speech (and intelligence).

5. The sun and the moon follow courses (exactly) computed;

6. And the herbs and the trees - both (alike) bow in adoration.

7. And the Firmament has He raised high, and He has set up the Balance (of Justice),

8. In order that ye may not transgress (due) balance.

9. So establish weight with justice and fall not short in the balance.

10. It is He Who has spread out the earth for (His) creatures:

11. Therein is fruit and date-palms, producing spathes (enclosing dates);

12. Also corn, with (its) leaves and stalk for fodder, and sweet-smelling plants.

13. Then which of the favours of your Lord will ye deny?

14. He created man from sounding clay like unto pottery,

15. And He created Jinns from fire free of smoke:

16. Then which of the favours of your Lord will ye deny?

17. (He is) Lord of the two Easts and Lord of the two Wests:

18. Then which of the favours of your Lord will ye deny?

19. He has let free the two bodies of flowing water, meeting together:

20. Between them is a Barrier which they do not transgress:

21. Then which of the favours of your Lord will ye deny?

22. Out of them come Pearls and Coral:

23. Then which of the favours of your Lord will ye deny?

24. And His are the Ships sailing smoothly through the seas, lofty as mountains:

25. Then which of the favours of your Lord will ye deny?

26. All that is on earth will perish:

27. But will abide (for ever) the Face of thy Lord,- full of Majesty, Bounty and Honour.

28. Then which of the favours of your Lord will ye deny?

29. Of Him seeks (its need) every creature in the heavens and on earth: every day in (new) Splendour doth He (shine)!

30. Then which of the favours of your Lord will ye deny?

31. Soon shall We settle your affairs, O both ye worlds!

32. Then which of the favours of your Lord will ye deny?

33. O ye assembly of Jinns and men! If it be ye can pass beyond the zones of the heavens and the earth, pass ye! not without authority shall ye be able to pass!

34. Then which of the favours of your Lord will ye deny?

35. On you will be sent (O ye evil ones twain!) a flame of fire (to burn) and a smoke (to choke): no defence will ye have:

36. Then which of the favours of your Lord will ye deny?

37. When the sky is rent asunder, and it becomes red like ointment:

38. Then which of the favours of your Lord will ye deny?

39. On that Day no question will be asked of man or Jinn as to his sin.

40. Then which of the favours of your Lord will ye deny?

41. (For) the sinners will be known by their marks: and they will be seized by their forelocks and their feet.

42. Then which of the favours of your Lord will ye deny?

43. This is the Hell which the Sinners deny:

44. In its midst and in the midst of boiling hot water will they wander round!

45. Then which of the favours of your Lord will ye deny?

46. But for such as fear the time when they will stand before (the Judgment Seat of) their Lord, there will be two Gardens-

47. Then which of the favours of your Lord will ye deny?-

48. Containing all kinds (of trees and delights);-

49. Then which of the favours of your Lord will ye deny?-

50. In them (each) will be two Springs flowing (free);

51. Then which of the favours of your Lord will ye deny?-

52. In them will be Fruits of every kind, two and two.

53. Then which of the favours of your Lord will ye deny?

54. They will recline on Carpets, whose inner linings will be of rich brocade: the Fruit of the Gardens will be near (and easy of reach).

55. Then which of the favours of your Lord will ye deny?

56. In them will be (Maidens), chaste, restraining their glances, whom no man or Jinn before them has touched;-

57. Then which of the favours of your Lord will ye deny?-

58. Like unto Rubies and coral.

59. Then which of the favours of your Lord will ye deny?

60. Is there any Reward for Good - other than Good?

61. Then which of the favours of your Lord will ye deny?

62. And besides these two, there are two other Gardens,-

63. Then which of the favours of your Lord will ye deny?-

64. Dark-green in colour (from plentiful watering).

65. Then which of the favours of your Lord will ye deny?

66. In them (each) will be two Springs pouring forth water in continuous abundance:

67. Then which of the favours of your Lord will ye deny?

68. In them will be Fruits, and dates and pomegranates:

69. Then which of the favours of your Lord will ye deny?

70. In them will be fair (Companions), good, beautiful;-

71. Then which of the favours of your Lord will ye deny?-

72. Companions restrained (as to their glances), in (goodly) pavilions;-

73. Then which of the favours of your Lord will ye deny?-

74. Whom no man or Jinn before them has touched;-

75. Then which of the favours of your Lord will ye deny?-

76. Reclining on green Cushions and rich Carpets of beauty.

77. Then which of the favours of your Lord will ye deny?

78. Blessed be the name of thy Lord, full of Majesty, Bounty and Honour.

[for linked study see the link on 01-Suray Fateh "Word by Word Analysis"

