Vocal Singing 101 Bekley Program

8/9/2019 Vocal Singing 101 Bekley Program

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Voice Technique 101 course, you can familiarize yourself with our online

classroom and the features that contribute to making all of our online courses

dynamic learning experiences. efore you get started, acquaint yourself with

some of the classroom!s most exciting features.

"yllabus

The syllabus not only pro#ides a complete week$by$week road map of the

areas co#ered in the course, but also allows you to na#igate your way to

speci%c topic areas.

"tudent &ntroductions

'mong the %rst acti#ities you!ll participate in when class starts, the studentintroduction allows you to introduce yourself to your classmates and

instructor, and share your interests and questions with other students. (ou

can e#en post a picture or a sample of your music.

)ourse )ontent

)ourse content comes in many forms* course$related text, an accompanying

textbook, interacti#e examples, practice exercises, audio and #ideo lessons,

quizzes, and more. 'll of these elements allow you to learn concepts in a

number of ways.

)lass +orum

The )lass +orum is the primary #ehicle for communicating with your

instructor and other students, as well as the main method for uploading your

assignments. &t will allow you to #iew other students work and exchange

feedback.

)hat

nce the class has been assembled, the instructor will schedule li#e chat

times, during which the class can get together to expand on concepts raised

during the course and ask speci%c questions.


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&nstructor +eedback

'n important component of the erklee nline course experience is access

and feedback from erklee!s renowned faculty. &n all of the erklee nline

courses, you will recei#e one$on$one feedback on your assignments from your

professor, -ust as you would if you attended the physical college.

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)ourse &ntroduction

)ourse oal

The goal of this course is to teach the basics of #ocal technique to singers of

any age. 't the end of this course the singer will ha#e learned how to ha#e

better breath control, sing with more freedom, be able to sing simple

harmonies, and ha#e a basic understanding of how to take care of their

instrument. Vocal Techniques 101 is a beginning le#el singing class for

de#eloping singers of any age.

)ourse b-ecti#es

'fter completing this course, students will be able to*

use breath control to impro#e their singing

sing with more freedom

sing simple harmonies

take care of their instrument


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Topics )o#ered

singing with consistent, accurate intonation

de#eloping coordinated breath support to help stamina, and increase

control

de#eloping a free tone quality with minimum tension

establishing bene%cial practice habits to help growth and de#elopment

learning how to take care of the #oice

simple melodic embellishment

singing in harmony with prerecorded tracks

"ingers will submit examples of their singing of #ocal exercises and songs to

prerecorded rhythm tracks. /ach weekly lesson will co#er a speci%c topic and

ha#e an assignment related to that topic. The goal is to teach the basics of

#ocal technique to beginning singers.

ackup tracks for the course will be pro#ided*

melody prep tracks with basic melody and chords pro#ided for learning

melodic independence on assigned songs

sing along tracks with rhythm section accompaniment with no melody

doubled pro#ided for %nal assignments in high and low$#oice keys


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/#eryone knows that #oice study is the secret to success for many

