Singing Like a Pro: Exercises to Help You Find Your Unique Voice | Eve Williams | Skillshare

Singing Like a Pro: Exercises to Help You Find Your Unique Voice

Eve Williams, Music: Information and Inspiration

Singing Like a Pro: Exercises to Help You Find Your Unique Voice

Eve Williams, Music: Information and Inspiration

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24 Lessons (1h 29m)
    • 1. Introduction

      2:37
    • 2. Singing Exercises: Introduction

      0:41
    • 3. Breathing

      5:16
    • 4. Range

      7:26
    • 5. Projection

      5:02
    • 6. Avoiding Constriction

      5:36
    • 7. Pitching

      2:51
    • 8. The Break in the Passagio

      5:59
    • 9. Diction

      12:47
    • 10. Posture

      2:42
    • 11. Voice Qualities Introduction

      0:27
    • 12. Voice Qualities: Speech

      3:07
    • 13. Voice Qualities: Twang

      4:16
    • 14. Voice Qualities: Falsetto

      3:35
    • 15. Voice Qualities: Sob

      2:40
    • 16. Voice Qualities: Opera/Tilt

      2:53
    • 17. Voice Qualities: Belt

      4:43
    • 18. Identifying Voice Qualities

      1:41
    • 19. Project: Easy Songs

      0:52
    • 20. Project: Moderately Difficult Songs

      0:31
    • 21. Project: Difficult Songs

      0:51
    • 22. Commn Vocal Problems

      5:03
    • 23. Vocal Health

      7:00
    • 24. Conclusion

      0:44
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About This Class

Learn to Sing with A Signed, Internationally Performing Singer with More than 13 Years of Teaching Experience

My Press:

'An artist of considerable sophistication' - The Musician Magazine

'Recalling the great lady vocalists of decades past, Eve Williams is a woman armed with a beautiful, powerful voice capable of carrying entire albums with its frank, expressive, engaging timbre. Hypnotic and soulful, we can’t wait to see her live' -   YouBloom Headroom, L.A.

'A great voice'  - John McGlynn, Anuna, Ireland

Named One to Watch twice by Nashville Songwriters Association International

DO YOU WANT TO FIND OUT HOW TO BECOME THE BEST SINGER YOU CAN BE?

In this practical singing course you will learn how to find your own unique singing style whilst maintaining a healthy voice. We will look at

  • Breathing

  • Range 

  • Voice qualities (the vocal techniques needed for singing particular styles of music)

  • The break in the passagio

  • Avoiding constriction

  • Projection

  • Diction 

  • Looking after your voice: safe singing

The course is very practical with exercises in every lecture. It is designed to look at one topic every day, but you can keep going back to the exercises which are most useful to you. You can also ask questions and send mp3s for individual feedback on your singing.

The exercises will help you avoid common singing problems like constriction (a feeling of tightness and not being able to get medium high notes out), bridging the break in the passagio (when the higher part of your voice sounds different to the lower part), running out of breath or lack of stamina.

I hold a Master of Music degree and have been teaching singing since 2005 and am myself a signed artist. I have worked with multiplatinum musicians right the way through to young children. At present my youngest student is 6 and the oldest is 102! There are no barriers to finding your voice. Age, experience and negative experiences in the past don't need to stand in the way. I have worked with people just after vocal surgery, I have worked with people who are terrified, I have worked with people who have had their confidence knocked and together we got through the problems and freed up the voice.

If you email me an mp3 or ask me a question you can expect a quick, detailed reply. I'm here to help you! 

Meet Your Teacher

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Eve Williams

Music: Information and Inspiration

Teacher

I'm Eve Williams MMus, professional singer and songwriter. I've been teaching music and music business topics since 2005.

_______________________________________________________________________________

Eve Williams is a singer and songwriter from Co. Down in Northern Ireland.  Eve’s songs have been played in several countries since 2012, including USA, UK (including BBC airplay), Germany, Ireland and the Philippines. As an artist she has performed at several international festivals including Celtic Connections in Glasgow (broadcast live), YouBloom Dublin and Urbankelt in London. She has completed a successful UK tour in 2016. 

 

 Eve holds a Master of Music in Songwriting from Bath Spa University. In 2015 Nashville Songwriters Associ... See full profile

