1. VVOCAL TECHNIQUE

2. POSTURE
1) Stand Straight
Standing straight
will help you
breath as much air
as you can because
your lungs will
have the maximum
space for air which
is very important
for breathing.

6. The proper posture for singers
involves standing so their back,
neck and head are straight;
focusing their weight on the
heels or balls of their feet; and
situating their body into a
comfortable position. Poor
singing posture could lead to
many bad effects. Poor singing
posture -- in which the body is
slouched over -- can tighten the
stomach and cramp the lungs
so that the body cannot
smoothly inhale and exhale
breaths of air. This restricts the
airflow and inhibits a person's
ability to use the diaphragm to
sing.

7. Hitting Notes
For singers to hit the correct
notes and strike the right
melodies, they must stand with
good posture so the body is
straight, the limbs are
comfortable and the lungs and
diaphragm are free to stretch and
breath. When the diaphragm is
tightened by poor posture, the
voice might miss notes or hit the
wrong notes during melodies.
Inadequate postures can also
impair a singer's ability to strike
very high notes that are difficult
to reach.

8. Power
The strength and power of a voice depend largely on
posture. Tilting the body back and forth, positioning it at
an awkward angle or slouching the back can all muffle
resonance. In turn, even when a singer using poor
posture hits the correct notes, the notes and melodies
might have a relatively weak sound, soft volume and low
resonance. Furthermore, bad posture can inhibit a
singer's ability to hold notes for long periods of time.

9. 2) Stand tall and stand wide
Standing tall means standing thinking that you are I inch taller
than your real height. Standing tall will pull the lungs upward
giving more room for air that you breath. Standing wide means
you should feel free t o move at your sides. Have an illusion of
“wideness.”

11. The shoulders should be back, the chin should be level
with the floor or higher to make it easier for the air to
travel from and to the mouth. The head should be at a
comfortable speaking position. It is important to
maintain proper chin posture when singing very low or
very high notes. The chin that is comfortably positioned
will ensure that the jaws remain properly aligned for the
best vocal training. This is singing with an open throat.

12. The shoulders
should be held back
down and the chest
held high but not in
a strained position.
When singing the
shoulders should
not go up and down
but it is the
abdomen that
expands and
relaxes.

13. Abdomen should be flat and firm, held in an expandable
position.
The diaphragm is a large muscle sheath that stretches
across the bottom of the rib-cage, nearly cutting the body
in half, separating the lower organs from the heart and
lungs. During normal breathing, the diaphragm naturally
flexes (or flattens) and contracts drawing air in and out of
the lungs.

14. Supporting the voice” and “singing from the diaphragm” means
flattening the diaphragm more deeply than during normal breathing
and maintaining the diaphragm in that flattened position to control
the release of air and the air pressure that streams across the vocal
cords for phonation. To sing better, a vocalist must learn to preserve a
reservoir of air in the lungs that supports and holds up a small amount
of air released across the vocal cords.

15. When breathing inhale just
enough air. If you inhale too
much air, the other organs will
stiffen depriving the muscles of
elasticity. Inhale just as much
air to a comfortable degree.
What is important is not how
much air you inhale but how
you emit the smallest possible
amount of breath. Fill your
lungs with breath. You will feel
your ribcage expand. Your
shoulders should not rise.
Raise your chest comfortably
high and force the breath
against it and hold it fast there.

16. Raise your palate high and
prevent the escape of the air
through the nose. The
diaphragm beneath reacts
against it and it furnishes
pressure from the abdomen.
Chest, palate, the closed
epiglottis and the raised
palate all form a supply
chamber for the breath.
Only in this way is the breath
under control of the singer,
through the pressure against
the chest tension muscles.
From now on the breath
must be emitted from the
breath supply sparingly.
but with uniformity and
strength, without once being
held back to the vocal cords,
which will further regulate it as
far as possible. The more
directly the breath pressure is
exerted against the chest, the
less breath flows through the
vocal cords and they are less
overburdened.

17. • Thus, in shaping the passage for the
breath, the larynx, tongue, and palate,
which
can be placed at will, are employed. The
vocal cords, which can best be imagined as
inner lips, we have under control neither as
beginners nor as artists. We do not feel
them. We first become conscious of them
through the controlling apparatus of the
breath, which teaches us to spare them, by
emitting breath through them in the least
possible quantity and of even pressure,
whereby a steady tone can be produced. I
even maintain that all is won, when we
regard them
directly as the breath regulators, and re-
lieve them of all overwork through the
controlling apparatus of the chest-muscle
tension.
• Through the form prepared by the larynx,
tongue, and palate, we can direct the
breath,
previously under control and regulation,
toward the particular resonating surfaces on
the palate, or in the cavities of the head,
•
• which are suitable to each tone. This rule
remains the same for all voices.
• As soon as the breath leaves the larynx,
it is divided. (Previously, in inhalation, a
similar thing happens; but this does not
concern us immediately, and I prefer to
direct the singer's chief attention to the
second occurrence.) One part may press
toward the palate, the other toward the
cavities of the head. The division of the
breath occurs regularly, from the deepest
bass to the
highest tenor or soprano, step for step,
vibration for vibration, without regard to
sex or individuality. Only the differing size
or strength of the vocal organs through
which the breath flows, the breathing
apparatus, or the skill with which they are
used, are different in different individuals.
The seat of the breath, the law of its
division, as well as the resonating surfaces,
are always the same and are differentiated
at most through difference of habit.
•

