Hear It, Sing It: Unlock Your Voice with Ear Training | SINGING COACH Bea DeSousa | Skillshare

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Hear It, Sing It: Unlock Your Voice with Ear Training

teacher avatar SINGING COACH Bea DeSousa, Vocal Coach | Professional Singer

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Taught by industry leaders & working professionals
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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

    • 1.

      Hear It, Sing It: Unlock Your Voice with Ear Training


    • 2.

      Why You Might Be Singing Out of Tune


    • 3.

      Learn to Match Pitch


    • 4.

      Humming in Consonance


    • 5.

      Start Learning the Major Scale


    • 6.

      Major Scale and Building Independence


    • 7.

      Sing with me the Full Major Scale


    • 8.

      Scale Duet


    • 9.

      Imagination of the Sound: Internal Listening


    • 10.

      What Are Musical Intervals and How They Can Help You Sing Better


    • 11.

      Vocal Technique: What to Work On if You're Still Developing Your Ear


    • 12.

      Project Time: Test Your Ear!


    • 13.

      Final Thought and Resources


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About This Class

Hey fellow singers! Are you tired of singing off-key or frustrated with your progress? Look no further than my Ear Training for Singers course. Are you tired of getting lost in the melody or hitting all the wrong notes during a performance? Fear not, because my Hear It, Sing It: Unlock Your Voice with Ear Training course has got you covered.

First things first, let's talk about why you might be singing out of tune. It's not because you have a terrible voice, it's because you haven't honed your ear to identify and replicate the correct pitches. But don't fret, that's where I come in.

In this course, I'll teach you how to match pitch with ease. No more singing in the shower and having your family members rush to turn off the water. With my expert guidance, you'll be hitting those notes like a pro in no time.

Next up, we'll learn how to hum in consonance. Wait, what's that, you ask? It's essentially the ability to hum the same note or melody with the correct pitch, without using words. It's an essential skill for any singer, and I'll teach you how to master it like a professional.

Now, let's get down to the nitty-gritty of music theory. I'll help you learn the major scale, a fundamental building block of music. Once you've got that under your belt, you'll be on your way to singing like a superstar.

But wait, there's more! I'll also teach you how to build independence from the piano and be able to sing your own melody. Imagine being able to sing in tune without relying on a backing track. It's a game-changer.

I'll also focus on improving your imagination of a note and your internal listening skills. No, I'm not trying to turn you into a mind-reader, but I'll help you develop the ability to hear notes in your head before singing them out loud. As you get more advanced, it’s like having your own personal orchestra in your mind.

Next, we'll dive into musical intervals. Sounds complicated, right? Wrong! I'll break it down into easy-to-understand chunks and help you understand the different intervals that make up a melody.

Of course, I won't just bombard you with theory. My course is filled with interactive exercises and a class project to put your newfound skills to the test. I'm all about hands-on learning and making sure you're able to apply what you've learned in a practical setting.

In addition to honing your ear training skills, we'll also dive into basic vocal technique to help you better understand your voice as a whole. Don't worry, it won't be all serious vocal exercises - we'll have fun exploring the different elements that make up your unique singing voice. By the end of the course, you'll not only have a better ear but also a better understanding of your voice and how to achieve a beautiful and balanced tone. I recommend you also check my other classes on Breathing Exercises for Singers, and my class on Habits for Great Singing.

But what sets my course apart is that you'll get to see me in action coaching a real beginner in singing. The course is recorded with an in-person student, giving you a front-row seat to my teaching process and techniques. I'll be there to guide LIVE a beginner just like you in every step of the way, providing expert feedback and making sure you're both on the right track.

In my career, I have trained all types of voices. I've helped beginners, hobbyists & professional singers find the missing piece and gain the confidence they needed.

You only need to want to improve; finding out how and making it happen is the job I'm so passionate about.

There are no words to describe the feeling of singing in an opera house; only decades of practice, and following a dream across countries can begin to match that. My career thus far has been filled with laughter and tears. However, getting back to my roots and helping everyday people discover their vocal power and achieve their goals gives my journey purpose.

Connect with me on YouTube, Instagram, and TikTok - all at @borderlessvocals - for daily singing tips, expert advice, and exclusive performances that will leave you feeling inspired and empowered. Don't just dream of becoming a better singer - make it a reality and follow me now! 
You can also book a one-time FREE SINGING LESSON with me. Book it directly on my calendar at https://calendly.com/borderlessvocals

So whether you're an absolute beginner or a seasoned performer looking to take your skills to the next level, my Ear Training for Singers course has something for everyone. Join me on this journey to unlock your full potential as a singer and make beautiful music together!

Meet Your Teacher

Teacher Profile Image


Vocal Coach | Professional Singer


I'm a professional classical singer, working as freelance with several Opera Houses.

I have a great passion for teaching and sharing knowledge and experience with others. I've coached more than 700 singers and speakers over the past 7 years. It's my mission to help others find and develop their voice.

Make sure you follow this channel and stay tuned for the classes' regular uploads.

