SINGING MADE SIMPLE: Anybody Can Sing! | Kushal Jasoria | Skillshare

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teacher avatar Kushal Jasoria

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 3m)
    • 1. Introduction & Welcome

    • 2. Goal: Developing Impulse & Intuition

    • 3. Tip: Get A Piano App

    • 4. Graphically Visualize Your Pitch

    • 5. 5 Main Pitch Exercises

    • 6. Timbre & Amplitude

    • 7. Chest Voice & Head Voice

    • 8. Connecting Chest Voice & Head Voice

    • 9. 3 Breathing Exercises

    • 10. Find Your Voice

    • 11. Evaluation & Home Projects

    • 12. Express Emotions While Singing (Bonus)

    • 13. Tempo & Amplitude Freedom & 'Alaap' (Bonus)

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About This Class

This class is primarily for beginners who are looking to get started with singing. However intermediate as well as advanced singers can find value in the course in some parts.

Meet Your Teacher

Hello I'm Kushal

I'm an engineer, bio-scientist, YouTuber, business consultant, entrepreneur, public speaker, musician & an online educator.

Basically, I like solving problems and have, worked on upskilling myself in lots of different skills.

I enjoy teaching on skillshare and below are the courses I'm currently teaching.

I'm a productivity geek myself, and like helping others be more productive.

Hope you find my classes useful.