contemporary #ocal artists. 2ere are some of the questions that many singers

ha#e that will be addressed in Vocal Techniques 101*

2ow can #ocal technique help me to expand my range and expression3

4hat #ocal warmups should & use to allow me to sing at my best e#ery

time3

2ow do singers incorporate work with a teacher without sacri%cing

indi#iduality3

& know & should practice, but what should & practice3

2ow can & become more con%dent in my #ocal performance3

2ow do & make my #oice sound more powerful3

erkleemusic!s Vocal Techniques 101 allows #ocalists to expand their singing

skills, pro#iding guided study in the areas including*

breath management skills

#ocal health and anatomy information, through a weekly 2ealth +orum

topic

singing with contemporary #ocal style and diction


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"oftware 9equirements

8) 4eb browser* +irefox :.0 or higher, &nternet /xplorer ; or higher

6acintosh 4eb browser* +irefox :.0 or higher, "afari :.0 or higher

+lash 8layer current #ersion


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1 9'6

?00 6 hard dri#e space recommended

"ound card

2ardware 9equirements* 6ac =sers

" > 10.? or higher

&ntel 6ac

1 9'6

?00 6 hard dri#e space recommended

2ardware 9equirements* 'll =sers

4ebcam with webcam recording software

"peakers or headphones for your computer

' built$in microphone or an external microphone plugged directly into your

computer #ia built in ports or an external audio interface

' printer is recommended, so that you can print out music examples used

in the course


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)lass )ommunication

)lass +orum

The )lass +orum is a discussion area for you, fellow classmates, and your

instructor. 8ost any questions, comments, or other rele#ant information about

the course there. (ou can access it by clicking the )lass +orum tab in the top

na#igation bar of the course.

uidelines

2ere are some guidelines to keep in mind when posting to the )lass +orum*

)heck the )lass +orum often and contribute@ &t is a wonderful way to make

connections with your classmates and instructor, and will enhance your

learning experience.

Aon!t be afraid to share your questions about a speci%c topic with the

class. ften times, other students will ha#e the same question and will

bene%t from the exchange of ideas that take place in the )lass +orum.

8ost messages that add to or enrich the lesson at hand.

Treat your fellow classmates with respect. (ou share a common goalBto

learn as much as you can from the course.

9ead pre#ious messages in the )lass +orum before you post, so that you

fully understand the context and direction of each discussion.


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8re#ious acti#ity Cext acti#ity

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)lass )ommunication 8age D

)hat

)hat is another useful communication tool. (ou can access it by clicking the

)hat tab in the top na#igation bar of the course. )hat allows you to interact

with fellow students and your instructor in real time. (our instructor will hold

oEce hours #ia )hat throughout the courseBlook for announcements from

your instructor about when they will be scheduled.

)hat uidelines

2ere are some guidelines to keep in mind when using )hat.

Feep your posts short. =se one to three sentences, the same as in a

spoken con#ersation, to allow the dialogue to 7ow back and forth between

you and other participants.

'llow enough time for others to read, think, and type before posting new

remarks.

AonGt worry about proper spelling and grammar, so long as you make

yourself understood. &tGs more important to get your point across as

eEciently as you can.

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'bout rading

+inal rading 8olicy


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elow is a chart outlining the erklee nline grading system. &f you are taking

the course for academic credit, you will recei#e a letter grade the range is

from ' to + for your %nal grade. &f you are not taking the course for academic

credit, you will recei#e either an 5"5 for satisfactory completion or a 5=5 forunsatisfactory completion.

rade

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rade 8oint '#erage

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"atisfactory )ompletion

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=nsatisfactory )ompletion

(our %nal grade will be based on the following*

H0M 'ssignments, complete and on time

10M #erall class participation, including chats

(ou can %nd more information on academic policies by clicking here.

Viewing 'ssignment rades

(our grade for each assignment appears at the bottom of your post.

'lternati#ely, you can #iew the grade for any assignment from the rades tab

at the top of any course page.

)ompleting the )ourse

&n order to recei#e academic credit or a satisfactory completion for the

course, you must %nish all work by the end of the course and complete the

+inal )ourse "ur#ey, which appears in the %nal lesson. 8lease note that once

a course oEcially ends, you will ha#e an additional :0 days to post inside the

course. 'fter that :0$day period, you will continue to ha#e 5#iew only5 accessto the course for an additional 11 months. Auring this time, you will not be

able to interact with the instructor or post any messagesNdiscussions, but you

can continue to go through the course material.

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rientation 6o#ies


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8lease take some time to #iew the four orientation mo#ies on na#igating the

course en#ironment, using the record li#e audioN#ideo tool, the chat tool,

and embedding #ideo.

