The 4 Basics of Singing - Become a Great Singer | Gabriel Mendonça | Skillshare

The 4 Basics of Singing - Become a Great Singer

Gabriel Mendonça

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4 Lessons (32m)
    • 1. Breath Like A Singer

      9:53
    • 2. Make Your Voice Heard - How to Project

      6:44
    • 3. Make Your Sound Brighter - Add Presence

      5:06
    • 4. Stay In Tune - Improving Your Intonation

      10:44
45 students are watching this class

About This Class

This course was made to turn complex singing technique into simple exercises and insights that will help you to succeed as a singer. These 4 basics of singing are just one module of our full course: The Fundamentals of Singing. 

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Mastering Your High Notes - Singing with Confidence and Power

Transcripts

1. Breath Like A Singer: Let's talk about breathing but breathing. That concerns the singer because we'll breathe and it's not like I have to practice breathing. But as a singer, yes, I should. I should do some breathing exercises. Learn how to do some reading exercise so that I controlled better. My diaphragm dia firm. The singer is expected to utilize the diaphragm for better control. Better support. Better sound. Why is this important? Because the air that we put in the diaphragm creates a column. A column off air that will support our tone are supposed to singing or speaking breathy. For example. My tone is supported as I'm speaking to you, but right now it's not. It's my breathy voice. That means I had no air. I did not create the column. We breathe through our mouths and we put air in the diaphragm. So as you will start noticing, this area will start going forward. Okay, and if I really is the air that I just took, if I blow it out this we'll go in and we will address that with some exercises in a little moment. But for now, it is important that you try adjusting or start experimenting with your breathing. So what's my first goal? I want to be comfortable breathing through my mouth. And I should start feeling my their friend expand toe the front. Okay? And when I am done with that air intake, I have what's called a column of air that supports my tone. If I didn't have this column of air, I would be speaking basically breathy without no tone support. Okay, so let's do some breathing exercises. What is our intention on the count off? One to expand, to breathe. So are their firm. Goes out. And on the count of two, three and four, we're releasing the air by blowing it up. So one and then 234 patiently, we released their demonstrate one my areas out. Do it again. One quick breath release. Good. Now the opposite can be also applied. I can breathe on the count off three and then release it quickly. So one release All now, 234 I'll be taking it. So what? Blow it out. There is one one. And so that's how singers breathe quickly and they're able to sustain notes for a long time . What? What is a long time well, we want to be able to hold a note up to or even more than 30 seconds. That's a lot. Well, that's a lot for the ones that are starting, but in no time that can be achieved if we work on it. Let's say if you can hold in. This is a nice experiment. Is a nice test too, um, for you to measure your progress and for you to measure where your art or your where you're standing right now, if you hold a note on the 10 seconds means that you're not breathing properly, meaning you're not putting air, you're not creating the column. If you hold the note 10 seconds to 20 seconds, you're an average student. If you hold, I don't know, 20 seconds to 30 seconds. You're a very good student. That means that there's a lot of progress, and if you can hold it longer than 30 seconds, means well, you know, you can explain that diaphragmatic breathing, which that's what we're talking about right now. So I've mentioned that we want to breathe through our mouths, kind of like yawning. If you're yawning, you're very relaxed. Your throat is relaxed and you're taking a lot of a right when we on its because our body in its air. So I'll breathe. I'll take that breathing. I'll put the air in the diaphragm. I'll create that column and I will start holding a note way towards the end. I'm done so it's very tiring this exercise. I suggest if you do it toe, allow a few seconds a few moments so that you get regain your air and relaxation key things that I was looking for a while I was holding that note. I wanted to I tried. I really tried to be relaxed. That means I want my heart rate to be slow. Another thing that's very important is how you approach that first at back off. Your sound of your note if you're attack is breathy from the beginning, you are allowing the air to escape too fast does you