See full profile

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1. Introduction & Welcome: Hello there. If you're looking to improve your singing ability and are looking to learn how to improve your vocal range, improve your control over your voice through breathing & vocal exercises. Improve your overall accuracy with which you hit the pitch, your rhythm accuracy. You're wise timber, looking to learn vocal embellishments like vibratos and falsetos. Then this is the course for you. Hi, I'm Kushal Jasoria. And I've been singing and performing photo about 10 years. years. Over the years, I happened to identify some techniques which can be of great help for someone who's in their journey of learning how to sing. I've also been involved in training and vocal coaching, which has helped me identify a few common errors, as well as build frameworks which can help you to speed up your learning process, as well as make it more scientific and more spiritual. Singing is about talent, of course, but behind the talent, it's about the musical logic, the techniques, the practice, the voice's control, as well as the self, which enables the singer to connect to the audience and thus they get mesmerized and call it talent. In this course, I've tried to organize the series of lectures in that logical framework so that you can easily identify the areas you need to work on and the areas which you're already good at so that you can practice correctly, effectively and showcase your talent to the world. 2. Goal: Developing Impulse & Intuition: Let's define the goal. First of all, the main thing that you want to learn with the help of this course is to develop your impulse. And by impulse I mean that inner ways, which tells you how to sing that next line beforehand. Now, this impulse will help you be perfect, not just in singing the song and it's basic terms, but also be able to improvise and add your original flavor to the song. This impulse is the fundamental skill that has to be developed. And let me try to demonstrate what that is. One of the songs they learned from was who's loving you by Jackson 5's. So how dad went was Hannah wonder, who is loving you? But that can also be sung in this way. Had our 1D. Who love you who? Or hi, Wanda. Who whose law. Another example where this impulse is going to be very necessary for you is in the year draining and gauging the skill. C, for example, via doing a standard song. I'm thinking of any commonly known song here. Where we, the sound that saved a wretch like suppose, no, suppose the scale was different, something randomly. I'm just transposing it to some number randomly. I don't know whether it is. Let's figure it out. Amazing. House we sound that saved a wretch like me. Let's change it to another random scale again. House we sow. Like me. Suppose we change it again. We see that saved. Right? So having this boy effects stickiness to the scale is very important. Now, a lot of games to be ready beforehand for singing that lane. You have to know and have a little bit of practice with the scales, the nodes, so that you can predict. Suppose a song is in the D minor scale or in the sea blues minor scale, or it's in the harmonic minor scale or a major scale. You don't need to know the skills. You don't need to know the logic of the instruments completely in order to be able to sing. But what you need to know is the overall field. You sing something village sound right or not knowing and mastering the nodes, the vocal exercises that I will be telling you about the scales if you know them. It helps in doing the process. When you're trying to add impromptu embellishments to the song like I just spoke to you about, just demonstrated to you. These improvisations will help you in adding your own flavors. And you can only get it right if your impulses very well trained. So singing is not just about, you know, going out there and your throat and singing, but it's a lot about the ears, which take constant feedback of the environment, how the volume of the other instruments are, that you can tune your wise to the right volume. It also keeps on taking feedback from your own voice, which goes back to a year so that you can check whether your pitches correct or not. It's a lot about the ear training. It's a lot about the mind training as well because you should be able to predict impulsively what's coming next. Say you are a freestyle footballer, right? You have an eye. And I asked you that you have to see, this is a football. You have to keep taking it and juggling it, right? Something like this. Now, you cannot do that on the first day, but in a few days what happens is that your impulse develop so strong that you don't need to think. You automatically know how hard to hit it, where to hit at what angle you should be and you're able to lift it and control. That is the impulse that we have to develop for singing so that you're automatically able to get the right kind of architecture, pitch, timing, and everything else involved to get your own personality out in the most free movie and in the most natural way that you want to bring it out. So we have to develop this impulse. And as we go into the next few lessons, I will be discussing more deeply about what are the tools we can use and techniques we can use to develop that impulse so that you can be a better singer. 3. Tip: Get A Piano App: There is a one thing that I would like to recommend so that you can make the best use of this course. And that is, if you have a keyboard, it's fine. Otherwise, I would recommend that you at least get a piano app tomorrow. Definitely it will be in your impulse. But to develop that, there are a few logical things that you would like to know that we will try to develop using these piano apps. You will not be required to learn a lot of the musical instrument part or anything like that. What you will use it for is just to develop your musical theory, the logic, and the basics that you know what you are singing. So get any piano app that you can, any piano app, or if you have a small keyboard. That would also do the trick. 