SINGING FOR BEGINNERS with Piano Tracks for Easier Practice | Milena P. | Skillshare
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SINGING FOR BEGINNERS with Piano Tracks for Easier Practice

teacher avatar Milena P., singer, flautist, composer, human

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      2:09

    • 2.

      Posture

      3:22

    • 3.

      Breathing Explained

      6:34

    • 4.

      Breathing Exercises Intro

      0:53

    • 5.

      Breathing Exercise Nr. 1

      2:49

    • 6.

      Breathing Exercise Nr. 2 & 3

      6:52

    • 7.

      Lip Trill Exercise Explained

      10:10

    • 8.

      Lip Trill Practice - 2 Repetitions

      1:17

    • 9.

      Lip Trill Practice - 3 Repetitions

      1:40

    • 10.

      Lip Trill Practice - 4 Repetitions

      2:05

    • 11.

      "M" Exercise Explained

      9:02

    • 12.

      "M" Exercise Practice

      1:06

    • 13.

      "M" + "A,E,I,O,U" Exercise Explained

      3:12

    • 14.

      "M" + "A,E,I,O,U" Exercise Practice

      1:57

    • 15.

      "U" Exercise Explained

      9:10

    • 16.

      "U" Exercise Practice - 3 notes

      2:13

    • 17.

      "U" Exercise Practice - 5 notes

      2:03

    • 18.

      "NEY" Exercise Explained

      6:08

    • 19.

      "NEY" Exercise Practice

      1:13

    • 20.

      Final Thoughts

      1:24

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About This Class

This class is for everyone who wishes to learn the fundamentals of singing. I will be explaining posture, breath and show you vocal exercises that have helped me with my singing a lot.

I also understand that a lot of students who wish to learn how to sing better don't play the piano, so for each exercise, I included a part where I play the piano through the register, for you to practice along. 

Class is suitable for beginners as well as singers who wish to refresh fundamentals or just get another perspective on the subject. 

Meet Your Teacher

Teacher Profile Image

Milena P.

singer, flautist, composer, human

Teacher

Unconfined by genre or industry expectation, London-based singer-songwriter Milena Pfeiler has spent her life immersed in music – a vast and endlessly productive journey, which shines with absolute brightness on her original releases.

Born and raised in Slovenia, the young flautist was inspired and captivated by jazz and classical music. Growing up amidst a family of aspiring musicians, the traditional songs of Slovenia run throughout her story, offering nostalgia and memories of family gatherings – ensuring that music would always come natural to Milena.

Her journey playing flute began at just seven years of age. School lessons evolved into a BA Degree in Classical Flute, achieved in Austria, yet always the sound of harmony cal... See full profile