18. If you raise your soft palate, you're
opening up your throat. Try it out,
and you'll feel your throat opening
wider. This allows more air passage,
and for more complex notes to
come out. It also helps with the
development of louder and stronger
notes, with the help of breath
control, and it helps maintain the
"round" sound you're supposed to
work towards, which makes you
sound more rich and full. This can't
hurt you at all, if you're singing
relaxed and just opening up. In fact,
it's just about the best thing you can
do for your voice and feels really
great, like a good run in the
morning.
Raise your eyebrows when
you sing. It's not so you
look alive, it's because if
you raise your eyebrows it
pulls your throat
muscles higher. Work on
your breath techniques to
control how much breath
you are letting out.

19. Position of the feet: The feet should be shoulder level.
The feet should not be close to each other because the
person will be swaying back and forth to maintain
balance. The feet should be slightly apart and one foot
should be a little forward to ensure perfect balance.

20. Position of the arms and hands:
In choral singing the hands just dangle
freely at the sides. However in solo
singing, the hands are used for
expression and emphasis.

21. Position of the Mouth:
Do not pronounce vowels in singing like in speaking. Position
the mouth in a oval shape. Do not tense the jaw or the tongue.
Drop your jaw freely and do not try to control it. It is important
to keep these areas relaxed. This will give you a smooth and
rich tone with tension. Before the sounds are released into the
air, it bounces back and forth on the walls of the mouth giving
it a richer more beautiful tone.

22. Position of the Neck
The neck should be
totally relaxed. No
muscles should be
strained. The neck is
strained when the person
is not breathing and
singing properly. When
there is no support from
the diaphragm the neck
does it all.

23. THREE DIVISIONS OF BREATH
1) Chest Voice of Chest
Tone
By raising the pillars of the fauces,
(The passage from the back of the
mouth to the pharynx, bounded
by the soft palate, the base of the
tongue, and the palatine
arches)which closes off the throat
from the cavities of the head, the
chest voice is produced; that is,
the lowest range of all kinds of
voices. This occurs when the main
stream of breath, spreading over
against the high-arched palate,
completely utilizes all its
resonating surfaces.
This is the palatal resonance, in
which there is the most power

24. 2) Head Voice or Head Tone
• When the soft palate is
raised high behind the nose,
the pillars of the fauces are
lowered, and this frees the
way for the main stream
of breath to the head
cavities. This now is poured
out, filling the nose,
forehead, and head cavities.
This makes the head tone.
Called head tone in women,
falsetto in men, it is the
highest range of all classes
of voices, the resonance of
the head cavities

25. 3) Medium Range
• Between these two
extreme functions of
the palate and breath,
one stream of breath
gives some of its force
to the other; and
when equally divided
they form the medium
range of all classes of
voices

26. RESONANCE
• The beautiful singer recognizes these
resonances as a fragile buzzing
sensation behind the chest. The
Italians call it appoggio, or "breath
leaning against the chest." It feels like
the drone of a tiny bagpipe playing at a
single continuous pitch underneath all
of the other pitches being sung. It is
very subtle, which probably explains
why it has eluded both scientific
probing and open pedagogical
discussion. Teachers have called the
rare students who had it by
nature"talented" and have done their
best with the rest of the students.
Titze's tracheally resonant Pavarobotti
has opened discussion that will change
the way we teach singing. From now
on, if it doesn't come by talent, we'll
put it there with physics.

27. SINGING LONG NOTES
When singing long notes,
your body should be as
still as possible. Make no
unnecessary movements.
The eyes should be
focused on only one
object. The more “statue-
like” you can become,
the more stable your
voice will be

28. SINGING LONG AND HIGH NOTES
When singing long and high
notes in the middle voice
and head voice, make sure
you take in a deep breath
before you hit a long note.
Make sure the diaphragm is
in the right position. The
mouth is open wide for
vowel sounds, the chin
should be tilted, usually the
hands should be raised. It
helps to maintain the voice.

29. DETAILS OF THE BREATHING
MECHANISM
1) Draw air into the
diaphragm and the abdomen
2) Hold the breath with the
aid of the ribs, hold the
breath against the chest
3) Maximize the air coming
in, you should feel your
chest expand, the back and
sides filling up with air too
4) Raise the palate high and
prevent the escape of the
breath through the nose

31. 5) The diaphragm beneath
reacts to it furnishing
pressure from the
abdomen to the chest
6) As you release the
sound gradually, the
body relaxes and the
chest falls slowly
7) The chest, diaphragm,
closed epiglottis and the
raised palate all form a
supply chamber for the
breath

32. 8) From now on the breath
must be emitted from the supply
chamber very sparingly, but with
unceasing uniformity
and strength, without once being
held back, to the vocal cords,
which will further regulate it as far
as possible. The more directly
the breath pressure is exerted
against the chest, — one has the
feeling, in this, of singing the tone
against the chest where it
must be pressed out, — the less
breath flows the less they are
overburdened.