4. Graphically Visualize Your Pitch: A common problem which I've noticed with a lot of my students who have come for learning how to sing, is that in the beginning, they do not know whether the node they sang is in the right pitch or not. Lake say, for example, if they were asked to harm this, they do not know whether they hungered correctly or not. Sometimes they would have done something wrong and they would still think it is correct. Now, in order to battle this problem, I would like to, I would like to suggest a more tech solution. You can have a graphical representation of the notice and use that so that you train your ear to know venue sang the right node or the wrong mode. Because in the end, you should be able to exactly say whether all these notes, you should be able to hit it correctly and directly. It should not be like there should not be some delay, some adjustment done, and then you had the node, it should be direct. So a simpler version, a graphical representation, is coming up for you on my screen. And then we'll go back into more advanced exercises and then see what we can do to add more finished to the same scale. This is just one of the apps in the market. It's called vocalized. So there are a lot of apps like this in the market. I'll also add a link to this app in the Resources folder. So what you can try is say you set the tempo a little law so that you'll get the node for an extended time to check if you're getting it right or not. Safe, I'm not, then the graph is not matching. You'll be able to graphically see if you got to do it a lot. In my case, it's coming in a little bit bigger because the receiver is taking some extra dynamism which turn race, but you can at least try and see if you are putting the North Lake and it's indeed it's flagged on your Hadoop. 5. 5 Main Pitch Exercises: Now there are different sets of exercises that we will be doing in this course. Which exercises, which will enable you to hit the right frequency of sound, as well as developing intuition as to what notes to sing. The second set of exercises will be breathing exercises so that you have the right Beth timing so that you never run out of breath when you have two single longer lines here. As well as control over the muscles so that you are able to maintain a constant naught. And in the breathing exercises, we'll also try to develop a little bit into what is the different set of muscles you can use. So now in the pitch exercises, the first exercise that I want to do is simple one was in the example also. And let me mention, we will do just a few exercises which cover majority of the things that most people want to cover. For singing exercises, there can be a hundreds of exercises that you can try, but I'll try to cover the main ones which govern majority of the things. What is the logic behind that? One? You should be able to hit notes with a small difference correctly. You should be able to hit notes with a big difference correctly. So your prediction should be there. Big difference. You should still be able to hit it correctly without doing all the adjustments and hit the node directly, even though there is a big difference. The third thing will lead to target is speed. If you can hit the notes correctly in high-speed rate, you're able to hit them rapidly. 14 we'll be looking at is developing your intuition into accidental Norton's notes that might not be in the obvious kill because most of the exercises are in the major scale. And let's get to the exercises so that you can go in and develop your ability to sing different, different pitches accurately, directly without any inhibition that the first exercises. Now for hindi people you can write inside a gamma by then ISA for people who are from a different background, you can try it in dollar me facade, ETOH, but I would just recommend, let's just keep it simple and generic. We can just go Mom, whatever you are comfortable with. The main purpose of the exercises when we go for different, different are a foo, whatever, is basically to ensure that you are not having any difference in your pitch or any discomfort when you are, when you are trying to sing or different valvular, just use whatever you're comfortable with. The main thing you have to do is hit the pitch correctly, right? So let's go ahead with the first exercise. I'll demonstrate it to you and then you can try it on your own, right? So here you just have to go and hit the basic pitch perfectly. Now you can go ahead and try it on your own. I hope you have the intuition now to know whether the hit, whether you hit the North correctly or not. And you are able to do this exercise properly. What did we achieve from this exercise? What we achieved this, we can hit the small differences correctly without having the minor adjustments and things like that. Now let's try something where you are trying to hit nodes with a bigger gap perfectly. Before that, let's just do this small simple run. What do you have to do is do the same exercise in this way. Always keep coming back to the first node. Now try it on your own. Now, tried and give us, see if you are able to hit the high north constantly. Now if you were able to do these two exercises correctly, what do you have understood is how to do this Manon differences perfectly and the big difference in the frequencies also you're able to hear it perfectly. The next thing is speed. Now how do you develop that? This is a very good exercise that can help you develop speed. So try it on your own ones and see if you are able to do this perfectly and at maximum speed. So try it. This one's, I'm gonna play it for you. Try it on your own. Whatever speed you are able to do it that keep trying to increase that, and then keep changing the scale, keeping in the combination. Suppose You know, to allow all you've done is on the standard skill, that media skill. Suppose there was a variation. Suppose you had to do this. You should still be able to adapt to that because always you will not get the same scale. Now as I said, you don't need to know all the theory of skills. What you need to know is there is possibility of defenses and there is possibility, there is a possibility that you will have to encounter accident alerts and you should be prepared for those situations. Your impulse should be ready. You should be pre-prepared when something like that comes up and not