Level: Beginner

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Transcripts

1. Introduction : Hi, My name is 1,000,000. I'm a singer of the player songwriter. Basically, I have any music since I was little. I started to play flute when I was seven and later on decided that singing is also something that I want to go more into. So I studied both off the subject. I have a master's degree in music from City University of New York, and after I graduated, I moved to launder. Now all the time while studying and after I completed my studies, I've been teaching people on. I have a little bit of inside what the common mistakes are and also, you know, I always observe myself, and I tried to kind of combine the knowledge again from crippling and singing, and I have my own little twist on vocal exercises. Usually, why I created this class is simple, because I really want people to understand the underlying that needs to happen before you can really sound good. It's all about consistency on bond. The more you do those exercises, the more you are building the muscle memory and your body is just, you know, it gets there sooner. Big thing for me that I really am trying together. Cross is Hall March. The fundamentals of singing are important and how much imagination plays role in being able to sing. Good. I am just trying to show you my own twist the way I think I want to do exercise is the way I think about singing. And I suggest you always when you're learning a new skill, go and check out different people. No, it will give you more rounded idea off. What is it all about? And just stick with ideas that feel good to your body. No, never go over your body. Your body will tell you what's right and what isn't so we don't further do. Let's go into the lessons and yeah, I hope you enjoyed it. 2. Posture: comes to singing our whole bodies engaged. So if your body sloppy, you won't be able to support your son and it will just sound sloppy as well. When it comes to feed, you really want to being a nice, stable position. What helps to me is to think that this is 12 club. This is kind of two o'clock, but you don't want to make it to, you know, Do you like trying to do like some sort of ballet there, just like a very firm, stable position. Also like the needs are very important. You don't want to lock them, which happens a lot, especially when we get nervous. And we think we should do it certain way. You really want to have them slightly bent, but not too bad. So it doesn't make the whole batch of Slaby now when it comes to the upper body, what we are trying to avoid these overarching our bags and doing this which arm guilty off often so after always observed myself. So you just want to engage your longer abdominals and engage your upper back muscles. Go back. So you have this nice, you know, kind of straight line In a way, I also want to talk about neck because we want to keep that lang the goes like also, um, and what happens often when we see nowhere? Notes. We start to go down and then we have to sing opera notes. We go up, up up because it's kind of bodies response of helping you with singing low and high. But it's really damaging the whole situation, and I'm gonna show, you know, the example, right? If I just a note and I sing it, uh, you see how the song changes and we didn't really want that. Also, it takes a lot of pressure on the on the neck to be doing that. I wasn't changing case old. I don't like that because this is an online class. It's very important for you to build the right habits. You won't have me or any other teacher in your room to point them out, which means you have to kind of take it slow and observe yourself because if you do build bad habits, is going to be so much harder to get rid of them. So that's why I'm pointing all these out is really to help you to build a good habits from the beginning on. And it all starts and ends with posture because you your whole body will be engaged and you're gonna see in next lessons how it reflects on your singing at the beginning of we're not so confident about. Our singing is very natural for body to help us like the the next situation. And then we start to like, you know, grab onto things and abandoned needs and my go to sides and do all sorts of stuff because it's an intimidating process to learn something new and especially singing is much more personal than playing an instrument, and I know that from my own experience, be mindful. Observe yourself and you should be fine. 3. Breathing Explained: As I said before, our whole body is engaged. When we do anything related to singing, really, when it comes to singing, we often put too much attention on Li die from which is located right here. And when the rib cage comes together, they're idiots, the diaphragm and then from gets so much attention that we forget how our whole body is supposed to cooperate in this whole situation. In the next lessons, I'm going to show you the examples and I'm gonna walk you through the exercises that will help you build your singing muscles. But let me first give you the idea off how everything functions. So basically, whenever you put your breath out right, whether it's singing or playing an instrument, it doesn't really matter. Whenever you're exhaling in a very like, consistent type of way, your your diet friend is kind of going in. I have I have my own way of seeing this thing. I always imagined a balloon. When you have balloon filled with air, when you push one side in all of the other parts of the balloon, expend even more because there has to go somewhere so same. I imagined this part off my body. So basically, when I start exhaling, the time from goes in and the side muscles are kind of expanding your kind off, helping retire friend to hold us muscles. And when the more your air goes out, the more everything else, we'll