SINGING MADE EASY (Level 2): Sing like a Pro! | Gabriel | Skillshare

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SINGING MADE EASY (Level 2): Sing like a Pro!

teacher avatar Gabriel, Voice Coach

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Review Principles of Bel Canto


    • 3.

      Voice Maintenance


    • 4.

      Activity: Lip Trills (Level 2)


    • 5.

      Activity: Legato Exercises (Level 2)


    • 6.

      Activity: Legato Exercises AEIOU (Level 2)


    • 7.

      Activity: MA ME MI MO MU (Level 2)


    • 8.

      Activity: Staccato (Level 2)


    • 9.

      Activity: Falsetto (Head Voice) Strengthening Scales (Level 2)


    • 10.

      Activity: Chest Voice to Falsetto (Head Voice) Passaggio (Transition) (Level 2)


    • 11.

      Activity: Cool Down (Level 2)


    • 12.

      Wrap This Up!


    • 13.

      Breaking Down a Song


    • 14.

      Bel Canto for ALL STYLES OF SINGING!


    • 15.



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About This Class


SINGING MADE EASY (Level 2) is the perfect next step for singers looking to improve every aspect of your singing voice.

With over 15 years of performing and teaching experience, in this course, I will be sharing the secrets of the trade. Having studied closely with the best vocal mentors in the world, including 2-time Academy Award winning composer A.R. Rahman and Sir Andrew Lloyd Webber, I will provide you with a wealth of information and the tools you need to bring your singing voice to the next level!

We'll work on:

  • Advanced scales to strengthen breathing and increase diaphragm capacity

  • Mastering the principles of Bel Canto (the BEST technique for ALL styles of singing)

  • How to effectively break down a song to give it a stronger emotional impact

  • How to strengthen and expand your range

  • Vocal Scales the professionals use (Live performers, Recording artists…etc)

  • How to sing in different vocal styles and advanced vocal runs

  • How to tackle vowels in the lyrics when singing

  • How to master the Mix Voice and Falsetto Voice


Meet Your Teacher

Teacher Profile Image


Voice Coach


Two-Time Broadway Award Winning Actor/Singer Gabriel has performed starring roles on Broadway, Las Vegas and International stages around the world. His televised PBS concert “Live from the Venetian in Las Vegas”, has aired in over 350 PBS stations across North America. 

Gabriel has studied voice at the Royal Conservatory of Music in Toronto and began his career as an apprentice actor at the prestigious Shaw Festival of Canada. He made his Broadway debut in Sir Andrew Lloyd Webber’s Bombay Dreams, under the direction of 2-time Academy Award winning composer A.R. Rahman. He also starred as Lancelot in the Broadway National Tour of Camelot and Magaldi in the Broadway National tour of Evita (Harold Prince Revival). Gabriel had the distinguished honor of origina... See full profile