be surprised and be able to hit those accidental loads also affect the other exercise which I want to do now is to develop your range. So we will look more gaps between the notes and we'll try to cover a vast range. There is a chance that in the, in the high north, as part of the exercise you might not be able to hit it will walk on the high note spot in a separate video. But I'll leave this here in this exercise so that you can revisit this video later. So this is what you have to do. Now. Where do you get? Now? That is a challenge that you are not able to hit the head north. That's all Qi Everybody has a limited range which walks for them. You might not be able to hit the higher notes and maybe the Lord inch, you'll work on developing the range. But right now, this is one of the exercises I wanted to suggest so that you can develop your range. Now, one more exercise, I wonder suggest, so that you are able to develop your impulse. Not just to be adopting to the media skills, but let's try something which is a different variation for people who know music. So what we're gonna try it as a harmonic minor scale. But again, you don't need to know that for singing, Not necessarily your inducing should be there late. So let's try a vocal exercise on a different skin instead of rate. So now see variable do run quickly on this. Right? Maybe you were able to do, maybe you are not able to revisit this again and again because the same set of nodes, the same pattern will not always be there. Sometimes there'll be a different variation for a different kind of field of the song. And you want to be ready for that. Now, one last exercise which I wanted to show you so that you're able to cover any random note which comes, say, an accidental naught or C, a naught and are really different scale. You should be able to hit that freely, directly without having to do too much of their adjusting. This helped me a lot also initially. And for people who have this issue that they don't know the right pitch, they can refer to the video in which I showed it, in which I show it graphically. So that video you can refer in case you're not able to see, or in case you're not sure you are hitting the pitch perfectly. But this is the one I want you to do and do it as randomly for yourself as possible. Give big variations and small variations also. So say I give you a random node. Can you hum it? Sorry. The reason I kept it as random as possible is because they were not predictable. They were not in a skill. They were all haphazardly, were all unrelated. There was no pattern. But still if you are able to hit it perfectly, that means at least you have the sense of pitch. And what you need to work on is maybe just the speed part or the part where you have to adjust with the differences. If you are able to, if you're not able to do this, then the other parts also, you will have a difficult time or you I do the other parts, but you will realize that later on that you did not do them perfectly. So the pitch perfection, It's actually the main part. But I wanted to bring this towards the end of the video, because you should always be using this video as a cross-reference and practice. The other thing is you will only be able to appreciate the fact that sometimes nodes are not going to be in a set scale after you have done a few trainings, Innosight scale, right? Initially you were doing your training like this. But if I gave you something like this, It's going to be a little harder right? Now when I give you the random nodes there, even more haphazard and not enough scale. So I wanted to take you in a structural way and then get you into an unstructured environment. Why did I say you don't have to know all the scales and stuff is because you should have the intuition, the impulse. Now when I was giving you a random nodes which are not in our scale, you were able to hum it right? Your prediction right now was also not ours to be that first, I was giving you enough time to predict and hit the nodes. In a real song, you might not get enough time. There's only a limited amount of time in which you have to hit the right note, or not just the node, the right set of nodes. So develop your intuition, do these exercises and add your own variations. Add your own flavors, make things complicated in your own way. You understood the basic patterns right? Now you can come up with your own random patterns and practice on them. Maybe you try something like this. Instead of build your own patterns and train yourself vocally. That is the first thing you should do. And then after that, the next thing I would recommend you do practices. Pick up a psalm, pick up some really difficult part of the song, and practice that. See if you can execute that, see if there's a car you could track for that song and then execute that part. One more thing I wanted to mention here, which we did not discuss yet, is about chest wise headways and mix wise sum of the higher notes which you were not able to reach because maybe you are just doing a three a chest wise. We were all discussing the whole thing in the natural wise, the speaking voice that we have. But there is another way is that we can tap into which is the headways, which I will discuss in a later video. But you can use to get to the high notes. 6. Timbre & Amplitude: So I told you there are two other things which are very important when you're trying to sing, apart from the pitch that to them and the texture of your ways, the rhythm will do later. First, let me tell you about texture because pitch and texture is going to at least make your sound, which is a year training part, at least done. And then the rhythm training part is about the internal sense. So we'll work on that separately because that's a lot about the internal connection with young mind. So now coming to the texture part, let me explain it to you in an example what the texture is like. Let's, let's look at an instrument. For example, once and look at what texture is like. First, say the, say there is a piano track playing. And now the debt is something called a touch function after a 100 off. So the dynamics, the texture is made of amplitude and the Dembo shootings. Amplitude is how loud you are singing. The