start coming together. If that makes sense. So basically, first die friend and then at the end, when you don't have any air left anymore. You kind of helping the other parts of this balloon to discreet, the last part of so literally look, Everything is engaged, every single muscle in your body. It's like helping you because, basically singing, it's all about breath. The more breath you can supply, the easier you're singing will be. So just to make it clear or more time, so you breathe in the die from starts to go in the bleak muscles and also the lower back. It's kind of like there until the diaphragm kind of exhausted all the reserves and then, like the rest helps. And that's it. The new breath comes in. There is one thing that I want to point out when it comes to breathing out and die from going in. I saw it like with my students and I Also, when I started singing, I kind of struggled with that part off singing. So it's it's not some sort of like external thing happening. You think within your body, like everything needs to kind of like be in sing. So basically, when you're breathing out here, I imagine like when I breathe out the time from goes in right And I imagine like there is, like, elastic in between me breathing all and I from going in and I don't want that elastic Give me to be floppy. Yeah, I wanted to be extended and constantly like pulling to the each side's. That kind of helps me, too, to keep the intensity of it. Now, the third point they want to make when it comes to breathing is the way you take your breath. It took me quite a while to figure this one out because it is really important what happens before you even start singing. With that being said, I'm going to give you a few examples. So there is what I call penning birth, and you can check everything here like, you know, that really affect your singing and it doesn't feel comfortable the whole than the second type of breath that is a no go. It's which kind of the same thing happens like your your chest kind of lifts and like, you know, everything is there and the body is not relaxed it all so we can also want to avoid taking breath in through the nose. The way I take my breath is usually thinking very naturally, like when we speak. We don't really talk about how we're gonna take the breath. So I take it that way. I take it very naturally. Now most of the students tell me, But how am I going to have enough breath to, you know, continue singing? If I take such a shortbread and such a like, you know, kind off, not enough air taking in type of breath and that's where the exercises come in. And I'm going to show you the exercises. But this is a very, very important part for you to understand. That is natural, as you can take a breath that will help you enormously with your singing. Another point that I want to make here is you have to know where you're taking your breath , especially at the big ginning off the song. Because if you're doing that and then you start to seem you're, like zero again because you are 10. Stop again. So how I practice usually is like I conned 123 and then bread. So it's like one and two and three and four breath and I start so 1234 i e. If that makes sense that gives everything works such a relaxed feeling, and it really yeah, makes your start of a song much better. I did give you a lot of information about breathing, but it's all very important information on you can always come back and revisit this part. Let's go and do some exercises so we can dive more into what I meant by all these breathing stuff so you can start practicing and you'll get more of the idea. Watermill. That meant 4. Breathing Exercises Intro: the way we're gonna do this exercise is is I'm going to explain. You exercise first. And then I set up a little segments where you can practice along with this tape with me. I'll be doing you'd exchanging with you, and I'll demonstrate how this will work. So all four of the exercises that we're gonna do in next lessons, I want you to just be overrated. I'm gonna be counting along with you him and it's one and two and three and four breath. I'm always gonna be counting. Even when I'm doing exercise, I'll be kind of Colin thing with my hand. And you have to pay attention because when I'm done with exercise, you have to jump right in. And that's the important part of it. Starting to 5. Breathing Exercise Nr. 1: exercise is Theo. When we do this exercise, the important thing is to really keep it like smooth. And you're really I always imagine, like I'm trying to move a big rock with my breath is not just and your body's flopping and nothing's happening. It's really like you're breath has destination to go to, not eggs. I've into the exercise, remember, I'm gonna be counting off for myself. Then it's gonna be my turn and the free exchange. So one, two and three and four You two and three and four, you two and three and four Theme 12 and three and four, one and two and three and four, 12 and three and four. Great. Now you can really check it. You put your hand on your belly and you really and also on this side. Then you can check how this part goes in thes when you're kind of holding it until your release it at the end. Theme. Let state former time. Let's do it one more time and then we'll move to the next exercise. One and two and three and four. Theo, You two and three and four. Theo you and two and three and four Theo You and two and three and form Theo you and three and four Theo. One in two and three and four and one and two and three and four. 6. Breathing Exercise Nr. 2 & 3: now the next is just a variation of this exercise. We will still keep the stream, but we will be creating the waves on it. So it's like Theo when he created away, if you were dying from really goes in, get really I kind of tried to do. Makes moved out, smooth it out. And that's