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Transcripts

1. Introduction : Hello and welcome to singing for beginners to advanced vocalists. The point of this course is to help you find your own unique voice and singing style and to maintain good vocal health. My name is Eve williams. I'm assigned singer and songwriter and I have more than ten years experience of teaching singing. At the moment, my youngest student is six, and my oldest student is a 102. And I have a lot of experience of working with professional vocalists and teaching at universities. So I'm hoping that I'm going to be able to help you with your singing and to work towards your own individual goals. Please feel free to message me at any point with any questions that you might have about the course or a byte singing or music generally, I'm always open to that. And we're going to be looking at several key areas of singing in this course, we're going to be looking at breathing. We're going to be looking at safe projection. We're going to be looking at finding on improving your ranch. Looking at voice qualities or in other words, the science that we make that fit into certain styles of music so that you can begin to sing the music that you really love. And we'll also look at vocal health and looking after your voice. Because after all, you don't just need your voice for singing. You need your voice in every area of your life. There's a few things that would be great if you haven't place before starting this course. Nothing very complicated. I only asked that your voice is healthy, that at the moment you don't have nodules or any serious infections such as tonsillitis, laryngitis that your voice is helping. If you have problems with your spine, with your neck or back, take care of some of the exercises. I myself have a form of rheumatoid arthritis that causes fusion of my neck. So these exercises are safe for me and I hope that they're going to be saved for you. But if you feel any discomfort out hall, then please do stop. Sent me a message. If you've got any ongoing pain or tightness in your voice of your voice signs of it. I best please do consult a doctor before starting any singing program. Also, it needs to be remembered that videos like this are there to teach basic exercises, but learning singing is not like learning piano, for instance, where everybody learns the fingering on the scales in the same way. Everybody's voice is different and there isn't really a substitute for finding your own property qualified vocal coach. By properly qualified, I mean, the person needs to know something about the anatomy of voice on high, the voice physically works. You can't teach singing with just a grade seven or eight in music or high-grade and music, you need to know about the physiology of the voice and be able to work with voices that are different than your own. So are you excited to start? Then let's get to the first lecture. 2. Singing Exercises: Introduction: I'm going to teach you some practical exercises that you can do every day. And if you're dedicated to doing the exercises, you're going to notice some real improvements in your voice. We're going to start off by looking at breathing because that's foundational to signaling. And it also has an impact on pitching as well as on support. We're going to look at things like projection. We're going to look at range. We're going to look at how to deal with the brick and the Posada where your voice kinda changes gear between the low part of your voice and the higher part of your voice. And we're going to look at something absolutely essential and not as avoiding constriction, avoiding tightness in the voice. So I hope you're excited to get going and let's begin. 3. Breathing: the most important place to start with singing is breathing obviously important for the whole of life. But it will have certain any cuts on your voice. The way you breathed has a distinct impact on side. If you take a short shot right up here, it was like this. Promise me, you wafer May it will be gas p and it won't support signed. Also, you'll feel quite exhausted. And if you don't have out of put support, another thing that happens is that the pitch of your voice will go flat because it isn't held up enough. Quite often. When students come into me who maybe have some problems with pitch, it's to do with the breathing and support rather than with their. So it's very important that we start out learning to breathe in the correct way. Not in order to do this, I'm gonna ask you to grab, let's go and what we're gonna do the scarf is this. We are not gonna tie it round wrist. It's not gonna be up under your arm hits, but somewhere in between, in the middle of your ribcage, Okay? No, I want to breathe in wide Phil. So the whole of my ribcage expands, so that should make the scarf I works. So just think of breathing into the scar just gently like this. Oh God. You see my scarf expound back, so we'll do that one more time. Not that's a much quieter former breathing, but the gas be shallow breathing. This is called intercostal lateral breathing. In other words, we're breathing right, breathing in between the ribs. Not once you practice that for a little while, it should make you feel nice and relaxed. It's actually grant if you suffer from stage fright, because it will slow down your heart rate and help you feel a little bit less, I'm stated. So what we're going to do once you've mastered this style of trading is to breathe at. Don't you breathe. Just let the air out gently and hissing. Sign so right to the end of your breath with that hissing sand on a few time it. Most people can do that for about 15 seconds. So how long you could do that for? We'll tell you how good your lung capacity is, so just take a little minute to do not. You might want pause this video for a few seconds. Okay? I want to sing something using intercostal lateral breathing. And I would like you to quite high. Many times I breathe to sing this song. Are you ready to call it? Here we go. What will we do with drunken? Say what we do with a drunken Say what we do with rockets in the morning. Could you cut the house was once just once the start. So I'd like you to sing along with me. Just break again once at the start. And for whatever reason, you need to take another breath. Please do. We don't want to cause any unnecessary discomfort. So I'll give you a Betas. Well, so deep breath it. If you saw that all in one breath. Very well done. If you didn't just keep going back and practicing it until you can get it in one breath. No. Well, as you are able to sing that one breath to make it more challenging, we will slow it die. So let's see if you can sing it out this pissed way. Did you get it? Not you. Notice my voice much. A little bit tired of the ad If you do that exercise every day or a couple of times a week , you might want to use a matter note so that you could measure what speed you're singing up . You will be challenging your lung capacity, which will make your breathing better and better. Just one short note. There's something that we must not do breathing like this, and that is to do this. Do you hear high? When I raised my shoulders, my voice becomes very pinched and I haven't done anything in my auction. Voice to calls Not happen. Get my shoulders, little stretch. We won't maintain a nice wide space around here till at the sign really bring out. So you might want to go back and play this video a few times. I do this exercise several times this week because breathing really is conditional but welled up and keep up the good work 4. Range: In this next video, we're going to look at range. And we're going to start off by doing a little exercise for you to find your Fock. Not that might sign a little bit rude, but believe me, it's not. Faq refers to the kind of vocal parts that are used when you sing and acquire. So the most common are soprano, which is the highest female voice. Mezzo-soprano, not quite as high as the first soprano. Alto, which is the lowest female voice, or the highest male voice. Tanner, the highest male voice. Baritone, which is a bit lower than tenor, and bass, the lowest male voice. So we're going to find your fact by doing this, I want you to look up at the ceiling and cut. I'd like to 41234. Then slowly lower your head. Did you notice when I lifted my head higher the pitch of my voice foul significantly? That's because that's the nutshell resting position of my larynx when I tilt my head. But because I speak to day, my voice is worked its way into a higher pitch than it would otherwise be. So quite often we don't speak where our voice would most like to be. So I'm going to give you a couple of minutes to do that exercise yourself and find the best range for your voice. So if you'd like to pause this video and just try that. Okay, Normal going to look at a couple of little exercises that will improve the range of your voice to things happen as your voice gets higher, you have your vocal folds that come together like this. When you speak or sing, as your voice gets higher and higher, they vibrate faster and faster. At a concert, a, the notes that they orchestra tunes up to this note. It's called a 440 because your vocal folds are vibrating 440 times the second. And by the time you get to top see, your vocal folds would be vibrating a