Vocal Technique 101: The Foundations of Singing | Deanna Kangas | Skillshare

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Vocal Technique 101: The Foundations of Singing

teacher avatar Deanna Kangas, Professional Performer & Voice Coach

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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

11 Lessons (47m)
    • 1. Welcome to Voicehouse

    • 2. Using Correct Posture

    • 3. Breathing & Support

    • 4. Practicing Placement

    • 5. Contemporary Vowels

    • 6. Diction

    • 7. Volume and Projection

    • 8. Dynamics and Intonation

    • 9. Phrasing

    • 10. Chest Voice | The Lower Register

    • 11. Head Voice | The Upper Register

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About This Class

There's so many different singing techniques, it can be hard to know where to start, what comes next and which techniques apply to which songs?

This is why, after 14 years as a vocal coach and the Founder of Adelaide's largest vocal studio VOICEHOUSE, Deanna Kangas has designed a unique step-by-step program that helps adult beginners to learn the essential vocal techniques in an easy-to-follow, methodical order.

Learning to sing is just like building a house... and you should't build a house on a wonky foundation! 

Take this step-by-step, technique basics course derived from Voicehouse's exclusive signature program and learn the same program that our in-house singers learn everyday.

Like this course and want to work with a Voicehouse Vocal Coach? Book an obligation-free Introductory Session to see what lessons with us are all about. Click Here.

Want to access the WORKSHEETS & AUDIOS spoken about in these videos? Click Here.

Meet Your Teacher

Teacher Profile Image

Deanna Kangas

Professional Performer & Voice Coach


I am a public speaker, small business owner, and professional performer currently living in Adelaide, Australia. My interests range from business and entrepreneurship to health and plant-based living.

I am the Founder of Voicehouse - Australia's largest vocal studio specializing in working with adult singers and have been a professional vocal coach for 12 years. 

It is my purpose to spend a little bit of time each day helping make this world a better place. I'm on a mission to create the largest community of movers, shakers and change-makers and I will do everything I can to help others find confidence in their voice and speak up for those who can't.

My stage work includes 8 years as Poppi the Pop Princess in veteran children's group The Funkees and 5 y... See full profile