won't be able to hold it for longer. So I'll demonstrate Breathy attack, huh? Did you hear that? Huh? Most of my air just escaped. Think of a balloon full of air. You have the mouth of the balloon writer holding the the valve of the balloon. If you allow that air to escape too fast. It will go and you lose their. That's exactly what happens when you go. Ha the air just escape. So let's rewind. Let's think of how can I regulate the air like a balloon again? Imagine if you if you just squeeze that mouth of the balloon and allow a little bit of air to escape, will go right. It's not gonna go. So my tip for you is Have you ever cried or started complaining about something? Why, ah, you can also use the word mom or the suitable mom. Mom, how many of you have done that? When we were kids, right? We all called our moms and we wanted something. So part of getting her attention was, uh, what's going on? If I admit that sound I'm really controlling. I'm regulating the escape of the air through my vocal folds. It's not It's not breathy. Uh uh. So when I demonstrated the length of my note, there are utilized that tip Ah, I didn't go. Ah important. So that will help you sustain longer notes. Just the attack. Just thinking of the attack. Ask yourself when I sing. How do I approach my phrases. How do I approach my attacks? Are they old? Breathy? Mm. Then start practicing. These start including these steps to mollify your attack and you'll see that you'll have better control, better length off notes and seeing how you progress and how it changes your sound. How you improve your sound, especially for long notes for sustaining notes. 2. Make Your Voice Heard - How to Project: Okay, let's address projection. Projection is how our sound is transmitted outside our body. Okay. I'll demonstrate how many people sing. They basically saying with their lips slightly parted Ah, As you see, my lips are rather closed. But if I start opening up dropping my jaw, I'll have better sound from Ah, right. Ah ah a little louder. What happens if we go all the way down? Think of eating a sandwich. Think of eating an apple. Ah, my mouth was open. Thus I gained more violent. I'll demonstrate all three sounds that I just talked about. Ah, huge difference just because my draw drop What is happening? Why why is this so important? Why is there's a huge difference in my sound. It has to do that. There's a golden or a sweet spot when our jaw disengages right and goes all the way down. Imagine if you will A saxophone, a trumpet, trombone They all have a what we call a bell. That's the end. The round end. Well, at the end of the instrument it vibrates. It resonates. And that is what amplifies the sound. You're blowing air just like we When we sing, we're blowing air, but it needs a resonator, and when we drop our jaw, it engages all our facial bones. Thus the bones start by grating and amplifies the sound. And as you heard when I demonstrated we had a huge tone, I wasn't trying to be louder. I was just relaxing my jaw all the way to the bottom. So projection has to do with how big How how long, not white? How long can my job job good? That is a huge component. As I mentioned before, the other huge component is how to open up my throat voluntarily. There's a catch there voluntarily, and this is a question for you. How do you open your throat voluntarily? I don't know. Good. Okay, the answer is, try to yawn if you yawn. And this is one of the most easiest things to do. Yearning right, we all young. If you're young, you're voluntarily opening up the throat. What's going on? Your voice box lowers yourself Palette. Raices does from this type of position, is going like that, meaning it's really open, really open as as big as possibly so. The combination of dropping the jaw and opening up the throat voluntarily increases even more the volume. So I'll demonstrate the dropping off the jaw and then I'll open up the throat on the next step. There's even more sound because I'm opening. Hopefully that you heard the difference from Ah, the tone increases just because I'm doing that great tip. Right? Okay, Now let's at another step. Think of if I shoot an arrow straight, I'll probably hit my target. But what happens if my target is further away? I would probably have to increase the angle of the shooting, right. Instead of being direct, I want toe. Then throw it above the same thing happens for projection. My tone this way is direct. Ah, but what happens if I raise my head slightly? Maybe 10 degrees, 15 degrees? Listen to the difference. Ah, that demonstration. I'm sure you understand the value of racing the head slightly to gain more volume. So let's recap at this moment. I want to be able to drop my jaw, hold the way down. I want to open up my throat and I want toe angle my head slightly upwards so that the trajectory changes. Okay, I hope demonstrate. Ah, those are the three components. First I dropped my job. Then I opened my throat. And then I increase the angle off projection, meaning or direction. That is what we called projection. I'm inviting all of you to start thinking about this and start practicing using these tips to improve your tone, your projection. 