thousand times a second, so they're moving very fast and high pitch. Also, your larynx travels upwards. As your voice gets higher, your vocal folds get long and thin. Your larynx travels upwards and Azure Boards goods lower. Your vocal folds get closer together. That means that there's a bigger space and your voice when you're singing a high note. And as opposed to a low note, which is why high notes are lighter than loads. Okay, you've probably watched the likes of the x-factor when you hear people singing arpeggios and the light before they go in, the kind of pointless, you wouldn't run a marathon to prepare for running a marathon, There's one little exercise that you can do that will keep your voice sample and add to your range. It's called the siren. So first of all, what I want you to do is say, sing, then take the ass off the start and say, and that puts the of your voice into your nose so that this happens if you hold your nose. That's where we want your voice to be. Then just take your voice through its full range of movement. So it, Yeah, Who'll exercise goes like this. Singing. You'll feel your voice moving through its whole range of movement. And any notes that you can hum through your nose like that, you can sing. So if I can do this, I can do this. Not that I'm recommending you do that. Not a couple of safety notes. If you look on YouTube, you'll see some people doing this exercise with them like open like this. That can damage your voice when it gets to the top. And also it's a horrible noise. Your neighbors would probably call the police. So don't do that. Don't force your voice either higher or lower than it wants to go, take it through a comfortable range of movement. If you do this a couple of times a day, which is quite easy to fit end. You can do it in the car and the car. You couldn't notice as much as an octaves and crease in your voice. And a few months because any muscle that we stretch becomes more flexible, there is another slightly slower way of improving your Ranj. This exercise as particularly good for people who have ever had problems with their voice. If you've had repeated google infections, if at some point in the past you've had a tonsillectomy. This has a nice gentle exercises and gentle stretch of the voice, but it takes time. You would have to commit certain amount of time every day to doing this exercise, especially if you already have quite a full range, It's called sliding face. So what you would do is sing this note. X-naught would hear every note on the way up and the way die, and so on and so forth. You would need a piano or a keyboard for this. If you don't happen to have one, you can download a multitude of free piano apps onto your phone or your tablet, just so you know what pitch you're hitting. Night. When we go up and the voice we start singing higher, we can go out and quite big jumps. We can go. When we come down, we come died and smaller steps because you count actually injure your voice worse. Three, pushing it to load them, pushing it too high and you can distend your larynx, which would keep you away from work for a couple of weeks. So we're going to practice accessing your lower ranch by singing this. Sing, Sing, Sing, Sing, Sing, Sing, Sing, Sing, Sing, Sing, Sing saying, saying, saying, saying, saying. So I'm just going Don from middle seat. Again, don't push your voice lower than it wants to go when it starts to start songs to start a little bit rumbly. At that point, you want to stop your voices like the elastic and your pajama bottoms that away. You can't say today I'm just going to stretch this one small portion of it. When you stretch it, you must stretch at all. So don't work on the high part of your voice one day and the low part another, and spent most of the week singing in the middle. You must stretch the whole of your voice every day if you want to see results, the best way to do that is through the siren. So I hope that this section has been useful and that you feel inspired to go into preview range. 5. Projection: in this section, we're going to look at save projection. We want my own major allies shining because shouting will damage your voice. If you're saying addressing a room filled with people or you want to raise the sun, all your singing voice, the absolute cities way to do that is to add twine to see if I had trying to my voice. Suddenly it signs much lighter, but I have changed the tone of my voice. I'm not shining out, you know. Some accents naturally contain twice. If you're Northern Irish, such as myself, your voice is like to have some twine in it. If you're American of your Australia, your voice is likely to have some natural trying and certain parts of England. They speak like received pronunciation, kind of accent that has no track. You're going to have to learn how to fake it basically high. So what I want you to dio is makes on a schoolyard, really jumped. I know you feel a bit silly, but there is pointed. So can you just pulse this video saying Yeah, Okay, Try that again. Yeah, slightly Basil. That's a sign that we associate with American Music Theater No, I That line is also a key component Off country music stumble out of bed and I stumble to the kitchen. Pull myself. I have a bad mission, and it's actually a key component of opera and classical music. I know that sounds strange, but if you think about it, if you're singing in the Royal Albert Hall and it's considered bad form to use my phone and classical music, you have thoughts people in front of you still furnishing high is your voice. Going to be hard over an entire orchestra is the twine that'll help you do that? Theo. Component. What happens in your voice when you make that twanging side is you engage a mussel culture are a sphincter muscle. When you tighten that muscle, your Lawrence, which is normally one long chewed, becomes two concentric tubes mix assign a lot more robust. Okay, let's just practice that a couple more times. Yeah, now that's trying high. Not necessarily in my pitch, but some of its high for you. Okay, no, there's another way off. Having saved projection. Have you ever seen singers stand like this when they're singing, or perhaps the kind of Freddie Mercury grabbing Mike from like that. They're not just doing that to look. What they're doing is engaging their lots. The muscles here, your shoulder breaded, please. This is what happens when you get your last 1234567 it No, I didn't create that increase in volume by doing anything in my voice. I simply pulled my arms back, actually, lean back a little bit until you feel pinched on your shoulder, but it's just tried out of the moment. So when you're r slices this, you are spot until you feel a bit of a pinch. There's a great examples of this online U shaped. There's a video of Freddie Mercury sing and we will rock you life. You can actually really say him engaging his laps, the cool sharks and they're singing Don't cry for me Argentina. Similarly, you could. You could really see her using her arms to create value. Surely bossy Goldfinger, Ellen Page singing Don't Cry for me. Argentina, not just waving their arms for sake of it, they're using their arms are wondering all the Osborne, another singer. He does this all the time. Next time you're watching singers live on YouTube about you will see them slightly moving like this to engage those muscles at some point. So let's try that little content exercise I just did. We're going to come to it when we get to four. We're gonna pillar arms back. So let's try that. 1234567 it one more time. 1234567 It actually, I put my arms like a fine Roman for Sorry about that. So if you'd like to play this video again until you're comfortable with these exercises, that would be great. This is a safe way off creating more volume in your voice. 6. Avoiding Constriction : This is a very, very important thing to master and singing, and that is avoiding constriction and retraction of the false vocal folds. Our constriction and retraction. Constriction when the voice tightens. And quite often, especially with women, that will happen between high E and F. When we come to the break and the pistachio, the voice just tightens and the notes get sort of stuck sometimes for physical reasons and sometimes because the singer is nervous. And that means that the notes don't resigned, they don't ring light. If this continues over a prolonged period of time or if that constriction is very severe, it can result and vocal problems such as nodules, which are little hard bumps like blisters that develop on the vocal folds and stop the vocal folds from coming together properly. So you would end up speaking like this. No, some people saying with constriction for years and have no problems that very gravelly signed, that made by singers like Rod Stewart or Tina Turner. That is constriction and it hasn't harmed their voices. Bano also things with constriction. But for most of us, it's something that we really want to avoid. And if constriction is used, for example, to make that kind of grilling signed that Tina Turner is famous for. It should be a choice, not an automatic default position of the voice. Retraction is exactly the opposite. That's when the false vocal folds are pulled back so that the voice is open. There's a big space within the voice I'm not alive sign to be clear and ringing. Let's