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1. Welcome to Voicehouse: Welcome to the Voice House Online signature training program. My name is Diana Kangas, and I am so excited that you have decided to take on this problem and learn how to sing. And I am so sure that you will learn the benefits of stepping into your unfilled potential almost immediately before we get started. I just wanted to remind you not to worry about the opinions of others. When it comes to see look, everybody is born with a different natural ability. It's true, and some people are better than others one night game. But if you put in loads of hot buck and hazing effort, I'm sure you will get away. Were Bay. It's the Sinus, anything in life. So please make sure that you look at all of the noise before you get started and just focus on doing this because it makes you happy. That's the most important thing. One thing you learn when you stopped doing something creative. Last thing is that is very much a matter over, and some people will love what you do and some people want, and you've got to understand that that's okay because everybody's taste is different. This program is both comprehensive but not exhausted. I have included all of the good and important stuff in there for you to learn at your own pace. On you will find a mixture off videos for each lessons as well as worksheets your lessons, depending on what I'm trying to teach you. So have fun exploring all different types of learning. Please make sure you interact with each one because that will help you to be the best singer that you could possibly be. And, of course, if there is anything that you are struggling with, it's important that you consult a professional voice coach or something. Who knows what they're talking about before going any further? There's only some things that can be taught in the classroom, unfortunately, but we will do our best to make sure that you have covered everything else that you can at now. There are over 20 core modules in the voice has signature program plus loans about the supplementary modules to help you along your journey as well. Each one does very in its content and complexity, so please take your time and make sure you understand +11 full moving onto the next singing is quiet learning experience like to compare it to doing house. You really don't want to build a house on a walking foundation if you want to make sure that that foundation is solid before you like each brick. So please make sure you spend lots of time on your core modules work really, really hard and understand that the boy onto the next one. It is never easy to recondition the body to do something different. In fact, it takes it up 21 days before when you have so keep at it. And most importantly, please make sure you study everything in order that I have set for you to achieve the best possible results on That's it for me, for this video. Good luck as you start this exciting new journey or as way stop is exciting journey together. So once again, if you have decided to do this program, I want to wish you all the very best of luck. I will see you in the first training video 2. Using Correct Posture: welcome everybody. Let's talk about posture. Posture is one of the most simple yet effective techniques. When it comes to singing, it's really easy to grasp, but it is important that you do it properly. So if you haven't checked out the sheep, it's attached this video already. I'd encourage you to press the pause button, download the sheikh, have a quick read through, and then let's follow one together so that you could make sure you get it right the first time. Now, this is something that is just going to have to become a little bit like have it. So when it comes to Portia each time you practice, I'd encourage you to use a graphic that's in the shape attached to this video and put it on your mirror or in your practice area when using and have a look at it every time. No one is really easy. Stand up straight. You don't want to be slouched over why you sing. You need to be standing up nice and straight number to have your arms hanging loosely by your sides. I have seen many things they don't know what to do with. There are people are always fiddling with things and grabbing onto clothing and moving around, and it just looks awkward. You don't need to do anything in particular with when you're practicing and when you're learning, it's best to just keep them loose by side just like this and really focus on the voice. Of course, this is going to change when you get on stage when I'm gonna talk about that right now. So let's just start with the basics. Now you have your shoulders back and relaxed. Obviously, many of us spent too much time slouched over as it is, so any opportunity to have good posture is good for you. But when it comes to singing, this will open up the chest and open up all the cavities that help the sound resonate. If you struggle with volume, especially, you need to work on your posture. So having your shoulders back and relax in a nice, comfortable position is really gonna open everything out and allow you to achieve the best possible sound, and you also want to Anke your feet on the floor. That's number 44 explore. So remember that one. Keep your feet and get on the floor about shoulder with the pot somewhere where you feel in your most solid starts in solid position, you probably heard of anchoring before. This is something that really helps when you sing it again. When you start to perform and you move around on check on stage, this might change. But with your practice sessions, it's good to start with the most solid posture as you possibly can. And last but not least, Number five is my favorite. Keeping your chin in line with your money. Too many singers tend to do this or a lot of this when they sing, especially to reach the highlights. People feel like they need to push the chin up to get more sandal to get up higher in pitch . And that's actually not true. What you want to do is practice keeping your chin in line with your body. So if you were to look at it from the side profile, just know not doing this or doing this and instead where you're singing if you need to get more sound, what you want to do is push your jaw down toe. Let this out there the way I like to describe it, is that singing our mouth is like a tap. The more you open the tap, the more water comes out. But when it comes singing, the more you open your math, the wall sound will come out. So if you feel that you are struggling with a big phrase or the high notes instead of automatically going to reach up to sing them, keep your chin still and open your door down and your mouth wide. Get into the habit of using your mouth. Not so that's it. When it comes to posture, it's pretty simple and easy. But like anything, repetition is key. So make sure you get memorizing those five posture cues and said in front of your mirror to practice, and I'll see you in the next video. 