2ow to Ca#igate the )ourse /n#ironment

play

00*00

00*00

play

stop

mute

max #olume

repeat

2ow to =se the 9ecord Oi#e Tool

2ow to =se the )hat Tool

2ow to /mbed Video

8re#ious acti#ity

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4elcome to Vocal Technique 101


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&f you are looking for answers to your #ocal questions, you will %nd them in

this course. 4e will work on de#eloping your #ocal skills, including*

de#eloping your breath support to help build stamina, and increase control

understanding how your instrument works in order to use it more

eEciently

singing in tune consistently

de#eloping a free tone quality

establishing good practice habits to help growth and de#elopment

learning how to take care of your #oice

using your #oice to express yourself

This course is designed to help you to work toward your goals.

& hope you will ha#e some fun disco#ering your #oice while exploring why

singing one of the most popular pastimes in the world. OetGs get started.

b-ecti#es

't the end of this lesson, you will be able to*


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impro#e your mental focus

understand the breathing process and ad-ust yours to enhance your

singing

optimize hydration for #ocal health

understand how caPeine, alcohol, your en#ironment, and medications can

aPect your #oice

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6eet and reet

by "haron rown

Tell us a bit about yourself.

4hat part of the world do you li#e in3

4hatGs your musical background and what are your #ocal goals3

4hat are you hoping to get out of this course3

8osting &nstructions

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reath "upport

The one common element in all great singing is skilled use of breath support,

the management of your breath for singing. reath support is not only

essential to soundQ it is critical to sustained life as a professional singer.


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&G#e listened to thousands of auditions and test performances and if good

breath support is not in place, then &Gm listening to a singer who has not

realized his or her instrumentGs full potential. /#en with a well$established

tone quality, many singers need to do maintenance work on their breathsupport in order to be sure they are not going to damage their #oices.

4e will start with some exercises to introduce basic concepts. /#en if you %nd

the %rst exercises easy, please donGt skip them. &t is not diEcult to

understand how to sing, but youG#e got to work through the process. &n other

words, your brain will take in the information much faster than your body can

de#elop ease and coordination. "o donGt rush. Take your time and en-oy@

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6ental +ocus

+ind a quiet place to practice without distractions.

"et aside a period of time when you can sing without interruptions. Oet any

roommates, or family, know that youGd like some pri#acy while working.

(our practice time is a time to focus on you. /n-oy the freedom to sing

without interruption a little each day.

"o much of singing is about mental preparation. +eeling relaxed will help you

focus and sing better.

Take a moment at the beginning of practice to put away the cares of the daywhile you sing. This only takes a few seconds, but will help you focus better

for a full practice session.


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/xercise* 9elaxation

Aeep breathing can help you gain mental focus. This will prepare you for

singing, an acti#ity that requires a lot of concentration.

"it in a chair or lie on the 7oor with your eyes closed and let your body

relax.

Take a deep breath through your nose, %lling your lungs completely.

9elease that breath through your mouth in a big Rwhoosh@S

9epeat the deep breath and release it to clear your mind.

(ou should feel better already@

Video

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8reparation for "inging


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/xhale and drop arms to your sides.

9epeat, releasing shoulder and back tension on the exhaleNarm drop.

Arop your upper body forward in a Rforward fold.S Oet gra#ity help you

release your shoulders and the back of your neck, so you hang loose like a

rag doll.

Take a deep breath while youGre hanging forward and further release the

back of your neck and shoulders on the exhale. (our head and shoulders

should feel hea#y.

"lowly roll up to a standing position, one #ertebrae at a time from the base

of your spine. =se your legs to support you, or place your hands on your

thighs to support your back as you roll up.

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reathe

&f you ha#en!t done so, read chapter D, pp. 11DD in The )ontemporary "inger

purple book and chapter D, pp. K1? in Vocal 4orkouts for the

)ontemporary "inger green book.

reathe and "ing@

reath is the generator of sound, and we ha#e to control the air in order to

control the sound ePecti#ely. 4hen singers ha#e problems controlling their#oices, & %rst look to their breath support to see if it is working correctly.

"ince & canGt see you e#ery day, you will need to watch yourself in a mirror to

check on your breath action.



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6irror )heck* reath 'ction

4atch yourself in the mirror with your hand on your belly. 2a#e a watch orclock with a second hand close by. Oengthen your spine and let your

shoulders hang oP the sides of your body, not rolled to the front of your

chest.