Level: Intermediate

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1. Welcome! : Hey there gave me over a photo voice coach here I performed on Broadway. Las Vegas International Stages Around the world. I sang for big record label companies, and I am super excited to share with you Singing made easy Level two. And it's exactly how it sounds. Is the next level to singing made easy Level one, which was more of a foundation on how to sing properly with the right technique, a foundation for us to now build upon in level two, where I'm gonna be sharing with you some of the most effective scales that people use in Broadway houses. In recording studios, that's a little more advanced, but it's nothing you can do. If you did, Singing made easy Level One. More specifically, we're gonna be focusing on more advanced llegado scales, staccato scales as well as focusing on the falsetto voice, which is neglected from a lot of voice coaches. And I'm telling you, if you build up falsetto or head voice for women, it's going to strengthen your voice to another level. That's exactly what this courses it's about taking your voice to the next level from a beginner's level to a pro by the end of this course, you're gonna have confidence in stamina. You'll need to be able to sing in front of a large audience. I've also beginning a lot of requests on how to break down a song. Well, that's exactly what we're gonna be covering in singing made easy Level two a simple formula that the pros use on how to break down a song from beginning middle toe end And it could be implemented regardless of the size of the song or the simplicity of the song like singing made easy level one We're gonna be relying on our natural ability create sound That baby cried that bel canto squeal oas they call it We're reaching in words for those amazing singing techniques The natural technique that you've always had Ross is gonna be focusing on voice maintenance. How to protect your voice. Little simple techniques you could do so the voice will be there for you when you need it. These air secrets of the trade that I'm gonna be sharing with you. I've been around the block and I've learned from the best, including Andrew Lloyd Webber, Air Amman, all the big names in the industry and I was so fortunate to work closely with him over the years have created this technique that I'm able to rely on, regardless of the style of singing and that I want to share with you in this course. The whole point of learning these techniques is so you could throw it away. We don't want to be thinking of technique. When you're on that stage in front of thousands of people at that level, you need to be emotionally connected. And that's exactly what we're gonna be covering in this course how to emotionally connect to a song. Going beyond technique. People don't pay $200 a ticket to hear technique. They pay $200 to be moved. You're here today because you are a performer. You wouldn't have click that button if you didn't have that performer. And you look, you have something to say, and together we're going to unlock that potential within you so you could express your song freely. Open your heart to the audience. Let's tap into that together and take your voice to that next level. Hope to see you in class, and I'm looking forward to sharing this journey with you. 2. Review Principles of Bel Canto: I am so excited You're back for part two of the singing made easy Siri's I just wanted to do a quick review on the bel canto techniques that we did and seeing you made Easy part one that we're gonna be implementing here and going beyond from there to the more advanced scales and so position of the voice. Right? Remember, I was talking about removing your mask your mouth from here and attaching it to your iron man or woman. What that does is it automatically drops your sound. Still, your body takes the burden of the voice me talking from my ironman and then me talking for my throat. Hi. Hi. Hi. Hi. Big difference. K. Again, If you're wondering what the Ironman what is he talking about? Higher than women? It's something we touched upon in part one. The modification of vowels Member. As we said, we were down there way you very conversational. But as we get higher Theo, we got to modify those vows as well. Higher in order to not blockade the airflow and crack strain all those other things, right? Conversational, still conversational way. Modify. I'm no longer going. I e modification of owls again. Something we touched on singing made easy part one Good again. We're gonna be implementing this and onward in this next series Remembering about the high notes write high notes mean we sing down is like that elevator shaft going up Counterweight going down. We want to make sure that our lyrics stays relaxed, not pushed down or manipulated down relaxed like if you were yawning, right? Oh, when you're going up on these scales, if you feel the tension and your parents going up now men have Adam's apples. But women, same thing you could feel you could feel this sort of cartilage right there in your throat , inching its way up You go higher, right? Remember, relax going down. I could literally feel as a going higher, yawning, yawning, automatically bruh drops that Larry's opens up that air passageway to allow air to go in to support those high notes. That is why we crack. We get up there because everything goes up. We put tension on the soft palettes of and the muscles of your throat that creates that tension. So this is your gauge as you're going up making sure this stays relaxed or down. Not manipulated. Just relaxed or down, maybe. Hum, try it. CEO hasn't moved. He has