Vocal Training

5 Vocal Training - Physical singing methods

One of the most diverse muscles in our bodies is the tongue. This amazing tool not only
helps you talk, but also helps you properly sing. When you sing, it is important that your
tongue rest in specific areas as certain notes or scales are attempted.

The tip of the tongue is the easiest to control, but is not what is used the most in singing.
When you sing, the tip of your tongue should be lightly pressed against the back of the
lower teeth. This will ensure that it doesn't get in the way, or hinder the middle, sides, or
back of the tongue when attempting certain notes.

The back of the tongue, probably one of the hardest areas to control, should be the section
that is relaxed. Once you get used to keeping the tip of your tongue lightly pressed
against the back of your teeth, this should be easier to do. You can even put the tip a little
lower if you feel it's in the way or becomes irritated. So, the back of the tongue should be
relaxed, yet ready for use. You should be able to control it a little bit at this point. As you
practice singing a little more, try to notice what the back and middle section of your
tongue are doing.

On lower tones or notes, the tongue will lie flat. On higher tones, the contrary. When it
comes to lower tones, the tongue doesn't have as much work to do because the lower
sound that is emitted originates in the chest cavity and is formed through the throat. With
higher tones, however, the higher the tone, the more 'active' this back section of the
tongue must be.

Now that the tongue has been covered in some detail, it should be noted that singing is
difficult on the muscles and surrounding cavities and ligaments. However, difficult does
not mean painful. If in hopes of reaching a certain tone or trying to hold a sound, you
thereby cause stress to your neck or throat muscles, you are not going to last long.
Controlling these muscles, as steadily as possible, and working them to a certain point
each day, without strain, is one of the most important factors when it comes to practicing
and learning how to sing. Remember, you should never feel pain nor strain.
Nasal Singing

You may not have noticed or paid attention, but many well-known singers sing nasally.
Even modern day hip-hop, pop, and country stars use some form of nasal singing. In
other languages, nasal sounds are much more prominent. In Spanish, the letter 'ñ' is a
nasal consonant that is pronounced as 'eh-nyay'. In French, the letters 'gn' are pronounced
in the upper nasal cavity in many of their words.

In English, nasal sounds are produced in a few words, such as in the word 'gangster'. For
the lack of a better example, notice how when you say this word, as you approach the end
of the first syllable how the back of your tongue is pressed closer to your upper palate in
order for a nasal sound to be made. This happens so quickly that you don't even know it's
happening, so try to say it a few times. Make sure to keep the tip of your tongue against
your bottom teeth and pay special attention how the middle to back of the tongue raises
toward the upper palate area.

Applying a nasal variation to your singing allows may make the song come alive. Tones
can be expressed in different ways, and the effect grasps the attention of listeners almost
instantly.

Nasal singing is aptly named since nasal sounds are produced. It is also referred to as
'singing towards the nose'. It is actually a way that the sound and breath are guided
towards the upper nasal and head cavities so that the resulting sound appears more nasal
in its release.

Nasal singing will take time to master. Being aware of its use will help you add a new
depth to your singing voice and will give you something you can mix in with your daily
voice and singing exercises.

In the next lesson, you'll learn more about how to emit greater sound and control it using
what is referred to as your 'head voice'. And, of course, we'll continue talking about
breathing!

1 Singing and Breathing

While we may call it the 'First Secret,' it is not really a secret, just something that not too
many people can pinpoint. The 'First Secret' to singing is the control of breath. When you
have control of your breath that means you have control over the muscles of your
diaphragm, larynx, and vocal chords. This; however, can take years to master. Even
Madonna, who is now in her thirtieth-odd year of singing, knows the importance of
breathing and muscle control. She undergoes intense vocal exercise, along with strenuous
physical exercise on a daily basis. Not only does this keep her in great shape, but also it
allows her to control her voice and her breath. Through exercise, she has found that her
breathing and vocal range can be extended to last an entire concert or recording session.

Now, you don't need to go out and run ten miles a day (which is about the distance that
Madonna covers!), but it is necessary for you to gain control over your breathing, and
that requires control over your muscles. Through breathing exercises and practice, you
will be able to hone your skills so that you will eventually be able to control and pinpoint
all the muscles that you are using while you sing.
Breathing Exercise:

As yoga has become more popular across the world, the breathing techniques that go
along with it have gained popularity as well. The breathing exercises found in yoga are
very beneficial to the singer because yoga teaches breath through concentration and
control. This is very such the same way you have to treat your breathing when you are
learning how to sing.

Try the following: Take a deep breath and hold it for two seconds.
You probably noticed that your shoulders raised, your chest cavity expanded and you felt
the air in the upper part of your stomach. If you didn't, try it again.

With most people who are not trained in the art of breathing, this above scenario is the
case. When you are learning how to sing, you are going to have to learn to both hold your
breath and relax at the same time.

Now, try this: Breathe in slowly, but this time, as you inhale, expand not your chest, but
your abdomen. Push your stomach out slowly. Feel how your shoulders and upper chest
are relaxed. This is important. You now understand the first step of breathing - that it can
be controlled and how you breathe is what is important when it comes to making all the
parts of your voice work in harmony.

The important point here is that you now have noticed the two basic places where
inhalation occurs and where breath is stored. In order to start singing properly, you are
going to have to combine the two methods. This time, inhale about 70% and hold the air
in your upper cavity, but this time, try to relax your shoulders and keep your diaphragm
taught. This is the 'space' where you air will be stored so that you will have control over
the air that is emitted when you want to release your voice.

We will work on this further in the next lesson, entitled "The Art of Breathing,
Expanded". Try to go through the next couple of days and pay special attention to how
you breathe. Practice relaxing your upper thorax while holding your breath for a few
seconds. If you have trouble, ask a buddy or even a yoga instructor about how you can
breathe, hold, and relax completely.
The Art of Breathing

If you haven't done so, you should review the last lesson. We talked about control of
breath and how one begins to inhale before you even begin to emit a sound. This is the
very first step on the staircase of breathing and it is quite important to remember.

Also, we discussed how some singers are naturally gifted with an amazing singing voice
even though they have never had singling lessons, or paid special attention to their own
methodology. This course is for those who might have a good singing voice and want to
expand their knowledge of exactly what it is they are doing well and what they might not
be doing so well. For those of you interested in the art of singing and want to learn the
basics to be able to practice on your own, follow these next few simple lessons designed
for the layman.

Back to the art of breathing. Remember in the last lesson how we discussed knowing how
to breathe in order to control your breathing? Well, it's true. We saw that you can
consciously choose where you want your breath to go, your lower abdomen or your upper
chest cavity. We also discussed the importance of relaxing your upper body while still
holding your breath. Here is where you will have the most control over your muscles,
which in turn controls the release of your breath and your voice.
Breath Expanded:

Now that you know how to control where your breath is going, you will have to continue
doing these exercises for a while until it becomes second nature. Remember to breathe in,
hold for two seconds, and make sure your shoulders are relaxed and your diaphragm
(lower abdomen) is relaxed, but taught. Fill your lungs with air and allow your ribs to
expand. Do you feel the air press against them? Now push the air against your ribs, the
same way you did in lesson one where your abdomen pushed outward. Don't worry about
pushing out with all the pressure that you can. That is not the point. The point is to
control your breath where it is stored.

Practice this one or two times. You might even want to sit down; you may get light-
headed if you are not used to controlling your breathing this much. If you do sit, be sure
to keep a straight back and keep your abdomen as straight as possible. Do not slouch or
bend over, and keep your legs comfortably below you with your feet flat on the ground,
knees bent.

Next, you want to be sure not to allow any air to escape through your nose. We will talk
about nasal breathing later on. There is a little trick to help you keep the air from
escaping your nasal cavity. If you slightly raise your chin in the air and gently press your
tongue against your palate, you'll feel the pressure from your chest. Remember to keep
your diaphragm taught, but not stiff. Practice this a few times until you are 100% sure
that you have felt each area; the pressure and sensation that the breath you inhale can
have.

Having control over your breath and your breathing is not just important, but crucial. It is
the basis of singing and the primary step used by those with well-trained voices. Once
you are able to feel where the air is going and how you can control it, only then will you
be able to move successfully forward to the next step, which is that of breath division,
larynx control, and vocal chord sensation.

2 How Breathing Affects Singing - Division of breath

Now that you can feel the breath in your nasal cavity and against your palate, you can
understand how your breath is divided. It is the same with singing. When air is exhaled
over your larynx and vocal chords then into your upper cavities, it is going to split into
two areas: one part into the nasal pharynx (nasal cavity) and the other into your upper
head cavity (the back of the throat and into your mouth area). This division is caused
from the pressure of the air, as it is expands in your chest and upward from your
diaphragm. When you sing, the air is naturally split, but it must be rejoined before sound
is emitted from your mouth. The pressure of the air coming from your chest and into
these cavities must be controlled carefully so that you are able to hold a certain tone.
Practice by preparing yourself as in the steps above. Fill your chest. Raise your head.
Press your tongue to your upper palate. Now, open your mouth and breathe out steadily,
under control. Do not emit a sound, just a constant, steady breath. Do you see (or feel)
how the air is emitted?