Professional Biography:

Bea DeSousa appeared this season as Adina in L'Elisir d'amore at - Opera de Tenerife and Tbilisi National Opera and Ballet. Her upcoming projects include Elvira in I Puritani, Amore in Orfe... See full profile

Level: Beginner

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1. Hear It, Sing It: Unlock Your Voice with Ear Training: Hi everyone and welcome to this course on ear training. This is going to be a very beginner friendly ear training crash course. And it is perfect for anyone starting in singing or even for musicians that never had a formal ear training lesson. Today is a very special lesson because we have here with us Alton, who is a very good musician. He's a guitar player and place professionally with many rock bands. Do you want to have a quick introduction about what you do and why did you decide to take singing lessons? Sure. Hey everyone, I'm Tim, I'm a session guitar player and it's a pleasure to be here in taking my first ever singing lessons and first-ever formal training. I'm a self-taught musician. I learned guitar online and then I learned all my music theory while working with other musicians. But I struggle when keeping backing vocals and I struggled to catch an odd well singing, even though I can play them on guitar for him, some things will be already a little bit easier because he's already such a great musician. But this course is thought for all of you who also never played an instrument before. We will also have some interactive exercises so that you can have the tools on your site to know if you are singing in tune or not and how you can improve on that. So I can't wait to hear from all of you. And without further ado, let's go into this lesson. 2. Why You Might Be Singing Out of Tune: Whenever I have a first lesson with a new singing students, I always ask them to first sing any songs that they might feel comfortable with. Not just to see how is their vocal technique where they are in terms of vocal awareness, but also if they can actually sing in tune or not. Meaning, where are they in terms of ear training? And this is what we are going to focus on today. So here without him, He's a very, very good guitar player. But he told me that he's struggling a little bit with singing. And I'm guessing it might have to do with his ear. So we're just going to sing a song, right? Your favorite song. And you can play it on the guitar, so that's perfect. And on that side, you can try and recognize if he's actually singing in June or not. Let's give it a try. Okay. Which one would you like to play? I'm just going to leave some pink Floyd. Okay, Pink Floyd. What do you think was he's singing in tune? Was that the melody of the song or not? Let me know in the comments. What I heard is that you are actually singing nodes within the court. So that was very interesting because you're not singing the melody of the song. But you are singing notes that matched the chord. That is a lot of hope for our ear. And what I'm guessing is that you actually have a good year. You are just not having still enough experience with your voice to match the note that you want. It also means that you will need to study the song from a vocal point of view. Usually, there are different reasons why you might not be in tune. The first reason is because you actually don't recognize the note of the vocal melody, so you can't actually sing it. The other reason might be because you simply didn't study the song. You just heard it. I don't think it's your case though, because you sang this song many times. So we will see with our next exercises, but it might be that you just didn't study the song enough. So if your ear is good, but not excellent yet, then it is not enough just to listen to songs to actually learn the nodes. So in that case, you will need to go with the piano or with the guitar note per node with the vocal melody to figure out every single nodes and then study the song from there. The third reason why you might be out of tune is actually because of your vocal technique. So you might be listening the correct note, but you cannot match it with your voice or you are adding too much force and getting sharp, or you don't know how to use your airflow properly, and therefore, you don't support the note enough and you'll get flat. Those are common issues. We just did this first exercise where you try to be in tune within a song. That's just an easy way to get into it. Now in our second exercise, we're going to try to work on Page on an abstract way. 3. Learn to Match Pitch: In this second exercise, we are going to match pitch in an abstract way. This means that I am going to play here on the piano. This is a piano app in case you don't have a keyboard at home. Or we can also match pitch, let's say random nodes in the guitar. So you're going to match the notes with your guitar. I'm going to match the notes with the piano. So I just want you to sing any nodes if you are female singer than from C4, C5. If you are a male singer, then from C3 to C4, you just want to match that precise notes in an octave that is comfortable for your voice. Alton, I'm going to play here and I'm going to tell you which notes so that you can play it on guitar. And then we are going to try to match that with the voice. So I'm going to play an E. Let me play it in your Octave that will be easier for you as well. So since he's a male singer, we are going to do an E3. If it would be a female singer, it would be E4. That's great. Can you do that louder? Humming, I always advise in the beginning that you hmm because it's way easier to not mess it up with vocal technique. So it's way easier to do than. So let's try to match this note again. Perfect, Awesome. This is our second singing lesson, right? So you did great since last time. Awesome. Let's try to match a G. So on that side is out in in June. Is he flat or is he sharp? What do you think? You are flat? Yeah, awesome. So you are aware, Let's try. This is actually awesome that we can listen it both from the piano, which is a synthetic sound, in this case, from an acoustic instrument, and then from the human voice, what do you feel is easier for you to match when you hear the piano, the guitar, or missing. I feel it's easier when I hear your voice because actually related to human voice. Because since I'm a soft on guitar player, I can relate the note on the guitar and if you're seeing, I can play it. If there's something, I can reproduce it. But I cannot see you directly in my head when I imagine an altar, imagine it as an adult, e.g. when I imagined I E, or imagined this, I don't imagine