Take a deep breath, imagining that youGre %lling your lungs from the

bottom up. 4hen your belly expands, youGre making room for your lungs to

%ll up with air.

/xhale on a hiss for 1? seconds, watching the clock. (our abdominal

muscles should feel %rm, but not too tight or hard while you exhale. 6o#e

enough air out on the RhissS to be empty in 1? seconds.

's soon as you ha#e expelled your air, take another breath, expanding

around your waist. Ao not raise your chest as you inhale.

9epeat process three times, and then rest.

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6irror )heck* 6ake "ome 6usic

Take a breath the same way, and sing the following exercise.

)hecklist

(our belly should expand outward, away from your spine when you

breathe.


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(our belly should contract slightly as you sing.

(our throat should feel relaxed.

"ing at a medium #olume le#el.

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2ealth +orum

ne of the most common #oice problems is dry #ocal folds. &f your body does

not ha#e enough 7uids, then your #ocal folds become dry and your #oice will

not function properly.

"peaking and singing with dry #ocal folds often results in #ocal problems such

as #oice breaks, excessi#e throat clearing which further irritates your #ocal

folds, loss of #olume control or range, #ocal fatigue, and #oice loss.

' person who doesnGt make a lot of demands on his or her #oice might not

notice the symptoms of dry #ocal folds. 6ost professional #oice users,

including doctors, ministers, lawyers, and teachers, know how a dry, tired

#oice can impact daily work.

(our #ocal folds require a thin layer of mucous to keep them #ibrating

properly. &f your #ocal folds are not well lubricated, then #oice use generates

a lot of friction, which can tire out your #oice.

Uust as a car engine needs oil to keep it running smoothly, your #ocal foldsneed to be lubricated to function smoothly. (our #ocal folds become

lubricated when your entire body is well hydrated.

The best lubrication can be achie#ed by drinking plenty of water well in

ad#ance of hea#y #oice use. This gi#es your body time to absorb the water


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and distribute the 7uids to all the tissues of your body, including your larynx.

' good rule of thumb if you ha#e normal kidneys and heart function is to

drink at least two quarts of water daily.

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2ydration 8age D

"ome singers follow this rule* R8ee pale, sing clear.S This means that if your

urine is light colored or almost clear, it can indicate that your body is well

hydrated. )ertain medications and #itamin supplements can aPect the color

of urine, so speak to your doctor if you ha#e questions about this.

(ou can hydrate your #ocal folds systemically internally by drinking water,as mentioned abo#e, and topically on the surface by inhaling steam.

There are gadgets made to sit on a tabletop that create a controlled amount

of steam that you can inhale through your nose and mouth #ia a plastic

mask, or you can stand o#er a pot of simmering water.

These tools are useful if you ha#e a cold and want to clear some of the thick

mucus secretions from your nasal passages and throat. +or most people, theyare not necessary to use daily, unless you li#e in a particularly dry

en#ironment.

/#en if you drink enough water each day, there are se#eral other causes of a

dry #oice.

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)aPeine and 'lcohol 8age :

)aPeine and alcohol pull water out of your system and deplete your #ocal

folds of needed lubrication.


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)aPeinated drinks include coPee, tea, some forti%ed #itamin waters usually

identi%ed as Renergy drinksS, and some soft drinks.

4ine, beer, and hard liquor are all drying to the system as well. "mall

amounts of these be#erages can be tolerated, but should be counterbalanced

by drinking more water to compensate for the diuretic ePect of caPeine and

alcohol, especially if you are making singing and speaking demands on your

#oice.

ther noncaPeinated be#erages such as -uice and decaPeinated coPeeNtea

will hydrate your body too, but water is the best choice for pure hydration

with no additi#es, acids that can irritate, or ingredients that can coat your

throat, such as sugar.

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/n#ironment 8age I

'nother factor that can aPect hydration is a dry air en#ironment.