Remember to not force the air out by pushing out your lower diaphragm, but allow the
pressure to come from your upper chest. This is how you will control the sound, it's
strength and its resonance. Do you feel how the air fills your upper chambers, but how it
is controlled from the pressure you create and the amount you allow to escape your upper
palate? This is what's important. Your breath and the pressure you control will control
how much air fills your upper chambers and will thereby aid you in how much air (or
sound) is emitted from your upper chambers (mainly your palate) when you sing.

The important points to remember are:

There will always have to be a storage area for air.
There will always be a division of breath as is released through the larynx and over the
vocal chords.
There will always be a release through the mouth that is controlled by the palate and the
pressure of the nasal cavity.

So, if these are the same for every person, then the skill in singing comes with the skill of
control and release of the sound that is emitted.

This is great news because it means that once you have a handle on the above breathing,
then you are working your way even closer to learning how to control these variables,
which will all work together to bring you an eventual controlled sound in your singing.

In the next lesson, we are going to learn more about how to control the breath that is
emitted from your mouth and air chambers. This will all work together and be applied
later to your singing. Once you have your breath under control, then you will have a
greater advantage because you will then know how to control the differing sounds that
you want to make when it finally comes time to sing.
Singing Tone and Sensations

We have been talking a lot about the art of breathing. That's because breath is what helps
us create sound. Air passing over our vocal chords with a desired, controlled pressure
allows us to sing. And, not only singing, but also knowing how to sing and understanding
the reasons behind it is the goal of this course. Once you have this knowledge, you can
build upon it and apply it to your own practice scheme.

Now, your breath, as we have mentioned repeatedly, must be finely controlled and
manipulated. This breath is held in the upper chest, but is controlled as it exits the back of
our mouths. When you sing, you should not push the air out of this area. Many people
believe that if you want to have a strong sounding voice, you have to drive the air out of
your chest cavity and the back of your mouth in order for the sound be elongated. This is
one important point that we will reiterate.

Important Point: You do not need to push or expel the breath out of your lungs and the
back of your mouth when you sing. This will not allow you to use all of the air you have
within to your complete advantage. If you have to maintain a specific note or tone over
any length of time, you will have to benefit from what breath you have at that moment.

You will always have to monitor your own singing form. That is why we have been
going over it incessantly. The form of singing encompasses the organs, the breath storage
and pressure control, and even the correct placement of the tongue on the palate. If you
are conscious of what you are doing, you will have an easier time adjusting your voice or
correcting something later when the sound you are trying to produce isn't quite right. It is
much easier in the beginning to work on and learn about form rather than wait until you
have allowed a mistake to keep occurring. It is as the old adage states: 30 days to make a
habit, 30 days to break one. When it comes to singing, we don't want to start by doing
everything correctly and monitoring the reasons behind what we are doing so that you
greater learn how to adjust yourself should the need arise.

All of this is being revealed and taught to you so that you will have the necessary base to
self-critique and know the reasons behind what it is you are doing. If you know how your
own body and voice work, the greater success and potential you will have to rise as far as
you'd like. Since the beginning of this course, we have said that singing is often thought
of as a gift. And, some are naturally gifted. However, someone who knows the proper
ways to train their own voice is much better off for long-term singing enjoyment.

3 Singing Practice

When you are first studying and practicing to sing, you will want to be sure that you give
your larynx, neck and face muscles, tongue, and vocal chords plenty of time to get used
to this 'new' activity. It may not seem like it, but singing is both physically and mentally
strenuous. Give yourself plenty of time to relax between vocal exercises, especially in the
beginning of your sessions. Do not go beyond fifteen to thirty minutes per day. And, be
sure to take one to two days off per week to allow all of these components to heal and
relax. Resting for more than this will cause the elasticity of these areas to stiffen and
tighten, which will not benefit you or help you add on to the work that you have already
done. If you stop altogether for an extended period, do not put your voice through the
stress or exercises that you were doing when you were at a certain 'peak' in your practice
sessions. It will be best to start over, giving yourself weeks to become used to the activity
once again.
A Note about Voice Strain:
The reason that we are talking about all of this is that is of the utmost importance. Not
only is breath an important component of singing, but so are all the other facets that come
into play. You want to allow your singing muscles the ability to steadily increase without
allow them to become strained or overburdened. One reason why this course is laid out
over 15 sessions is because you need to take the time to get yourself used to the transition
that singing initiates if you are a complete beginner.

Also, if you have a cold or a sore throat, you do not want to injure your vocal chords or
larynx when they are dry or brittle. It will be better for you to relax and heal before
starting again.

Additionally, many singing instructors, including David Brantmoth, a renowned singing

instructor in Europe says: "Practicing in the morning is the best time of the day. Your
body and vocal muscles are all refreshed. Just like with any activity, give yourself plenty
of warm up time and do not force a sound or pitch that isn't ready. After warming up,
take your voice through its usual gymnastic routine. Only then should you attempt new
material . make sure that you also cool down your voice each session."

4 Breathing and Singing Tone

Did you know that a lower voice comes from the chest area, while higher tones are made,
controlled and emitted from the ‘head’ cavity? Try to make a low hum with your voice.
Feel how it is concentrated in the chest area as the sound sort of vibrates off of your rib
area. The sound is deep because it is resonating off of this larger cavity area.

This is what you are trying to notice in all your singing: how to physically judge where a
certain sound is created. Once you have connected a certain sound with a certain
breathing pattern and how your body is controlled to make that sound, the more you will
be able to adjust it, or literally, fine-tune it.

In order to produce a ‘higher’ tone, you will have to bring the sound from the resonating
chest area up into the ‘head’ cavity, the soft palate, and nasal cavity area. You can see
this if you create the lower sound, or hum, as you did in your chest earlier. This time, try
bringing the sound upward into your ‘head’ cavity. Now, as you do so, slowly raise and
lower your head. Notice the difference in tone; it goes higher as you raise your head
higher and lower, as you lower it. This is how those who sing falsetto, or the highest tone,
attempt to gain such vocal altitude; they take their voice as high as they can and keep
their palates high into the air where the sound emitted is thereby controlled by the ‘head’
cavity. Don’t try doing this too often. We’ll get more into it later as this is primarily an
example, again, connecting bodily control with a resulting or desired sound.
In the next lesson, we are going to take an even greater look at how you can reach certain
sounds with the control of your breath and corresponding organs to help find your own
singing range. Following, you’ll have greater insight into how you should pursue your
own daily vocal exercises.
Stream of Breath

When you are learning how to sing, you must pay very special attention to your breath.
This breath, as it is emitted from your chest cavity, is sort of split up as it begins to exit
your mouth. Your breath and the muscles and ligaments all work in an attempt to reach
the desired tone, note, or scale that you desire.

Since the focus is upon breath, it is important for you to visualize how your breath is
divided as it exits your head cavities. The upper head cavity is an area where you will feel
higher tones. When you attempt to make a higher note, you can picture the breath that is
coming up over your throat to be like a ball of air. The shape of this ball will determine
how a certain sound is reached and where the air will be controlled. This is one reason
that it is important to have one stream of breath – if your breath is interrupted while
changing notes and the pause for breath isn’t taken at the correct time, then a song will
not be sung correctly.

Breathing Exercises:

An exercise you might try (an activity we have done on a smaller scale before) is to first
breathe in and hold your breath in your chest cavity. Following, breathe out slowly
controling your throat muscles as the air is being emitted. As the air is released, try to
picture the air as a round ball. Feel how your mouth is rounded and your throat is
controlled in the same way. The trick later will be to try and control the air as it is emitted
so that the breath can be extended for however long necessary.

Now, as you prepare yourself, picture a round ball that is lop-sided coming out of your
throat and mouth. If you add a hum to the breath, feel how the higher tones will cause a
different type of feeling from the location where the sound is resonated inside your
upper-head cavity.

6 Learn To Sing - Course Reviews

Below you will find side by side comparisons of 3 top 'Learn to Sing' websites &
interactive courses. Singorama is our number 1 pick as their course covers everything you
need to know about learning to sing, how to perfect your tone, and how to maintain a
strong singing voice. Singorama uses a range of valuable learning methods including
lesson books, audio tracks, computer games, and great vocal software. This makes
learning to sing fun, and inspires you to keep building your vocal range. Singing Success
by Brett Manning comes in at number 2 as it doesn't include all of the great information
found in Singorama, but his course uses quality, proven singing techniques.
Before you choose a Learn to Sing course think about how you learn best. Most people
find it easier to learn using written and audio techniques, however some people prefer
solely written instruction. We wish you all the best of luck in your learn to sing journey.