it is singing in my head. So for me the hard part is to translate from instrumental records into my singing voice. Yeah, so this is saying is very important and this is what we went through also in our first lesson, which is as a singer, you need to be able to imagine the sound in your head before you sing. For him. When I say play an E, he imagines automatically the place of the e, right? When I look at the piano, you say e, I look immediately. But as a singer, we need to imagine that sound in our heads. A quick disclaimer before we go on. I don't want you to memorize the pitch to memorize how a note sounds, because that means you would have absolute pitch. And if you have absolute pitch, you don't need this lesson. But I don't have absolute pitch. You don't have absolute pitch. And many, many musicians don't have absolute pitch, most don't. And they are still amazing and great musicians actually, having absolute pitch can get in your way of being a great singer. There are some ways around it, but anyways, that's a story for another day. But I just want to say that we should not memorize the pitch. We should be able, however, to match it when we hear it. So if I just play any random notes without looking at the piano, I have no idea which node that is. It's a D. Okay. I didn't know, I didn't know which node that was and that's fine. However, if I hear it, even if I don't know which node that is, I can sing it. I don't know which no time playing, and I still can match them. So that's the way a relative ear works. We can match a note when we hear it. If you tell me that, see how I can sing E, I can sing g, whatever other nodes, because I know the distance between the other nodes and this C. That's why it's called relative. I know What's the second note in relation to the first node? That was the reference node. But I cannot just hear a sound and know that there is a specific node if that's a D or an E. So you also don't have to worry about that. So disclaimer, don't lose your time trying to memorize the pH of a node. So let's do a couple of more examples where we try to tune in into random notes. G-sharp. You're not on the note. I'll say. You are a fourth below. So you have a long way to go up. Almost that's half step below. Okay. So what do I see out in that you are doing? You are trying to but you are trying to force it here. You are trying to change a position in your throat instead of changing the thought. So this is the one thought that I would like you to take out of this lesson. You change notes with your thoughts, not with laryngeal positions. Of course here something will change. Your ear, will command for your vocal chords to change slightly. We don't even feel our vocal cords. So it feels like there's no change, especially to go from a G to a G-sharp. There's absolutely no physical sensation between OneNote and the other. So it's just the thought of that note in the beginning. It feels difficult, especially for an instrumentalist because we have the tendency, I was also a pianist before. We have the tendency to think, oh, I need to change the key. I need to change this string. I need to change the position if it's a fluid, e.g. but in singing, the positions are changed by thought, not by changing something physical. This is the adjustment that RT needs to do and he will get there. It doesn't matter if he can achieve it this lesson or not, but I'm sure he will get there at some point and you will get there when he's able to actually change his thought. Let's give it another try. Let's try the G-sharp again. Awesome. Can you sing it louder? Yes. Can you hear that now he's in June. Let's try another notes. Let's try f. That's awesome. What was your process to tune in into that F? The difference from before was that when I was trying to sync the genome before, if I was flat, say I was thinking I was trying to change something physically in my throat like I would do on the guitar or whatever to go to Fred's have the other time when you said change your thought? I was just trying to stand still and just imagined or not before I was seeing in it. So I would imagine the nodes and I would imagine how my voice would sound singing the note. And I'll just try to match that after where it's like it was just a seconds delay, just thinking and I'm singing it. Awesome. That's really, really important that we don't try to force it physically, but that we actually imagine the node before we sing it, right? Would you add anything on that? Is that you feel the moment when you're in absolute pitch with analogy feel a sense of balance. And you immediately know that when you're a bit off, That's true. That's true when we are in your point of the ear training, which is you have an awareness if you are in tune your notes, but you are still struggling in getting there. So you definitely feel in a state of balance. It's actually really nice state when you come from being in a dissonance to then go into consonants. When you get really into the same frequency. If we are on an earlier stage of your development, then you might not be aware if you are off or not. And in that case, you need to listen to a lot of music and you need to be very patient with yourself doing exactly this exercise. And if you have someone that can work with you, doing a lot of humming, long humming with this person. So now we're gonna do an exercise which is precisely that, which is a kind of humming meditation to get that pitch awareness and to see if you can gain that awareness of when you are actually both singing the same frequency. 4. Humming in Consonance: This exercise is oriented for whoever is starting from the very, very, very scratched with the ear training, maybe you don't play any musical instrument. And so it will be harder for you to gain this awareness if you are actually in tune or not. So let's just do humming. Yeah, I'll start on C and we are already going to start humming within the major scale so that you start getting this awareness on how to sing the first notes of the major scale. Let's start on C. Now let's leave the instruments aside. We already have our reference node. Now let's just hum together I start and you turn in with your voice and try to see if you are in the same frequency of my voice or not. You will feel it when both voices match the same frequency. Now, what? You need to first listen, you didn't give yourself time. He was not in tune. Did you recognize it or not? Yeah. You need to first give yourself time to really start hearing this note that I am singing within your heads, but with your own voice. It's literally teaching your thoughts