other is how you throw your ways, right? So let's take the same example again. Suppose that touch function is often the seam track is playing rate. Now, I was singing normally, but the instrument wasn't doing the correct volume modulations. Now suppose the volume modulations are kicked in. C, the difference which happens that's saved. When the volume adjustments are being done perfectly. You can, on the instrument part you see the difference, right? The same amount of difference happens when you sing and you're using the right volume. Because suppose the instrument was playing very soft and I was too loud, or if I was too soft in the instrument was too loud, I was not giving it the right volume then the whole the aura which is created with the mix of the music and the singing will not be perfect. The other thing is about texture. Suppose I sing this song with, let's say I'm like a rock vocalist late. Let's say I sing it a bit like the Hershey ways. Like something which is not using the core of my body just with the torch. That is how swinging. Let's say vD versus now I'm going to use more of the vibrant sound and more sound where there is more loudness and clarity. Something like this. Home that saved, so light was lost. But now the spline Bird. C. So one of the most famous songs by white Near Eastern, I will always love you is famous for the vibratos that she has used, not those effects and timbers which you remember we discussed also in the graphical example, but it changed the whole feel of the song a lot. See if it was like this. Hen. Who will always love you versus hand? When will you? Many of the people, they don't even know that they should adjust the volume. They just sing normally, sometimes to go higher, you want to use the headways or a fall CDO instead of raising your voice versus C. Now, in this song we're going higher, higher by using a falsetto. But suppose it was this song by Josh Grove and I think when I am done and all muscles, so he won troubles come home and my hard burden B. And then I asked you to run this ends until you come and see me. What happened was I used the chest wise a lot in the earlier I was using the headway so lot. And there's also something called a mix waste when he used a mix of both. Now, what this chest ways Had Voices is going to be discussed in the next video. 7. Chest Voice & Head Voice: How do you hit those higher notes without losing your clarity, right? One of the ways is venue go louder. But a lot of people faced this problem that their hind part of the tongue, it kind of drops their own ways. They try to go louder and they are not able to, despite using as much strength as possible. What I want to tell you is it's not about strength. One of the techniques you can try. Suppose you're going doing this song, you raise me. Leave your throat free. If you want, you can do like this dark way. What'll happen is you will go higher. You'll also still maintain control. And the lower muscles which are there in US, which they will still continue being used. Now, what muscles should be used while singing? It is not these muscles. In fact, you should actually keep your hand here when you're doing exercises, vocal exercises, and see if there is any tension. There should not be any tension. Say you have a car, you just have to guess. Well, your car goes smoothly. No, right? Now, suppose your car has forgets, it will be a bit more smooth. What are these girls? These girls are different control points. The more the number of girls, the most smoother you can be. Now, the more the number of muscles you are using to control your singing, the more the points of control. Therefore, the more amount of gears effectively you will have. So you're wise can be smoother, more controlled. And it can have more variations. You can do a lot, a lot more things with your ways without damaging it. If you use your throat for everything is just say a few muscles which are using. But versus just using the tort muscles which began as use if you're using the other muscles of the body, combined with the throat muscles, you'll have maybe a 100 masses which are helping ligers in controlling smoothening you're wise, and also giving you longer longevity with the nodes. If you have to last longer than you're giving a really long session, things like that. Now, another thing I wanted to show you was the headways and how you can go louder is in the headway. Say, this seems song. You raise me. You can stand on you to Coons to me, see where I am on your show. You raise me to more than I can be. Just an example where we were using headways, just ways a mix. And I was trying to keep my hand in that area also to show you. So I hope you got more of an idea, will again do a few more exercises which are more specific into that. And hopefully that'll help you understand this part a little bit more. In the next video, let's dive in deeper into the same concept of how to reach higher nodes, remote control, headways, chest voice. And then we'll try to assimilate all of the knowledge we have about pitch, timbre, amplitude, and rhythm. 8. Connecting Chest Voice & Head Voice: As about the chest voice and the head wise, the y's which I'm talking to you right now. Whatever, you know, it this is chest wise. What is the headways? This, this voice which we also have is the this Ys which we also have is the headways. And being able to tap into that can increase your vocal range as well as give you the power to add a lot of other kinds of feelings to the song and express them. Now, earlier, I also didn't know how to tap into that lake. You know, I used to go from it was not well-connected. There was a there was a big disconnect between my chest wise and headways. Now one exercise which I wanted to say so that you can connect the two, is a bit weird, but it's such an easy way to just connect the two. So you can just keep your mouth and you're free. And all you have to do is this sound, right? And this helps isolate the tongue then all of the parts, right? So once you try running this through all the whole range of your ways, that different pitch possibility for your ways. You'll see that you're running smoothly from your headways, do your chest ways and vice versa. So something like