About this course
The only singing course that hunts for your vocal issues and systematically eliminates these. Working on your voice will become reliable and fun, no longer hit-and-miss.
Get rid of hesitation and replace it with an attitude that keeps the air flowing. Replace the wrong kind of self-criticism with a system that makes exercise more fun and productive.
Why write down what you wish for when it comes to your singing? It will remind you of what you want to achieve. Think about it: what do you really wish to happen?
What it comes down to is this: I promise that you can systematically improve your own singing if you pay attention and actually DO my exercises.
I help you choose a song that suits your level and will allow you to concentrate on exploring your voice.
Why warm-up? What is a good warm-up? Some ground rules before we do the actual warm-up.
Apply what you learn throughout the course to this warm-up.
Hear for yourself: the difference in sound when you plan and think during your singing, compared to when you just sing.
If it feels right it’s probably good. After some work, compare recordings. Ignore what it sounds like in the process.
Quick beginnings. Don't stop to think. Orepare the breath but when it's time to sing - go!
If you do something that your body is not used to doing -
it will take time for the body to get used to it
You will find that a lack of motivation is often actually a lack of clarity.
It's easier to practice when you know how, when and on what.
The labels good and bad do more harm than good. I introduce the checklist and the scale: an alternative which is more fun and more productive.
Next time you watch a comedian, notice how they go to the extreme to deliver a message or extract a laugh. It will help you as a singer.
Four principles to make exercise more fun. So you will stay motivated.
What we have learned so far & a reminder why this module is crucial.
We need focus in our practice, otherwise we're all over the place. But what to start with and how long to focus on that thing?
How do you work with a physical trick and drill it into your system?
Combine two or more technical elements into one image. You learn to multitask without the stress of multitasking.
In this lesson I want to touch on a touchy subject. The moments when you get uncomfortably emotional about your singing.
Surprisingly, most people who start learning how to sing do so without knowing the first thing about how the voice works or what the vocal mechanism looks like. It's shockingly different than what we might think, and all our "intuitive" assumptions are challenged when we learn about the voice.
Why it is important to learn anatomy...
What the hell is going on inside there? Get intimate with your own instrument, aka your body :)
Your air should flow, that's why I compare it to a wheel. Anything that is jammed in the wheel, is like a stick. There are three main stick areas.
We will figure out in this lesson which is your main stick in the wheel (or enemy). A crucial step, and it's quite interesting to learn about your instrument.
I'll explain how to make a short video of your singing. Not a performance, but for 'examination' purposes. You will mail me the video.
It's easier to build on what already works, than to try to solve a massive problem. The bright spot generator takes what works for you and amplifies it.
We learn how to clear the way for the air to flow freely through the vocal instrument. After identifying your main stick you will learn how to remove it the most effective way for you.
In this module, you don't have to follow the lessons chronologically. I recommend FOCUS. I'll help you finding which lesson to start with to find your bright spot.
See what the larynx looks like and how it functions.
Why it's better to use your full, airless voice
3 ways to close the cords: stop the air, make the glottal stop, make a speaky/squeaky noise.
Three tricks with your tongue to hunt for your bright spot if the mouth area is your stick in the wheel.
The jaw is the Number One stick for most people. Let's try which tricks works best for you to remove tension.
This lesson will explain the 'machine' of the NG jaw and why I use it whenever I need to refer to the mouth area stick.
Three tricks. See which one works best to make consonants less of a stick in your wheel.
Let’s see how the neck is threatening to choke itself, and how can we prevent that from happening.
In this lesson we will work on how to release throat tension, in three tricks.
Three tricks to fix my personal headmaster of sticks: in the shoulder area.
This stick gets unnoticed too often, as it's not the first issue voice teachers spot first. Check out the three tricks to solve chest muscle issues.
You can have all the diaphragm control you want: without closed vocal cords it'll be like full gas on neutral...
The three tricks to get rid of sticks in your diaphragm area.
Three tricks to remove your rib cage issue. Which works best for you?
The abdominal area - the belly - is directly related to the behavior of the diaphragm and the ribs. It will enable a good breath OR prevent it.
Now that you've removed one or more sticks, let's aline your instrument by getting a good posture.
In this lesson I’ll show you Alexander technique and will explain why it’s so important for singers.
When your hip is free, you not only sing better, but walk around with a smile.
Here we get down to business - what we all want: louder, higher, lower, steadier, prettier singing.
I'm not here to claim authority on the confusing topic of breath support. The number of definitions / instructions on support almost exceed the number of singers in the world. Instead, I'll untangle the different terms teachers use and will try to create some order in the chaos.
I'll show you some 'machines' that will improve your support: for longer, louder, healthier notes. PLUS: you can send me a video of you singing again.
What makes the pitch high or low and why we should forget about trying to control the melody
When you make way for the voice and repeat and do more of the same action throughout the range - you will be more comfortable in the extreme ends of the range.
On high notes think downward, on low notes think up.
the practice diagram: did you like it? if not: checklist. exercises for each item on checklist
Don't postpone going on stage. It's another mode of practice w you can't do alone.
Don't wait for others to hire you: go DIY !
Start auditions before you feel ready! Also, view auditions like one night stands...
One more thing I ask you to do...
Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page.