when you think, Oh, today, I need to go to the supermarket and buy some breadth. That voice in your head needs to learn how to sing. You need to hear your own voice singing it are in descending node or not? We are not. What do you think that your sharp or flat? I think I'm flats and I'm singing harmony with you. I think you are in harmony with me. I was thinking he even knows which no. Because yes, it's a great musician. And this is very curious because your ear training, depending on your musical path, you can be an incredible musician and still struggle with your ear. It's really interesting. Alright, so Alton, Let's try it one more time. This is exactly what happened to you in the song. You are in harmony with the song, but you're not seeing the right melody. Let's give it one more try. Actually, I'm gonna do this a little bit higher because you have a high voice. So since we didn't work on vocal technique yet, I'm also guessing that you have a hard time achieving that lower notes, and that's why your voice immediately tries to be in harmony, but on a higher nodes that you feel more comfortable with. So I don't want to do the e because this is the node that you just saw before. Let's go for an F. You can play it on guitar if you are. Only voice, okay. Also, try always to be as loud as possible. I always say failed, but failed grandiosely. So it's better that you are allowed and you'd notice at least that you are out of tune, them being not sure if you are in tune or not. Great. So let's try a different node. Let's try G-sharp. Awesome, really, really good. Okay, so I think what I heard now it's like it seems like you're getting the hang of it. However, the onset of the nodes is always somewhere random, the start, and this is a very common issue. So many people just shoot for a notes and hope for the best and then they tune it while listening to it. It's okay. It's part of the process. If you need to go and then start tuning it, That's alright. Just remember that that's part of the process, but definitely not the end goal as a singer we want to be able to imagine it's so clearly in our heads that then we can start the pitch immediately in tune. Of course, if you ask this to someone that is a natural singer, they will say that they don't think about it before. To meet also feels that I don't think about it before, but it's just the same way that if I say, Hey Elton, How are you? Am I thinking? How are you? Before I say it, I am thinking about it, of course, but the thought process is just way too fast. Okay, so I'll try to match one last time. Let's try to match a D. Again. Very good. So that was great. It was way easier the second time because you already had the note in your head. However, I saw you doing these little change because I thought, right, I told you that you are shard, that you had to go lower with gestures. And he automatically when I'm glad it happened because this is exactly the kind of thing that we have to avoid. There's a big temptation to change notes here. Alright, let's try one more time. The same note, saying it loudly. Little bit chart. Awesome. Sometimes trying really hard mix, the notes go sharp. Yeah. So in the end, a matter of repetition, repetition, tuning in, feeling comfortable, we will start feeling this connection between the thoughts and the voice. And there's nothing that you can do to hurry that process other than just practicing every day, every day, every day. And with that builds trust in your ear. Because you tried to change here positions in physical positions. When you don't trust that your ear is able to change the note by itself. So the moment you start letting go of here and just being led by the thoughts, that's the moment you start trusting your ear and the moment where a singing we'll just start flowing. And then we can focus more on vocal technique. 5. Start Learning the Major Scale: Now we're going to start learning the major scale. It's really important that you get started with your major scale from the very beginning. As soon as you can start specific page, then you should start working on the major scale. Why? Because most songs will use the major scale. If they don't use the major scale, they will use one of the minor scales to start. It's always better to start with the major scale. And once you get that one, then you can move through the other ones. Let's just start with the C major scale. That's a good one, especially if you are using the piano, because you'll just go from C to the next C through all the white keys on the piano. So in this case, let's start on S3, and let's start by humming it, then D, then E. Let's stick with just the first three notes for now. You're just half-step higher. Okay, that's also good if you find this relaxation in your body. These low-dose need, they need to be very relaxed the moment with push alone, note it will get sharp. So I heard that. Nothing interesting. I'll leave thought, yeah, awesome. So these will depend a lot on how your ear reacts. But my suggestion is that first you hum it just like we did it. And now we're going to try to do this scale with the numbers, because if we use numbers to learn the scale, we can transpose it super easily, right? Because in singing, the proportion between the first note and the second, in between the second and the third node will always be the same. And since we don't have absolute pitch, we only can memorize distances between the nodes. It should be no problem for a singer once you learn the scale, or once you learn a song, to start singing it in any key, as long as you don't have absolute pitch. So adding, Let's learn it with the numbers. Yeah, One, speak it, don't worry about vocal technique, just speak it. You're sharp. Very good. You're getting much, much faster. So I think we had our first lesson maybe a couple of days ago, right? And you've got like, really much better than just two days. This will happen with you as well. It might take you a couple of days or a couple of weeks, but you'll definitely get better if you keep practicing every day. And that's consistency. Consistency is key for any instrument as a guitarist as well. Awesome. So let's do one more time. Will be slower to do to add in as loud as possible? Yes. Especially if you're more on the introverted type of personality or a little bit shy, then it will definitely feel out of your comfort zone and it will feel like you are shouting. That's fine. That's just part of getting used to it. I've also used to be very, very shy growing up. And now, usually people tell me to speak software. You just develop your voice. So one more time. Let's try to get this distance between the two. See the two, Let's repeat that. One. Shouted. But without changing page, that is very important hard just because we single out there doesn't mean that we go higher in pitch. 