basically what you want. You wanted. Smooth out. You don't want anywhere where it goes, kind off your body tries to skip on it. You really wanted to be smooth and, like, you know, nice and connected. That's basically the whole point. So this try right one and two and three and four. Theo, one and two and three and four, Theo, one and two and three and four, Theo, one and two and three and four, one in two and three and four, 12 and three and four. Thing one and two and three and four. Good job. No, at the beginning. When you do this exercise, you might not have the bigger the biggest wave ever. But it's just as I said, we're building a muscle memory. The more you do it, the more this is going to build your muscles. And the bigger the movements will be, the more control you will have over your muscles. That's basically all it ISS. How this exercises will help you. It's singing. They will help you tremendously because if you don't have that feeling off the weight, supposed to feel the way muscles function. If you don't exercise your muscles to the point where they're gonna function, no matter if you really think too much about it, it's just, you know, there is a lot of problems, and you really need to be able to build that support system. It's like building a house and you're starting with the roof, which is singing songs. But then below, everything is crashing and you're putting the pressure on your voice, which, by the way, you can go to the shop and buy a new one. So you really have to take time to build fundamentals. The more you do it on a consistent basis, the battery we will get in your body is just like sports reading. Let's go to the next variation. Now we're gonna put on each bead, which is one and 23 We're gonna put two waves this time. No if you are not there yet and you are still struggling with only holding the belongs or making one wave. Don't rush the process. Go back there and do it. But then, if you feel like you're ready to progress to the next step, this will be it. So let's do it. It's gonna be like so basically. 12121212 A suit again together on in exchange one and two and three and four. Theme one and two and three and four. Theme one and two and three and four. Theme one in two and three and four. Theme 12 and three and four. Theme one and two and three and four. Double check with your body, see if you're relax. Double check how you're taking breath in. If it's relaxed, double check the way you're standing. It's always the internal game off creating. You have it, so always be cautious and double check everything you're doing. Even though you think you're doing it correctly. Double check it, especially when you start out. That's variation of this exercise would be that we actually put three waves on one beat. This one can be quite challenging, especially if you're a beginner. So just make sure that you are doing it slowly. Your progress. Make sure that you really smooth it out because the more waves you put a one bid, the more you have to work on your smoothness between it. You don't want anything to break apart. Remember how we talked about elastic being done? Now, even though you're making waves, that doesn't mean elastic goes like that because we want that elastic pulling all the time . You think that your that's your base, your building over that constant pooling kind off your breath is kind of. I I imagine my breath being straight and then building on top of that. So if the partner is gonna be three ways one big by telling team not to make it like this is sloppy, you want to make it still smooth out. So 12 and three and four Theme one and two and three and four. Theme one and two and three and four. Theme one and two and three and four Thing one and two and three and four 7. Lip Trill Exercise Explained: this exercise that we're gonna do now is called Lived through. And this is the first exercise that we're gonna combine What we just learned about breath we actually singing Now the important thing is you see that I'm sitting and the only reason I'm sitting is because I'm next to the piano on. I'm gonna be playing to show you the exercises. That's what I'm seeing. I want you to please keep standing. Remember, we are trying to make good happens. However, if you are a piano player and or any other instrument there and you're accompanying yourself while playing, make sure that even though you're sitting, you still maintain this length throughout your body. We don't want to start collapsing, which can easily happen. Let's go to the lip through. So basically, lip thrill is your self explanatory a little bit, but it's working like this. If I have a note, I think this one I make a sound. Why I'm thrilling with and why does exercises so great? ISS. But you really need to engage your muscles. You need to engage, retire from you really need to remember how we did this seeded consistency of the air coming out, and for that you need your muscles. So, basically, let's just try. Try a couple of times to see if you can severe in your lives. E you return. So now if you can do it great, sometimes it doesn't happen. It's also OK now I'm going to give you a little bit of tips on that. Sometimes lips don't thrill because we're not aware of how much of a powerful body we need , how much air we need for to make this happen. It's also everybody is like, structured differently. So at the beginning, if you are having troubles to actually three, or because sometimes lips were very like vaguely and it's kind of a fake three deduct you don't want that. You really want them to be 030 very much? No. So if you are having troubles with feeling, what you can help yourself is to push this board. Look out. Uh, check it out would help to the most to wear because you know you have your own structure. So so basically, when you are trying it out, like in the beginning, I