3. Make Your Sound Brighter - Add Presence: presence. Mm prescence. I've had students who tell when I asked What is presence for you? My student will say, Oh, being happy? Maybe. Maybe that's part of it. Hold on. I'll give you the answer. Um oh, being in command, being confident, that's presence. Yes, that's also part of it. But how does it relate to our singing? How can we include presence and are seeing effectively? Well, very simple. Can you say the smile word that is presence. What do you mean? Let's talk about that. Let me explain. Imagine if you will a guitar amplifier, guitar amplifier or a stereo component for those who have stairs. It's all these but goodies. We have tone controls. We have base a tone control for the base, a tone control for the midrange. A tone control for that travel base means lower frequencies, midrange, the mid frequencies and the travel. The high frequencies. Well, we want to find high frequencies on our voice. If we start smiling, our tone from being in the back off the throat will become a little forward and think of your teeth as that control of trouble that brightens of the sound. Mm, I don't get it. I'll demonstrate. Listen to my sound without me showing my teeth and listen to my sound. When I smile, you will here a difference and its brightness that you will hear. Ah, that's the difference. Mm. Okay, but do I need Teacher? Do I need to sing with a smile all the time? Mary are a little, uh, no, it's not that we smile at the end off the phrase that we're seeing Does we go from being completely comfortable and natural with our facial expression to having a smile, which is double, um intended It does make us brighter in sound, but it also makes us a little bit more friendly Any time that people smile to you, right? It's like, Ah, so allow me to demonstrate something as simple as Mary had a little lamb with the presence meaning the smile at the end Off my release, you will listen to my voice without smile first. Then you'll hear my voice with the releases with the smile. Mary had a little, um, little I'm a little, uh now with the releases with the smart Mary had a little lamb. Little I'm a little, uh there you heard the brightness that the teeth that showing the teeth adds to our sound just again, like a trouble control on guitar amplifier. You can you can brighten your sound. I invite you to explore this. I invite you to experiment with this again at the end of your release. That's where to smile. It's a matter of fact. Many singers. You'll find this across the board. Many singers that's a well known technique. They use that all the time. The queen of that technique of presence, of showing her teeth and her smile. Mariah Gary the Queen Um, and again, many singers used that release. Not on Lee. Four. The visual because you become more charming, if you will more accessible not only for that but for your sound. And that is a great tip, a great technique toe start experimenting with and including, and the way that your singing Thank you 4. Stay In Tune - Improving Your Intonation: Okay. Here. I have a great tip for you guys. Those of you who do not play the instrument, the piano instrument electric instruments have basically perfect toning. If you start playing guitar, the guitar make may go out of tune. So it's not a reliable instrument, too. Depend Dugit. Dire is not. And because it goes out of tune, it's not the proper instrument to have close to you. While you're learning about Internation, what is Internation? Internation is listening to a particular note listening to a particular pitch. Okay, In this phone, I added an app which is a piano. It has basically an octave meaning eight notes. But it also has the Black Keys. So that means I have 12 Basically 12 12 half steps Now I want to start with something simple. So this I'm choosing the first note of the keyboard. That note c four I played it a few times. So you hear it? Ah ah! And I'm trying to recreate that pitch, so I have it close to my ear. I'm listening to that pitch. Ah, Can I sing that note a few times or am I hearing my my tone go a little up or a little down . Yeah, that's what we call if it's a little up. We call it sharp, and if we call, if it goes a little below, that's what we call flat Manny judges. If you've seen American Idol or any other beautiful production of those type of shows, the judges