3. Breathing & Support : it's time to get sadder than our breathing. Now this is possibly the biggest yet most important topic. You need to know when it comes to singing, so let's just dive straight in now. Obviously, there are two techniques sheets attached to this video. It's really important that you read both of them thoroughly because they're going to hold a lot more information. Then what I'm going to explain to you in this video. The purposes of this video is for me to give you some demonstrations to make sure that you are doing it correctly. So maybe have a watch of the video, have a read through and then come back and re watch the video again to make sure you thoroughly understand what you're diaphragmatic breathing and support should look like now what we need to breathe. It's pretty simple if you don't breathe correctly in singing, unnecessary strain could be put on the voice, causing permanent damage later on, such as pullets and modules, which was touched on in the local health technique. Cheap problem breathing is also responsible for the strength and endurance in your voice, so if you wanna have a really big, strong voice, and you want to be able to sing lots of songs for a long period of time, especially if you think perhaps one day you might want to work towards a more professional career, that it's important that you plays a lot of emphasis on your breathing so that you can have a big long jam sessions and never have a problem. So let's dive right in. I want you to take a deep breath like you normally would and then out Now do it again, and this time I want you to really check in with your body and notice what happens and out now for most people, when they take a deep breath, they'll notice that they're breathing into the chest like a soldier. Deep breath in, push the chest out and then they let it collapse with a little the air out. Now, this is actually not the kind of bringing we want to use wind singing and that most of us have been breathing correctly our whole lives, and we didn't even know it. But breathing without Dia friend also noticed diaphragmatic breathing or belly breathing, which I'm sure you've heard of before, is most important when you're singing, it's great for meditation yoga. So this is something that once you learn it, it will serve you in many different areas of your life. What I want you to do is take a deep breath, and I want you to push the diaphragm out. Now the basics of it are is your chest is here. Your diaphragm is the big muscle at the bottom, off your lungs, and then your stomach is automated. Now, the reason we call the belly breathing or diaphragmatic breathing is belly. Breathing is a little easier to understand because it's really hard to control your diaphragm without using your belly. So if I said to you, can you please move? You're dying friend muscle Right now, you might struggle to do so. However, if I say to you, can you move your stomach muscles of your belly muscles? You find that easy into so in the body. If the lungs are here on, the diaphragm is attached to the bottom of the lungs right underneath. This is the muscle that controls the opening and contracting off the lungs. The big guy, a friend. It's right in the middle of the body So in order to control that, we're going to use all of the muscles in the belly right at the front and support right around in the back as well. Teoh, open up that muscle and help open up the lungs with. So when we take a deep within, I want you to imagine the going straight in the mouth all the way down the body into the belly and pushing down on that Die a friend. And as you pushed down on that dia friend, everything fuels up and expands. So the annual drive dramatic breathing is actually looking Spanish, possibly can. Then normal people freak out when they see that, but it is the best, the most effective way to get a hang of it. So let's go throughout. Eight simple steps or breathing with your diaphragm together, and this will help you get started. So number one let's place our hand on our stomach right at the top where you imagine the diaphragm to see and number two. I want you to imagine that there is a deflated balloon sitting right in May, where your diet friend is ready to be filled up. Number three, this is where we take a deep breath in and fill up the balloon as much as possible. Here goes deep breath. Push it out and number four is when you gonna let it and imagine the balloon deflating. Let's try those steps again. Number three. Fill up the balloon. You could breathe in your mouth or your nose, whichever one you prefer. And then let's let all the air out with before you notice that the breath out will take longer than the breath in. Now let's repeat this one more time for Step five, and this time we want to make sure that your chest is not doing any of the work that it shouldn't be. Your chest move a little bit, but we want to keep it relatively still and make sure that we're pushing all of the air into the lungs. You kind of little legend, the lungs filling up from the bottom of the belly up to the top of the lungs, not the other way around. Don't try and put the air up here first. Put it all the way down here. First, let's try. I'll do this one for you on the side, so deep breath in. We fill up the balloon and then we let it out. I notice my belly. We'll do it again. Better that some people's bellies with more than others. And that's OK. As long as you feel like you're getting as much air as you possibly can each time you breathe, then you're on the right track number seven. Like I said before that, I am to look as fast as possible. When we do it and number eight. Repeat the exercise, and this time, instead of putting your hand on your diaphragm on your belly, probably hands on your sides, because this is really going to activate your support. So let's try one more time. Let's place those hands on your side at the back, kind of at the bottom off your rib cage. You don't want to slow down. Otherwise you won't feel anything into hip. So up back on the bottom of your reef rib cage, let's take a deep breath again. Rock down into the DIA Friends on what should have filled those muscles. Push up on your hands. Let's do it together. Deep breath. I let it out, and once you get really good at it. Your entire midsection is going to be able to expand one more time. Put one hand on the side, one hand on your belly. Let's do it all together and let it out. So how do I use this kind of raving when singing? You might ask, and that's a really great question. When you're singing, you want to take a deep breath in at the beginning of eight song at