used to help myself a little bit just to get the idea because these two things working together, first of all is your breath that we just exercising previous exercises and then also the Libs have 23 or so for you at the beginning to really get the feeling you kind of help yourself so that you get the idea of how it feels like. And then you eventually want to release your fingers because you don't want to not support enough because their visa at the beginning. Of course, you need to learn how to three of your lives. But then after a while, when you got it, if the lips still don't 30 there is a different reason. It's just like you're not supporting it enough. You're not supplying enough of the air free three year. You're not like trying to move that rock that I talk about. Like I always imagine this rocked enormous or like a mountain that you're trying to move with the over breath. And if breath is not, there is just not moving, and in this case, your lives are not moving. So keep that in mind. Now let's just to before I take you to the more advanced exercises I just want us to try a few of them so that you kind of get in, get the idea of it. So it is tried, E, remember, you could help yourself. So no, it's your turn to try. This is just for trying. This is not an actual exercise we're gonna do. But it's just for you to try how to do it. So the next one and the next one Great. If if it doesn't function yet, it will eventually keep trying. Um, Now, if you're ready, we're gonna go to the actual exercise that we're gonna do now. How I set up is a teacher. How I said it up is I'm gonna show you how to do it. And then the next few lessons are going to be lessons where I only play piano. So you have a tape that you can practice. I'm very aware that a lot of students don't play piano, so I made the tape for you to practice with. It's not gonna be me talking. It's not gonna be me showing you anything. This is what I'm doing now. The next lessons are gonna be only piano for you to practice and keep making good habits. The next three lessons that I recorded adjust levels. First we do to reputations. Then we do three repetitions and four repetitions. What I mean by that is we're gonna take five notes of the scale and we are going to keep moving them around, creating the wave again in a way. But what we need is really that consistently consistency throughout. So it's like, Yeah, I made quite a lot of repetitions and this is basically what you're trying to get Teoh as not as many as possible so that your muscles, you know they will develop, and you're going to be able to hold very long notes or to sink for much longer because that's how you're going to, uh, exercise your breath and everything. The principles that we learned before about breathing and taking a bride still applied. So don't forget about them. It's like one and two and three and four breath and start. Yeah, so 123 and four this expert says it's important that you get it right away. The real has to happen right away, because if you're kind of trying to start it up, you're losing so much air already. So practice and off before you actually do the exercises throughout practice and laugh that you're gonna be able to get it right away. You can also try to practice it. Just be grabbed them notes and just try to start it right away. Because if you got to that spot right away, you're not gonna be losing breath. And you could just once you have it, you just take it over. Now another thing I want to mention about this exercise. It's very light. Yeah, nothing comes from here, not from here. We want to avoid it at all costs. It's very light it somewhere here. And so it's not a or anything like that. Soon as you start to do that and as soon as this exercise starts to feel like a kind of hurtful in a way, if anything hurts you, if you're tensing up, stop take a bribe and just restart and put yourself in the mindset where you're not judging yourself or your dress like relaxing and trying to figure you have adult in the next three lessons. Basically, I'm going to always play the segment. First is going to be to repetition. So it's going to be 1234 and you're singing. And then, uh, no. And then you start to sing again just to explain a little bit in the lesson. After that, it's just gonna be the same thing. It's just we're going to repeat the same pattern, three types. So you notes and start. And the lesson after Dad is gonna be just the same. We're just gonna repeat it four times, and that's all there is. I think you're ready now to go forward and check it out. Make sure you are engaging your body. Make sure you're supplying enough air out and make sure it's very light and let me know how it went. 8. Lip Trill Practice - 2 Repetitions: 9. Lip Trill Practice - 3 Repetitions: way well. 10. Lip Trill Practice - 4 Repetitions: way. 11. "M" Exercise Explained: this exercise I call exercise like an exercise. So we're gonna think this sounds and practice with it. It will sound somewhat like this. Um, So, uh, now, when it comes to this exercise, what is he often happening is that it's very easy to push it too much, so on and try to make it super loud and super Wow. But that's not the point I always talk about. Let's say you have an apple. It looks super NYSE on the outside. But on the inside, when you open it, there is no seeds. There is nothing in there. It's just like the shell of an apple. And we don't want that. It looked. It does look pretty on the outside. Anything vibrant colors are vibrant and everything is nice. But then you can just like smashing together. You bite into it. It's nothing. We take the same principle to the sound. Yeah, everyone of us can do a big sound right now. It might sound screaming my tongue like, you know, very loud and very like this and that. But if you are missing the core off the