a new Speaking of support, Let's remember support Support support number One thing we talked about Put your heads here in this mushy part in the side Watch. Look at my arms. How engaged there when I go. Hey, hey, Stop that, huh? Feel that? Uh, Mother Nature wants to support your voice. The whole concept of my technique is natural singing. Okay, Going back to the baby cry The squealer we talked about earlier. If you look at a baby cry look at their bellies. They're like, Oh, totally engaged. It's like they have perfect vocal technique. Remember, singing is just a cry Mama Mama Mama cry Tell it iss And when babies cry, the lyrics drops, we engage. It happens naturally. So go back. Go back to how we used to sound. Okay, that was just a nice little review from the singing made Easy Part one. Now let's move on to the next step. The next stage in your singing career or you And if you're doing it for fun this is the next level for, you know, proud of you. Let's get to work 3. Voice Maintenance: OK, since the last singing made easy course number one that I did. I've been getting a lot of questions regarding voice maintenance. What do I do personally to take care of my voice? So this is sort of like, I guess, a video interactive frequently asked questions that I'm going to do right now. Of the most questions I've been getting had actually very important information. You could do all the skills you want, but if you don't take care of your voice right, we don't want to be singing on dry cords. Tired cords. We want to be able cords, meaning or vocal cords. We want to be able to also maintain a healthy vocal lifestyle. OK, your voice could be your best friend or your worst enemy. It's all in how you take care of it. So number one hydration very important. I'm sure you hear it all the time. Hydrate, hydrate, hydrate. However, I have a lot of students who come in here from a one on one classes with a bottle of water that they haven't opened up yet and lycopene time to hydrate. And then I tell, Do you realize that your vocal cords are still dry and will be for the next 20 minutes. It takes an average of 20 minutes for the water to go from your mouth. Hydrating your cords. So what you want to make sure is before you sing, or go to a lesson or two a concert or go to the karaoke bar. Whatever you do, drink hydrate at least 1/2 on hour before you do so. So then you're singing on hydrated cords. But the worst thing to do is to sing on dry cords because it could get actually damage your voice. I was actually doing Beauty and the Beast, the part of the Beast, and it was winter in Toronto, and it was very cold and dry, and I was so into the character. I forgot the hydrate, the I lost my voice and it took me a good week to recover because I was singing growling on Dry Chorzow hydration, hydration, hydration 30 minutes prior. OK, very important. Next one screaming. Listen, we all live normal lives. Sometimes we scream. We sometimes you raise your voice is we get into passionate arguments were at Khan's concerts. You're with friends at a bar. It happens, it's normal. I'm not going to tell you to live sanctuary Life. We were quiet all the time and life is life. However, there is a way of raising your voice and screaming like singers do. Right? Remember we were talking about supports this mushy part. This mushy partner here, huh? Right. But your for your hands, right in the mush apart. Bad speak, and you notice how it engages. Now, Don't sound like a robot like me, but sometimes it's good to try speaking normally and engaging. Do you notice how my arms pop up this way? When I'm speaking, you could read out loud doing this. Seeing a few arias have a little chitchat. So what you notice is that all of a sudden your voice drops, it's more supported, and you could raise your voice without hurting anything. It's in a gated sound. Hey. Hello. Hi. Wow, this concert is awesome. Yeah, I got my tickets on sale on whatever. Right? Or in a passion argument. What are you talking about? I took out the garbage yesterday. You could scream all you want, and you're not gonna hurt yourself if you are supported, okay? And singing from your Iron Man, Iron Woman. Those of you don't understand what that is again. That's from singing Made easy number one. OK, so scream. Do what you need to do. We've got a live life, but do with support. Okay, rest. We need rest at least 6 to 8 hours of rest when our bodies air tired our vocal cords or tired. So if you have a big performance coming up or you're performing at a recital or something, you want to make sure you get at least 68 hours of rest drinking. Okay, again, this is life. Sometimes we like a good red wine with our meal or more depending on your lifestyle. Drinking's fine, but personally, this has happens to me when I have one drink the night, the evening before I perform, I'm telling you, I don't know what it is it takes. My highest note is probably a B flat to it. Be on a good day. But if I have one drink the night before, I'm telling you my B goes to a day or in a flat. What happens is that drinking dries up the courts and you could drink water all you want. But for some reason all my career of singing, I was never able to hydrate my voice back to a B on countless tours I've done, you know, we have dinner parties and opening night parties and stuff. So I've learned the night before I perform No drinking again keeps the voice nice and hydrated, which is very, very important, lubricated and ready to rock and roll. If you're singing rock, you know what doesn't works either way. I hope this helps again. These are the most frequently asked questions I got for my students that I