the beginning of each sentence off price. Once you take a deep breath, you want to hold that Aaron, and you want to sing whatever you need to sing, and then when it gets to the end of a sentence is only a little bit amount of time. You don't want a little lap. You just want to top it up and get ready for the next sentence. But if there is a big break in the music, then you've got plenty of time to let it all out and start again before you begin the next sentence. But make sure you have plenty of time if you're going to do that in between. So again, day breath in before life, fill it up, sing, sing, sing sing Sing. It is only a small amount of time. You just talk it up and you want to make sure that you keep it topped up at all times right to the brink. Because, as you might have figured out, when you see breathing is everything, If you've got no air left, you really can't sing. Nothing comes out, so make sure you keep that topped up. And then when you come to a relatively large instrumental break in the music or one that gives you enough time, toe little the air and start again, make sure when you start again you give yourself plenty of time before the next sentence. We never want to be breathing into the sentence you don't want. I don't sing, sing, sing, sing, sing you always want. Like I say, breathe, pause and then give yourself enough time for at least once. That can pause before your sentence to make sure you're not letting all of the air out when you start singing and keeping it where you need it. My last year is when you're singing in aspic, note or long fries again. Take that deep breath in, give yourself plenty of times, and then you can use your belly muscles to really squeeze your core while it's full of breath and activate those muscles to support those big nights. So you take a deep breath, hold it and squeeze those muscles, push out those big notes, and that way you're putting all the pressure here and not putting any strain on the throat where we don't want it. 4. Practicing Placement : placement has to be one of my favorite, if not possibly my favorite technique when it comes to see on. That's probably because I personally experienced the utmost improvement in my voice when I learned proper placement. It wasn't until I studied T University that I really understood the importance of it. But the basics are that placement refers to the way that you place your mouth when you sing . Now this is really the reason why some people are naturally better singers than others, because some people have a naturally better placement in their voice than Alistair, for example, I have a particularly nasal voice, so I had to learn a lot of places to help me correct that, especially when I was singing. And some people have a good placement. The math is nice and open. That's why we experience beautiful times and then some people. Placement is a little bit closed up, and that's why they want stubble, nice pitch and getting the sounds out. In order to learn proper placement, we need to first find out where our soft palate is now again, I want you to have a look and read the shape that's attached because this will, hoping to really understand you might be most useful. That impress, pause, have a read of the attached techniques she and then come back and pick it up with me. So locating yourself palette what I want you to do is, once you have a look at the diagram on the attached sheet, you see exactly where the soft palate is located, and now we're gonna live in how to find it together. So place your tongue. At the Riverview Mail, you can feel it's a bit hard that's called your hard palate. Then gently move your tongue back. Not too far, just enough until you feel it. Get squishy. Did you feel a change? That's yourself color. And that is the thing that we are focusing on. Lifting went singing. The soft palate is kind of like a little flat at the back of your math right at the back of your throat. And when you fight in your math, the self felt lives up with two. Just like that. Pretty straightforward. So obviously number one opening your mouth when singing is good placement, but it is important that you or your mouth right from the back. A lot of people try and open the mouth from the front that's going to give you a sore jaw. It's going to push the voice too far forward and overall, is not understand is great because you might effectively strain a little bit, too. So when you open your bath and singing right from the back, kind of like your Oh, if you do your or try and even fake you on until you, your you all of the back of your throat open up, it feels wonderful. And that's the kind of space that you want to achieve in order to allow the sound to come all the way through when you see. So if you take a look at that diagram again, you'll see how easy it is for the sound. Also go the other way. If the mouth is not open and that flag disclosed it has two options, so some of it will still come through your mouth. But a lot of it might come through the nasal cavity, and I find that with me personally, this can happen very easily. So if you feel that you've got a particularly nasal voice or if you've been told that you see nasal, you need to make sure that you're really giving that soft palate a little bit of extra list to make sure you block off that passage. And little, the sound comes straight through the math. The other reason that lifting of soft palate is super important is to make sure that your airflow isn't interrupted When we open the map, lift up the soft palate and we level. The sound comes through the mouth and not coming through the nose in the mouth, and it doesn't know where it's going, and you can control the air flow and let the disperse because it has more room. So if you keep the math small and you're pushing a lot of breath through it, you'll notice that you get a really bright the sound when you sing. However, if the mouth is open that a dispersed adequately and you won't have that kind of whispery sound when you see not only that, sometimes, stylistically, a little bit of a risk free sound might sound nice in certain songs. However, most of the time, all it does mean that the singer runs out of breath way too often and finds it really difficult to get through a sock to sounds that will always come through the noise, a matter what you do and they let us and and so a really simple exercise. It's just a home. One of those letters and then brought you night. You'll notice. No matter how hard you try, my sound will come out. So when you get two sentences that might have a few EMS and ends in them and you struggle with those names of sounds, just make sure that you really concentrate on giving him the extra lift on that will keep everything sounding as smooth and as clear as possible. There's living to the