33. 8) In this way, under control, in
the passage formed for it above
the tongue by that organ, it
reaches the resonance chambers
prepared for it by the raising and
lowering of the soft palate, and
those in the cavities of the head.
Here it forms whirling currents
of tone; these now must
circulate uninterrupted for as
long as possible and fill all the
accessible
resonating surfaces, which must
be maintained in an elastic state.
This is necessary to bring the
tone to its perfect purity.

34. d9) Thus, in shaping the passage
for the breath, the larynx,
tongue, and palate, which can be
placed at will, are employed. The
vocal cords, which can best be
imagined as inner lips, we have
under control neither as
beginners nor as artists. We do
not feel them. We first become
conscious of them through the
controlling apparatus of the
breath, which teaches us
to spare them,
by emitting breath
through them in the least
possible quantity and of
even pressure, whereby a
steady tone can be
produced.

35. can be produced.
They can be regarded as the
regulators, and relieve them of
all overwork through the
controlling apparatus of the
chest-muscle
tension.
Through the form prepared by
the larynx, tongue, and palate,
we can direct the breath,
previously under control and
regulation, toward the particular
resonating surfaces on the
palate, or in the cavities of the
head which are suitable to each
tone. This rule
remains the same for all voices.

36. As soon as the breath leaves
the larynx, it is divided.
(Previously, in inhalation, a
similar thing happens; but this
does not concern us
immediately, and I prefer to
direct the singer's chief
attention to the second oc-
currence.) One part may press
toward the palate, the other
toward the cavities of the
head.

37. • The division of the breath occurs
regularly, from the deepest bass to
the highest tenor or soprano, step
for step, vibration for vibration,
without regard to sex or
individuality. Only the differing size
or strength of the vocal organs
through which the breath flows,
the breathing apparatus, or the
skill with which they are used, are
different in different individuals.
The seat of the breath, the law of
its division, as well as the
resonating surfaces, are always the
same and are differentiated at
most through difference of habit.
•

38. • Not till these currents have
been sufficiently used up
and passed through the "
bell," or cup-shaped reso-
nating cavity, of the mouth
and lips, may it be allowed
to stream from the mouth
unimpeded. Yet
the sensation must be as if
the breath were constantly
escaping from the mouth.
• To observe and keep under
control these
many functions, singly or in
conjunction,
forms the ceaseless delight
of the never failing fountain
of song study.

39. SONG INTERPRETATION
1 First, identify the genre of the song
a) Country Music:
a form of popular music originating in
the rural southern US. It is traditionally
a mixture of ballads and dance tunes
played characteristically on fiddle,
guitar, steel guitar, drums, and
keyboard.
b) Rock Music: a form of popular music
that evolved from rock and roll and
pop music during the mid- and late
1960s. Harsher and often self-
consciously more serious than its
predecessors, it was initially
characterized by musical
experimentation and drug-related or
anti-Establishment lyrics.

40. c) Pop Music: music of general
appeal to teenagers; a bland
watered-down version of
rock'n'roll with more rhythm
and harmony and an emphasis
on romantic love; any genre of
music having wide appeal (but
usually only for a short time)
Example of pop singers are
Justin Beiber, Lady Gaga,
Madonna, Katy Perry, Britney
Spears, Taylor Swift, etc.
d) Rhythm and blues or R&B:
a form of popular music of
African-American origin that
arose during the 1940s from
blues, with the addition of
driving rhythms taken from
jazz. It was an immediate
precursor of rock and roll.

41. e) Bluegrass music:is a form
of American roots music, and
a sub-genre of country music.
Bluegrass was inspired by the
music ofAppalachia.[1] It has
mixed roots
in Irish, Scottish, Welsh,
and English[2] traditional
music, and also later
influenced by the music
ofAfrican-
Americans[3] through
incorporation
of jazz elements.
Example: Dolly Parton

42. f) Jazz: A style of music, native to
America, characterized by a
strong but flexible rhythmic
understructure with solo and
ensemble improvisations on basic
tunes and chord patterns and,
more recently, a highly
sophisticated harmonic idiom
g) Other styles: hip hop, rap,
heavy metal, classical, opera
2) What is the Theme?
a) Love song
b) Religious/ gospel
c) Political commentary
d) Humorous
e) Ballad ( has a story)
f) Satirical ( has hidden
meanings)

43. 3) Study the Lyrics
a) What is the basic emotion
of the song: happiness,
sadness, praise,
disappointment, having a
broken heart, etc.
b) Are there any metaphor or
hidden meanings?
c) What is the emotion for
each line?
d) Listen to the lyrics over and
over again to feel a deeper
connection with the lyrics.
If the song becomes a part
of you you can effectively
interpret the song

44. 4) Determine how to express
each line with facial
expression, eye contact,
body movement and hand
movement

45. 5) Hand movements should
be done in moderation
because they can distract
the viewers or annoy
them or even irritate
them.
6) Hand movements must
be slow and firm for slow
songs. Women can be
graceful but men need to
look masculine