want to share with you now. So you're a little more aware. Okay, things to know because we could practice all we want. But if we blend that up with a beautiful vocal lifestyle and taking care of this beautiful God given gift we have, your voice will thrive and you'll seem well into your eighties. Helped us out 4. Activity: Lip Trills (Level 2): okay? Like we didn't part one. We're going to be starting off with either go or, uh, you can do either. Just a Hamas. Fine. Remember, we want to support from down here. Assuming you've been continuing with the hissing into the sales and the marionette breath exercises. I'm hoping by now you're in the twenties, right? The 22nd breath capacity. Okay, if you're wondering what that is, you got to check back on part one to know what we're talking about. So here we go on, remember where the focus is, right? I'm gonna do the which is ideally what I hope you can do. But not everybody can. So if you need a hum homis five So it goes again. Nice relaxing that Larry's way We owe now. Do you see there? I sort of flip into my falsetto. That's totally fine. That's it. These exercises do. It's a breakdown. All pass, Agios. So we're not concerned about Oh my God! Here comes my Braco uh support open Relaxed the muscles here in your soft palettes Let mother Nature take over Wales were engaged Wait for the ladies. I think all these lib trolls is that it has a tendency of one you want to tighten up as you go higher to produce that sound. But what I love about this exercise is that you can't produce the other sound if there's any attention at all. So it forces you to relax here and support more there to make this formula work. We don't want any engagement or any can't produce it. So this is a wonderful exercise to establish that journey from the low end to the high end without any involvement of your muscles in yourself. Pilots Elegant Trick that I learned is, is that if you put your thumbs right under here, you see there's a bone, right there's a chin bone and then right here in that media part. So as you're doing these exercises, I think this will help you determine whether you're tensing up if it feels at all hard or solid, or you feel the engagement of your muscles that you know that you're getting this involved . Key is have a nice and mushy goes with singing No oh, totally not engaged. Okay, that takes practice. Awesome. Let's go to the next exercise 5. Activity: Legato Exercises (Level 2): now moving on to the llegado exercises on Are these scales of doing our a little more advanced? Nothing you can handle if you did the first course K first. The a lot of the questions I get with this particular scale is how do you How do you move up on the llegado so fast? Supports if you are going from a deeper place if you are coming from here versus here. I've heard this done incorrectly many times. Ah, the same people who create their own librato. I'm sure you've heard the singers at like they're shaking. They're shaking themselves to get that librato. Remember, nothing is produced here. Uh, this is just you know what my voice teacher used to say we are? Well, singers were dead from the neck up. We're meat were just the just use a joke and say to me saying the best when he was drunk because he was just look, his muscles were so relaxed. So if you go from here, if you engage him down here, remember the engagement, Uh, time wear key Here, engage open supports. Relax. Way, way. Whoa! Getting higher now. Remember, baby cry smooth. I had the wonderful opportunity to work with a reminder. He is the Mozart of India. I work with him on Bobby Dreams poster over there, and I got to sing with him. And he taught me so many things. And I got to work with him in Lord of the Rings right over there. Genius of a man And always is he the best musician ever. But his singing is just and how it's sitting stare how he would do these chance. Okay, Right. And And I noticed that again, like a baby. He was so engaged from down here. The more engaged you are here, the less tension you put on your throat. Okay, That is the key. That is sort of like the mechanism improper singing that we need to achieve. Okay. As we get older, as we tense up and go in our daily lives again, the tension gets higher. And then there's so much tension up here when you go to get a massage. Oh, my God. You have so much tension here. It's life. We carry life on our shoulders. So we have to learn sometimes to just relax. We don't need all that weight. Throw it away. Let this that this take the burden of all that waits. Okay? And free up your voice. Beautiful. 6. Activity: Legato Exercises AEIOU (Level 2): So this next exercise, we're going to implement a llegado with the Iose on the top. Wonderful exercise. Something I used to do I still do Today which works wonders was like this. Oh, wait. No way. - The modification of the houses that were not their way. Way, Theo, Not easy. Okay, but you notice how we modify those vowels Difference from now here. Uh, yo. Much more conversational here, Theo. That's how we modify these vows. And that's how we're able to create those sounds. So what? I'm singing, I flat It sounds funny, but I'm going right. Modification of vows. Something we touched out of the 1st 1 that I want you implement here as well. Stay centralized, supported. Relax. No tension. That was a tough one. But you did. I'm proud he will be onto the next one 7. Activity: MA ME MI MO MU (Level 2): continuing on from level one where we did the mama. Mama! Mama! Mama exercises. Now we're gonna add the I E o Who's into the mama? Mama exercises. In other words, we're going to be starting your mom and me, My mom and me