2ome heating season can be #ery drying to our bodies. The cause can be

gas, oil, or electric furnaces, or in the summer, air conditioners, as well asclimates with a low amount of moisture in the air. =sing a humidi%er at night

can help compensate for the dryness in the air.

The air in airplanes is extremely dry. &t is recommended that you a#oid

alcoholic and caPeinated be#erages, and drink at least K ounces of water per

hour before and during 7ights.

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6edications 8age ?

"ome medications can contribute to dry #oice as well.


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'ntihistamines and cold medicines control the watery secretions of colds and

allergies, but also can dry you out excessi#ely. &nhalers used for asthma can

dry and irritate your throat as well, but are a necessary medication for some

people.

"ome antidepressants can cause dryness as well, but the bene%ts can

outweigh the side ePects. Ce#er stop taking a prescription medication

without consulting your doctor.

6any times medication$induced dryness can be remedied by increasing water

intake.

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4hich of the following best describes how breath support helps you the

most3

/ase of toneBa pleasurable feeling of an ePortless throatNneck when

singing

8ro-ectionBsinging at a medium to loud #olume without strain

"taminaBthe ability to sing for a period of time without tiring.

"teady toneByour #oice goes where you want it toBhigh, low, loud, soft,

fast, slow

etter pitch controlBpitch that stays centered and in tune

ther

8osting &nstructions

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"ong* 6y Oord, 4hat a 6orning

Aownload sound %les and notation for low #oices

Aownload sound %les and notation for high #oices

)hoose the high or low key and practice with the melody guideline.


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)hoose the same key and then record yourself singing along with the

track.

reathe only at the marks or on the rests in the music.

+ocus on expanding around your waist when you breathe.

&f you donGt want to sing the songGs words, which are of a religious nature,

sing on RlooS or RlahS instead.

&!#e recorded myself speaking the text of 56y Oord 4hat a 6orning5 for

anyone who needs extra help in pronouncing the words.

Aownload the sound %le 56y Oord, 4hat ' 6orning5

' note on breath marks* ' comma abo#e the bar is a breath mark. & would

like you to try to take breaths only at these marks. "ometimes when singers

interpret songs, breaths are taken at commas in text.

+or example R6y Oord, breath what a morning.S & want you to try not to

break the phrase in this way. 8art of the lesson of this song is that phrases

are uniform for all singers in the class, and that you are working to singthrough the phrase by managing your breath well.

' note on melody interpretation* 6any of you will already know some #ersion

of this song, because it is a well$known and popular spiritual. &n fact, this

#ersion is slightly diPerent than the one & learned as a child. /#en though

there are many diPerent #ersions of the melody, please sing the melody as

written.

& ha#e included a melody guideline on one track, and a #ersion with no

melody guide on another. Oearn the melody -ust as it is written according to

the guide, and then record it for the %nal assignment without the melody

guide. Try not to change it or interpret it with embellishments.


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' note on tone* this song has a somewhat limited range, but & donGt want you

to sing too hard, e#en if the low range is comfortable for you. & would like you

to sing with a quality of tenderness and thoughtfulness rather than belting it.

+or dynamics, & will lea#e this interpretation up to you. 's an example, you

might try singing the beginning medium soft, the middle section a bit fuller,

and ending softer. & will be interested in hearing the musical choices you

make.

9emember to practice along with the track that includes the melody, and to

record the 68: you submit for this assignment using the track without the

melody.

(ou will be using audio editing software that will allow you to import a play$

along track in 68: format, record yourself playing guitar along with the track,

and sa#e the piece in 68: format. &f you ha#e not already purchased audio

recordingNediting software, you can use arageband 6ac or download the

free program 'udacity 8).

Cote* +or a full #ideo tutorial on how to use arageband or 'udacity, please

#isit our Technical 'ssistance page.

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"ummary

8repare your mind and body to sing with quick, simple exercises to calm your

mind, to bring your attention to your breath, and to release tension. ' few

minutes spent preparing will enhance your practice.