Our Number One: Singorama by Emily Mander

Singorama combines Emily Mander's years of singing experience with diverse, effective
learning techniques. This package covers everything you need to take you from absolute
novice to having the confidence and skill to sing like a professional in front of any size
crowd.

The written aspects of Singorama are professionally presented in a clear, step by step
manner. As well as written material, you receive great audio tracks and software such as
the 'Virtual Recording Studio,' where you simply plug a microphone into your computer
and you've got your very own recording studio complete with virtual piano.

Our Rating:

Click HERE To Go To The Website

Runner Up: Singing Success by Brett Manning

Brett Manning's course teaches you how to increase your vocal range by an extra octave.
Step by step tips, and Brett's down to earth teaching style makes it simple to understand
the process of learning to sing and increasing your vocal range.

While you don't get all of the great software found in Singorama, Brett's course does
include user friendly notes, photos & diagrams, and audio tracks to keep you on the right
track. Brett Manning is a very popular singing teacher and his passion for singing is
evident in Singing Success.

Our Rating:

Click HERE To Go To The Website

Third Place: Singing Workout

Our third course is Singing Workout. Singing Workout includes alot of great exercises to
practice your singing and increase your skill set. The information included is
professional, however this course doesn't really cover exactly how to sing, so it's not
really ideal for absolute beginners. If you are already an established singer, you may find
this course to be a useful practice tool.

Our Rating:

Click HERE To Go To The Website

7 Head Tone

In the previous lesson, we talked a lot about nasal singing. As we described it, it is how
you use the sounds that you are producing in a way that allows you to 'sing towards your
nose'. A few modern singers do it today, and even some hip-hop artists use nasal singing.
Now, in this lesson, we are going to focus on using what is called the 'head voice'.

The 'head voice' or as it is often referred, the 'head tone', is a method of singing that
allows its user to try his or her voice from the lowest to the highest level. The head voice
creates a sort of resonance within the upper head cavity. It is much different than nasal
singing because singing with the head voice does not involve a lifting of the air up into
the nasal cavity, but requires that you fill your upper cavities in a way that sound is
reverberated within before it is released.

When using the head voice, the tongue stands high and stiff. It is also held in a way that it
does not get in the way of the sound you are emitting. When practicing the 'head voice',
try not to overdo your practice sessions and do not try to take your voice past its natural
range. Once you have practiced awhile, then you can slowly experiment how to extend
the resonating sounds.

The Feeling of the Breath:

The reason we keep talking about breath is because it is the most important factor that
needs to be controlled when learning how to sing. Once you have learned to control your
breath, your diaphragm, and the systems when air is brought up into the throat and head,
you will be able to control what sounds (notes and ranges) are made and how long they
are held constant.

Note: Mechanics of the Diaphragm:

When you are focusing on your breath, be sure to not force air out by pushing your
diaphragm inward or by forcing air upwards as you sing. The stomach should not be
pulled inward at all, but should be relaxed at all times. If you force air out over your
vocal chords with too much energy or pressure, you could actually damage them over
time. As you sing, your diaphragm should remain relaxed, fill up like a balloon, and
slowly be released as your breath is released from your chest cavity. The breath from
your diaphragm should aid you to release your breath much more slowly than if you were
actually breathing. This requires a lot of practice and control. As we have stated before,
you have to be able to control your breath, keep your diaphragm relaxed, and still manage
the air as it enters into your upper cavities.

Most people, who breathe, do so rather half-heartedly. In other words, when someone
breathes normally, they generally take 'half-breaths' which means they are not utilizing
their entire diaphragm and chest cavity. This sort of breathing is almost 'hummingbird-
like' as a person goes about his or her daily business. But, when it comes to singing, the
breath cannot be rapid and only use half of the potential available. The entire space must
be used and controlled.

If you are attempting to control your breath as your diaphragm is pulling it in, it will be a
lot easier if you establish a habit of excellent posture. Keeping your back straight allows
your diaphragm to be fully expanded and helps not to block air passage. Additionally,
keeping a good posture and a relaxed bubble of air as it is released is quite relaxing and
therapeutic. It might even help you to relax before you sing in front of a group.

8 Breathing Exercises

In the following practical exercises, try to concentrate on what your breath is doing and
how it feels as you inhale and exhale. There is no better way to see (& feel) what we are
talking about unless you do it.

Be sure you are in a comfortable location before you begin. It is not only important to be
relaxed, but breathing exercises can cause some tiredness or even dizziness. If you start
getting tired, know that you can practice more a little later once your energy returns. The
worse thing to do when learning how to sing is to overwork yourself, your breath, and
your voice.

Start out by lying on your back. If you have a yoga mat, or something soft enough to be
comfortable, use it, but whatever you use should be stiff enough so that your hind does
not sink inward.

Now, place your hands on your waist so that you fingers are pointing towards your navel.
Be sure your hands are relaxed. As you breathe inward, try to fill up the bottom part of
your diaphragm or stomach first. Your hands should slowly rise and fall with each breath.
Don't fill up your cavity to the point of pain, but inhale so that you can feel the expansion
of your chest, sides, and back. Remember we discussed early about your chest cavity?
Well, this also includes the back portion of your thorax. You should also feel it expand.
Following, try to breathe out slowly to a count of four or five. And, try to repeat it five to
eight times. If you start to get light headed, just take a break. This exercise should relax
you and start giving you the skills to control your breath without having to actually focus
on properly using your diaphragm and air space each and every time.

This exercise should be done in the morning and in the evening. Try to plan a two-week
period where you do it everyday for five to ten minutes each session. Then, as you
progress, attempt to do so three to five times per day. And, as you continue, you might try
singing the numbers out loud, as you slowly release your breath. Keep the numbers that
you sing at one pitch and increase the amount of numbers that you count down from five
to ten to fifteen over the weeks.

Another exercise you should do once you have gotten to the point where your breath is
more easily controlled and where you do not feel light-headed or dizzy is one that can be
done while sitting at work or at home. It is a simple formula that should always be kept in
mind: the more you practice your breathing, the more control you will have over your
voice and the sounds emitted.

So, as you sit with your abdomen and back straight with excellent posture, inhale for a
count of three.
In your mind, inhale and count, 3, 2, and 1.
Hold inside for 3, 2, 1
Exhale for 3, 2, 1
Wait 2, 1
Repeat

This is similar to the exercise where you are laying flat, except this one should be done
once you fully understand and properly feel how your diaphragm is working and where
the air is being stored. This exercise should be done with the other, through the day, when
you cannot lie down.

9 Voice Lessons & Practice

Singing is primarily controlled by the inhalation and exhalation of breath over the singing
organs. Without proper, conscious management of the breath, then you would not
properly learn how to sing.

If you start practicing singing without practicing breathing, you could become frustrated
or even injure your vocal chords. Or, you might be gifted at singing and do it well, but
you'll never learn the 'how' or 'why' behind what you are doing. And, without this
knowledge, you will never know what you should do, or how you should monitor your
own singing progression so that you may improve. So, no matter what 'voice' has been
bestowed upon you, it is essential that you learn the mechanics and reasons behind
singing.

Now, in the previous lesson we talked about how you could lie down and monitor your
own breath - how you can feel the expansion in your belly, back, and chest. Hopefully,
you are doing these exercises daily and perhaps you are even implementing the latter
exercise that discussed trying to keep a constant sound as you controlled your breath.

Once you have gotten a couple of these exercises down, it is important that you always
maintain control over your breath. One way to consciously do that is as you breathe out;
imagine you are causing a table-tennis (ping-pong) ball to hover directly over your
mouth. If you have a table-tennis ball, then go ahead and use it! In any regard, you will
want the table-tennis ball to remain hovering on your breath. If you breathe too hard, the
ball will fall to the side. And, if you don't breathe constantly enough, the ball will not
float. This is analogous to what you should be focusing on as you practice your breathing
exercises. Mentally, or physically, keep the breath constant, light, and controlled.
Exercise with Notes & Pitches:

In the aforementioned lesson, we discussed how you could lie down on your back and
attempt to hold a constant note over a period where you counted. This exercise is quite
similar, but this time, you are going to practice changing the note so that you can attempt
to use your 'constant flow' of breath to maintain a certain pitch over a small period.

Begin after you have done a set of breathing exercises on your back and counting but
without creating a sound (as in the previous lesson). This will give you a proper 'warm-
up'.
As you breathe outward, pick a note that falls within your normal voice range. This will
not create too much stress.
Now, with this note, simply hold it, as you would with the last lesson's exercises. Do this
five times.
Now, as you do three to five more of these, attempt to change the volume of each note
from low, to medium, to high, and back down to medium and then low again. This should
be done gradually, and not forcefully. It should also be done for each exhalation, or for
each constant flow of breath that you are releasing. The rate of release should not be
changed.
Finally, as you keep to the above directions, you can vary the volume of your voice;
gradually chant out the vowels of the alphabet. Now, you are learning to combine control
of breath, volume and pitch while adding your voice into the mixture.