listen to some examples of constriction and retraction. And for this I'm going to play you two different singers singing the same song. And that song is made from Phantom of the Opera, which is actually a really difficult piece with some very difficult intervals in it. Now, just to be clear, I'm not saying that one of these singers as a great singer and the other one isn't a good singer. All I'm saying is that one is showing examples of constriction and one is not. And so the sign is ringing item bit more. So first of all, we're going to listen to Emmy Rossum and the movie version singing, think of me, and I want you especially to listen to the lines. When we said goodbye and listen to the good and goodbye, it goes backwards a little bit, it's tightened. But at that point in the song, she's meant to sound like she's quite nervous and not doing our best. But then listen to what happens when she sings. Take your hearts back and be afraid to listen to the word heart. It slightly tight, you can hear it moving backwards. The Nope doesn't ring, right. So let's listen to this thing called me for me. If not, let's listen to the Clare murder version. If you listen to the same two lines we mentioned before, when we've said goodbye, Take your heart back and be free. The notes are wringing out a little bit more because retraction as being employed there. So this side is more consistent. So distance. So we've talked a little bit about what construction is and what retraction is. So let's nylon high to get a nice retracted open space and the larynx. So when you want to listen a muscle, you tighten it first. So if you want to go ahead and raise shoulders, drop your shoulders, draw. And there is a way that we can do that within the voice editors to do this. And I'm using my hands to demonstrate what we're doing inside the voice. And that is to close this and open it. And where it falls open, I want you to fail the open space inside your voice, the feeling of it being way. So Titan, listen. This exercise is called the Darth Vader because it sounds a little bit like Vader and the mass. So open space, that's called the inner smile. I didn't call it that. Incidentally, that's just what it's known as. So where you have that loose space new voice, just want you to sing as Peano sitemap. See high SAR rings. When everything is nice and loose when there's a nice open space within the voice. 7. Pitching: Most dedicated singers with the grid and title air can lose PECC under certain circumstances if we start to get tired and the breathing isn't what it should be. If your support starts to go poster isn't great, then you can experience lapses in pitch. And some of the most successful singers in the world have on occasion Spain auditing sometimes as well, the technology that you're working with can affect your pitch if you don't have rate monitors when you're onstage and can't really hear what you're doing, you know, that won't help an awful lot. So it is good to work on the breathing, which has an impact on pitch as we discussed earlier, but also to do little pitching exercises. So I'm going to give you a couple of those. This exercise teach us some really basic intervals and it's a good thing to do every nine man just to work in your ear. So that's little three-note scale. That affordable scale. It's just a three-note scale, a four-note scale, and finer scale went up, et cetera, et cetera. Another really important thing to practice because it will help you a lot with improvisation. And just with your gentle air is a chromatic scale. Very difficult. Now that was beginning on C. And I really recommend that you do a different chromatic scale every day. That little semitone interval is obviously pretty fundamental in the whole of western music because we have a major and a minor chord. And the difference tree major minor is this studies. So it's pretty important that you can hear that semitone. I'm actually some people have incredible difficultly pitching a semitone more so than pitching an octave. So just to recap, the three note for note and five note scale exercises. And the chromatic scale, or something that you should be doing quite regularly, at least a couple of times a week. 8. The Break in the Passagio: we're going to talk about something quite important ni and singing, and that is the brick in the pus a geo. So I explain to you what's meant by that term in most people's voices, between sort of a high and high end, there is a little point where your voice changes, saw and where it will actually go into full satellite on Sunday or else into really all product all of its own accord. When you get to that point, this is because when you get to that point in your voice, it has sort of speech quality. As we demonstrated earlier, it will hit a sort of ceiling on unique to tilt your voice for it to be able to travel up further, and it makes a difference signed when you do that. So if you were to sing a scale and quite an operatic signed, say, Theo works, it's a consistent side. But if I was to try that speech quality as we talk to my earlier, uh, ah, uh, just tightens and disappears. We have to make back tilt so in it basically means that there's a different song in the higher part of the voice in the lower and in some older methods of teaching singing that can be referred to us had voice in the high part chest voice in the lower part just with the methods that I use. I don't use that particular terminology, but that might be phrases that you have heard before. So it is. Hi. Do we make the signed consistent? Because we have to make that tilt in order to hit the higher notes? No, if the whole off the song, If you're singing something wonderful, no way. Say what you would have him say. What's creating the consistency is that you're using the operatic style, which just happens to work in both those parts of the voice. So this is how it we can get a little bit of consistency, speech quality we can't carry into the upper part of voice. But the operatic signed we can on also the twine we can't, so we're going to practice some scales night in the 20 signed on. I want the top part of the voice to sign the same asked the lower part, which means that you're going to have to not be afraid of those notes when they get higher on, let them ring out. So we're just gonna dio some fists? Yeah, Way, Theo, No, You'll notice. I went up to Topsy there when I got really high. Yes, my boy started designed a little more operatic because that just can't be helped. But I still tried to meant in somewhat off a 20 tone. So it please don't work your voice through my ranch. Work it through your own ranch words comfortable. But if you want to say yeah, 20 side, you must cross the sort of space between an F. So I'm asking that you take it up toe asked Sharp. So if you wanna pulls this video on, have a little go up doing that. If you go a keyboard or a keyboard, up started middle C. And if you don't happen to have a keyboard out, well, you It's easy to download white, but you could follow the exercise. I've just done Sing it with me and just stop. If it starts to get uncomfortable for you, keep on going if it's really comfortable for you. So this is something. But a lot of people come to singing lessons for to Bridge this gap and possession. So we don't like I'm trying is owned and I want to do the same exercise, but in quite a non operatic signed. So, first of all, I want you to go. Do you usually exercise We used earlier to make the operatic starts in B. Guia. Okay. Ah, sorry. Coming from Ah, Theo, Theo. Uh, much, Much easier Thin the last exercise because that's the kind of tilted position that that your larynx wants to bay in the top part of your voice. So again, if you want to go back and do that exercise, making sure that you go up to at least have sharp further if you want to. But you don't have to. So have a little. It'll go up that so sorry throughout your voice. That's something that won't happen in a day. You have to be quite dedicated to doing the exercises, which I'm sure you are, because that's the reason that you've signed up for a course like this 9. Diction: In this video, we're going to talk about diction and other words, what makes signed clear to the listener all of your song, because we've all had that experience of hearing a song on the radio and thinking, I can't make out the words to that or I don't know what that last word was. And we're going to make sure that that doesn't happen when you're singing. Okay, so the first thing that I'm going to do is to present you with a sentence that has only the vital signs and not the consonants signs. And I want you to see if you can read the sentence. Okay, I'm gonna give you a few seconds to see if you can figure it out. Finding it a bit difficult. Maybe. Let's try the same sentence, but with only the consonant signs and not the vital signs. Is this maybe a little bit easier? The cat sat on the mat. Night, in English, sense, is conveyed through the consonant signed. If we lose the consonant signed, then the sentence suddenly doesn't really click with us. So if I cut a couple of tes off the end of some words here, that CAS are on the map, doesn't really make any sense. Or even if I just fudge the T and turn it into a day, which some people do when they're singing. The cat sat on the mat. Doesn't sound. Grant, does