"ingers need to be well hydrated to sing their best. )heck your le#el of

hydration with the quiz, and if necessary, take steps to impro#e and maintain

your #ocal foldsG condition.

ne common element in great singing in all styles is breath support. reath


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support is essential to de#eloping your best sound. ood support helps you

sing in tune consistently and sing with freedom. &t also helps gi#e your #oice

power and will help pre#ent #ocal in-ury. 2ow else does it help your singing3

reath support takes minutes to learn and a lifetime to perfect. e patient,

and be aware of what youGre doing with your body when you sing.

(our challenge o#er this course is to practice the proper breath action enough

to make it an automatic function that you donGt ha#e to focus on intently

while youGre singing.

&f you learn this %rst basic step well and internalize it, you will be free to relaxand sing, knowing your #oice is working at peak eEciency.

&t isnGt quantity of air you take inQ it is the quality of the breath action that

youGre working to perfect. ' small amount of breath can go a long way when

you are using your body correctly.

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Oesson D

Ae#eloping a alanced Tone and "trengthening (our 9ange

ctober ; $ ctober 1:

&ntroduction 9esource

/nhancing Tone


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8ractice* 9esonance /xercise D 9esource

9ange and 9egisters 9esource

9egister Terminology 8age D 9esource

Transitional 8assages 8age : 9esource

8ractice* /asy lending 9esource

8ractice* &ntermediate lending 9esource

elting 9esource

alanced Tone 9esource

8lacement 8age D 9esource

Tone )olors 9esource

Aue* ctober H

Aiscussion* &magery +orum

&mpro#ing Tone


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8ractice* 'd#anced lending and 9ange /xtension 9esource

Vibrato 9esource

+ast and "low Vibrato 9esource

/ncouraging and Training Vibrato 9esource

8ractice* Oong Tone /xercise 9esource

reat 8erformance* "arah Vaughan 9esource

6irror )heck* Oegato "inging 9esource

Aue* ctober 1:

'ssignment D* (e anks and raes +orum

lossary of Terms 9esource

"ummary

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Oesson :

'natomy and 2ealth

ctober 1I $ ctober D0


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Vocal 8arts 9esource

Vocal 'natomy 8age D 9esource

Vocal +olds 8age : 9esource

+alse Vocal +olds 8age I 9esource

Vocal +old "ize 8age ? 9esource

Viewing Vocal +olds 9esource

4hy (ou "hould Fnow Vocal 'natomy 9esource


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Treatment of 9e7ux 9esource

"pecial )onsiderations for "ingers 8age D 9esource

6edicine 8age : 9esource

The "peaking Voice* =se, 'buse, and )are 9esource

'#oiding lottal 'ttacks 9esource

8ractice* '#oiding lottal 'ttacks 9esource

)are of (our "poken Voice 9esource


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'ssignment :* Uazz allad /tude +orum

8ractice Tip of the 4eek 9esource

"ummary

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esson I

)reating an /Pecti#e 8ractice 9outine

ctober D1 $ ctober D;


uilding a alanced 8ractice 9outine 9esource

"inging and +eeling 8age D 9esource

(our 8ractice 8lan* 4armup 9esource

Technique "tudy 9esource

"ong "tudy 9esource

)ool Aown 9esource


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8ractice* )reate a 8ractice 8lan 9esource

The +our 8s 9esource

4orkshop* 'mazing race 9esource

aining &ndependence 's (ou 8ractice 9esource


2ow to urn an /xercise )A 9esource

8ractice* Oatin Oong Tones 9esource

Aue* ctober D;

'ssignment I* "carborough +air or 2ow )an & Feep from "inging3 +orum

"ummary

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Oesson ?