23. Say, can you play the guitar? Right again? Say, you got it, you kind of relaxed into it? Yes. Cheap trick is that you can smile a little bit when you are flat, three G, but it's a very cheap trick. It's not a long-term solution. I try three, maybe three, maybe. You're still a little bit flat. Let's go again from the beginning. So now we will go one, we will just do it one more time. But ideally, you want to repeat this over and over so we could stay half an hour on this exercise. 123, say, perfect, you notice how that is interior. Yeah, It feels good. Let's go for five. Okay. 123. Say that's it. That's it. That's really good. That's really I can't I can't believe you did that in like two days compared with your first lesson where it was actually challenging to match one single pitch. That's amazing. 6. Major Scale and Building Independence: The next step is to actually seeing these three or five first notes of the scale having only the reference node. So in this case out and we're going to sing together the C, The one. Then you are going to sing by herself without my help or from any instrument. The two and the three, the D and the E. Let's give it a try. So the reference node, we always need a reference, not because we don't have absolute pitch. And then once you have the reference, you should be able to get any note of the scale. But to start, we're just going to try to have the first three notes of the scale. Three, see, I was testing our lungs. Don't worry, this is absolutely normal. So let's give it a try. Just the first three, they were really, really good week. Let's wait for the reference yet. So I know you can keep the nodes in your heads because you just signed the three, you know how to find the one. But let's just play safe and have the reference node 13c. Awesome. Can we do the same thing louder? So always, even though we are still not working on vocal technique, we want to already encouraged the voice to sing way louder. So I'm gonna give the example 123 as if I'm calling someone has 111, right? Yeah, let's give it a try. By the way, he's super brave. He's trying this for the first time on camera. Never, never do them in backing vocals or anything. Well, that's what we're working on. You are a bit sharp. Yeah. No worry. This is absolutely normal that you can get the scale. I wouldn't be surprised if you could get the five nodes. And then after awhile, you struggle with catching one single page. Again. This is absolutely normal. It's a process. But the important thing is that more and more often you'll just get everything way faster. Okay, relax into it out and you're still sharp. Find the space within your throat. Remember that it's not here. The position you're probably being sharp because you are trying to add force and to manipulate here. So remember, it's just a thought to three, maybe one more time. Let's repeat. Repetition is key. We say, that's it. So now the homework is every day, like five-minutes, 10 min. Give yourself the reference to make sure you're still on the same key. 123. Oh, he repeated in different vowels, in different sounds. In different dynamics. Ah, dynamics means louder or softer so that you don't attach loudness with higher pitch, e.g. or you don't attach different vowels to different pitch. If I think some people will change the pH because they are changing the vowel and you definitely don't want to go into that trap. So practice your first three notes of the scale in different vowels, in different sounds like humming or on a vowel. And also in different dynamics. 7. Sing with me the Full Major Scale: Once you have those first three notes of the scale, very, very solid. You want to start adding nodes per nodes within the scale. So let's give it a try it for the five nodes. Don't worry if you can manage that or not. These things take time and take practice and he's just trying this for the first time. But in either case, I will just seeing the full major scale for you so that you can practice on that side. Let's give it a try. I was in the first five notes first, so that you can have that in your ear. 123 or four. Let's see it together. 23, maybe three, maybe 23. Awesome. That's it. Now you would want to do that just by yourself. Do I want more time together and then you give it a try by yourself? Yeah, sure. Yeah. 123. Fantastic. Are you doing that on that side with us as well? Let's try it out and you can do it by yourself and you can do also with him at home. Let's give it a try and just have a note. The C one. You can play the guitar if you want. Just the reference notes. What is sharp? Can we learn the piano? Yeah. We yeah, very good. That's it. It doesn't matter in terms of vocal technique. So usually singers, students in the very beginning, they start judging themselves off. All my voice doesn't sound good or all i sound like crap. It doesn't matter. You can think. It's fine as long as its interior. So we need to separate. One thing is ear training, another thing is vocal technique. Of course they will join and they will work together in one helps the other. But in the very beginning, you really don't want to be worrying too much about vocal technique as long as you are in tune. Now I will sing the full major scale so that you can also practice that on your side and out. And you can start already listening to this major scale, 12345. Now one time with one single vowel, 0. And eventually you want to practice the scale also going down 654321. But we will leave that for another lesson where we will actually practice scales and more advanced ear training today is just a very beginner friendly crash course on ear training. 