Mama. Okay. Remembering now to stay engaged. A centralized supports on Really taste those. Mom! Mom! Mommy! Mommy! Mommy! Mama! Mama! Mama! Mama! Mama! Mama! Mom anymore! Mama, Do you want to make sure you finish these off? Mama Me? Meow Moment versus Mamma Mia. Mamma Mia, Mamma! Right. I want to stay engaged right through Mama. Me? I don't think it, Mother Nature Take over. Remembering baby cry baby Cried is equated In part one singing is a cry Okay, It's no more than that. I know it sounds intimidating and way out there. And how do they do that? How do babies do it? How The baby's cry for hours and never lose your voice. It's a cry, Theo. Engage. Get back into that. Cry. Okay. Awesome. You doing great. Let's go to the next one 8. Activity: Staccato (Level 2): Now we move on to the staccato exercises. A lot of people ask me, Why do we do staccato exercises? Staccato is very short. Hope sounds, because what it does is it engages the die from right. This is the muscle we need to work. People say, Seems a muscle. It's not. It's muscle. You gotta work. There's no muscle engagement at all. It's the diaphragm. So it's like the treadmill, the diaphragm, if you will. By the end of it, you should feel like you've done the 100 crunchies or so. OK, you look a trumpet. The trumpet. Where's the power coming from? Is that the bell? Is it three little keys? No, it's a person blowing it right. The diaphragm is the person blowing it. It's where that pressure comes in. OK, so building on from part one, we're going to add a little more so it's gonna be this going through it twice. Remember the way, - way . Go into the next gear like falsetto for men or head voice for women. It's fine as long as you are who, as long as the blinds air down and nailed in. Oh, it will change gears automatically without you worrying about it. But the second you disconnect that cracking so engaged way Theo wondering what is going on up there? Somebody dying. But again, this is on exercise, right? When we do exercises in the gym weight the prettiest looking right, We're sweating and we look awkward And we're doing weird things. This is what we gotta do in orderto have this available for you when you were performing. And when you're holding that long note, the more staccato you dio, the easier it is to maintain. And no, because you're learning how to engage the diaphragm. Okay, excellent work. Let's move onto the next one. 9. Activity: Falsetto (Head Voice) Strengthening Scales (Level 2): Okay, So for this next lesson, we're gonna be working on our falsetto for for women, the head voice. It's basically the sound that I'm producing right now. Kind of sounds like Mickey Mouse. Now this is a part of the voice that's usually neglected a lot. Well, I never use the falsetto when I sing, unless I'm doing Do up. The falsetto was basically the vibration of the outer edges of the vocal cords. It's essential it's part of the voice, and the more you strengthen up your falsetto, the fuller and stronger your whole voice will sound. It's kind of like neglecting calves when you're working out you fruit. When we workout in the gym, we do our chest. We do our shoulders or arms all the big muscles, but we forget her caps because it's just there. So why bother? But I guarantee you, if you work on your falsetto on a regular basis, you started plummeting this in your daily routine. Your voice is going to strengthen, and if you ever have to pop out until falsetto boo, it's there so very simple. We're going to start up here now. This is pretty high for a lot of people. But also remember, we're doing for the women as well. So we want to be able to hit that register that weaken both go down from. So we're going to start here on this. I'm going to be Oh, librato to come in way. Oh, the good it short. It only takes a couple of minutes. But I guarantee you, if you also work on her falsetto in addition to everything else, it's going to make your voice sound rounder. Fuller. More powerful, great. 10. Activity: Chest Voice to Falsetto (Head Voice) Passaggio (Transition) (Level 2): Now this next exercise, we're going to be combining the chest sound into the falsetto head sound. We're gonna be traveling from the chest into the falsetto for men, Head voice for women. This is good for situations where you're holding a note and want a diminuendo into nothing like music of the no right. We want to break bridges and boundaries. We want to go through all pass Agios Whether it's from chest a falsetto head or from chest to mix, we want to break all boundaries. Okay, so imagine this is a crossing of bridge. So, for example, going to start down here. This is my chest boys who isn't my also breaking and you notice there's no crack At first you might be like, ooh, as it is normal. And I've struggled that for many years when I first started. The key to this is going slow, especially when they're getting to that crap point. Go really, really slow. Go through that crack. See every nook and cranny on bond that will eventually smooth it out for you. Okay, will be not from there way. Feel that crack. Walk through the crevices and it's OK if you crack, you'll get there eventually. The more you do it, the better you'll get out. There's a crack me down Oh, it's not easy to do, but you're you're on the right track for actually doing. I feel that transition from chest excellent thes air, extra little things. We're adding to our overall room team to help strengthen the voice t to be able to work through all transitions, whether it's whether it's chest to mix chest ahead chest a falsetto. We want complete control of her voice. So whatever song we're singing, we know it could