it? Slightly more difficult to understand? Night? The reason the Italian is the language of opera is it does the opposite of English. It conveys sense and emotion that through a big vital signs, a moray as opposed to love. You can kind of get the jest. So yes, signed is conveyed on the vile signed. It, the resonance happens there. So vital signs are very important. But if we lose consonants, we lose sense, we lose the sense of words. So as y, we're going to start in this video by working some consonants. This first consonant we're going to work on the Amazon, moves our minds for words. Can you see that moves our lives forwards and hopefully your voice should move forward with your life. So we're gonna take a little tongue twister. Let's just read this from the screen. You can pause the video if you like, if that makes it easier. Money making Monday morning, make some Mary Martha full mind. Let's read that again. Money making Monday morning makes him Mary Martha, full mind. So you can see my mouth moving forwards. Let's do that to your rhythm. Bonnie making Monday morning, Nick, some Mary mouthful mind money-making Monday morning mix. I'm Mary mouthful mind money-making Monday morning mix them, Mary Martha mind. So that's slightly difficult. This may take some practice. Norberg going to try singing it because we want to hear how the word signed when they're sung. What I'm about to say may not be in the right pitch for you. You can sing this a bit lower than me. Or if it's not your voice type, you can cut out the very top notes of this exercise. But this is what the CNG version is going to sound like. Money-making Monday morning, they excel. Mind, body making Monday morning begs the Mary Merkel mind. It's a very old skill exercise. This, you can play that again on sing-a-long word, sing it alone if you like. So the AMS side moves our minds for weds and let's try a tricky or vital signs. This file side moves our minds backwards. So, you know, when you have a photograph taken and everybody says, Say cheese, well imagine everybody said, lovely, see high, my mouth moves backwards. When I say lovely. The danger is that your voice could go backwards when your mouth goes backwards. And that's what we're trying to avoid and this tongue twister. So again, let's just read this off the screen to begin with. Lovely Lotus lilies lie along the lilting lyndon Li. Let's read that again. Lovely Lotus lilies lie along the lilting London Li. Now let's try it to your rhythm. Lovely Lotus lilies lie along the lilting london li, lovely Lotus lilies lie along the lilting london li, lovely Lotus Elise lie along the lilting and diddly, lovely Lotus Elise lie along the lilting and diddly, it will take some practice to get there. Again, let's sing it in your own pitch in a way that CTA, lovely low to as lilies lie along the limiting london. London Lee, lovely low too long, the looting lyndon Li. Now let's move on to a potentially really annoying vital signs. When I've taken quires, this is my least favorite vital signs. The signs, you know what it's like when you get a lot of people singing together and it sounds like this. So we want to practice keeping the acids short night and this tongue twister. There are also some tes and modern recording technology hits T's of you really had a really hard at the end of a word that can also be irritating. So we're keeping all the acids and tes in this exercise. Nice and short. Seven swans go swiftly sailing to the sunsets and the West. Seven swans go swiftly sailing to the sunset and the West. Let's try that to read them. Savage swans go swiftly sailing to you this sunset in the West, Savin swans go Swift, place a link to this sunset and the West. Seconds won't go swiftly sailing to the sunset and the West, seven-twelfths go swiftly sailing to the sunset and the West. Now let's try singing. Get seven swans go swiftly, say link to the sunset and the seven swans goes west. Seven swans goes with these, a link to the sunset and the West. And I went, I think. It's the, that's making the resonance because the resonance happens all the vial side. So now we're going to look at the vital signs. Night. I just want to say that there is a school of thought and singing that modifies vital signs in order to change the tone of the voice. I don't personally like that because it's signs on not true. And I think what we're aiming for addiction is to sign natural, to sing words the way that they are spoken, especially the way that they would be spoken by the character telling the story of the song, whether or not it's a music theater song, you know, that also applies to pulp. You won't diction that's appropriate to the genre, to the characterization, and to the message that you're putting across. So should modify vials, I think works against that. Sarah Brighton singing ba instead of bay and Music of the Night. That's the way that singers were taught in those days. And never enough from the greatest showman where the word comes across slightly as man instead of me. I was once at a singing teacher seminar when someone was singing where it's like kale and bail instead of kale and bell. And the effect was decided a little bit affected, but also it was very confusing. So we're not going to do that. Basically. Some noise. Let's practice our vital signs. Ii. All who, let say that again. Ee, oo night, my singing teacher believed that people are either in person or on person. When you say, you're my, elongates vertically. When you say it elongates horizontally and people tend to gravitate towards one or the other. And I have to say, I find that my own teaching practice to the hardest facade here is probably, ooh, if I go, ooh, let chi far, my mouth is moving. You just don't have much space on an OU for side to get it. And if I go ee, oo, ee, oo, same thing. Wide, small, big, small. So we're going to sing these vital signs. And the idea is to try and get the UX at the end as light as the a at the start. You may need to record yourself to make sure that that is happening. Let's try that again. So don't push your voice hard, new lats, your chin, go a little bit soft, drop your jaw and there should be more resonance. Now let's try it somewhere high. And some are quite low. Noise, as well as consonants and vowels. We've got to navigate the diphthong. And if you're doing advanced exams and singing, getting a difficult wrong, we'll lose you a lot of marks. So well is a diphthong I hear you ask, well, it is the I signed, which is basically made up of and a put together and where you change from a to a is actually quite important. For example, we don't want to sing. Helped me make use of the nose. Because we're not, an English, is not the word that we're aiming for. It makes no sense in this context. We also don't want to sing, help me make the music. Not because that's just really annoying. What we want to sing as this. Help me make the mu of the null or not. I just pulled by mouth back very slightly. When I changed the vital signs, I let the ring long enough before I change to the e. I want you to sing that with me, just the word knight. And I'm going to show by little hand sync, signal it where I want you to change from a to a by just slightly pulling your mouth back. No. No. No. Okay. We could also try the same exercise, all the songs, summertime and a big twangy sound. So because we don't want to sing so or so. So let's try summertime. And again, I'll do that. I will signal. So so so so, so hopefully that creates assigned, which is natural, because again, everything that we're aiming for addiction as siding, not true. It's really a great idea to record yourself singing. Leave it overnight, well into the next day. Come, come at it with fresh ears and ask yourself the question. Can I be understood clearly? Are the words coming across clearly? Are they not true in this genre? Do they signed right for the character who is telling the story of the song. And I signed like me do I signed naturally, like mate as anything on this side, unnatural. So to be clear and natural is the m. If you have any questions by diction, feel free to get in touch. 10. Posture: Calls germ can very much impact how your voice signs. Remember I demonstrated earlier that if you raise your shoulders and we don't have a big space here, the sine becomes pinched. So we won't have a few shoulder rolls backwards. Forwards want to keep the shoulders nice and loose. Then raised shoulders. Drop them with the shoulders and drop them in their shoulder. My stretch here, I'm back up here to shoulder, my stretch here. So we also don't want to pay, you know, the human question mark. There's a real thing. If physio told me this is a real thing, it's text neck, where if we become very Ron Dodge because we're constantly using screens. And also guitarists are whiles for putting their music on the floor in front of them. And that kind of practicing like this, have up back rounded. This will do you no good. I'm will actually make your next or after a while. So there's a great exercise that we can do to counterbalance all this. It's calamities exercise. So what I want you to do is find a wall and lean up against the wall. Bandura knees slightly keep the knees soft. Protect your back. Feet. Avoid a foot and a half and walls depending on your height. And I am 55, that works for me. If you're over six feet tall, maybe about 200 feet from the wall. What we're gonna do is pretend that it was a big strip of cell tape behind your hat on. It's being peeled off the wall. So your chin comes onto your chest, then your upper back, your thoracic spine comes off the wall very, very slowly because we don't want to rush of blood to the head that all the way die. So your whole spine is off the wall than just hi, it's a deep breath and tear and hint. Let your tailbone, back of the wolf coming up slow, maybe two at the top and stuck your vertebrae, stack your vertebrae one-by-one, back onto the wall and stand up and shake it out. That leaves you with a good singing posture. And it's also quite comfortable. It's nice. It feels like having your back ironed. If you are guitarist Earth-like me, you're also the keys player and you're often sitting down to saying, think of what we did and the arm anchoring video, heat, your shoulder glands slit, dawn towards your waist, that opens ICT. Your shoulder and chest area allows you to breathe properly and makes assigned to bet stronger. 