8. Scale Duet: From here onwards, once you learn how to sing this scale, we want to get more advanced. How do we get more advanced? We try to find any weak spot in your learning process of the scale. How do we do this? And also encouraged these mental imagination of the sound? We are going to start by doing a very simple exercise. You can do this with a friend that is a musician or with anyone that is also learning how to sing. I will sing the first node, you will see in the second, the third, and so on. Ideally, you want to do this with the full scale, I think for the purpose of the exercise now and from what we worked on, we're just gonna do this on the first five notes of the scale. Okay? So I will start with the C, the one, and you do the two, either the three, and so on. Okay. So once again, no worries because you're trying to reach, you're trying to do, right. So remember is just thought, let's seem together one time until five and back so that you have the notes in your head of the scale. And then we're going to do the exercise. So 123. The more Sharpie where the more you try them, the sharper you were. Yeah. So five is relaxation in the body that you don't need to try so hard as long as you imagine it correctly. One thing to get it to scale, 23412, the more you try, the more you get shots that you already are. 13. Then we would continue. We're going to get there in another lesson today. Let's do one more time. This time you start with the one. Okay. Can you sing a little bit louder as we said, like always trying to have this like shouting, feeling 123. Okay, so you send it to, There's a trick for this. Let's see if it works for you as well. It really helps us to mouth it, even though it's in silence. Just mouth that to the number. So you say Juan, I say to you say, but without singing it. And that will help you with the imagination of the note that I am singing. You don't sing it, you just mouth it. Yeah. So you start with the one. E.g. you say one and I just said but I don't think it's Yeah. To mouth it. Adding to three say Oh, great, That's it. Didn't help you allow thing the numbers even though you're not singing them. That's because our imagination is attached to our muscles. Like muscle memory like when you play here in the guitar or I playing the piano, I automatically hear it. Yeah, and due to write, when you do a melody on the piano and the guitar that you know, you will hear it just because you're doing that movement. And the same happens with singing. So just because you mouth it, it's way easier to imagine the sound. 9. Imagination of the Sound: Internal Listening: This next exercise is very similar to the previous one that we did, but you're gonna do it by yourself. So using OneNote, you imagine the other. You sing the third. You imagine the fourth. Yeah, let's start using the one. You always have to give yourself the reference node. This case. Let's first get that one in tune. That was, you cannot sing it, right? You can only mouth it's okay. Yeah. You imagine it and you imagine yourself singing it in your head. Okay, Let's try again. Three, maybe he's a little bit flat, right? A little bit flat. But I'll didn't, you didn't smile. Layout. Let's try, let's try it with that trick. 1 s. Let me see. We've got one last time. Three say Exactly, Perfect, That's it. Flatten it. How did it feel for you imagining these nodes? Could you imagine your own voice singing the numbers that you are only male thing becomes easier because I get to my head before I sing it. You hear the full scale in your heads, right? Only that some nodes who are singing and others who are just imagining, right? Great. 10. What Are Musical Intervals and How They Can Help You Sing Better: For all of you that didn't study music theory or that don't play a musical instrument, It's very important to understand what our musical intervals. So what is a musical interval? This is the distance between two single nodes. And this is extremely important to understand because we don't have absolute pitch, neither the EU. And in this case, we can only memorize distances between nodes, but we cannot memorize the absolute pitch. We cannot memorize the pitch itself, but we can memorize distance, right? So we were practicing the scale, the major scale, associating each node with a number. And this is going to be extremely useful to understand musical intervals. Let's play the major scale and understand musical intervals within the major scale. If we sync one, I'm in pitch, want to, I needed the reference node, right? So once we have our reference node, we go 12. Those are two nodes. So that is a musical interval. Which musical interval is that? It's a major second. It's a major second to not make things complicated for today, we're just going to call it a second, okay? So all intervals within the major scale are major or perfect, but this is a little lesson for another time. So today we are just going to focus on saying second, third, fourth, fifth, and so on. If I sing 13, which integral is this? It's a third. So you see where this is going? If I sing one, which interval do you think it is? It's a 41515. It's a fifth. Let's stick with just these ones for today. So now that we understand what is a musical interval, we are going to do one of the most classical exercises to train the ear. And this is an exercise that actually every classical musician or rock musician, pop musician, if you were studying in a conservatory, in a music school, I'm sure that you did this exercise. This is called musical interval recognition. So in this case, I'm going to sing without the numbers just in one vowel, two nodes. And Alton is going to have to recognize if there is a second, a third, a fourth, or a fifth. Okay? So e.g. if I sing 1212, but I think getting us so that he doesn't know the numbers, right. You will have to imagine the scale because you'll learn the scale, right? And you have to imagine in your head is that 12 second, is that 13 third? And so on. Let's start. We're going to do it only on the C major scale, but you can do these integrals in any key. Oh, no. It's a third. Yeah, awesome. So how can you sing the scale between the first note and the second? Just to make sure that we understand that it's a worm. And the three scale always works as a ruler that measures these intervals. So let's try out in San Juan. The bottom note is always the one, right? 121-22-3233. So this is absolutely normal what is happening to Alta and because you still don't have the practice, right? You need like a week and then you will have it figured out. They sell you on your site. Can you listen to the major scale between those two nodes? 