All of these above factors will come in quite handy now that you have monitored them
separately. Practice this daily as a part of your singing exercise routine. Always
remember that a good singing voice can be created when these variables are matched and
placed so that a resulting constant and controlled sound is produced. You, as a beginning
singer have an advantage because you are starting from the ground up; meaning, you will
learn to control all of the separate elements that combine to make a fine singing voice. If
you ever find yourself in a singing predicament, then you will easily be able to run
through each of the factors separately to find out which one needs to be honed or adjusted
so that your resulting voice is anything short of perfect!
Light Breathing Expanded:

Also, in the previous lesson, we talked about how you could feel your breath fill up each
of your internal cavities and how the expansion of breath worked. This next exercise has
a similar goal - to give you a better understanding, and thereby better control, of how
your breath is working to help you sing better.

Start out as you did before: lying on your back on a supporting, comfortable surface, such
as a yoga mat. This exercise takes eight to ten minutes and is often implemented in
singing course workshops.
Lie down and bring your knees up. As you do so, your feet should be flat on the ground
and spread apart at a comfortable distance.
After you place your feet in a comfortable position, try bringing your pelvis up off of the
ground. If you are having trouble or if it is not comfortable, try re-arranging the
placement of your feet so that you are not uncomfortable when lifting your pelvis.
As you lift your pelvis, do not attempt to control your breathing.
Now, as you breathe, hum a constant pitch with every exhalation and feel how your
breathing is affected. Breathe inward as deep or a long as you feel necessary.
Stand up on your mat. Take your time. You don't want to become dizzy. Give the blood
time to circulate again.
Now breathe and hum in the same method. Feel the difference of lying down and using
your pelvis and back area as you try to control the sound you produce. When you sing
upright, this shows you what areas that your voice is emitted from - from the lowest
pelvic region all the way up to your head.

When you sing, it is important to not take this above exercise to the point where you are
pushing your pelvis out and over arching your back during a singing session. This is not
not good form, nor will it help the mechanics of your voice. The above exercise it meant
to show you where your voice originates and how it can be better controlled.

As you do the above exercise, you should feel the management of the lower abdominal
muscles and how they affect your diaphragm. This connection with the lower part of the
pelvis should be felt through the above exercises, but should not be used as a method of
singing upright. What you want to do is to exercise that area in order to gain more control
over the lower basin of your body. When singing upright, you should not distort your
natural posture, other than by making sure that you have a nice, straight stance that will
allow you to better manage the breath and ultimately the voice that you are releasing.

In the next lesson, we will talk more about breathing and will expand to begin talking
about how you should place your tongue to create a furrow for different vocal ranges and
using your voice to practice singing in key.
10 Tongue Position For Singers

Hopefully, you are doing some daily exercises so that you can begin to control and
manage your breath -where your breathing will naturally fill your lower cavities. In this
way, when you are preparing yourself to sing, you will be able to run through a mental
checklist that will ensure that all the 'parts' of your singing system are ready to perform.
This type of self-monitoring should be done not only before a 'performance' (not all of us
are learning to sing to perform), but also as a part of your warm-up routine when you are
simply practicing singing or wanting to try out different melodies.

In this lesson, we are first going to talk about the tongue. We have touched upon the
tongue's function and proper placement some lessons back, but we are going to expand
upon that here.

Before, we talked about how you can lightly press your tongue against your bottom teeth
so that a sort of curve (or hill) is formed in its middle section. The more you press, the
more the slope of this curve will increase. This placement of the tongue is useful when
you are trying to reach certain lower tones or when you are carefully pronouncing certain
letters.

However, for higher tones, you do not want to place your tongue against your teeth. You
will want your tongue to be raised high when you are attempting to create higher tones,
as this placement will give the larynx its full flexibility and range.

And, remember when we were talking about head voice and resonance? Well, you will
also want to monitor your tongue placement when attempting to use your 'head voice'.
The tongue will also need to be raised as high as possible, giving your larynx its full
range. But, there is a difference when trying to create higher tones and attempting to use
your head voice.
Difference in Tongue Placement for Head Voice and Higher Tones:

Singing in higher tones and singing with your head voice requires your tongue to be
raised. However, when you are attempting to reach higher tones, you want to make sure
that your tongue has a sort of 'furrow' or 'center dip' as you release your voice. This
'furrow' will allow the sound to escape without hindrance and help you control its final
formation. Remember that this 'furrow' should not exist when you are attempting to use
the head voice. The tongue should be raised high, but should not have 'furrow' or 'center
dip' in it at all.
Practicing the Placement of the Tongue:

This all has to be done so that the larynx is given its full, high-tonal range. Now that you
have been practicing your breathing, you now have to practice controlling the other
factors that control the sound you produce. One of the best and easiest ways to practice
the proper placement of your tongue is to use a mirror. Hopefully you can use a mirror
that is big enough for you to easily see what your tongue is doing at any given moment.
And, the area should be well lit so that you can clearly see inside your mouth cavity to
see what your tongue is doing.
Some Tongue Exercises:

This should all be done in a well-lit area and in front of a big mirror.
Open your mouth and move your tongue all about to get it warmed-up.
Press your tongue against your bottom teeth so that a curve is formed in its center. This is
what we have already talked about. Notice the harder your press, the more the curve
increases. This comes in handy for lower tones.
Now, raise your tongue up and hold it in the center of your mouth. Notice it is a little
difficult to suspend it in the center of your mouth cavity for an extended amount of time?
That is due to the fact that the tongue is a muscle - one you can control.
Next, as you keep your tongue raised high, raise your head slightly. As you do, attempt to
create a 'furrow' or 'center dip' that we have already discussed. This can be quite difficult
if you have never done it before. Do your best. You might attempt using a tongue
depressor so that you can feel what parts of the tongue muscles should be used to create
the 'furrow'. Try to practice this until the skill is mastered (perhaps over a period of
weeks).
Now, as you hold the 'furrow', attempt to make a 'yawing sound' and create the sound
'aou' together. This 'yawing sound' with the tongue help properly in its 'furrow' position is
the best way to ensure that your mouth cavity and larynx are completely open. This will
most likely be its most wide, or open position. Controlling both the sound that is created
and maintaining the proper position of the tongue is difficult and should be practiced.
As you try different sounds, watch the movement as you attempt to pronounce different
letters (such as L, Z, R, S, & T). Your tongue will have to change its position and your
mouth might have to close during certain sounds. But, as soon as the sound is created,
your tongue should return to its position. This will take practice and is a skill that is
essential for singing higher tonal ranges and notes.

The tongue is secondary to breath control, but is important because you will have to be
able to monitor it without looking into a mirror. But, that will only come with time. The
more flexible and trained your tongue, the more rigid it will appear. This is due to the fact
that you are able to hold it in a certain place, in a certain way, for an extended amount of
time. The trained tongue, while looking stiffer, is actually more controlled and flexible.
The control of the tongue will also help you later with the expression of the face, the
position of the mouth, and the movement of the lips.

All of this 'control' that we have been talking about is essential to being able to create
proper tones, pitches, hitting notes on key, and extending your vocal range. We will get
to all of this over the next few lessons. You may notice that we are taking our time with
the basics. With the fundamental skills necessary, and with knowing how to control the
different facets of your vocal elements, you will succeed at developing the skills needed
to sing. After these lessons and daily practice, you will find that the proper management
of all your singing parts will greatly help you as you learn to sing properly, comfortably,
and with confidence.
11 Lips & Singing in Key

In our previous lesson, we talked a lot about how the tongue plays a major part in not
only the pronunciation of the letters we make, but how its proper placement will help us
to open up our mouth cavity to the fullest, thereby allowing the larynx to fully expand.
Hopefully, you have been able to practice this in front of a mirror and been able to start
'feeling' how to form the different shapes that are required in order that certain tonal
ranges can be reached. This all works hand-in-hand with the control of breath and
accessing the different, higher ranges, that can be reached with the use of the resonating
head voice.

In this lesson, we are first going to discuss the placement of the lips when singing
different tones and pitches. It is obvious, but the lips are the final exit point for any
words, letters, or sounds that you want to produce. The proper placement of the lips and
their proper form is essential to producing a final, pure and fluid sound. Controlling the
lips may seem like an easy task because we do it all the time. But, when it comes to
singing, the lips have to be managed much more carefully and pronounced in their form
with each and every syllable. Controlling the lips is one of the final 'parts' of the singing
parts of your body that you have to learn how to control before moving on to more
advanced topics, which we will hit in this lesson. But, be patient!

So, the same control that we give the breath, tongue, and throat must be applied to the
lips - that's clear. Just as you have to be able to 'feel' the movement and position of the
tongue, you must be able to control the position of the lips. This will result in the ability
to control your lips without having to look at them. However, now that you are just
starting to learn, it is best that you practice in front of a well-lit mirror, just as you do
when you are practicing the placement of your tongue.