make things we could make those transitions with no problem, right. It's like having a sound map in front of you. And you know how to get to your destination with no blockades or nothing to block you. Okay, excellent. Moving onto the next one 11. Activity: Cool Down (Level 2): like a the end of every vocal session I do. We always do it cool down. So we're just gonna add on to the cool down We did in part one, opening up the engagement. So, for example, part what we owe you know, hours gun attack on As we go down, it's water trickling down a waterfall. Feels good way . We don't want that. It would close up while riding with the end is to train ourselves to keep that throat open . Whoa! No, no, no, no, No way, Way, way. Wonderful work. I hope you felt challenged because again, these the scales are a little more on what the pros do. These is This is what you hear The backstage of a Broadway show musical director. We usually go back there and play out these scales. It's what you will hear in the big record label sessions before they do a big major recording toe. Warm up the voice. This is what the pros use. And you are pro. I don't care where you seeing you're a pro. Okay, so implement that every day you're rocking it. Now let's start implementing these principles in some music. Okay? On to the next video 12. Wrap This Up!: excellent work, everybody. These exercises air Not easy, but you could do it. You've done the first singing made easy course. This is obvious and natural. Next step. Now here is the game plan on how we're going to be doing this, because everybody asks me well, how often do you do these exercises? How long do I need to do this? To get to the place I want to get to? It never ends. I still vocalize every day, not every day but five days a week when I would have kids, probably four now. But if you're a young starting up singer or you're just starting to sing now at a later time and in your life that absolutely this is something, it's a discipline. It's like ballet. It's like concert piano. It's It's something that we need to do on an ongoing basis. Singing is obviously a natural God given gift, but we need to nurture it with these exercises now. In the first singing made easy course, I suggested 3 to 4 days a week here. Since you are a little more serious about singing, I would say 5 to 6 days a week, with one day of rest. Okay, if you really want to take your voice to the next level, I would drive my parents crazy. They'd be like, Oh, my God, when you please shut up Because I was obsessed over it, something I loved. Every time I sang, I felt so good. It's therapy. This is therapy for you and me. You know, you enjoy it. So I would say 5 to 6 days a week. People ask me, Do you localize at night or in the day? My routine is this. I wake up in the morning before I eat anything. I have a warm glass with lemon to soothe the voice. That's the first thing I drink. And then I go into my local exercises and it's not like I set aside and 1/2 on hour into a studio, and I sit there and doing my exercises. I could be washing dishes and doing the exercises. I could be sweeping the floor and doing my exercises. You want to implement it into your daily routine so it doesn't become so obstructive. So So God, I gotta go over there and sit there for an hour ago, that blah, blah blah incorporated into your everyday life in the shower. I do 80% of my vocal exercises in the shower, so when you're done oh, you're done great. Let's get into some songs and some music. Another thing I want you guys to start doing as well is Who are your favorite singers? Technically good singers, not people who claimed to be singers. But when you really break down the technique, they got nothing. I'm talking singers who could get a roaring standing ovation after the performance. Personally, people ask me all the time. Who was your favorite singer? Okay, I'm gonna give you the inside and who I think is the best female singer Laura failure. If you haven't heard of Lower Fabian, please look her up. I've been or concerts. They're so moving. She gives everything out in her music, and she is so bel Canto so connected and she sings from deep inside of her. That's my ideal female singer regarding male singers. For me, for men wise, who I think the my ideal male singer is Anthony War Low at the New Orleans Australian singer. He originated the Jekyll and Hyde concept album all over the world. To me, he is the perfect bel canto singer. He has so much range and so much emotion, and he sings from such a deep place, which is exactly what I teach you here is to sing from a deeper place, not only biological physically, so it takes your body takes more of the burden of the voice versus your throat and your cords. But the body. But he sings emotionally to from a deeper place. That's the beauty of this bill. Content technique is that we're singing from a deep place where our emotions are meant. What I said in the first course, the wonderful thing about singing the in the Iron Man or woman is that it's close to the hearts, right, and that's what we're expressing. Never sing a song unless the song seems to you. First, I made up that quote, by the way, So now that's what I like. You might have your own singers that you admire, but it's good for you to listen cause now that you know this technique, now that I've taught it to you over the years or months or however we were working together on these courses, you know what it grounded sound Sounds like you know how it is when we modify those vowels . So now it's things you're gonna hear. Other technically wonderful singers like Laura Fabian happening. War low. So I want you to