13. This is the mental process that you have to do in your head to be able to recognize if I was singing a third, a second, and fourth or whatever. Let's try another one. Oh, it's a second. Yeah. Can you sing it? Can I get the references to awesome, Let's get another one. Wow, that was quick. How did you get there? How did you get to this conclusion? I was thinking about each note of the scale. Was the highest of the five dots are the intervals, alright? Because he learned 12345 and you recognize that it was the hard one. Let's do another one. So yes. Can you see how the scaling between the ruler in between you are a bit off in the one and the two, but that's fine. It's also about gaining confidence in your voice. Let's do another one. Yes, it's a fourth. It's very impressive because you can play it immediately on the guitar. Well, you had a theory that it was a fourth. So you thought it's CF? Right? Thank you. Recognize you to like I can't recognize the sound of the interval, but I have yet to associated with a number with a note sometimes. That's really interesting. First of all, if you don't play an instrument, you want to first learn the sound of the interval, which is what al-Din, because he already plays the guitar. He already has that sound in his head because he played it so many times. And even then, it is difficult sometimes to make that transition for singing, right? Because now is the same sound, but from a different perspective, it has to be imagined. Instead of plays exactly after you feel confident with these intervals within the C major scale. The exercise goes on by doing these intervals starting on any node. So what matters is the distance between the two nodes and not in which node is the starting or what are those two nodes? Let's just give it a quick try out and I'm going to play seconds, 13, fourths, and fifths. Okay? Yeah, all the ones that we saw of the major scale, but starting on different nodes, I'm not going to tell you which is the first node. So probably it will be harder to play it on the guitar. Let's give it a try. You started on sorry, Does it matter in which note I started? Right. Because we don't just say because I didn't feel like you're going to play I'm going to play two notes and I want you to recognize if that's 12131415. So it's going to start on the OneNote with very good question. Okay. I'm so glad that I have altitude as well as he can make all these questions. This is a great question. Whatever is the interval that I'm doing, if it's an ascending interval, like first the low note and then the higher note, the low note. We will always consider it to be the one. It doesn't matter if it's a C, If it's in, if it's a G sharp, it doesn't matter. It's always the one of that key. Okay? So that you can use the ruler, right? Okay, so let me play it again. No. You need to practice this. The difference between the second and the third. How can you sing it with numbers? It's much fighting. The war. Even more. Forced to be done. That's fine. Again. An F. One more, Let's eat. Don't be afraid to open the mouth. This is Playground vocal technique, but it already helps exactly in from there. We do want to. So that would be the F major scale. But it doesn't matter if it's the F major scale or not. I just want you to start recognizing that there is a second. These that happened to al-Din is the most common thing which is actually get like, Oh, I get the hang of it. I can do it in all intervals, but we're doing it every time on the C major scale. And then suddenly I do it in a different key. And it just feels that everything is out of place. But it just takes a little bit of experience and practice to be able to recognize musical intervals starting on any given key. There are also exercises online that you can do this where the computer or the system, the program, whatever the app will play for you, a certain interval, and you have to choose which interval was actually played. 11. Vocal Technique: What to Work On if You're Still Developing Your Ear: Let's finish this lesson by doing an exercise on vocal technique. This is going to just be playing in the playground with vocal technique, but it can definitely help your ear training. So at some point I said that it's really essential that in the beginning you separate ear training from vocal technique, which is correct because otherwise you cannot concentrate on these two very difficult things at the same time. However, it can also help your ear training that you start practicing some sounds in vocal technique. In the case of Alton, I'm guessing he's a tenor. He has a quiet high voice, at least from the first time that I heard him singing. This means that whenever I played a note that was slightly on his lower range because he's not used to singing. It's difficult. It's more difficult for his ear to listen to this page. That's his voice is not used to do because you speak also in a quiet high voice. So those nodes that are around your spoken voice are way easier for the ear. But if I asked you to see like, you've got it, got it, got it. But that's it. We want to start doing those noises. Are those sounds just to encourage the voice throughout its whole range. So right now, we are going to work on vocal technique to help the ear training, but without worrying about specific nodes. So what are we going to do in this exercise? We are going to do sirens and we are going to already start encouraging the flow of air by doing semi-classical exercises. These are liberals. Tongue roles. For everyone that can roll the Rs. If you cannot roll the r's because of your mother tongue language, that's no problem. You can do this one which is very funny. With the tongue out. It's a little bit messy. I'm gonna get a little bit backwards. We're going to do it in a siren up and down without thinking about nodes, just try to explore the limits of your voice. If you have a male voice, you will see a very big contrast into falsetto, head voice comparing to your chest voice, that's absolutely fine. Just play around with it. Okay, so Alt and I'm going to start with liberals. Remember to engage here from the apps. Yeah, so now we don't need the guitar because we're just gonna do random notes, random page. But always in siren, always sliding so that we encourage already legato, the flow of the air, all of these things that are going to be essential for vocal technique. So let's just start with lip roles. Let's try to stretch a little bit deletes. Some people can do this without the fingers. Some people need a little bit of help of the fingers in the beginning just to stretch a little bit the lips. And here we go. Just starting any deep comfortable node from the abs. Okay? What happened too often is extremely common and normal in the beginning, I would say, connect here to the abs. In this exercise, we want to push a little bit with the abs against their hands. But I would definitely encourage that you see my lesson on breathing exercises as well, because that's something that you can definitely start working on while you are also working on your ear training. So let's give it a try. If it doesn't come, it's no problem at all. Just try to always have this motion in the flow of air. Don't be stuck in thinking about pitch. Now is the time to think about air motion. But you are already starting