11. Voice Qualities Introduction: We're going to look in this section at voice qualities, and that's the signs associated with different genres of music. So if you have made a classical singer in the past, but you'd like to learn to sing a bit of rock. If you've been a folk singer, I knew you'd like to learn today, but of so this sections really going to help you. This is really practical set of exercises that you can apply to your singing. So let's far ahead, and I hope you enjoy this section. 12. Voice Qualities: Speech: The first voice quality we're going to look at is plain old speech. And this is a voice quality that's very close to your own speaking voice. My, what's beautiful about this voice quality as it's a pure clear sign that doesn't have a lot of vibrato. So it's perfect for styles such as folk. My lab said to me, my mother alone mind and allows you to, for your lack of care. So high do we make this sound? We're going to come to it and we're going to start singing at five. So I won't cheat to do this with me. 1234567, it almost as if you were speaking at so let's do that again. 1234567. It grit, not through this part of the course, we're going to sing Happy Birthday quite well. So I'd like you to start off by singing happy birthday, just as if you were speaking it to someone. Happy birthday to you, happy birthday to you, Happy birthday, Happy birthday, Happy birthday to you. Now the one thing about speech quality, It's a beautiful song, but it won't go through the whole of your range. If you try and go higher in your range in speech quality, this happens. So I'm going to sing a scale and speech quality and I DO RE, MI, FA, SO LA to see how my voice tightens and just stops. So in order to access the higher part of the voice may have to tilt the larynx abet from that position to make a more resonant sound like this. Do Re, Mi, Fa. So we'll talk a little bit about that later. 13. Voice Qualities: Twang: The next course, Golgi we're going to talk about is twine and twang is awfully important to projection, as we discussed earlier. When I add to my voice suddenly it fails a lot more space. It's obviously a core component of an awful lot of music. What do you think twine, you may think country music. I stumble at eBay and their Tobel do the good law or by South nasals why? And also a core component and a very rocky or pops on. And then this ad may breed that may vary, that has a lot of twine. It's used well, music theater. No. No, it was where I've been. And also, interestingly, a really core ingredient of opera and classical music. Because when you think about it, you're a classical singer. Microphones are bad for him and classical singing, or maybe you were singing in an era where they had been invented. You've got 103 piece symphony orchestra behind you on your voice has to carry over the soft furnishings on the people in the ring. Hockey make the amount of noise. Well, it is by twine there as a muscle and your voice culture, RA epiglottis, fake domicile, don't expect you to remember that noticing those as well. And when you tighten that muscle when you make this side, what happens is that your larynx, which is normally one long shape, it comes to concentric jigs and that makes the side much lighter. In fact, the human voice is capable of reaching frequencies that no other instrument in the orchestra. So essential to projection, essential to certain kinds of signed, hard we make Mossad, well, I won't need to be careful who you do this in front of us. But if you could just saying for me, go ahead and do that. Now try it somewhere high in your image. Now try it. Some were quite low and orange. No, no, no. Great style logo to do some little five-note scales declining, so let me just get remote. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. I'd like you to do that exercise. If you don't have a keyboard tone, you can dynode a keyboard up onto your phone, which might help with that startup middle C goes through your own ranch, not mine, whatever your edge, maybe I'm really practices twine because it really is something very essential. Spam, spam find their mean never seen so much more actions. Hi. 14. Voice Qualities: Falsetto: Matrix. If that law. Take a look at this image of the larynx, you'll notice that there are tree vocal folds. I refer to them as vocal folds rather than vocal cords because they're not courts like you again, a guitar, but they're the white things basically. And above them are the false vocal folds. So when you sing in falsetto, the true vocal folds don't completely come together, hence, air is escaping, but the false vocal folds j, hence falsetto, creating that lovely Breath, a signed that we've just heard and the Marilyn Monroe sang. Nine. The next quality, falsetto is a much misunderstood term. Falsetto does not mean men singing really high. The Maryland and row except that I just played is the most famous example of falsetto. See you and you speak or you say, your vocal folds come together like this. And above your vocal folds you have a pair of flaps called the false vocal folds. When do you use falsetto? Because an awful lot of air is escaping. Your true vocal folds don't quite come together, but the false vocal folds dig, hence falsetto. Now, we need falsetto just as we need twine to control dynamic. It's really the only way to hit a high note quietly. Let me demonstrate. If I don't want to say luggage falsetto and saying, so, let's sing Happy Birthday like Marilyn Monroe. So what I want you to think as half boys, half are in fact, we'll start with some cars because really helps can just go right yet. So let's do the Mr. President top, Happy Birthday. Hopefully you'll enjoy doing that. Happy birthday to you. Happy birthday to you. Happy birthday, Mr. President. Heavy. So Knock yourself. I'm doing that. I had to braid a bit more than normal in that style because a lot of air is escaping. So let's try lard, quiet life using that. You've just made some live by Allied, which would be speech quality, fun satin speech quality. And the higher you get, the harder or gatt. But false setter is assigned, we really want to master in the context of a song and he suddenly go into falsetto. It can be very, very emotional. It can be sultry like Marilyn Monroe, and can actually be very sad. It can be Westphal. It's a great color to have in your palette. 15. Voice Qualities: Sob: Up. So I'd like you to start out by singing Happy Birthday, like it was the worst burst that you could possibly imagine. The birthday to you. Happy birthday to you, happy birthday, Happy birthday. Happy birthday to you know, can you say, I'm sad? I'm sad about lowers the larynx. And what happens when we lower the larynx like that as a gap darkening of side. Really famous example of this solving style. Birds fly in how, you know, how are you. So, you know, which is making a solving signed, even though the sagas feeling good, that was the genius of Nina Simone. So what happens when you make that solving signed is that your larynx is what's called a sympathetic organ. So if you hear someone choking up like they're going to cry like their larynx lowers, your larynx will lower t and you will physically feel sad. So we are in using this style, this voice quality, emotionally manipulating the lessor to a certain degree. Neither walls equate in history with that kind of solving style was very invoke if you think of the whole wins. The early, some of the old 1950s screen musicals, you would have heard the song I often and sometimes a classical music of recent years, it's fallen out of vogue, but if you use it in the right passage in a song, it's very, very effective. You wouldn't sing a whole song this way because you would, you would depress the listener. So have a little go again. I've singing the happy birthday song. Very sad. Maybe try singing the first-price of failing goods with the Saab and just listen to how different your voice signs. Plan have, you know, have we sun in the sky, you know, have their own, you know, half. It's a new dawn is a new day. It's a new law from me. Some new then new for me. And unfeeling. 