Oet (our "tar "hine@ "imple 6elodic /mbellishment

ctober DK $ Co#ember :



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9ange and 9egisters 9esource

)hest Voice 8age D 9esource

)hest Voice /xamples 8age : 9esource

wn the Voice (ou 2a#e 8age I 9esource

8ractice* Tone )olor 9esource

8itch ends 9esource

8ractice* 8itch ends 9esource

'dd "coops 8age D 9esource

+ast Track 8age : 9esource

'dded Cotes 9esource

"ingle$Cote and 6ulti$Cote rnaments 9esource

2ealth +orum 9esource

)onstructi#e 9est 8age D 9esource


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Aue* ctober :0

Aiscussion* 8ractice 9outine +orum

Aue* Co#ember :

'ssignment ?* 'mazing race +orum

"ummary

$$$$$$$$$$

Oesson L

/Pecti#e Aiction for "inging

Co#ember I $ Co#ember 10



38/52

8hrasing 8age D 9esource

)lassical 6usic and Uazz 8age : 9esource

6outh "hape and 8osition 8age I 9esource

Vowel 6odi%cation 8age ? 9esource

Aiction and 6icrophone =se 9esource

4ithout a 6icrophone 8age D 9esource

"tyle in "inging 9esource

Vowels and )onsonants 9esource

8ractice* Vowels and )onsonants 9esource

6ore on Vowels and )onsonants 9esource

/xtra Vocal "ounds 9esource

Tone


39/52

Aiscussion* Voice


40/52

"inging 2armony 9esource

2armony 4orkshop 9esource

8ractice* Aoo 4op 2armony 9esource

Aiction )hallenge 9esource

8ractice* Aiction 1 9esource

Aiction )hallenge D 9esource

8ractice* Aiction D 9esource

Vibrato and "tyle 9esource

Vibratoless Voices 8age D 9esource

'nalyzing (our "inging 8age : 9esource

8ractice* Vibrato 9esource

Vibrato and 2armony "inging 9esource

Vibrato and 2armony /xamples 8age D 9esource


41/52

6irror )heck* Oegato Oines 9esource

2ealth +orum* 2erbal "upplements and 2ealth Tonics 9esource

Aue* Co#ember 1I

Aiscussion* 2erbal "upplements and 9emedies +orum

Aue* Co#ember 1;