in headlights. Try to start in a deep nodes. Much better, okay, I see that e.g. for you, I'm just going to give this as a tip, also here for our team, but also for you at home if you are struggling with the same problem, I already see that the chest voice needs to be developed. So always try to start in your spoken voice. I also have a lesson on how to develop your chest voice. So definitely check that one. Even though it's a little bit more advanced, you will have a general gist of what is chest voice and how we can develop that. But for now, just try to connect to your spoken voice. Go loud. And on a deep nodes like a low note. There you are starting with chatbots. Do notice that it demands a loss and it's slower. It's slower. Yeah, It's the chest voice, but also it demands a lot of airflow to be able to give it another try. That's it. And from there we want to play up and down as if it's a roller coaster. Let's try to do the harder grave. It's not hard for someone whose mother tongue language doesn't have its way, way harder. So don't be desperate at home if you can do that. But fortunately, you can also train. Remember it's the airflow that puts the tying into vibration against your upper teeth? The tongue is vibrating against the upper teeth. Yeah. You just want to try that being longer and longer in time. But with practice, you'll get there. Let's try that. Very funny one. The tongue is out, relaxing against the lips. The air is sealed. And then the vibration happens between the lower lip and the tongue. Some people can actually buy break between the upper lip and the tongue. It doesn't matter as long as it's only one lip vibrating against the time. Alton, let's try. You can imagine that you are playing a wind instrument. Did you ever play a wind instrument? You never did? Yeah. But if you ever played the saxophone or the clarinet, you can imagine someone playing the saxophone, e.g. it takes pressure, it takes compression of air to be able to roll him try it again. Yeah, that's it. That's it dies out quickly. It dies out quickly. Yeah. That's what's practice. Every day you try to be a little bit longer and a little bit longer. Read the rolling and remember to do it in a roller coaster. So e.g. if at this time you can already do it, then try and so on and so on. Don't worry about the speed because that's just like a runner worrying about sweat. We are singers. This is part of the job and it's fine onstage. No one worries about that. Is just part of the singing experience. Be careful with the computer, with people around, but that's it. Be free to roll fully the tongue and roll fully the lips. 12. Project Time: Test Your Ear!: For the project of this lesson, I would like to do the interval recognition exercise with you. So it's going to be very simple. I'm going to play either a second, a third, fourth, or a fifth in case you are a little bit more advanced and you know a little bit more about music theory. This is going to be only the intervals within the major scale. It's going to be major second, major third, perfect fourth, or a perfect fifth. But you can just write second, third, fourth, or fifth in the comments. And I will get back to you saying, if it is actually correct or not, don't copy from other people writing in the comments. Try to do the exercise by yourself. And I will get back to every one of you who writes down in the comments. So let's go for the interval number one. So just write one then the interval that you think that it is second, third, fourth, or fifth. Interval number two. Interval number three. Interval number four. Are you guessing they're trying to interval them verified? You can, of course, repeat the video in this part as many times as you need so that you get the interval over and over. You listen to it over and over again until you get it. Let's start here. Okay? And now that interval number six, interval number seven, interval number interval number nine, and interval number ten. And the last one. Which one was that? I will tell you. I will tell you in the comments below. 13. Final Thought and Resources: We've come to the last chapter of this lesson and I hope that you all could take as much value as possible from these cars and YouTube. Alton, do you have any last thoughts about the lesson? Well, I can say for sure that I improved in a few days. But I think that it was a mixture of you teaching me things and doing these sides together, and just practicing using apps, playing the piano and singing notes, playing the guitar, right? So it's mostly like thinking about music in my brain and into my ear and not just in the instrument, right? So one thing that you said that is really important is that consistency is key, right? So we had just a few days in-between our first lesson in this lesson today. And I really saw a lot of improvements, but I know that he's a guitar player and he knows how much dedication it takes to actually learn an instrument. It takes a lot of consistency. It takes years. It doesn't mean that you will take years to learn how to sing this scale. But maybe it takes two weeks of dedication and putting in the effort every day. It doesn't have to be for a long time. I would recommend that you do these exercises maybe 5 min in the morning, five-minutes in the evening. That is better than 10 min once a day is not just consistency, but frequency. You have to be doing that as frequent as possible and using debt times in your day when you are waiting for the bus or doing something else, washing the dishes, whatever it is that you can use your mind to be thinking. Use that time to actually be training your ear internally. A lot of these exercises, you can actually practice them in silence if you enjoyed this lesson, I'm sure that you will take also a lot of value from any of the adolescents. You can check my lesson on chest voice, on breathing exercises. And another one is coming on a warm-up. So depending on when you are watching this video, it might be out already or not, but definitely the lesson on breathing exercises. I think that one will be super, super interesting for you and you can definitely be practicing those while you are still training your ear. Altitude has also his lessons on guitar for beginners. So if that's something you're interested in, learning how to play the guitar and sing at the same time, definitely check it out because he's amazing. Awesome. So don't forget to follow me here so that you are notified every time a new lesson is coming out. And I can't wait to hear from you all your results of the interval ear training in the comments below, speak to you soon.