See also

References

External links

Exegesis of Surah Rahman

Read Surah Ar-Rahman in many languages www.SearchTruth.com

Rahman Rahman

ar:سورة الرحمن az:Rəhman surəsi bs:Er-Rahman fa:الرحمن hi:अर-रहमान id:Surah Ar-Rahman ku:Rehman ml:റഹ്‌മാൻ mzn:الرحمان ms:Surah Ar-Rahman nl:Soera De Erbarmer ce:Сура Къинхетамениг ps:سورة الرحمن pt:Ar-Rahman ru:Сура Ар-Рахман sl:Usmiljeni (sura) sv:Ar-Rahman tr:Rahman Suresi ur:الرحمٰن

Demetri Martin (born May 25, 1973) is an American comedian, actor, artist, musician, writer and humorist. Martin is best known for his work as a stand-up comedian, contributor on ''The Daily Show'' and for his Comedy Central show ''Important Things with Demetri Martin''.

Early life

Demetri Martin was born to a Greek American family in New York City, New York, and grew up in Toms River, New Jersey. He is the son of Lillian, a nutritionist, and Dean C. Martin, now deceased, a Greek Orthodox priest. Martin graduated from Yale University in 1995. Although he was accepted into Harvard Law School, he went to New York University School of Law after he received a full scholarship.

Career

In 2001, Martin caught his first big break in stand-up comedy when he appeared on Comedy Central's stand-up showcase ''Premium Blend''. At the 2003 Edinburgh Festival Fringe he won the Perrier award with his show ''If I...''. The show was turned into a British television special in 2004. From 2003 to 2004, Martin wrote for ''Late Night with Conan O'Brien''. In 2004, Martin had his own ''Comedy Central Presents'' stand-up special. His special was divided into three parts. In the first, he performed in traditional stand-up comedy fashion. In the second segment, he used humorous drawings as visual aids, which would serve either as the punchline or a background. During the third segment, he played a guitar and put on a pseudo-play where he would strum his guitar while alternating between playing harmonica and talking; some of his comedian friends dressed as fairies and dragons acted according to the story he was telling, detailing the magical land where his jokes came from. Martin's mother and grandmother also appeared.

Since late 2005, he has been credited as a contributor on ''The Daily Show'', on which he has appeared as the named "Senior Youth Correspondent" and on which he hosts a segment called "Trendspotting". He has used this segment to talk about so-called hip trends among youth such as hookahs, wine, guerilla marketing and Xbox 360. A piece about social networking featured his profile on MySpace. On March 22, 2007, Demetri made another appearance on ''The Daily Show'', talking about the Viacom lawsuit against Google and YouTube.

He has recorded a comedy CD/DVD titled ''These Are Jokes'', which was released on September 26, 2006. This album also features ''Saturday Night Live'' member Will Forte and stand-up comedian Leo Allen.

Martin returned to ''The Daily Show'' on March 22, 2006, as the new Youth Correspondent, calling his segment "Professional Important News with Demetri Martin". In 2007, he starred in a Fountains of Wayne music video for "Someone to Love" as Seth Shapiro, a character in the song. He also starred in the video for the new Travis single "Selfish Jean", in which he wears multiple t-shirts with lyrics written on them.

On September 2, 2007, Martin appeared on the season finale of the HBO series ''Flight of the Conchords''. He appeared as a keytar player named Demetri.

He also had a part in the movie ''The Rocker'' (2008) starring Rainn Wilson. Martin played the part of the videographer when the band in the movie was making their first music video.

In 2009, he hosted and starred in his own television show called Important Things With Demetri Martin on Comedy Central. Later in June, it was announced his show had been renewed for a second season. The second season premiered, again on Comedy Central, on February 4, 2010. Martin has stated that ''Important Things'' will not return for a third season.

Prior to completing work on his second season, Martin starred in the comedy-drama film ''Taking Woodstock'' (2009), directed by Ang Lee, which premiered at the 2009 Cannes Film Festival. In the film Martin plays Elliot Tiber, a closeted gay artist who has given up his ambitions in the city to move upstate and help his old-world Jewish family run their Catskill Mountains motel. The film is based on the book written by Tiber.

On April 25, 2011, Martin released his first book, titled ''This Is a Book by Demetri Martin''.

Martin was slated to portray Paul DePodesta as Oakland Athletics assistant GM to Billy Beane in the 2011 movie Moneyball (film), however was dropped and Jonah Hill took his place in the movie.

Future plans

Martin sold his movie concept ''Will'' to DreamWorks; he is expected to play a key supporting role. He will play the lead in the film ''Moon People'', a pitch that he sold to Columbia Pictures.

Martin also signed a blind script deal with CBS in October 2010 to produce, write, and star in his own television series.

After CBS was shown the pilot for the series, they decided not to air it.