back page of your sheet, attached there to exercises that I would like to do together with you on. The 1st 1 is tongue tied. This one really helps. So what? We're gonna do a single line of yourself? And even if you don't think your nasal, I want you to try this anyway, because it's really gonna help with that soft palate bigger line to any song. Maybe it's only your learning. I'm gonna pick one of my favorite songs Born this way by Lady Gaga and I'm gonna sing the first line. Mama, Mama! Toby! When I waas young, there we go now is tongue tied. What you want to do is go back and sing that line again with your tongue. And I know this is going to look and sound absolutely ridiculous, But trust me, I promise you're gonna see the difference afterwards. So it goes like this. I know you feeling silly enough yet crossing the line again. Mama told me when I waas what you notice is how much more opened up the line sounds after you signed with your tongue poking out. But let's go through the full steps on how to think like a pro together Number one is always said in front of a mirror How can you correct something if you can't see it happening? I personally used to resist doing this so much When I was younger, I was always taught to sing in front of a mirror and then I would go home and I would not look in the mirror because I hated it. But when I finally realized that I wasn't improving the right that I wanted to, especially When I was at university, I stood in front of the mirror alone. The whole I saw quickly improved after noticing what I was doing wrong myself. Material like I mentioned before is open. Why, right from the back of your throat, Let all the sound come back here. Sometimes it's even useful to imagine that you master is situated right there on the back of your neck. And all the opening is coming right from their number three is to make sure you relax in your drawer at the front. Don't have a locked jaw. Always it's gonna get super sore. And it's not gonna sound the greatest either. Number three is to make sure you relax in your drawer at the front. Don't have a lot draw always it's gonna get super sore. And it's not gonna sound the greatest either. Now, before is always have a gentle smile. This will help you to position everything in the correct spot. Now, of course I know you're gonna ask me, but what if I singing a sad song practicing the sad song with even the gentle smile first and then once the technique is flowing, you can adjust your bath for performance purposes lighter 5. Contemporary Vowels : now vows, is the final off our foundational techniques. And it's one of my favorite topics when it comes to singing, because vows are such a huge part of what we do at singing's you see in the English language, there are five outs, a, E, I, O and U and this similar values in other languages as well. And there's sometimes it's different vows. But these are the ones that we're going to focus on for our contemporary singing today, and that means that all the rest of the other letters in the alphabet are referred to as constant. So when you hear me talking about vows and constants now, you know the difference between the two. But right now we're going to focus on vows. So the region, one of thousands so important, is because without them, our voices would just be a Siri's off disconnected sound. So, for example, if you were to try singing of our like a ah, you could hold it, it's pretty easy. But try to do the same thing on a continent like if, unless you really go s and put an air in front of it. A vow in front of it. You can actually hold the note, but boom, you can't hold it. The constants are very disconnected. The vows, other sounds that look. So we're going to walk through placing each of the vowel sounds today on this content some time to get used to. So make sure that you bear with me. The best thing for you to do is to have this video make sure you have your worksheet out as well, because there's a lot more information in there that will help you and work in front of a mirror. If you've got all three working together, you should be able to do it. Now, this is gonna be awkward at first cause you're gonna sit there. Are you gonna do funny things with film out in front of the mirror? But I promise you, it's really worthwhile so each Val can have multiple sounds which we're going to outline together. But basically what I need you to do is understand that each one do have some differences and similarities. Have your mouth open wide right from the back with no attention of lifted south palette, a soft smile and a loose, relaxed jaw. So this is the part where I'm going to sing in each of the fast sounds with you and help you see what I do with my mouths In order for you to help position your bowels better. The math position is basically what the vows are all about. So we need to work really hard on this. But what I want you to do is pause the video here and grab your worksheet and read the section on a first that's got all the information as to what you want to do with your voice . And then I'm just going to show you the sounds with you. So pause. Have a rate. Now you've come back. Let's do this. Sounds together. So the 1st 1 is a which needs to be like this. Okay, you can see the position of my mouth. I a. The next one is at that is more of a harsh down. It goes like this. A math wise, it looks very similar to a but a is a bit wander on you really drop your drawer and then the last one is our eyes where you find more open and more left in the back of the throat, giving it more of a round and sound good. Now pause the video and have a read through off the e sounds. So the duty sounds. We're going to cover a E and it both quite different. E. Sounds like this e you really need a big cheesy grin. But the trick with the is to try not to close the back of the throat. Otherwise, it's going to sound like this. E That's not what we want. You wanna open the back, even though the front is relatively closed, E and then it is kind of similar. But you gotta drop the George down to alarm will sound out and more around it sound and again right from the back. And you don't want to be closing that throat. And how you gonna get the best down down because the video and read through the I sounds for me. Now I have two very different sounds. I and E. So I was quite wide. I It's very similar placement to your A sounds. I you can see the way that my mouth is now within. Its kind of difference is very similar to your E sounds in some people even say that I kind of can't hear the difference between the two. And the thing is is that he's in that much of a difference, depending on the person E lift up high and try and open the back of the jaw trying not to e get that squeaky sound by closing it. You wanna open right from the back? Now