may say you're pitchy, meaning you're out of tune. But where? All over the place, Meaning you may go sharp and flat. So it's very important for us to develop the proper sensitivity to a bitch meaning a note. And how do we improve that by every day listening to these notes and by recreating meaning that that's I wanna by itself. Ah, can I sing that note again? Ah, now let me demonstrate. I'll play this note, but I'll sing a little above the pitch. This is the proper pitch. Ah, see my pictures going above. It's not exactly where I want it. What's the bitch? Ah, that's the proper Tony. What is it to be to be flat that I'm below? Ah, see my pictures Glowering? Ah, uh I'm singing flat. What's the bitch? Ah, I know where it is. I've developed the sensitivity over the years. Yes. Can I do it over the months? Yes. Can I do it over the weeks? If you work hard, we want to do as much practice as possible. Some people have many hours to practice. Other people have. Bc schedules. They do not have that much time. So try when you're practicing again, paying attention to the mechanics to have fundamentals and by honing by developing that sensitivity by developing the pitch by developing your ears and develop your pitch. Develop your tuning as best as you can by doing drills by practicing by doing warm ups by doing all of the things that we've mentioned before. No, these are the tools. Ah, that will help you gain control and you'll start applying this into your interpretation. So that means that I should. I should be able tow, find comfortable notes. Right? That's a C four is a comfortable known for me. Ah, but I don't have to just sing that note and Ivory repeating and repeating and repeating and repeatedly I basically want to memorize how it feels in my body. I want to memorize how it sounds, So I'm going 11 note at a time one of our time. One or at a time until I'm comfortable. Don't skip on this. Don't skim. Skim over. If you've got that, if you are able to hear that sound without pressing the key word Oh, uh, no, you've got to see I didn't present. But I know exactly where it is. Mm. Okay. Then we proceed onto an ex half step, which is going to be the C sharp fort. Ah, C four c sharp. Ah, See, that is half step away from the original C four. Can I go back and forth between them? Sure. Let's hear it. Uh ah, right here. No. Let's say that you're a beginner and you still don't have these two notes Very clear. Can you go? And when When do I know that I have them? Ah Ah, There are both notes. Very clear in tune. Can I go half step higher onto the four, see for uh ah. Next one. Ah, that is the four. Can I go back and forth between these? Ah ah ah there. I have the relationship between them. Can I go from the upper to the lower? Yes. Ah, I need to correct it. Meaning? I'm not sure. Well played. Ah, uh, See, I'm going slow. I'm paying attention to those notes, and my ear is becoming sensitive to those three notes. After you have three. Guess what you go onto the next one for notes. 4/2 steps. Which would be the e flat four or these sharp four. Ah, uh, that is the higher the sharp or the flat four. Can I go backwards? Meaning from up to them. Ah, oops. I recognize that wasn't the right pitch. What can I do? Played again. Let me do it slow. Ah, Uh ah ah ah! There I had those four notes. See, sometimes we may be a little out of tune, but if we catch ourselves being a little afternoon, then we should go back. Start again with one try the 2nd 1 Try the 3rd 1 until you have those three. Then moved to the 4th 1 from the 4th 1 I can move on to the 5th 1 But if I'm not comfortable with the 1st 4 notes in half steps, I have to really concentrate patiently and slowly. That is how to develop your tuning and tuning is so important. One of the basic skills that a singer must do Singer must sing in tune because if he singing flat, nobody wants to hear him. Her, uh, you run away. Second thing, Another skill that the singer must have is tone a tone. But we spoken about that. I need to project my sound. Okay, so do I have pitch? So I have tone Good. The last of the basic skills is I really am Do I have rhythm? Because if you're singing Mack Mary a little, uh, little, uh, nobody wants to hear you, right? People will go. All right, we'll go away with So you have tow practice Everything it could be. Certainly you can drill the Internation aspects, but you also have to drill the phrases off the songs that you're working on again. Patiently, slowly. Mary, uh, I heard the 1st 3 note. I focus on the first we note. Then I listened to the rest of the phrase Mary Hot A little, um, there is it into pretty much so then what comes after Little, um what comes after? Little, um high paid attention to my toning. I was patiently going through the phrases