16. Voice Qualities: Opera/Tilt: Just a true true true, true. True. True, true, true. So this next voice quality is referred to as opera or tilt, because in order to make this side, we tilt the cricoid cartilage of the front of our larynx forward giving that kind signed night. If you're not intending to be a classical singer, don't be scared by that, but everyone needs to learn to make this resonance sides. And it is sometimes used and caulk, not to that extent, and maybe not to the extent of the Sarah Brighton video that we just watched. The sun, is that The exercise we do later, you will hear it and a very recent pop song. So in order to get this side, we're going to start off with the twine because trying as a component probe, all that. So could you just make a 27 through your nose? Okay. Nine hundred three hundred is very tiny than a hard GAS signed were close the Port I'm forced assigned by it through your mind. The D, Then I want you to drop your jaw and your larynx. So again, that's somewhere a bit higher and your voice and lower your chin on the highest though, some are low and the boys sing, happy birthday in that style. I don't mind you really have it up. Take the mickey out of Katherine Jenkins if you must, but let's go for it. Happy birthday to you. Happy birthday to have you. And we especially want to hear it on the higher notes have made. That was should really be ringing. 17. Voice Qualities: Belt: You know, give me and I started looking at that. Does that cause maybe demonstrating what I'm after. So there is one more book withholding and that is bent. If you watch boots kinda X-factor, the voice shows there are people that believe belting the living daylights out of everything is good singing. Not necessarily, but it is obviously a really impressive song when used in the right place. And so if you've felt to the entire song, It's a bit like typing in capitals that would make the audience feel. Yeah, I don't know if there is a difference between 21 and 22 with time like this, when words belt with solid like this one. Hello. It's a high intent to make high volume solid. I think it's completely safe. If you do it with good for it is not safe. I'm told if you do it with Blackboard or if you just shocked. So if you're doing this exercise, we're attempting to belt, you feel any pain, any scratching, that's a new voice. Stop. Message me and I'll try and work out what's going on. But any discomfort, you just don't want to go back. Okay. But honestly of interesting. So what do we want you to do is to look into the distance, find a spot to Sarah and say, Yay. Yeah, let's just say that again, EDTA. And then let's turn that in tune. Note. You know, when we make that solid, what we're doing, it's tilting the cricoid cartilage at the backward larynx. Remember when we made the operatic telling me we're tilting the thyroid cartilage at the front. So if life actually helped to lean back on your back foot pull your arms back a bit. Yeah. Okay. So let's add some notes to that BA moving back yay. Note you count felt through the whole of your ranch. There is a point where your voice will just flip until felt center because it can't get MCI because tilted backwards, your library's kind of trouble up that far. So let's just try it somewhere. But higher. Say if you can do this, you come to o to about 200 dying, but try it somewhere lower. Good stuff. If it's too high for you to bounce me big melting, just use Antoine a strong dwellings and actually I think goes, it was about that. So I'll try them at higher. I might just use Twine at the top because there was no way I was going to be able to belt that pie. So you should be able to belt on, on after UP belting, your voice should be clear. There was one fins contents to form the X factor in the UK who belted write a song. And afterward she was speaking like things that are selling, but you would have used bound form. So people often mimic crystalline because my partner own recordings, but we really do want to pay attention to your form in the sand. So if you want to break it down and do them for a couple of days, if you haven't already maxed at this site, then the rescaled adding more nodes. Yeah. And then progress on to sing what loop to count and content and belt. That would be a good idea. And remember in the recording studio, mike is just going to hit Bounce be. There are ways of recording it, but it is problematic and sometimes actually to use a strong twine silent can be the better option. But live belt is very, very effective you there as well. But et cetera. 18. Identifying Voice Qualities: To do is see I don't see you. Just one more. Speak. 19. Project: Easy Songs: Now we've learned the technique. It's time to actually saying, no, I can't actually share karaoke videos as part of this course because I don't own the copyright. But I'm just showing you some searches on YouTube that will get you the backing tracks to the songs I'd like you to sing. So the easier or songs that you might want to try singing, just to begin with, Our for the girls, Ellie Golding's high loan, will I love you? But if you're a guy and you want to sing that, that's fine. And then for the guys, I know it's a little bit cheesy, but it's a great fun song. That's what makes you beautiful. So you can try a couple of different videos. You can do searches for hire and lowercase for certain songs that might make things a little bit easier for you. Find exactly the right key for you. And let's have some fun. 20. Project: Moderately Difficult Songs: So the moderately difficult songs that I'd like to cover are, I can't help falling in love with you. Again, you can search for hire or lowercase for a version that really suits you. Or you can also sing a very up-to-date song. Billie Eilish, is it now she does that kind of baby voice thing at the start. You may or may want to do that depending on your own personal taste, but that's basically a light falsetto. So there's a good bit of technique coming through and the songs and this section. 21. Project: Difficult Songs: So the difficult songs, if you want to work up to them, are, let it go. Now, I know that at 1, every three-year-old in the world seem to be singing it, but it's actually a really difficult song. It's got a lot of voice qualities and especially that big bouts. The pitching. All of it is quite difficult. It goes really low at some points. It's something that really does need some work in practice. So let it go as one option. The other is, who wants to live forever? Again? With songs this difficult, you want to make sure they're an absolutely the right key for you. So spend some time finding the right backing track for you. Of course, if you play guitar or piano or another instrument and you want to accompany yourself, That's also completely fine. And I'm really looking forward to hearing some of your recordings. I'll basophils. 22. Commn Vocal Problems: In this video, we're going to talk about some of the common vocal problems that people email me about all the time. So if you've ever experienced any of these things, don't be to write, these happened to a lot of people. The first problem that a lot of people experience, and I know I've experienced, It's tightness and constriction. And we do have a whole video, all not in this course. So it's something that can be fixed. It usually happens around the break in the pistachio. And once you start getting nervous in one place and your voice, then unfortunately that tightness can spread. So when you fail at first happening, stop singing and, um, do this little exercise that we mentioned earlier, the Darth Vader. So you're tightening and loosening your voice. I'm trying to maintain that sense of an open space and your larynx or a lax larynx while you're singing. Don't worry if you've got constriction, it's something that's easily addressed. The next problem we're going to talk about as a loss of vocal range. That's normally just because you haven't been singing It's much recently. Any muscle that you don't stretch becomes a little bit less flexible. So if you do the siren exercise, some sliding fits, you should get your range back. I am certain occasions there are more serious things that can cause a loss of branch. Acid reflux can actually cause a loss of vocal range because it creates mucus which forms like a plug on your voice can't travel as high. So if you have a persistent loss of branch, it's actually worth checking light with a doctor. There's a number of medical things that can cause that. It's not usually anything serious but you know, any change in your body at all worth running past someone medical. The most serious problem you could have with your voices, hoarseness or lack of clear tone. A singing teachers, we listen when someone comes to us for lessons to hear if they have clear tone, in other words, when they spake as it all voice coming out, that's clear tone or is it part voice, part where now some people just speak like this. But if there is air escaping, that suggests that the vocal folds are not coming together properly. And something and the mechanism of the voice has to be causing that to happen. That has to be checked out by a physician. So if your horse don't say and don't get lessons until the horse, this is result. Now normally it's caused by something fairly simple. Just a standard cold or flu or infection. Not usually anything to worry about, but it can be caused by something called nodules, which are little