On August 11, 2011, Fox ordered a presentation of a new animated show they might air.

''If I''

''If I'' is a Perrier Comedy Award-winning comedy one-man show written and performed by Demetri Martin at the 2003 Edinburgh Festival Fringe. It was also aired on British television as a special. The show is an autobiographical examination of Martin's life, as seen through various definitions of the word "if."

The title of the special comes from a lengthy palindromic poem that Martin wrote; the words "if I" are at the center of the poem.

Comedic style

Martin is known for being an unconventional stand-up comic. He uses one-liners and drawings on a "large pad", as well as accompanying his jokes with music on either guitar, harmonica, piano, keyboard, glockenspiel, toy bells, ukulele, or tambourine, sometimes all at once. He has cited comedian Steven Wright as an important influence (both use deadpan one-liners in their acts) and he is also a fan of Bill Cosby.

Personal life

According to a July 2011 interview on the WTF with Marc Maron podcast, Demetri had a short-lived marriage to a girl he knew from high school. They began dating after high school and got married when he was in NYU Law School and she was attending NYU Medical School. He was aged 25 and in the end of his marriage when his stand-up career began.

He is extremely allergic to nuts and peanuts.

Martin moved to Santa Monica, California in 2009.

Discography

''Invite Them Up'' (2005)

''These Are Jokes'' (2006)

''Demetri Martin. Person.'' (2007)

Filmography and television work

''If I'' ''12:21'' ''Late Night with Conan O'Brien'' "''Someone to Love (Fountains of Wayne song) ''Flight of the Conchords (TV series) ''The Rocker (film) ''Paper Heart'' ''Post Grad'' ''Taking Woodstock'' ''Important Things with Demetri Martin'' ''Take Me Home Tonight (film) ''Contagion (film) ''Conan_(TV_series)

Year	! Title	! Role	Notes
2002	''Analyze That''	Personal Assistant
2003	|	Himself	British television special, also writer
2004	|	Himself	short film, also writer
2004	|	Himself	1 episode, series writer
2007	Someone to Love''" ||	Seth Shapiro	''Fountains of Wayne'' music video
2007	Flight of the Conchords'' ||	Demetri	Season 1, Episode 12
2008	The Rocker'' ||	Kip (a music video producer)
2009	|	Himself
2009	|	Ad Exec
2009	|	Elliot Tiber
2009–2010	|	Himself / Various	writer, series creator, executive producer, and composer
2011	Take Me Home Tonight'' ||	Carlos
2011	Contagion'' ||	Dr. David Eisenberg
2011	Conan'' ||	Himself	guest

Written works

''This Is a Book'', April 2011, .

Awards and nominations

AwardPerrier Comedy AwardEmmy Awards Shared with Mike Sweeney (writer)Writers Guild of America Award Shared with Mike Sweeney (writer)Barry Award (for comedy)

Year	|	For	Category	Result	Other notes
2003	|	''If I''		Won	At the Edinburgh Festival Fringe
2004	|	''Late Night with Conan O'Brien''	Outstanding Writing for a Variety, Music, or Comedy Program	Nominated	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2005	|	''Late Night with Conan O'Brien''	Comedy/Variety (Including Talk) - Series	Won	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2006	Barry Award ||	''Dr. Earnest Parrot Presents Demetri Martin''		Won	Award for best show at the Melbourne International Comedy Festival

References

External links

Interview from November, 2006, in Onion AV Club

Interview from October 2006, in The DePaulia

Article, in ''The Scotsman''

Article, in ''Gelf Magazine''

Interview by Brian M. Palmer

MP3 Audio Interview on ''The Sound of Young America'' public radio show and podcast

Interview Believer Mag

New Jersey Monthly Magazine

Fresh Air, NPR.org

Category:1973 births Category:Actors from New Jersey Category:Actors from New York City Category:American comedians Category:American comedy musicians Category:American comedy writers Category:American film actors Category:American humorists Category:American people of Greek descent Category:American stand-up comedians Category:American television actors Category:American television writers Category:Living people Category:New York University alumni Category:Writers from New Jersey Category:Writers from New York City Category:Writers Guild of America Award winners Category:Yale University alumni Category:The Daily Show correspondents and contributors

cs:Demetri Martin da:Demetri Martin de:Demetri Martin fr:Demetri Martin gl:Demetri Martin it:Demetri Martin ru:Мартин, Деметри simple:Demitri Martin fi:Demetri Martin sv:Demetri Martin

Stanley Gordon Long (born November 6, 1929 in Owen Sound, Ontario) is a retired Canadian professional ice hockey defenceman who played three games in the National Hockey League for the Montreal Canadiens.

External links

Category:1929 births Category:Canadian ice hockey defencemen Category:Montreal Canadiens players Category:Ice hockey people from Ontario Category:Living people