I'm gonna move on to the or vows that ooh and awe. So it's kind of tricky to begin with, you really need toe pucker the lips out and maintain the openness inside the mouth. Ooh, if you just oh, and don't really popular looks out or that's not the sound that we want. We want you sound you really push those lips out and then off again, dropping the Joel. Ah, it's quite rounded. Try not to force the sound forward, but again maintain the lift at the back awe. And it's kind of a balance between both is where you're gonna get the right sound. Let's finish off with you. Kind of like I you has two different placements as well. So the two sounds are you and up you is very similar to pocket the lips out. You going to get a nice big sound? It's kind of just a little bit more, do you? A little bit more open than the U Sound, but the left is still coming from the back. And then it's kind of a harsh version off the Eva. Ah, uh, really dropped the draw down right from the back. Ah, nice, flat tongue. So I know that was a lot of funny sounds, but I really want you to go back and watch this video as many times as you need to on work on the placements of each. 6. Diction : now, diction refers to how well and how clearly you pronounce your 1000 your constants or your words. So some teachers like to refer to it as annunciation or pronunciation or even articulation . So many big words. But essentially they all mean the same thing. How clear is what is coming out of your mouth now? It always depends on the song as to how clear you want it to sound. For example, some songs have what I like to refer to as a soft diction. So it's just lots of hours, lots of flow and then soft little addiction parts in between uses a lot more in contemporary songs, and then some songs have what I want to refer to as a hard addiction. It's really clear the words, especially in things like musical theater or performance type piece. You want to really pronounce each words. Make sure you're using those constants in between to start and finish every single sentence . Now it's easy to want to overlook this technique, but really it is again one of the subtle differences between a good singer and a great singer. Somebody with pull articulation can really sound like they're actually not that greatest singer because everything's kind of mushed together. Some things that clear, some things are not, and there's no consistency. But paying attention to listen to the song and noticing the way that the words are some is . It makes a huge difference in the style of the song. Intentionally. Sometimes the artist has put in a particular way of singing it. And if you're not paying attention to that, you might have tried all these different techniques. You're working on this piece really hard, and you can't figure out just why doesn't it sound right? I bet you it's probably your addiction. So go back and listen to yourself saying it maybe even just recorded on your iPhone or your laptop hearing yourself, sing a line and then listen to the singer. Are they singing something smooth where it's all connected, or is it quite broken apart? Other words, clear. Are they know? Are they supposed to flow together more? Take notice of the way the words are pronounced, and this can change within a single song. Some parts might be different to others, or some songs might be the same as a whole. Pay attention, take notes, write them on your lyrics and then give it a go 7. Volume and Projection : now we'll human projection are two totally different things, and most people don't realize that there is a difference between the two. You see, they just think that singing loud means that you project will, and that's not necessarily the case. Projection comes when the technique is correct and it allows the voice to really resonate, and the sound ways to fill up the area will fill up the room. And volume is just when the voices loud or when it's soft. So it's important to work on getting the technique correct first and like we talk about, never pushed volume. Volume is a product off good technique, so you always wanna have good technique, and then you'll find that you actually don't need to push pull you. Ah, lot of people say to me, I have a really love ways. Most of the time when I'm singing, I'm really not trying to be loud invent. Sometimes I'm trying to do the office it because it's too loud and I cause distortion, and that's because I love technique when it comes to seeing, and I have such a strong technique focus. But when the voice is placed in the right areas. You'll find that all this down will come out. And now this is something I have done with my students many, many times, over and over again, and I will stick with it until they completely understand. And they resist the efforts because everybody wants to sing loud and strong and they try and push that volume. But when they finally give up and they listen in to what I'm saying and I say, Just focus on your place and have good breathing and making sure that your singing right from the back having everything relaxed because tension volume does not like tension. So making sure that you have everything mass and relax and just letting the voice flow freely and trying to achieve the best possible sound quality, the best possible tone all of a sudden I find that all this volume comes and when will the volume comes and you're singing correctly. It's actually looked easier to control, and it's the same if you have the opposite problem as well. If you find that your voice is always too loud and you're trying to strain to keep it quiet , will really pull it back and in same deal applies, you need to focus on your technique. When you have everything nice and relaxed, you'll be able to control it. And control is not really the word I want to use because it's kind of strong and it's not about controlling it. But you will be able to maneuver the voice a lot easier. You'll be able to have it do whatever you want it to do, and you won't even be trying. And that's the irony of it is that it's actually not that difficult to do when you get it right. So if you can project well, basically, what it would mean is that when you sing in a room, people can always hear you without amplification. You've always just carries, and with amplification as well. If you find you're the kind of person when you're on stage, if you've had any experience with a microphone and you sing and like, well, it was really loud or it's not so strong in the mark fun, they have to turn you down, then you probably naturally have good projection. But if you find the opposite and you find that Getronics sing really, really loud into that microphone, and still not getting the pal you want. They have to turn you up. Then you're focusing too much on volume, and the voice hasn't got into the