start discovering that now and discovering singers. Maybe you never even thought of discovering. You know this explorer. Go out there and try listen to different singers and listen to their different approaches and how it connects the bel canto Bel canto is the string that connects all of the great singers. Dean Martin, Sinatra, Lady Gaga you could. I know I could. When I listen to a song, I could tell instantly whether they're trained belt contour or not, right. It's because it's there's something about their technique. It's something about the voice that sits in a deeper place, and those voices will last longer. They'll sing well into their eighties and a proper rati sang right till his late middle eight seventies before he died. So it za technique that's gonna be with you forever. If you cherish it guards and devote to it, practice it 56 days a week if you can. If you can't, I know We all have lives and Children. It's totally fine. But if you want to take your singing voice to the next level, I would say at the very least 4 to 5 days a week. Okay, help. This helps. 13. Breaking Down a Song: Now I've been getting a lot of requests to break down songs. How does the singer break it down To give it emotional impact to make that song go from Hey , that wasn't so bad to Oh, my God. I was so moved. Now, obviously, I can't go through every different song out there. And that, of course, is women and the booze man and the different styles of songs. So I decided to choose something simple that we all know that short Just to give you a brief example on a simple formula on how to break down songs. Now you'll find this interesting. I have students come to me and I usually say, Okay, if I'm meeting him for the first time, please bring in songs you've done You know very well so I could hear you at your best. They bring in songs, they sing it, They say, That was great. What is this song about? What does this song mean to you? Uh, they have no idea. And they've been singing it for so long. They just go through the song. And they think that carrying a pretty melody is enough. It is not ladies and gentlemen in order to get that standing ovation in order to make your song go from Hey, that wasn't so bad to Oh my God, I was so moving. We need to personalize it. We need a bring it into our soul, right? If you listen to your favorite songs your top three favorite songs, I guarantee you most likely they touch you emotionally because the singer singing it is touched by it Emotionally. I have a quote. Never seen a song until the song seems to you first. Okay, so Number one rule breaking down the song is simple question. Who are you in the song? There's a reason why we're singing the song, whether it's to tell a girl you love her about a guy who broke your heart who, whatever the situation is you need a personalize is go interior your library of personal occurrences. We are all human beings going through human experiences. There's nothing somebody goes through that you can't relate to in some capacity. Find that relationship, personalize it and sing from there. Tell you it's gonna make just that one little trick is gonna make a sound go from 020 2nd thing. Layering layering is very important. We sing a song, usually the same donation from here to the end and where everybody's falling asleep. Uh, when we're going through these emotional monologues, I call these monologues what I usually do. They have my students break down the song as a monologue first, right? Just like a speech. You're speaking about it, and what you're gonna find is as you go through the monologue there, certain areas that you create more volume or you take it back and it's more personal to quiet or you get more excited about, and then you kind of see there's a pulse to it. There's a layer, whether it starts from here, goes to there and then goes up to the top of the roof or it doesn't. Maybe it goes from here, goes from there and then goes back. Whatever it is, we should be able to write a graph on the journey of the song, and this graph is based on your emotions. It's not something technical you get from a science booker from a music school, and this should be this. Uh, your emotions will drive the song. Your emotions are the ones that going to dictate how we're gonna say, Just trust your emotions, trust your instincts. It will tell you when you need to raise your voice to make the point or when not to want to be a little more reserved. Third thing. We need a climax. We need a have that moment. Where we're all like That was great. Doesn't have to be a big dramatic, I note. It could be something as simple as something more internal, more piano, whatever it is it needs to resolve. We have a beginning. We have a middle and we haven't end. We don't want to watch a movie and then have us have the movie leave us hanging with no conclusion we leave the movie going was that same thing with a song. We need to have a beginning a middle and then create an end to arc it all together. As I was saying, let me just use a song, a simple small song as an example and a song that is so simple that would be like, How are you going implement that in such a short song? But this is just to show you how we could utilize these simple techniques to anything, regardless of the size of the sob. Small, big, small, whatever. Let's look at Twinkle, twinkle, little star. Who am I in the song? Well, I need to personalize the song to me. Okay to me. When I think of stars, I think of people that have passed more personal. Can you get personal here just to set the example? I think of my dad My dad passed a few years ago. When I look up in the start to think of my