sound, you can take the sound only so far until it starts breaking off, we're going to try to build with all these exercises, it is go from the seeds out and then eventually been build it into this big song that will really give you the ability to take the sound and sing it over any register and take it around and smooth it out. And it will give you so much more flexibility with your voice than if you just go in for it and do it super loud. And you look at me and look at me. How great I can sing on all that stuff. But then you're missing the essential part that will help you do so much more. So with that being sad, No. When it comes to the moon, what we're trying to avoid it. Everything that comes from here, right? So the sound is very, very small. I imagine in summer is somewhere in here it's like smelling the floor area, and you go into that space here. I don't want you to breathe through the nose. So that was just thank sample. But, um, when we do these exercises or any exercise, we need to take air with it, Meaning I don't want to sound airy. That's not what I mean. But we need that flow that we were talking about when we did mean it. They are moving because if you don't take the Arab, it it when you sing. It just sounds like you needed airflow at all times because the airflow is what makes it connected. It would also help. Three days exercises. Um, you kind of slide between each note. So next, Moom, But you keep keep it lifted. Yeah, No. So if you see yourself doing this not so good. So just open your eyes. Keep left at what also helps me tremendously. Because at the beginning, it might be that you're gonna have troubles finding that small space and that voice, and it's gonna try to go everywhere. What helps me enormously is when I just say the latter. So and you say it and then you pick a no and you try to sing in the same space. Or and that really makes you realize how small its patients. So they are going for that effortlessness in every the time. You can really explore this song and it will get bigger, right? Let's say that we did the whole exercise. And now we are coming into lower register. So I'm gonna demonstrate you. Ah, uh, what starts to happen in lower register a lot is that the sun tries to fall back in a throat, meaning you see how it's like nothing or something. Next comparing Teoh So you keep with its slide with its little slide, you're connecting every little space in between each note to get you into the beautiful, comfortable space again. You don't want it to going into that kind of nasal like I always call it. I don't write. I don't like so much the word nasal. But I was calling like there is the boss in the sound so and I don't imagine it as I don't imagine song is a stagnant thing. I imagine it like if you watched Harry Potter, I'm going to make a reference now when they play their sports. And there is, like this little bold it that Harry was trying to catch with the wings. I imagine this ball always constantly moving. This is how I this is how you imagine the song to be. It's not mm. It's more of a and it really helps me to move it within itself because it can get really very boring. And it can get very like, you know, focused. Yeah, I have to do it. I have to sound good and we forget that there is always a movement within every song that we're creating. So whatever helps you to imagine that why either is like a bowl or like, I don't know, feather or anything else. Just imagine that so much more different than Mm. You can also see that I do a lot of this motion with my hands when I sing and you hear me saying couple of times it's what I called kind of flipping the coin when you're in a coin. Flips. Yeah, that helps me a lot when I sing, because it makes me position the voice always slightly a little bit like, you know, on the upper side. So I'm not trying to grab the sound from below, but it's more like, Yeah, it's like, smooth it over so it gives it that freedom. And this is really what I want personally for my singing to have the freedom into myself so it doesnt song like I'm forcing it. It doesn't song like, you know, You just want to have a lot of things in your library off sounds. So this exercise is all give you the ability to explore your voice. I know a lot of times people take exercise. This is something that they have to like rush by and just because you have to do them. But exercises can be fun, and it can help you enormously if you put demon imagination to eat and you start to kind of move things around and you start to play with searching for the sounds that you want and you can see what feels right, what doesn't feel right. So in a next lesson, I'll take you with the piano again. Like in previous lesson. It's only me playing piano, and I'll take it through their exercise. And, yeah, so you can practice with tape 12. "M" Exercise Practice : way. 13. "M" + "A,E,I,O,U" Exercise Explained: this exercise is just the same as we did with the previous one. We're just going to open up the to the vowels, so, Ma, and you can literally do it with our a e o so much Ah, um uh or me. Oh, you Those are five different options. So at the beginning, I would focus on the 1st 1 is a focus on ah, and really get into Dad. And then you focus on another one. What really helps me is first really to find and then do the rest. Just size will be like this. What is really happening here is basically gives you foundation to build on eyes one of those worlds that tries to go like everywhere. So you're trying to kind of contain it in in in this space that you created before. So, uh, when you go up, try to each time flipped a coin. Uh, another thing that I want to mention here is now. When we talked about neck here, it starts to happen a lot, even though I have to, like, check it myself sometimes. So wait try to do like stuff with the neck because it's supposed to help us, but it doesn't really. So let me just show you a couple more examples, and then you can go to the piano part and practice yourself. Uh, notice how I lived this party smelling flower on. Let me just show you how it would sound in the lower register. So it's a kind of, you know, you have to be able to push in pool. Always. It's like always movement within what you're doing. So, yeah, you're ready to go to the piano part and practice through the register. 