hard lumps that grow on the vocal folds and stop the vocal folds from coming together properly. And so, as I said before, and a change in the body or any persistent problem, it's worth getting checked out by a doctor. A lack of par and the voice that is addressed by the twang. And you'll find answers to this problem and the projection section. If you don't have much for twang in your accent, if you happen to have a very soft accent, then making a twang sound will feel alien to you. And it could just take some time to pick it up. And if you push your voice a little bit too hard, you can waken it and lose a bit of par if that's the case, and you've got a loss of part with hoarseness, then that's time to seek medical help. Another problem that people come to me with is people who've sung in a classical way or come from a classical training background or sang it in classical acquires who've decided they want to take up other genre and they have a sort of permanent the brothel when their voice and their voice might be tilted forward so they slightly speak like this. So I dig slightly let their swallowing that can be resolved using the Twine. In fact, you should practice all the speech qualities including Opera and tilt incidentally, but especially twang and speech. And that will counterbalance the vibrato and do that little exercise where you take the Twine through the whole of your range. If you want to assign more classical, if you're interested in pursuing that signs, then study the video on Opera and tilt as to high to make that song which is a beautiful signs within the right context. There is point and classical training on to be an opera singer as seven years of training, as long as you've been trained for medicine, where there is a point of no return, your larynx becomes tilted on that as the signed, you will make the very, very, very sure that's what you want to do before you sign up for a Conservatoire on go don not road is all that I would say. If there are any other vocal issues that you've experienced, feel free to post them in the Q&A and we'll chat about them there or feel free to get in touch with me privately if you would like to. 23. Vocal Health: Very important topic not, um, please don't feel tempted to just skip past this one. It as vocal health, if your voice isn't healthy, then your ability to make the sun's light you want to make is going to be very limited. Also, you need your voice for your social life, your working life. It's one of the most important things that you have. The single most important thing you can do to keep your voice healthy is to drink lots of water. And especially if you have a big game coming up. This is because your vocal folds that come together when you speak or sing are coated and mucous membranes called your mucosa. They're obviously mid of fluid, so they need to be kept moist. And when you drink a glass of water, it takes about two hours to filter Roger body to all the different places that need it. So, you know, if you're singing regularly, you need to be drinking water a lot. If your voice is very dehydrated, I bet crochet, and you've got a cold. One brilliant thing that you can do is just to breathe in staying, just fill a mug with boiling water, or you combine that with vocals neighbors, they're not very expensive. A bite. It ponds and the UK. And just bringing them the state because then the moisture passes strip over your vocal folds. There's certain things that you could be doing that might dehydrate your vocal fold on ankles you're signed to suffer. These include smoking, not being judgmental here, but if you pass piping hot smoke straight over a mucous membrane, obviously, it's going to dry it out. So you would need to be drinking a lot of water and anything di erratic, you know, anything full of caffeine. And I must admit that I have a Diet Coke addiction myself will strip your bony of moisture. When I was training to be a singing teacher, they told us that for every cup of coffee that you drink, you needed to drink four glasses of water and to make up for the dehydration that it causes. So just keeping that in mind. Very important when you're singing to both warm up and codeine. The best warmup exercise is the siren. But we looked at earlier on, don't wear your voice ICT and warming it up. You don't need to warm up for half an hour before again, but a couple of minutes is helpful. And also looking at posture, getting your posture nice and healthy. If he calls me, think of engaging your lats. We want to engage core muscles and singing. That's really going to help with sun. Quite often, if you're in acquire your singing and skill, the teacher or chorus master might get you to warm up but not killed on. And it's also important to count on. So if we want to loosen the muscle, this exercise is also great for the African tight and so constriction in your voice. We want to loosen the muscle, we type it bursts. So if I wanted to loose my shoulders, I would do this. Tighten and loosen. The way to do that with the voice is like this. Cory. Did you see the movement my larynx there? Query. So you just go to the end of your breath and that little creaking sound and then that the voice go. Another exercise you can do if your voice is very tight constraint and it's called the Darth Vader at sounds like this. So it's tighten and loosen. And that sense of openness. And you feel that sense of openness when you do that exercise, you want to maintain that sense of openness through audits. You're singing. Whenever you're singing, you always want to feel that space is called the inner smile. I know that's cheesy, but I didn't name it that. So if you have that space, you'll be making a rich goes on if your voice is tight, especially if it's tight when you're shifting gear between the middle of your voice into the higher part of your voice. That's a very useful exercise for you. And coughs, colds, sniffles, students, sort of common ailments of the voice. The general rule of thumb is, you can sing through flam, you know, if there's been a gun just going on, you can shift the gang just by going and going and going and going and going and going. That's also a good exercise for those of us who are imagining and that it will stop that sort of wobble that can sometimes come into older people's voices because it keeps your soft palate breakable. But if you have any flam going on, it should hopefully get rid of that. Do not clear your voice. Do not go. Because that's like taking your vocal folds of sand, papering them together. That's not a good thing to do. Much better to just have a sip of water. You can't do that to swallow, but don't try and hack up plan. Don't mean to be gross. Like there are certain things that would be a sign that something is going quite wrong with your voice. Nodules are a common condition that affects people who are singers, also people who are teachers or lecturers who maybe work in call centers who are talking a lot all day. The sign that something like that might be going wrong is that you don't have clear tone, that there's air coming out as well as voice. Because air is coming out as well as voice. What that means is your vocal folds are not completely coming together. There's something obstructing them from coming together. So if your voice starts to sound like that, you really do need to consult a doctor. Quite often. They'll give you what's called Lauren Oscar bait. I've had at both for medical and for research purposes. They stimulate the three bureaus who get done so they can look at your larynx, your voice peers in the screen. It's actually quite fascinating. Well, I think that is, if you're into that sort of thing, you can see Lauren or SQL-based being done on U-shape. There's some interesting videos where you can see people doing the siren exercise we've just done on making the twang side under endoscopy so that you can see what's actually happening in the voice. So if you search on YouTube for siren, twine, Lauren, Oscar bait, several of those videos will come up. If that's your kind of bag personally, I find that kind of thing fascinating, but I appreciate that not everybody does. And if you have any questions on the care of the voice and high to keep it healthy, please feel free to send them to me. The other point and vocal health that I'd like to make is that many people believe if they're a singer, their voice is their instrument. That's not technically true. The whole of your body is your instrument. And if you have the kind of text neck thing that people get, this dead edge, three big Over screens all day, the rounded shoulders, back kind of thing. But it's also quite bad for your singing. So I'm just going to show you one little exercise that will help with your posture for singing. Okay. 24. Conclusion: If you would be interested in one-to-one tuition or just in finding out a little bit more about my teaching, you can visit my website at www dot singing lessons and I.com. And I, as in Northern Ireland, I have a blog there which is completely free, which covers a lot of different topics to do with singing, songwriting, and the music industry. Once again, if you have any questions, if you'd like to get in touch, you can do so through my instructor's page. And, and I really hope that you've enjoyed the course. Thank you so much for attending.