this and keep your hand on your throat and cheek so that you can check that there is no tension there and do something like this. See how high or how low you are able to go without having any breaks. And once you are able to do this without any brakes, you'll see that your voice range has also been cleared up. Also your head voice and chest wise have been connected. It'll just happen subconsciously. This is, this is also a great exercise when you just want to clear your voice passage, you are clear your throat before a performance. This can be a great way to really give a lot of relaxation to the muscles of your face as well as the throat. There's also a good exercise as a part of a breathing exercise case. But the main purpose of this exercise is to ensure that you have a very clear pitch, pitch range. So try this out whenever you want to maximize and check what is the maximum limits of a page range at. And to connect your head, voice, and chest wise. 9. 3 Breathing Exercises: The purpose of breathing exercises is to develop one strength of your diaphragm. Second, control over all the other muscles so that you can have a smoother voice and also be able to last long if you have to make a note last long. And third, to be able to understand what muscles to use for what type of singing. So the muscle control is also a part that you developed through breathing exercises. I would like to start with this basic reading exercise, which will just help you increase the duration to which you can hold your breath. So nothing, I mean, as the word says it all you have to do is hold your breath. That's all. See how you, how long you can do that. The next part is, and a watch will help you for this. This simple breathing exercise where you keep this, keep your lips slightly under a little bit of pressure. Don't press them too strongly and release your breadth. Width you're wise. So like you can also take support of your hand and just continue releasing your breath. And each time try to feel your internal cavity completely. The bass part of your cavity should feel open. The more bass notes you can hate, uh, you can hit while you do this, the better. So say something like this. The more bass note you can hit and the more constant you can keep it, the better the amplitude that is the volume, as well as the note should stay constant. Doing this will not only open your lower range, it will clear your voice. It'll develop strength, and it'll weirdly also helped you reach higher notes easily. I know it sounds a bit absurd, but yes, it has helped me reach higher notes because this exercise just before performances also helps in clearing the whole cavity and helps you use your chest twice in a better way. So this is the second exercises as a second exercise. Oh, one thing I forgot to mention. So one more thing in this second exercise is that you take your time, how long you can retain this. If you're able to do it for 15 seconds, try to increase it to 30, tied to increase it to 40. What you're also doing essentially is teaching your diaphragm and making it more in control to release the air at the same volume, at, at the same, with the same intensity in a controlled fashion. So your diaphragm is getting more control. And diaphragm has very important fuzzing people think is a sword, but it's actually the main thing which is pumping the air is your diaphragm. But this one mode breathing exercise I want to show you in which you have to be very mindful and see which muscle you're using. Nobody can actually come in and, you know, test, you also might not be a 100% sure, but this exercise will help you identify which muscles are using for singing. So nothing, just get your voice out like C. Which muscle helps you release this subtle sound with proper control precision for the longest duration, your volume shouldn't change and you should not lose control over the crackle. This exercise. If you do for a few days again, you'll develop very good control over your back muscles which help you to sing. If shoulder muscles, your chest muscles, your stomach muscles, your diaphragm, whatever is helping you to sing. Try to use your muscles also. But let me tell you once again, throat muscles should be relaxed by the singing. Otherwise, you're single notes sound real. When you talk. Is this under a lot of stress? No rate. Similarly, when you sing, it should sound like exactly the way you talk. Your true voice should come out when you are singing. 10. Find Your Voice: A lot of people, when they are learning how to sing, usually it's through inspirations from different, different artists. Sometimes what happens is they lose their own voice in the process. This voice is lost because they start imitating that artist orders. What happens with single sometimes is also they feel shy of how they sound. And that's why they try to create some sort of an adaptive device persona which is slightly different from their original y's. And due to that, once you start practicing that it becomes more and more sort of the go-to voice which you start using for singing. And that's what I don't want in case of at least my students. So what I want to talk about right now is to enable you to find your own voice. I want you to not imitate or adjust and connect with yourself and get that connection out into the world because that's the most original thing you can do when you sing. So the first thing when you try to sing is to remove the focus from yourself. Don't focus on yourself. Don't think about how you're sounding, how you're looking. Just remove the focus from yourself. Just focus on the song. Just focus on what do you want to express and nothing else. Now when you don't focus on yourself, you start listening to the environment. Listening to the voice that is coming out, not the y's that you're producing. There's a difference. It's the voice that is coming out and you hear that and you enjoy that. Don't focus on yourself. Just listened to the environment and the voice that's coming out and how it is piercing through the environment. Be relaxed and increase your sense of awareness of the surroundings. Started listening to yourself and the environment. Be relaxed and increase your awareness of how not just your voices