14. "M" + "A,E,I,O,U" Exercise Practice: - uh 15. "U" Exercise Explained: Now this next exercises do I'll give you the example first and then all Oh, uh, notice harm sliding between the notes we want to. The point is that we really connect everything in between. When we go back, always check in with your body because there is moments where your body kind of trust to skip on stuff and like, stumbles upon something. So beware the area is where your body is trying to skip over. That's really the part where you are kind of trying even more to smooth it over with, supplying more error to smooth over and also in the top of it. For me, what really helps is imagining the ocean waves. It's the same relationship between wind and ocean. Then it is between air and you're singing. So basically, when the wind blows, the more window is, the bigger the waves are and the more areas supplied more, it will support what you're doing, and it will be effortless what you're doing on top the sounds that you're creating on the top if you give it enough support. If you supply whatever you're doing with your voice with enough air and you give it that, like, you know, push like the wind supporting the ocean raise you give your voice freedom to really, like, float around like imagine the wind And when the leaves are falling in the autumn kind away . But when the leaves are when the leaves are flying, it looks like so effortless right on top of this structure that we are actually trying to build here when we do the who exercise, the important thing is where who is placed him. You don't want to push it. It's a very, very gentle thing. So I could go. It makes me cough when I do it. So very effortless. Even here, I sometimes say, if I'm having troubles to find that spot, it's kind of in here. So if you say hmm, that's right. So if you close your ears now and you try to do, you may really go into that space and like you're chewing a gum. So So if you close your years and then you open it like this, you block to sit back, and I like this and you keep chewing. Going into that space you're going going to really see what the sound exist and This is where we want to go, and from there we're going to kind of expand. Let's try to find the song MM S So it's in here and then do who is going to go in the same space? Another thing is again to say the word. Who first? So who who and really observe where the song is created. When you say, Where is this point where kind off goes into So who now? Don't forget about the air you need to supply it with here. It's not just what you're doing here. It's in connection to what's happening below a swell right. So, you know, stretching neck, trying to help yourself. It has to be very natural. When you place it in here, you need to give it that initial initial wave off air that will help you bring it there. It's not a big thing. Whenever we say stuff like that, it's not like a big thing that happens. It's just, yeah, that just enough. And this is basically what we are trying to learn. What is an off in certain register? What is enough? When you sing low, what is enough money thing high this is we're trying to build this memory within your body that your body kind of knows. Oh, this is where I need more. This is running glass. That's basically just a gamble with their So and then let's say we go higher and then they go higher if it starts breaking off. It's usually you're not supplying enough air. That's one thing. But the most common thing is that you're not in the right space. Yeah, as soon as you start pushing in and you feel it from here, or like you see, like your you have Wayne's air like kind of trying to stick out here. You're not in the right place, so you have to go back, start from the beginning and just take it slowly. You can always stop. Um, the recording to like, you know, recap whatever you learn on and started again. So let me go higher, right? So your voice, the harder you go, like, the more you kind of place it up up with flipping the coin again. Uh, but also, the more you will kind of slide up, the more your voice it's supposed to kind of traveling behind your head travels behind your hat, like kind of on top of it. And oh, uh, any kind of like you can kind of feel it going in your head in a way So you really like kind of take it in that hat space. And then the higher you go, the more you kind of try to also, like maybe like when you do, you open up your mouth a little bit. Search your your voice has a place before you dive into the next lessons were outplayed Vienna, where you can explore and do the exercise. Um, I just want you to give it a try a couple of times just in your own time to kind of got the placement and just try the exercise before you dive into going through the whole exercise. So let's just try just very, very, very, very simple. So that would be the note next month. So just be aware that when you do the exercise, stay calms, they stay centered. No stretching or anything here and just going the buzzing place. If you lose it, stop the recording positive. Find it again. You just take some time in the beginning to find its part, but once you got it, you'll be able to take it F River throughout the exercise in an extra lesson. And if it doesn't break if it doesn't feel uncomfortable, Um, you're in a good truck in extra lessons where I'm playing piano. I