Since the lips are the final phase before sound is emitted from your singing cavity, it is
important that they be well trained. While this sounds a little strange, it is something that
should be taken seriously because not having proper control over the lips can actually
hold back the best sounds you can make. One of the main reasons we have just now
focused on the movement and control of the tongue and lips is that these skills should not
be developed until the previous breathing, larynx, vocal chord, and palate skills are
properly developed.
Using Your Skills to Sing in Key:

If you have ever been asked to sing before, whether with a group or by yourself, you may
have been reluctant. You might have even used the old adage: "I'm tone deaf" or "Sorry, I
cannot sing in key." Well, this is no longer a valid excuse! You are ready to move ahead
and now, with the skills you've gained, are ready to begin tuning your ear to the sounds
all around you. No longer can you say, "I'm just too tone-deaf."

These above excuses are used because you might feel that you cannot sing, that you were
born without certain ability. In a western society and culture, singing isn't as
commonplace as it might be in other parts of the world. Other cultures sing as they work
and as they go about their daily lives as if it were a natural part of the flow of things.
And, it is. It's a shame to think that singing is anything but natural. We'll talk more about
confidence and singing later, but for now, it's important for you to know that you have to
try different activities and practice the skills you want to attain on a regular basis. They
won't come overnight, but with constant repetition.

Learning to sing in key is the next step on the stairway of not only learning about singing,
or learning about how to sing, but also improving your voice and all that it can do.
Learning to sing in key does not mean that you'll be famous, or that you'll even consider
yourself an artist, but it is one of the most important principles that you will have to learn
in order to sing well.

The first thing you need to do when learning to sing in key is to learn how to listen to
your own voice. Recording your voice is one way to do this. However, without quality
recording equipment, you may not be able to actually discern what your voice is doing or
how you are doing it at any given time. Another useful way is to record yourself on
video. You can also do this in the mirror to watch for proper breathing and placement of
your tongue and lips. While this might seem extreme, why not try it? As an example,
athletes record themselves all the time. Baseball pitchers record their throws, basketball
players their shots, and golfers record their swing. So, why not, as someone who wants to
learn more about the 'sport' of singing don't you record yourself?

However, you begin recording or listening to your own voice is fine. The next step you
might want to take is to play some music that you like. Choose a song that seems to fall
within your vocal range for now. Now, as you play the song, try to listen, at first, to the
music. Can you seek out the different parts of the song? What instruments can you hear?
What singing voices can you hear? Is there only one voice singing?

As you listen to the song, try to listen to the singer and how their tonal range varies. If
you feel your voice can handle the song (or something that falls within your speaking
range and not too high or too low), then you can continue. If you can use a song, played
in acoustic, then you might have an easier time at first at discerning the singer's voice and
instrument.

Following, try to record yourself singing along. Try not to have the music so loud that
you cannot hear your own voice. If needed, start with the first thirty-seconds of the song
and do it repeatedly. Match the singer's key with different notes, concentrating at first on
the range. As you progress, be sure to monitor your breathing. Remain relaxed and
breathe in using your diaphragm to its fullest potential. Remember that the song you
choose shouldn't change drastically from one key to the next, but should be slow and
rhythmic. The keys should not vary more than eight notes in either direction. Not only
will all of this help you to stay in key, it will help you apply what you have already been
practicing as you learn to greater control your singing muscles.
In the next lesson we will begin talking about vocal range, something a lot of people
would like to master. They want fluid control over their voices, keys they can maintain,
and notes they can hold. Keep practicing what we've been talking about and your singing
will assuredly improve!

12 Vocal Ranges

Your vocal range is the amount of notes you can reach normally and comfortably. This
usually runs parallel to the range of your normal speaking voice. Your normal speaking
voice is usually rooted in the chest area, and on average, encompasses eight to twelve
notes on a scale. This scale is usually unique to each person's voice and vocal range.
Therefore, vocal range is quite relative with each and every person. So, if your voice has
a general range of two octaves, someone else with that same range might end their range
either higher or lower than yours.

Is it possible to extend your natural vocal range from one or two octaves? Yes, it is, but it
requires the use of some of the factors that we have already talked about. One is that it
will require you to manage and learn to control your head voice.
Chest & Head Voice

Your chest voice is usually your speaking voice range. It is natural and transforms to
become your vocal range in singing. You can also use your chest voice to reach lower
vocal ranges. Your head voice, on the other hand, will help you resonate sounds that may
not be as easily done when you are speaking. When you are singing, your head voice
allows you to sing higher, perhaps up to an octave or higher than what your natural chest
voice will allow.

You can feel your head voice by attempting to move from a low tone to a higher one. As
your voice progresses up the scale, you'll notice that your head is becoming a bit lighter.
As your voice progresses higher, be sure to focus on the movement and positioning of
your lips to help take the strain away from your vocal chords.
Practicing your Vocal Range:

One way you can improve your vocal range and gain control over it is to do something
similar to what we talked about in the previous lesson. You'll need to first choose a song.
But, this time, you'll want to choose a song that will extend your vocal range a bit more.
Now, you don't want to pick something so difficult and high in its tonal range that you
stress your voice or become reckless in all that you have learned so far. Choose an easy
song that perhaps reaches an octave or so higher than what your regular chest voice will
allow.

At first, what you will want to do is to practice extending from your regular chest voice
up into your head voice. This is sometimes referred to as your 'head register' or 'head
cavity'. In any regard, what you want to do is to practice hearing and then moving your
own voice from your regular, comfortable chest voice up into your head. Refer to the
lessons earlier where we talked about how the muscle groups and ligaments should work
together to help you create a proper, resonating head voice.

You can also begin experimenting with the lowering of your vocal range too. When you
move away from your head voice, try returning to it and then going one or two tones in
pitch than what you are normally used to doing. When you sing from your chest, you
want to be sure that you do not strain your neck or chest muscles and that you keep your
chin straight and normal. Do not lower the chin or press it closer to your neck in order to
reach the lowest note possible. This could actually induce injury on or strain your vocal
chords and surrounding ligaments and muscles.
More About Head Voice & Neck Voice for Higher Pitch and Tones:

The feelings and control of the head voice will come with time and practice. The above
ideas and exercises should be thought about and completed carefully. You do not want to
endanger or strain your singing muscles each and every day. Like training for a sport, you
have to have some days for rest and some days where you build upon the skills and
benchmarks that you have already set. Only in this way, will you grow and progress in
your singing.

Also, it should be noted, that when you are practicing your head voice and lower chest
voices, you should try not to do so when you are sick, strained, or tired. When you are not
up to 'par' with your health, there is a good chance you will have to rest your vocal chords
and body so you will not injure them. Your body, at this time, is not ready to endure the
strain that practicing different ranges with your voice might entail. So, when you are
congested, sick, or tired, try to rest and heal. If you do practice during this time, you will
not actually be building on the skills you have been working so hard to attain.

Another area you might notice when you are trying to sing at tonal levels that are above
your normal octave is a phenomenon called your neck voice. The sensation is a
resonating one that feels as if it is passing through the back of your throat as it is emitted
up into your head and through your mouth cavity. It almost feels as if the sound is
resonating off of the larynx. And, if this is something that you become aware of in your
own singing voice, that is great! This phenomenon isn't discussed much and is usually
considered by most instructors of singing as a part of the head voice.

Masking:

When you practice singing, you always want to try to attempt mastering the skill of
'masking'. We can define 'masking' as the skillful covering up of vocal transitions as you
move from lower keys to higher pitches; from your chest voice up into your head
capacities. As you sing, and as you feel the transition from one range or note to another,
try to do it as smoothly as possible, so that the transition is both inaudible and
unnoticeable.
13 Improving Vocal Range

If you are sick, a smoker, or drink excessive amounts of alcohol, then your vocal range
will be limited from the get-go. While we aren't going to delve into how drug use can
affect your singing parts, it will affect your vocal ranges, as the chemicals will lessen the
elasticity of your throat muscles, fibers, and ligaments, including your vocal chords and
larynx.

Vocal chords, which are often referred to as vocal folds by many in the field, work
together to vibrate at different speeds in order for your voice reaches certain sounds.
When you begin attempting to go into different ranges, or make different pitches, your
vocal chords stretch to accommodate.

And, as we have mentioned before, your vocal chords are muscles that need to be
worked, stretched, trained, rested, and properly taken care of so that you do not wear
them out, injure, or strain them. Some professional singing instructors suggest that those
who are serious about singing do not attend group-singing sessions, such as with a choir
or musical ensemble. They say that this will do two things: first, it will hinder your
musical ear where it will be hard for you to maintain a certain key as it will be difficult
for you to hear yourself sing, limiting your self-monitoring. Secondly, they say that you
will have a good chance at injuring your voice because of trying to keep with others who
may not understand or know how to properly control their voices from reaching higher
levels of pitch and volume.