piercing through the environment, but how it is also connecting with yourself and helping you beer through into the environment. The next thing is I want you to accept whatever your voice is like, whatever it's sounds like, excepted. What you sound like to yourself is not the way an other person is going to interpret your ways. So there's no point for you to interpret it. Led the world interpreted, except whatever your voices lake, there is always somebody else with a totally different texture. Who, and you might be different from the, you might be having a different voice. Quality or texture from the people you were inspired with and the people you wanted to maybe imitate. But maybe that's not gonna happen except whatever your vices like. And to maintain that, you need to focus on what's happening. To eliminate any corner cases or edge cases where there can be doubt which can remove your focus. I also want to mention that be as bad as you can. Whatever is happening, even if it's sounding bad, let it happen. Go back. Correct things in the practice sessions. Use technology, use these instruments to help you out. But even during that process, don't lose your voice. Your original ways. If you're bad, maybe that's the original thing. Maybe that is okay. Sometimes the bad things also are a part of your art. Maybe it's not happening graphically. That is u, that is the original u, that is your art. What you should be is what you should be as, as original as you can. Don't lose that originality because nobody else can be better than you if you're being original. If you're being somebody else, then at least somebody has can be better than you at, at, at, at that. Don't try anything else apart from the natural. Just do whatever has to be done freely. Now all of these things are easier said than done. But remember we did this breathing exercise where I asked you to just get that crackled sound and focus on which muscle is being used. It is something like that. When you start focusing internally in doing your subconscious and you start focusing on how your voice is coming out into the environment. It is connecting with the people. Just focus on that. We as free and as original as possible because singing is about connecting with yourself and getting that originality out. This might not sound like the most logical part of the whole series, but I would still rate it as an important part of the whole series. In every prayer to God, there are songs, right? There must be something about music which is divined. And therefore, I feel it is very important to mention this part about singing that it is somewhere a very divine thing to do. Something where your subconscious is going to get elaborate. It is getting elevated somewhere where your subconscious needs to get connected to you. Somewhere where you connect your subconscious expressions into your y's and get it out. Now these are the things about your mind, how you can make your mind free. The next part is about your body. How you can be free with respect to your body. Of course, we did a few isolations. We isolated the throat from the rest of the muscles so that you can get your real y's out. But the other things also are important. Like, for example, you can just before you go ahead for a performance or something like that. Do whatever, like twist, shake, jump, whatever. But get your muscles to be warmed up and relaxed so that they can take, they are ready to take whatever action they're about to do. Next, loosen up your body. The next thing is you learn to. Again, recalling from the example we did in the breathing exercise, where you had to feel which muscle? Try to feel your inner body or whole body? Try to feel your inner body right from the legs to the knees, to your toes, to your fingers, your hands, your head, everything. Like try to feel that it's you who is coming out when you're seeing failure in nobody. See how your body moves when you sing. Sometimes some people have this habit of moving their hand. When this sing or talk. See how your body moves. Don't judge it. Just witness it. Look at what muscles you are using in the practice, correct? What muscles you're using when you're performing? Go freely. Enjoy enjoy yourself, whatever muscles you're using, just try to take care that you're using the right set of muscles for the right kind of singing that you have to do. See how your Vedas spread on your body. One other thing is you should see if you're standing in the right posture, whether it's balanced, whether your body's bilaterally in the right position and there is no stress towards either side. Let's take certain example. When you're trying to sing. Say this is a piece of plastic, it is crumbled up. But if I leave it automatically started turning towards original state. This is how your voice should be. It should be in its original state. Social, your mind and body. In their original state. This connection should always be there. Now lastly, I would like to mention this point that when you talk to someone, how does your voice come out? Normally? Clean? If you're singing voices just like you're talking ways. Sometimes you do apply a certain other set of techniques. It will not be like the docking wise exactly. But normally if you're singing waste can be like the talking waste. That means you are able to get at least your natural voice out. You balance these things out, especially in this lecture, is more about when you perform and you connect. But try to balance these things out when you're practicing and performing so that your experience and your journey with singing is not just very analytical and very, very logical, very scientific, but at the same time, see if it can be very spiritual as well for you and be very enriching for you just the way it has been for me and it still is. My journey is also on. We never become perfect or something. We just, it's just a journey. There's no destination. I think it's just the journey that we can enjoy. And as long as we are lucky to be a part of this journey and we are able to saying, I think it's worth just enjoying the journey. So I hope you enjoyed the course, and I hope you're enjoying the course. And at the same time, I hope after the course also you, you're singing