point off projection just yet. So trying to you an example of the tree. So if I'm singing a song a line from a song that I'm trying to really have loud and forcing the sound out kind of sound like Don't bring around the cloud to rain on the red That's a lot of pressure on the throat. I really don't like doing it cause I can feel the strain now follow to do something. You probably see the difference in my throat as well. If I just try a little of that guy and just focus on my my good technique, you hear the difference in the resignation. Don't bring around the cloud to rain about Ray. So the 2nd 1 obviously is like a lot fuller. The sound travels and you can kind of see the difference. I wasn't forcing it out as well at all, but it just somehow it sounds struggle. So that's kind of the difference between volume and projection. And now the thing is with this is that you've really got to stick with it. This comes with time. If you're naturally quiet, it's going to take some time. If you're naturally lab, it's going to take some time. Focus on your technique. 8. Dynamics and Intonation : So as you start to develop your voice more, you're going to want to use dynamics in order to add color to the song. Now you might already be doing this naturally, and that's great if you are, and if you're not, that's OK, too. It's time to really think about it now that you have refined your techniques and you feel really confident with the foundations of singing. Dynamics are the next thing you can do to really make a difference between being a good singer and a great singer, someone who knows how to convey the message that they want to sink. Now dynamics refers to the loud and soft within itself. So there's obviously some parts that are gonna be softer and others that are going to be loud up now. You might naturally kind of go. Yeah, well, I understand that, and it's pretty basic for me, but if you don't, that's okay, too. It's about really listening to the peace and hearing what the singer does in terms of other parts of a sing really softly, And are they parts that they seem nice and loud and strong? Andi picking up on those and then using that to incorporate into your or in performance. Now you don't have to do it exactly the same If you want to put your own edge on it. That's totally fine, too. But loud and soft is important not only to add color to the peace, but dynamics are also important to pace yourself as a singer. So if you're just singing full out all of the time, you're gonna find it's really tiring and you probably after 1/2 an hour, maybe an hour or even just a little bit longer you find your voice is completely wrecked. And this is because you're constantly pushing the sound. And so the use of dynamics and really controlling the pace of the voice, not letting everything all out all of the time, which, by the way, for the listener is actually not that great. You might think that the more that you can just belt belt belt things out, the better the song sounds. Let me tell you, it does not whatsoever. I have tried many things with big, big voices and that when they learned the difference between just getting up there and showing off their voice, all of the time, which gets mundane for the listener and actually learning to really keep that from the audience and sort of just slowly released little parts, little parts. It gets the audience drawn in their excited to hear. And when they finally do, let the big voice out. And usually it's just towards the end in the bridge, building up in some parts of the song. Then it's really well received. People are like, Wow, that sounded amazing. But if you come to get gorgeous screaming it out all the time, trying to be louder and stronger because you think it sounds good, let me tell you, then it's really going to affect your ability to be a great singer, because the audience will get tired of listening to your big voice after a while. So do not underestimate the value of dynamics and if you like, But my voice is really quiet and you know that you can't sing loud, you need to go back and you need to continue to work. When you take me, you're still at some part trying to push volume when you're singing. You kind of like Oh, yeah, focusing on my technique, but I bet you you're still just a little bit trying to focus on bowling. Not going to work. You need to just work on the foundations off what it feels. And sometimes working with a private vocal trainer is the only way to do this if you're really, really struggling with it. So where should you apply dynamics? Well, you just think about what the song is saying and you really work it out from there. Think about it as if it was a conversation. What story are you telling? What is the meaning of the song you're singing? So anything is sing songs because they like them. But I don't even know what they mean. You need to understand what you mean in order to be able to give an emotional performance. Now, Yes. No, Every song is some big emotional thing that you want to put out there. But a lot of songs have messages. That's why they didn't think about the message of your piece. Some parts think about them conversationally even say them. Sometimes saying your lyrics out loud. You'll notice what you push on, what you don't and that's how you can really find dynamics and if you are an original singer as well, you could do the same with your own pieces. Read through them. Think about how would I portray this in a conversation? What parts would I emphasize on what part of just general conversation You can hear the dynamics when I speak. Singing is kind of the same thing. To stop original lyrics, one line at a time and no down on the lyrics where you make the differences in sound and go from there. 9. Phrasing : phrasing is another thing. That's kind of subtle, but it can make a huge difference when it comes to refining your singing and sounding your best. I've heard so many good singers who have you been tell? Never worked on that phrasing before, and so they're singing the song of Speed Voice. But then they're kind of taking random breaths in the middle of sentences, and things were a little over the place, and it kind of just sounds really disconnected, and it loses its charm. It does, doesn't have that thing that you're like, Oh, that was That was wonderful. That was great. And when it's used correctly, it can really help communicate the way you want your song to be interpreted. So when singing, we usually signify the beginning or end of a phrase with a pause or breath, depending on what is more appropriate. Now, you can use phrasing to group like ideas in yourself. So, for example, if you kind of if your son has many messages in it, you know it's got parts, what's happy and it said or angry or whatever. This thing is trying to say, phrasing