David Brantmoth, a renowned singing instructor in Europe, says, "Joining a choir for the
elite professional may have its drawbacks. Groups singing together; however, do have
their benefits. That is what singing is all about - it brings a certain joy to us and makes us
aware of the benefits of the hard work that goes into training our voices."

When talking about vocal muscle injury or strain, Professor Brantmoth says that all
singers need to be acute enough in their training to recognize when a certain activity,
exercise, or performance is causing their voice to strain. He mentions that trained singers
need to warm up properly, monitor their breathing, not overuse the larynx, not force their
voice, and doing too much will ill-train vocal chords that aren't ready for a 'workout'.

These hints are valuable in that they reiterate what we need to focus upon, even when we
are trying to heighten our vocal range. Using our head voices and using the sound
produced from our vocal chords so they resonate to a certain key or pitch is one way we
have already mentioned to extend your vocal range. Professor Brantmoth, above, talks
about warming up properly. This important piece of advice is essential because vocal
chord tension arises most often when the singer has not properly stretched his or her
throat muscles allowing fluids and full oxygenation of the fibers to occur. Athletes of
even the highest caliber would not survive in their domain if they did not warm up,
stretch, drink plenty of fluids, and rest their bodies. If you start to think of yourself, of
your voice, as a sort of thoroughbred, then you will follow a strict regimen of voice
training, which includes proper care and warm up. Once you do, you'll notice yourself
advancing much further than you thought possible, and an extension of your vocal range
will come in due time.
Extending your Vocal Range: More about Head Tones & Careful Singing

Using head tones and the sounds that resonate in the portion of your upper cavity while
singing is the only way to properly extend your vocal range completely without harming
you or your singing organs. When you sing with your head voice, make sure you are not
straining yourself or your voice. If you look into a mirror as you practice, pay not only
attention on the placement of your tongue and lips, but be sure that you do not see strain,
which can be noticed by the appearance of veins that stick out in the neck and forehead.

A youthful singer who can reach the highest of notes can do so not only because of the
elasticity of their vocal chords, but because they will easily move into the higher head
tones without reflecting on how it is being done. The other hand, when an adult learns to
sing he or she will be able to consciously consider on a higher level what he or she is
attempting to do. So, in some regard, it might be better if you are just now learning to
sing, rather than when you were young. Now you have the discipline, know-how, and
willingness to practice and learn on your side.

As you become savvy in using the upper height of your head voice, you will begin to find
your most comfortable vocal range. Most singers who start out learning when they are
past youth find they enjoy using their middle ranges much more than attempting to reach
the highest of notes. If you are interested in singing opera and more classical verses, it
would be advantageous for you to consider developing your highest head voice slowly.
You might find, at first, that you can easily reach the higher notes. While this is great,
you should not overuse or overpractice without first developing your lower singing
levels. If you are not careful to monitor yourself and your progression, those higher
ranges you were able to reach at the beginning might disappear later. Give yourself
plenty of time to develop your singing muscles and proper singing knowledge.

It cannot be emphasized enough how important it is to maintain a healthy singing voice

that you give yourself plenty of time to focus on the fundamentals of singing as you
progress slowly. In our culture of convenience and efficiency where everyone is in a
hurry, learning to sing takes time, dedication, and focus. These three factors also affect
your ability to extend your vocal range to its maximum potential.

14 Vocal Range Inhibitors & Exercises

As you begin utilizing your head voice and taking your voice to higher levels, you must
remember to avoid vocal strain and tension. If you want to expand your range, you are
going to have to do it carefully. Now, we are going to talk about how you should use your
breath in a controlled manner so that you are not overburdening the amount of sound that
you actually need to produce to reach different vocal ranges.

When you sing, air coming up over your vocal chords or vocal folds causes them to
vibrate. While this is what causes sound, a controlled amount of air allows us to produce
the harmonies that are associated with a singing voice and with music. Since we have
already devoted a significant amount of time on breathing and exercises, you are ready to
begin meshing and using all the concepts together. As you bring your air up and over
your vocal chords, try to notice how much you can actually control coming up and over
them. You can do so by humming, as you have done in the previous activities where you
are lying on your back in order to have more control over airflow.

As you bring your voice to a higher range, you will reach a point where your voice no
longer is constant or consistent. It is a point when your vocal chords will either give out
or simply begin to release an unharmonious sound. At this point, you might have already
figured out that the resonating air can be used as you begin to move into the upper ranges
of your voice brought about by using your head voice.

In order to not use too much air that will cause an overabundance of vibration and power
into your head voice, you will have to practice controlling what singing teachers call 'Air
Over-Flow' (AOF). AOF is exactly what it sounds like and is a result of not properly
employing breathing techniques in your singing. To prevent AOF, it is important to keep
practicing your daily breathing exercises and not move too quickly between ranges. You
should concentrate on not pushing in your stomach or forcing too much air out of your
lungs at any given time. Anytime you place too much tension on your diaphragm, thorax,
or lungs, then the result will be Air Over Flow.

Another reason many people do not reach their full potential with regard to their vocal
range is that they overarticulate and cause hypertension in their vocal chords. Over
articulation deals with the opening of your mouth cavity, the placement of your tongue,
and the movement of the lips. Overusing your tongue and over articulating your lips are
what will cause the back of your throat to tighten. This also affects the larynx (which
encases your vocal chords), causing tightness and tension.

The best way to deal with the above scenario, which affects many singers, is to practice
relaxing your jaw as you pronounce the words or melodies that you are singing. Once
your jaw is relaxed, your lips and tongue will follow suit. It is also a good idea to practice
all of this in front of a mirror. And, as you progress, you might want to record yourself in
both audio and video so that you can monitor and assess your progress.

Overpronunciation affects even the best of artists. What they do not realize is that vowels
are what make music. Consonants help us form and articulate words, but the vowels are
the ones that give a song melody and harmony. If you overexaggerate the movement and
pronunciation of the consonants of the words of any song that you are attempting to sing,
you will take away from the vowels that actually give a song beauty. Vowels are what
cause the music to reach new heights. As you practice your singing, be sure to keep this
in mind. And, as you listen to your favorite artists, can you hear them overemphasizing
the consonants more than the vowels in their music? Furthermore, as you sing along, try
to concentrate on the vowel sounds and internal rhymes of their music more than the
actual words themselves.
In a visual exercise, attempt the following in front of a mirror:

We are going to use the word 'loud' as our example. As you stand in front of the mirror,
try to sing in your regular singing voice the word, 'loud'. First, use it a few times to warm
up, then repeat the word in a singing voice, just a notch or two above your regular singing
voice. Now, as you attempt this, concentrate only on the first letter 'L' and sing through
the middle letters until you emphasize the second consonant 'D'. Repeat a few times. As
you might have noticed, the word when sung like this has no melody. It probably came
out sounding like 'Lud', which isn't a nice melodic sound at all.

For the second time that you do it, try to hold the vowel sound and use the consonants as
the dam that holds back the extension of the sound. Can you see the difference? Practice
it a few times. Vowels are what make the melody and consonants are what give it
parameter. When you sing, no matter the range you are attempting to reach, try to keep
this in mind. Your voice will sound more free, open, and relaxed.

You will notice that in all our discussions about vocal range, we have talked about
keeping your voice healthy and happy. This should be your first focus. Next, we talked
about how you can use your head voice to help you reach different levels of pitch and
tone that you might not thought about trying to reach before. Even if you do not have a
'high' singing voice, you should practice and test the waters of your voice to see how
much you can actually extend your vocal capabilities. You might be surprised. Finally,
we focused on proper relaxation of the singing organs and how you must use vowels to
make your melody and consonants to give the melody meaning. As you progress, feel
free to extend your vowel sounds, bring them to new levels, and always see what works
best with your own style of expression.

In our next lesson, we are going to talk about practicing singing and this is the key
ingredient practicing in how a voice is able to reach a level of expression that touches the
soul.
Step 12: Practicing to Sing & Perform, Tools to Use

We have all seen great performers on stage. Dancers who can move, bend, and shake like
the music is coming from some greater power. We have also seen singers who do not put
on such a 'performance', but whose music reaches such a level that any type of movement
would not really add to it at. Both these types of artists, performers, or singers have their
own style and presence in front of an audience.

While not all of us aspire or wish to perform in front of an audience, the art of performing
and the art of singing are two separate realms. During practice sessions, singers who
perform and dance on stage probably do not do so when they are practicing their singing.
While it might be fun and exciting to sing and move about as we sing our hearts out, it is
not something that is going to actually help your voice.

Practicing to sing requires much more discipline. As you get better with a song and as
you learn to sing, you might want to add performance into your art, but for right now, as
you are learning, it is best that you maintain a quiet demeanor that will allow you to
concentrate fully on all the elements that makes your voice what it is - the parts of your
vocal organs that help your controlled breath produce melodies.