experience becomes more spiritually enriching for you as well and you are able to enjoy it more. 11. Evaluation & Home Projects: Alright, so let's have a small little evaluated via shall be it simple. All you have to do is sing the song that I demonstrated to you. It's a very commonly known song. In case you don't know, you can just Google, you will find the right version. It's called amazing Greece. So we will just think the first four lanes. And I'll keep changing the scale and a little bit of the temple also see if you are able to sing it perfectly. If you're not able do, it's okay. If it ever do, it's amazing. We can just keep going forward in the course in case you have some doubts, you can just revisit the pitch exercises and the other parts that we just demonstrated. So what you have to do here is simple. I'm going to play the nodes here and you have to catch it right? Or the first node and start singing. And you'll go leg, this is how sweet the sound that saved a wretch like me. Spurred now, right? You can add your own embellishment. And Jurgen earlier on effects, do some variations if you like, but, but the thing is it should sound perfect. When you do it, you should be confident that what you sang is right, alright, so now it's your dawn or do you? All right, so how did that go? Now, I'm just going to change the skill. You don't know where it's gonna go. You have to catch it as quickly as you can and sing it. Alright. Try this. Alright, let's also uses exercise to check your range where you're not able to go. So with this one, let's go lower and see how low we can go. Alright, let's go a little bit more lower and see if you're able to go there also with a clear ways. Okay, so now what we're gonna do is we're gonna test your higher range. Sued if you see variable to do that also, you don't know how HIV you're gonna go. So figured it out and let's see if you are able to do it perfectly. Right, I'm going to get very high Now, let us easily able to sing it. It'll also, once again, as I explained you, what is your maximum limit? What is a tissue or language? You can reach your maximum pitch, right? Let's see. Right. So I guess we are done in about five minutes. You can record your wires on a phone or something when you're doing this evaluative and Azure project. Also, I would recommend if you couldn't just send over these recordings and we'll be able to see a lot of people who give you feedback on whether you were able to do it right or not. So, you know, that bandwidth things are going to be more sort of to and fro. And I want to see what you were able to do. 12. Express Emotions While Singing (Bonus): There are nine types of basic feelings. There are lots of simple and complex feelings that we have under all those nine categories. Which can include contempt, contentment, courage, desire, disappointment, embarrassment, euphoria, excitement, grief, guilt, happiness, hatred, hostility toward loading, loneliness, love, lust, and passion, pleasure, rage, relief, a more satisfaction, shame, shock. China's sorrow, suffering, surprise, trust. Wonder why e z less than lots of other types of feelings. 13. Tempo & Amplitude Freedom & 'Alaap' (Bonus): There are times when when you're singing, You don't have to stick to any rule. I know we talked about so many frameworks. You have to stick to this scale page, this time, all of these things. But there are times where you don't need a state to anything. Because the main thing is to get the emotion outright. Of course, if you're not singing in pitch, it's not gonna sound the best, although you can try that in some wines. If the main thing is, it should be likable to the audience. But there are times usually when the singer doesn't stick to the temple. And these parts of a song usually are the intro part or the outro, But the beginning part before the mean beads and everything begin or after the song has ended. And there is some embellishment or some area where the singular export, better singer, explore some unique part which is not intended to be in some time signature like this example where in this song, This song is on a fixed time signature and I'm feeling go. But in the beginning, before the song starts, the singer just runs through the different notes and just feels how the overall, this feeling good factor just, I just tries to describe that. So something like instead of singing The, instead of singing everything in the time signature, the single just explored, you know, Mertz lie and half, you know, have a feel Asana in the sky, you know, Have you ever used or if they're not, you know, have feel it's a new it's a new day. A new law firm may yet new towns neutrally. Soon. You laugh on me, woo, woo, whatever. The thing is, so many embellishments, so many things are tried out. And there is not a necessary thing that you stick to the time signature in this part. Similarly, in a lot of Hindi songs, usually there's a part called the olive. In the beginning part of this on the alarm can be also in a free time signature where the vocalist is exploring just the feel of this on mostly sticking to the pitch. Of course, taking the pitch, otherwise you're not going to sound good. What I'll do is I'll also try to demonstrate the same thing for you. Instead of singing in an instrument format, I'm going to play one piece which we all commonly no, call for release. And I'm gonna make it slow and fast. I'll also change the volume dynamics a little bit so you'll be able to feel that changes a little bit more tempo. Sometimes when you're just singing without an instrument in the backing. Like in the case of when people sing with the tundra. Didn't build their own vibrant environment, they don't need to stick to all of these time signatures. For dat phase. They can just explore whatever is being done. So use this as a tool to build the right metadata, either pitch in all of these things. But the main thing is stick to your emotions, stick to how you want to portray them and get them out freely. Of course, if you're performing with a big team, you have to stick to the time signatures. But if you're just doing a free song in front of an audience where there is no backing instrument and it's just your voice. Let it flow freely.