dad. OK, that's an emotion. I made a question in my emotions. Answer. I've set up now. The relationship to the song Star Skies reminiscing of my dad Simple done Let's go to the next phase So now we need to have a beginning a middle and an end Beginning, twinkle, twinkle little star I'm going to think of myself sitting in my front porch, looking up in the star, making a simple, simple statement like twinkled. I'm gonna break it down like a monologue like I told you to twinkle, twinkle in the star how I wonder where you are right now. I made a song that we all know for kids. I made that song mean something to me Up above the world, so high like a diamond in the sky I think of me personally, my dad finally being free from the pain he was suffering on Earth and being free like a diamond in this in shining bright like a diamond in the sky and the closure. Now I'm going to end it off. Twinkle, twinkle little star How I wonder where you are. And now all of a sudden I feel closure. I feel he's okay. Now here's a song. What is it? A few alliance. But in this song, I've given you an emotional attachment. Ah, beginning a middle and an end. We gotta connect to what the message is, What the emotion, how it affects you emotionally because if it affects you, I guarantee you it's gonna affect the audience. And, of course, after you've layered it after you've given it a beginning, middle and end remembered a button it, whether what's an emotional high note or whether it's no, it's something softer and needs to finish. We can't leave the audience without a resolution, but you can leave the audience of wanting more And when you sing something beautiful and so complete like that, they're gonna want more. Okay, Help This ups. Good work. 14. Bel Canto for ALL STYLES OF SINGING!: okay. One of the number one questions. I get a lot for my students. Online students and live students is Yeah, but bel canto is for upper singers. I don't want to be an opera singer. It is farther from the truth. Like I said, the best singers have that kind of train. And Dean, Martin, Sinatra, Pavarotti, Lady Gaga. All the greats have. It's how can you tell? Because they sing from a deeper place. I bet you any money if you listen to or the songs that move you the most If you if you really listen to them. Now that you're familiar with this bill counter technique, you realize that song is coming from a deeper place. Bel canto Think of it this way. Think of it as a foundation of a house, right? We need a strong foundation in order to build on top of it. Okay, regardless of whether it's an earthquake or flood, whatever that foundation will stand that is what bel canto is to a singer's. Okay, on on top of this concrete foundation, you could build any style pop my baby You heard me do up or jazz for baby meeting you tonight, making the sun's out country walk no lane and wondering why I'm not a country singer. Obviously, Indian Chance, which is what I used to do with a reminder. No feel free seeing any style you want. And the more you practice these exercises, you're going to find that the styles of song you're singing are going to go from here. Yeah, you heard me. You see the difference from singing from here. It's light, it's It's week, it's unstable. And we, as the audience this is did not go. Okay, When you find yourself singing these styles and your voice is getting sandpaper and painful , it's because you're not following the bulk of the principles. Think of this as a foundation, build on it. What you will if your passion is top sing pop rocket up. Your passion is rock and roll. Rock it out, But the gift bel canto will give you is to sing from a deep, more harmonized place. Your body's taking the burden off the sound, not your throat, not yourself palates. As you progress of these exercises, you're going to notice that you're going to feel less tension, right? You're gonna be able to sing longer. You're gonna have more stamina that your body take the burden and vibrate from a deeper place within, which just happens to be by your heart. So that vibration will sound deeper, more impactful emotionally. Okay, regardless of the style, build on that foundation. And don't get intimidated by the word metal condo. It's so technical, it ain't It's a baby crying from the heart. Okay, hope this else. 15. CONGRATULATIONS! : Congratulations you did it. The scales were not easy. Okay, like I said, these scales are the ones you hear on Broadway. Houses are a major labels. Gay. These are what the pros use, but you are pro, you wouldn't have click that button had you not believed in yourself that you could do this next level and you did it. I'm very proud of you follow these daily practices. I provided you an audio file of all of our scales uninterrupted so you won't hear me jabbering through it. So then you'd be able to follow it clearly if you're serious about singing. And he wanted to take your voice to the next level, which I know you do. Commit to these exercises. Singing is a discipline, okay? It's not something we can just neglect and now deal that when I can. In order to build the breath capacity, build a range. We have to have at it 56 days a week. Make sure to nurture your voice. Love your voice. And if you love your voice, I could tell you you're singing career will be so much more easier. The producers will love you, directors will love you. You're, you're recording engineers will love you. As I said in singing made easy level one, we are storytellers. First, technique can only take you so far, but if you sing with heart, you will move your audience without even trying. Keep a genuine, keep it inside of you, and tell your story.