The best way to practice, as we have stated, is in front of a large mirror. You'll want to be
sure, that at least for this lesson, you can see your entire body closely. And, if you are
taking lessons from anyone, they should probably want to see your entire body as well.
This will enable you or your mentor to properly judge your movements and how they are
affecting your overall singing voice.

Therefore, when you begin practicing to sing, try to stand up when doing so.
Additionally, you should always be hydrated and not full from a meal. This will give you
the ability to fully breathe inward using your diaphragm to its fullest potential. This also
allows you to use your entire chest cavity to control the breath that is released over your
singing organs.

Before you begin doing any of this, you might try the breathing and relaxing exercises
that we talked about in previous lessons. This will help you bring your body under its
fullest composure and help you to become aware of all the parts associated with your
voice. As you breathe, concentrate on your diaphragm, your chest cavity, and the air as it
moves over your larynx, through the throat, over your tongue and out your lips.

As you stand and begin practicing to sing, be sure that you stand straight, with good
posture. Be sure your feet are not too far apart and that your hands are either at your sides
or resting on something. You do not want your hands moving about nervously as this
could develop into a habit.

As you practice, the first most important factor is that you be able to hear yourself. You
might want to attempt reaching a certain key by listening to it played. If you don't hear
your own voice without the aid of a musical instrument, then you will not truly be able to
'hear' yourself nor what you really sound like. While practicing, attempt to strike a certain
key with your voice without the aid of musical accompaniment. You'll be surprised at
how fast you'll begin to 'hear' and thereby control what sounds at what pitches are a result
of your doing so.

So, not only should you stand and monitor your entire body while fully concentrating on
the key, tone, and pitch at hand, but you should also not practice to the point that you or
your voice becomes weary. When you first begin practicing to sing, be sure you only do
so for intervals of ten to fifteen minutes. Then, give yourself at least four to five minutes
to rest. After several weeks, you might attempt extending this to intervals of thirty
minutes, with at least ten minutes in between for a break. Therefore, out of every hour of
practice, you should be resting for up to twenty minutes. A good piece of advice to keep
in mind while taking a break is to drink water that is not cold but room temperature.
During this time, it is best if you do not sit down, as this will signal your body to cool
down; your stomach muscles, lungs, and throat, which you have warmed up, will stiffen
once you have sat down. If your voice feels scratchy or hoarse, do not push yourself past
any limits. Developing your voice is a game of maintenance, building, rest and regrowth.
It will not happen overnight, nor should it. And, remember that you should rest at least
one day per week from all the singing. Yelling and coughing should be avoided as much
as possible.

15 The Trill

The Trill: This can be practiced only when a singer is properly warmed up. The trill adds
emotion to a song and is a more advanced means of expression. Many singing instructors
suggest that this be practiced only when advanced control over the singing organs have
been attained. While the trill can be as closely related to a type of 'scream' using your
regular talking voice, it is used in song to accent message. Exercises that use trill should
be done carefully, but require a confident student to use a lot of energy. Practice the trill
on the same key and don't extend it past your own comfort level as you begin to use it. A
proper trill can take at least three to four months to properly develop.

Velocity of the Voice: Trilling is associated with the ability to control the speed of breath
that is emitted over the vocal organs. If you are not able to control the speed and power
that are carried through your voice, then you have probably moved ahead too quickly. In
order for your voice to gain velocity, you must first practice slowly. You will have to use
your nasal singing skills, and be able to resonate sound properly through your head voice
in order to add this 'velocity' to your voice.

Trill and velocity are all factors that will give your voice a new vocal range. Again, these
advanced methods of singing are not for those who have just begun, but are for those who
have at least mastered their own breath and who understand the importance of practicing
to sing. Self-monitoring, or monitoring your singing progression by a singing instructor is
one of the best ways you can fully use each practice session to your advantage.

16 Singing Confidence

We all have a certain singer or performer that we look up to for inspiration, that we only
dream of singing with. Many of us may not want to actually perform in front of a large
audience like professionals do. However, we may look up to these 'role-models' so that
we may grow in our own musical talent. But, what about performing in front of your
family or friends? Or, what about when others are singing on a camping trip, get-together
or wedding? Whether you're pursuing this course to learn more about singing, get more
out of singing practice, be able to sing in a group, or even if you have greater singing
aspirations, you are going to have to learn to be confident about your voice.

Let's look at the world's greatest athletes. We keep using athletes as an example because
singing, in its essence, is a type of sport. It requires carefully honed skills that can be built
up and improved over a period of time. Both require practice. Both require desire. Both
require careful attention on the parts of the body being exercised.

Now, think of a famous athlete. Think about how this person presents him or herself. Is
he or she confident? You might even say that they are overconfident and even pompous?
Where do you think this confidence stems from? It is rooted in the fact that confident
athletes have something to be confident about: they have worked hard and practiced for
years to get to the top and be the best at their particular type of sport. They are confident
for two reasons. First, they are confident because they deserve to be. Second, they are
confident because they have to be.

Let's keep looking at confidence and try to apply this to you when you practice singing.
Professional signers are also confident because they have worked hard to be where they
are. Singers have devoted years to singing, whether it is at home, in a garage, with a
band, in cafes, or doing gigs in small establishments. They have been discovered or have
contacted plenty of agents trying to find one who will represent them. Mostly, their
success wasn't easy. They have devoted the time and energy needed to succeed.

Famous singers or any professional for that matter has to be confident. This doesn't mean
they have to be arrogant or pretentious, but they must hold themselves in high regard so
that they may keep building upon the skills that they already have. Artists who have
pushed forged ahead and maybe even dared to try something new and exciting have
generally been the ones who last longer in their profession and who have been popular
for decades. Some of these mainstream artists that are still performing and still make the
top of the charts today might include: Elton John, Madonna, U2, Sting, Snoop Doggy
Dog, and many more you can probably name off the top of your head. Not only are these
singers and groups confident in what they do, but they have managed to perform for
many years while still appealing to the mainstream and worldwide market. They have all
been confident enough to take chances and push their singing to the highest levels.

Now, when you sing, you do not have to do what these aforementioned artists have done.
The only thing you should focus on is trying to get your self-confidence high. If you are
learning to sing, practicing daily, treating your vocal organs correctly, and pushing
yourself to new heights, then you are doing nothing less than what these superstars are
doing. All of this will lead to greater confidence in your voice. Even you are not the type
of person who feels proud of what you have accomplished, you should begin to take
credit for what you do. Your singing will never progress unless you do. You have to
know that you are developing your singing voice to the best of your ability. As you reach
new benchmarks with your vocal ability, give yourself more than a pat on the back. Take
yourself out or tell someone else how your singing lessons and practice are coming along.
You and your efforts deserve to be acknowledged. This will also make you feel good
about what you are doing and how you are progressing.<

Many artists in the public eye receive their acknowledgement and gratification from their
fans. While this may not be the case for most of us, we can receive the same but on a
different scale. You have to be willing to take new chances and push yourself. This does
not mean that you have to get onstage and perform right away. Nor does it mean that you
have to try pushing your voice to vocal levels that dogs will bark at. It simply means that
you have to be willing to push your own comfort level so that you will grow as a singer.
You may never get to perform in front of a large audience or be on stage. And, that is
OK. Are professionals the only ones who can let their souls cry outward in an expressive
melody? No, they are not! You can do the same and feel the same passion and emotion
that professional feel. Again, you may not want to perform in this way in front of an
audience, but your confidence levels will rise as you gain new heights and new vocal
range as you learn to 'feel' and 'monitor' what your voice is doing and how you can
control it, on a professional level.

Singing with confidence requires you to take chances. If you are going to perform in front
of an audience, some steps you can take will increase your chances of performing
confidently and well. The first factor you are going to seriously consider is that you will
have to learn to take chances. Be willing to show yourself, your emotion, and your
confidence on stage. If you can open yourself up to an audience, they too will be
responsive and show emotion. Singing in any situation, onstage or not, with any type of
audience present is a bonding experience between the listener and the singer(s). However,
this means that you will have to be the first one to wear your heart on your sleeve; the
audience will follow. Only once you have done this, will you be able to full connect to
your audience whether large or small. This is what practice and confidence will bring.
Another important factor to keep in mind is try not to be shy. You may not be an
extrovert, but if you are sincere, your audience will know.

In order for you to get the odds in your favor before you sing in front of a crowd, choose
a song you are familiar with and can sing well. Even if the song is a 'cover' song, that's
not a problem. When selecting a song, choose an artist and a song that falls into the same
key and tone as you. Choose a song you have sung before and one that 'moves' you. If
you choose the right song, are able to stay in key, and are sincere about what you are
singing, you will most likely be a hit. As you practice different songs, choose a selection
of songs and artists. Only when you mimic the greats, and do it with variety, will you
begin to develop your own sound, your own style, and get a sense of your true vocal
range. Whether your voice is smooth or raspy, it doesn't matter. Keep your music varied
and always practice one step at a time, learning and thinking about what it is that you
have gained each day of practice.
17 How To Sing On Stage

Now that we have established how to develop a higher level of confidence when you
sing, you can naturally move into the transition of performance and how preparation and
the development of your voice is truly an art.