gave you two options. One is with a smaller, smaller jump, and the other one is with a little bit bigger in the first year of only three notes. In the 2nd 1 you have five. So and the next one, if you could feel comfortable with this one, you can go to the next one who basically just gave a lot of options because I know that not everyone is in the same level. Not everyone's bodies worried. Same. Some exercises will be easier for some people, for others. Not so. I just gave the options there 16. "U" Exercise Practice - 3 notes: uh 17. "U" Exercise Practice - 5 notes: way. - Uh 18. "NEY" Exercise Explained: the last exercise in this serious would be nay. Nay, Nay. This is one of those exercises that I'm a little bit cautious with the beginning, and it's also the exercise that gets easily. How should I put it? It's one of those exercises where we kind of take it for granted in, and we just do it for the sake of doing it. And I'm very big on really understanding why I'm doing certain things. Otherwise, I'm really just wasting like my time. If I don't know why I'm doing certain exercises and what those exercises will bring me, the exercise will go like this. You basically say words. Nay. Nay, nay, nay, nay. The importance in this is that you really over exaggerate when you say those words so nay, nay, nay A. Because, remember, we're trying to connect things so may maintain a knee. So when you start, you need to place the first note already high enough already. The flipped coin. So when you go up, it's not gonna be like name a name. You don't want that to happen, right? So they name a name. A. So the main A named a what? All these exercises are really teaching your body is what happens in the space between the notes that your singing in a lot of times what happens is in songs. Let's say you sing a pops on and there is the first part of a song. And then comes the quarries and a lot of pop songs go super high in the chorus and the previous part and is very low. No. How do you get from the low part? Do that high part? There is a lot that happens in that space in between that you have. But if you never practiced this space, if you never um if you never thought your body how much it needs here and how much it needs there, this space won't get filled up. You know, you're gonna you're gonna tried to sing that upper part that requires much more with the intensity in which is stopped singing the last part and what happens in between. And then usually people started seeing cores and it all collapses. Either they're like suffering when they're saying that high part or or it feels super like super income uncomfortable or they started and it just breaks off and nothing comes out. And that's what we're trying to kind of deal with here. We're trying to fill all the spaces in between that we think sometimes right, not important, but actually are super important the space where you are not actually seen. Because your body you need to pick up with your body in this time when you're not singing. No, I know I'm diving into this like, I'm kind of like, you know, trying to digest you through the singing stuff, but I think it's important because it's not just exercises like the exercise it you won't benefit from exercises. If you don't know why you're doing them in the first place. It's like then you're better off going and doing your laundry right now. So, um, so let's try to do Nay. Nay, nay. They may name a name. Amy. I'm still taking the breath. Read it? Yeah. I don't want to sing breathy, Remember, no singing, breathy. It just means that you do support it with the air that you supply enough for it. The sounds home. Otherwise it just the naming in Amy. Nay, nay, may nay, nay, nay nen a day. And that won't bring you far because the more appeal going tomorrow it will start breaking and question together. So name a name. It will just start something like that because you're just basically your body just like this. Like you're ready to watch TV and eat popcorn. Not really distinct. So central body Have the land be ready to sing breathing right before you start. Not not like you know, but no, they they way on and then the last one you can kind of like you cannot make squeeze it out . So may, May, May May, May May And you try to go as far as you can. I'll take you in next exercise I'll take you with the piano through it. But before you do that, just trying global times right now here with me. 1234 Just remember you're over exaggerating when it comes to pronouncing everything eso pronunciation should be like nee nee nee nee nee nee Like a broken record. Basically, um so yeah, that's about it. No, you can go to the next lesson and practice 19. "NEY" Exercise Practice: 20. Final Thoughts: here we are at the end of the whole class. I just want to congratulate you that you took this time and that you are learning new skill or your refreshing your old skills and just looking for some new perspectives when it comes to singing. I shared with you the knowledge that helped me. I'm practicing this stuff every day. So it's something that I do. And it's the stuff that really helped me in my life. I'm saying in my life is because it didn't really help me only with singing. But it helped me also with other things. Because I think in general we all need to relax a little bit more and that the life, you know, guide us sometimes. Do not be so controlling off what we want to achieve. And it really gives you this space off, letting your body do what he wants to do. A piece. Let me know how it went. A good thing would be to keep the diary whenever you have a chance. And whenever you do practice right down, how was it? How did you feel like and let me know and I can give you tapes and help you with your progress. I just want to thank you for participating in this class on. I hope to see you soon. They care.