'ssignment ;* 2armony "inging +orum


"ummary

$$$$$$$$$$$

Oesson K

'd#anced reath 6anagement

Co#ember 1K $ Co#ember DI



42/52

reath 6anagement 8roblems 8age D 9esource

reath "upport &ssues 8age : 9esource

8ractice* 8op N 9ock "lide 9esource

6ore on reath 6anagement 9esource

'erobic 'cti#ity 8age D 9esource

8ractice* "taccato Cotes 9esource

8ractice* "taccato Cotes D 9esource

b-ecti#e Oistening 9esource

8ractice* "elf$'ssessment 9esource

6ore on b-ecti#e Oistening 9esource

8ractice* 'udio 9ecording 9esource

Troubleshooting 9esource

"elf$'ssessment )hecklist 8age D 9esource


43/52

The "tate of (our &nstrument 8age : 9esource

"inging "hould +eel ood 9esource

"ingers of a 5)ertain 'ge5 9esource

Vibrato 8roblems 9esource

"hortened reath 9esource

Oower 9ange and Oess +lexibility 9esource

2earing Ooss 9esource

8erception 8age D 9esource

6irror )heck* reath 'ction 9esource

2ealth +orum 9esource

Voice 8rofessionals 8age D 9esource

Aue* Co#ember DI

'ssignment K* 4ayfaring "tranger +orum



44/52

"ummary

$$$$$$$$$$$$$$

Oesson H

8erformance 8olish

Co#ember D? $ Aecember 1


"tage 6o#ement 9esource

8erformance "pace )haracteristics 8age D 9esource

The Catural 8rogression 8age : 9esource

8ractice* esturing 9esource

8ractice* Oooking Catural 9esource

4arming =p (our ody 8age D 9esource

"peaking and 6o#ing 8age : 9esource

=sing the 6irror 8age I 9esource


45/52

8erformance Tips 9esource

8hrasing and 6o#ement 8age D 9esource

8osture and 2and 8lacement 8age : 9esource

'cting ut 4ords 8age I 9esource

reat 8erformance* Oiza 6inelli 9esource

8erformance 6icrophone Technique 9esource

4hat Find of "inger are (ou3 9esource

"triking a alance 8age D 9esource

+eelings 8age : 9esource

"inging with /motion 9esource

8ractice* alanced /xpression 9esource

The 4ater is 4ide 8age D 9esource

&nner Aialogue 9esource


46/52

reat 8erformance* Cancy 4ilson 9esource

The "ong!s "tory 8age D 9esource

2ow to ain )on%dence 9esource

"inging and 8laying 8age D 9esource

2ealth +orum* =nderstanding 8erformance 'nxiety 9esource

9educing 8erformance 'nxiety 8age D 9esource

Ae#eloping a 8re$8erformance 9outine 9esource

+ood &ntake and "leep 8age D 9esource

9elaxing and 6editation 8age : 9esource

"upporti#e Oifestyle 9esource

6ental 9ehearsal and &magery 9esource


Aue* Aecember 1

'ssignment H* 'in!t Cobody!s izness +orum


47/52

"ummary

$$$$$$$$$$$$$$

Oesson 10

+lexibility, )ontrol, and "tamina

Aecember D $ Aecember K


2ow to Ae#elop an 'gile Voice 9esource

"taccato 9esource

"taccato /xamples 8age D 9esource

8ractice* 'gility 9esource

8ractice* "taccato 9esource

8ractice* 'gility and "taccato 9esource

6elisma N 9iPs 9esource

8ractice* 6a-or N 6inor Triplet for +lexibility 9esource


48/52

8ractice* 6inor 8entatonic 8attern 9esource

Aynamic +lexibility 9esource

Varying Aynamics 8age D 9esource

8ractice* "ingle$Cote Aynamic /xercise 9esource

8ractice* 6ulti$Cote Aynamic /xercise 9esource

8ractice* "inging "kips 9esource

reat 8erformance* "hankar 6ahade#an 9esource

2ealth +orum* )onsulting a Aoctor 9esource

2oarseness and )linics 8age D 9esource


Aue* Aecember K

'ssignment 10* Oatin Vocalise +orum

"ummary

$$$$$$$$$$$$$$$$

Oesson 11


49/52

/ssential uilding locks of Vocal Training

Aecember H $ Aecember 1?


6o#ing +orward with a Oook ack 9esource

6irror )heck* 8entatonic 8attern 9esource

)reati#e Ae#elopment* &mitation 9esource

8ractice* &mitation 9esource

"ummertime 9esource

'ssimilation 9esource

&nno#ation 9esource

Aue* Aecember 1D

Aiscussion* "elf$/#aluation +orum

8ractice* 4ait for 6e 9esource

Aue* Aecember 1I


50/52

Aiscussion* /lla +itzgerald +orum

2ealth +orum* Oonge#ity 9esource

"teps for Vocal 2ealth 8age D 9esource


Aue* Aecember 1?

'ssignment 11* The 4ater is 4ide +orum

"ummary

$$$$$$$$$$

Oesson 1D

The rand +inale

Aecember 1L $ Aecember DD


2olistic 8ractice )ycle 9esource

"tep 1* 8ractice "olo 9esource

Faraoke 8age D 9esource


51/52

"tep D* 8ractice with thers 9esource

"tep :* "et =p 8erformances 9esource

"tep :* "cheduling a 9ecital 8age D 9esource

8lanning a 9ecital 9esource

"tep I* 9ecord (ourself 9esource

9e#iew of the )ycle 9esource

eyond the 8ractice )ycle 9esource

&ncrease (our 6usical Fnowledge 9esource

Tools 8age D 9esource

"inging "kills 9e#iew 9esource

reat 8erformance* Uames rown 9esource

Aue* Aecember DD

'ssignment 1D* 'fter (ou!#e one or 2ouse of the 9ising "un +orum

"ummary 9esource


52/52

+inal rades 'ssignment

Aue* Aecember DD

+inal )ourse "ur#ey

$$$$$$$$$$

Date post:	01-Jun-2018
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Vocal Singing 101 Bekley Program

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