is where you would use this to sort of group the areas together and make sure that they understand what you're saying. The differences between them correct phrasing will also help you to keep the tempo in the piece. So if you're the type of person who really struggles with your timing, phrasing can be grateful. This really listen to the sentence is where they started, where they end and count the beats in between. Help yourself to stay in time with music through the use of phrasing. So again, how do you do this? Well, it depends if you're singing a cover song, listen to the song. Listen to the way that the singer phrases it together and make sure that you're doing the same thing. If you're singing an original song, well, then it's completely up to you how you would like to phrase the song. But like I said before, grouping like ideas or like things together, is probably the best way. Make sure that if you're singing a sentence, you kind of not taking a breath right in the middle off course, unless it's for stylistic reasons. But too many of those again it can just sound all over the place. You probably only want to do that once or twice for effects, but most of the time keep the general themes in sentences together in one breath. The aim is to make it as easy as possible for the listener to understand what it is that you're singing about. 10. Chest Voice | The Lower Register : So right now, you probably have noticed that you have sort of two distinguished voices, one lower and one higher, and for some people they're going to sound completely different. The lower one might be really strong, and the high one might be quite weak and breathy. And to some other people, you might not actually be able to tell the difference between the two. In fact, when you go from low to high, it might be quite smooth, and there's not a lot of difference this very from person to person. But today we're going to talk about the lower register. Basically, that is the 1st 3/4 off your voice. The lower register is also referred to as the chest voice, and this is because it resonates within the cavities in the chest. So when you're using this lower voice, you really want to feel the voice being produced from right down here. Now there's three main parts. Your lower register low, middle and high, and you'll low and your middle probably will be the most strongest. And that's because your voice is the most strongest in the pitch in which you speak, and it's most likely you speak around that area. What that basically needs is that the muscles in those areas are, ah lot stronger because you use them all the time just the same way as any other muscle gets strong when you use it all the time as well. And then there's the top part of your law register, which also gets into what we call a belt range and belting is something we're going to touch on later down the track. So when using the lower register, the lyrics moves into the lowered position, and how often you use your lower register really depends on the kind of songs that you like to single that you choose. But I would say majority of the songs you choose would use majority majority lower register unless you're really singing something that's quite operatic or high or classical. Lower Register seems to be the more dominant voice out of the two. So has been anything. The best thing to do is to break it down, work on the very low work on the mid on work on the top part of the lower register, and that's how you going to strengthen it and give yourself a beautiful sound all round 11. Head Voice | The Upper Register : now your upper register is also sometimes referred to as your head voice or your false center. And it's that voice that you have right at the top that for some people is really weak and breathy and virtually non existent. And they hate it. And for others, even if they've never really used before. It's just there when it's nice and strong, and that's great, too. Either way, it's muscles just like the rest of your body, and you can learn to develop it. Now the reason is referred to as your head voice is because, unlike the chest voice in the cavities in the head a where the stuff is produced. So instead of pushing it down into the chest to get that nice digs down, we're going to switch the larynx into what we call a listed position, and we're going toe focus the sound right into the top of the head. Do you want to imagine it coming right at the top for this particular technique? Your placement and your vows are going to pet play an absolutely huge part because it's just a tiny slight difference in the right positioning and all of a sudden you will unlock all of this sound that you do know that you have. But if the sound is too far forward, you might find that it sounds really strange or breathy. If it sounds breathy, it means that your placement is not in the right position for using the upper register. And so you need to work on adjusting that and playing with it until you get a really strong stamp. So you've probably discovered your upper register by singing along to all the Walmarts and pitching exercises that we've been doing. And if you're not quite sure where it is and you have access to a keyboard, it's a really great idea to sit down with notes, especially a few musically inclined, and played him and find exactly where that changes now, when you want to smooth one registered into the other, which is why we're learning about both registers so that we can do this. We really need to work on singing in the lower register first, all the way up to the very top of the lower register and then switching when you absolutely need to and then go into your upper register and unused in your scales on the way back down , singing in the upper register as low as you possibly can, and then switching when you absolutely need to. Now this doesn't apply for everyone. Some people naturally switch from one to the other without even noticing the difference between the two, and that's completely OK as well. Every voice is different, but for majority of people there will be a definite difference in sound between the two, especially in males. So why do you need to develop the upper register? Will you be hard pressed to come across a song eventually, that you want to anti your repertoire? That doesn't utilize at least a few notes, even a short sentence or maybe a paragraph in the upper register and stylistically, if you don't know how to use it to get that really high and nice sort of soft sand, and you are going to be limited as to what you can sing. So it's important to tackle at some point in time, like I said before its muscles. So the more that you work than the stronger they're going to become. But as long as you're working them with the correct technique, you'll be able to do it safely and easily