In the last lesson, we mentioned the names of a few popular artists who display
confidence in their music and themselves. We discussed how this was necessary so that
these artists could push themselves to new singing heights. In some cases, they have been
able to push their music beyond even what they thought possible. The first thing we
should learn from this is that music has no limit. New songs will always be written and
no two pieces are alike. New words will always be put to a melody and an artist or
performer will always manage to capture their audience. With these limitless possibilities
comes plenty of room for expression. And, why shouldn't it be you who expresses
yourself in new and enlightening ways?

This sort of expression; however, comes at a price. It comes from years of careful study,
devotion, practice, self-monitoring, professional instruction, and a willingness to express
yourself in front of others so that you and your song are brought out to their full capacity.

Now, think again of your favorite singer or performer. How long has he or she been
famous? Did you like someone else just a few years ago? Now, think about what it is,
perhaps even his or her stage presence that makes him or her popular.

Put this particular singer's singing style and ability aside for a moment and think about
how they perform. In all of these examples, each one of these performers has or had a
unique presence on stage that emits from within them and into the audience. The
audience, in turn, connects with the singer or performer on stage in what becomes a
group connection through song. Artists that are able to bring people together to not only
hear a certain message, but to feel it, are the most adored.

So, it can be safe to say that performance and message might be more important than
voice. This might be true in today's popular music, or mainstream world. If you want to
sing in front of any significant audience, be it in a bar, a café, or other venue, you are
going to have to be able to have a certain presence on stage that tells the audience you are
sure of yourself and confident in your singing abilities. Then, you are going to have to
lull them into a sort of trance where they connect with you, where the focus is on you and
your music. It may take a while for you to overcome your fears and shyness, but it is a
necessary procedure if you want your audience to do more than clap.

If you are attempting to sell CDs, great! But, the reason that people attend concerts or
small music venues is because they have already connected with your song. Now, they
want to connect with you. You may be able to sing on stage, but you are also going to
have to perform. Connecting with your listeners via CD isn't the same as connecting with
them live and in person. What are you supposed to do on stage? Or, what are the other
members of your group supposed to do? They should communicate not only with their
music and words, but with their bodies, rhythms, and intensity.

While you perform, those watching and listening will monitor all of your actions. If you
are not on a stage or raised platform, then you will have an even better opportunity to
connect with your listeners. Remember, your gestures will speak as loud as your music.
Would Elvis Presley have been able to connect with his audience as much as he did
without what was considered at the time, his earth-shaking moves? It was his presence on
stage, his outward display of emotion through his dancing and movements that allowed
his audience to bond with him on another level.
With a Group or Band:

If you are going to be performing with a group or band, you will have to be able to ignore
them right from the start. This may sound absurd, and a bit harsh, but you never want to
turn your back on your audience even for just a second. It is considered a sin on stage to
turn your back to your listeners and watchers for any amount of time. If you do, then the
bond you are working on strengthening, the relationship of trust you are developing with
your listeners will be broken. If you sing towards your band members, such as in a
practice session, you will lose your audience's complete attention. If you are the lead
singer, it is your job to be the performer on stage, to capture, indulge, excite, and connect
with those who are present. This rule should be followed whether you are performing in a
café, bar, nightclub, or onstage at concert.
The Performance Promise

When you perform, you are essentially signing an agreement with your listeners. They
are giving you their time and they expect something in return. And, they expect it to be
worthwhile. You must be prepared to give them something.

What you must give them is a time to escape. As they watch you and listen to your music,
they expect you to take them on a journey into another realm. On this voyage, you are
expected to cause feelings or even images to spark into their minds and hearts. Each
person will get a feeling from what you are singing. And, this all has to be done so that
you take them past their regular, everyday lives. It has to be able to move them and take
them to a different level.
How to Deliver

One way you can do this is to sing songs that are well known. Singing cover songs of
artists and songs that are well known is one way to connect with the audience. They will
most likely know the songs and sing along with you. This is exactly what you are aiming
for. Watch as they fervently sing along with you. For that one moment in time, they have
been transported away from their everyday lives and are singing with you. Even if your
style or version of the song you are singing isn't done in the way that the original artist
performed it, it doesn't matter. The fact that you have reintroduced an old favorite will
create nostalgia in the audience surpassing any slight modifications you have made to the
song.

18 Singing Tips

Once you have the confidence to perform in front of others, the next step is to take your
audience past there every day lives and into a new world with your singing. A good way
to learn what works, what grabs the attention of your audience is to sing covers of already
popular songs, look at how the artist sings & acts, then put your own style on their song.

Below are some more singing tips so you can further increase your singing expertise.
Practice daily giving yourself one day off per week. We cannot stress the importance of
this first point that has been mentioned over and over again in almost each step.
Do not drink too much alcohol or caffeinated beverages, and do not smoke. These things
will all contribute to the burning of your larynx and vocal chords, and will reduce the
elasticity and flexibility of your vocal organs.
If you are looking for a singing instructor, make sure the instructor is both capable and
willing to help you learn more than his or her own personal style of singing.
When you practice, do not sing as loud as you can for any extended period of time.
On the day of a performance, try not to drink cold beverages, talk a lot, breathe in a lot of
dust, or get your body too cold.
On the day of a performance or intense practice session, try to avoid dairy foods. This
will not only cause your vocal chords to stiffen, but could also cause the overproduction
of phlegm in your lungs and throat.
On the day of a performance, do not overexert yourself singing or with exercise.
More About Performance

When you sing, try to sing to the back of the audience as well. They are there to enjoy
your show just as much as those in the front. They also want to be a part of the group and
feel the same message the others are getting from you and your music.

Also, when you are performing, don't settle your mind on the fact that everyone is
watching you. While they are watching, it doesn't mean that they are not going to be
taken away by what you are singing. The images and feelings that we mentioned in our
last session will flood their minds as they connect with you. Focus on the melody, your
singing, and the mood that you are trying to create.

With this said, it is important to not to force anything on the audience. Not all
performances will be the same. Each group of listeners will create their own atmosphere
and their own mood in which you may or may not be able to adjust to or penetrate. If this
happens, don't fret. Simply carry on with what you've started. Maybe the ice still hasn't
been broken, or maybe they are taking a bit more time to warm up to you. All this comes
with time and patience. If it does not, don't take it personally. And, it is not a reflection of
your ability to sing whatsoever. Not everyone you encounter will be enthralled by your
music, and not every group is going to have the same appreciation for it. The best you
can do is to present yourself honestly, and if needed, energetically to them as you
perform.
Audience Expectations

Remember that most people in the audience have no idea about what it takes to be a
singer, an artist, and a performer. They do not know the years, the time, or the practice
that you have endured, nor should they. For example, those who watch the Olympics
probably have no idea of the amount of training that athletes undergo. An audience is
only present to watch the result of so much hard work and practice. They do not
necessarily care what it took to get there nor the dedication and devotion required. What
an audience wants is your best, and nothing less. If you are able to take them away, or
make them feel certain emotions, that is all that matters. They do not care or recognize
how much work you've put into your art or how much time it has taken. It may seem
strange, or even sad, but it is the truth.

If you have devoted your life to singing and an audience claps after your performance, is
that really thanks enough? Does that show or repay you for all that you have done? It
might on some level. It will make you feel good and help boost your confidence, for sure.
But, after years and thousands of hours rehearsing, the audience will appreciate only what
you do on stage and nothing more. This lesson can be hard to digest.
Overall Satisfaction

All of the above has been presented in order for you to realize that no matter what you
do, no matter how perfect you try and become, an audience only wants you at your best.
Once you realize this, you can move on and not feel any harsh sentiments about your art
or your performance. That's why it may be difficult to maintain an air of confidence
about what you do and who you are. It is the hard work and dedication that should reward
you, not the applause of those who are only with you for one night. If you can regulate
and monitor, and maybe even separate your feelings, then you will grow and stand strong
amidst anything that might come your way. When you are with an audience, care about
and nurture them; give them everything you've got. But, when it comes to singing, having
satisfaction and confidence in what you do is brought about only through your own
reflection and realizing how far you've progressed and how good you've become.

Overall, learning to sing, no matter what your goals may be, will be a rewarding
experience. The only way to learn and to maintain your singing voice is to slowly build
your skills and by taking care not to hurt your singing organs. Only through practice and
learning the basic elements of a properly developed singing voice, can you reap the long-
lasting benefits that singing will bring; whether it is in front of an audience or not. If you
are not only devoted to learning how to sing, but also truly committed to learning about
the art, you will progress, and your voice will bring you, and perhaps others, the benefits
of a well-tuned melody.