Vocal lesson notes (methodological recommendations for teachers). Vocal exercises for voice development

Singing is not just an exciting and enjoyable hobby, but also a convenient method of emotional release. Performing your favorite compositions will help you take your mind off everyday work, calm down and get aesthetic pleasure. Vocal lessons from professionals is a course consisting of several dozen lessons. At home, without the support of experts, it is difficult to achieve the desired result and form a singing voice.

The professional's work with the student will include:

• Skills analysis. Vocal abilities are naturally developed in everyone at different levels. The teacher initially determines individual abilities. For some, singing does not become a problem and comes easily from the first lessons.
• Formation of an individual program. Lessons begin with theory and simple exercises. At first, it is important to prepare the cords and voice for future stress. The training eliminates breakdowns and hoarseness and forms the correct posture.
• Choice of instrument and repertoire. Vocals are easier to learn when playing an instrument. Teachers work more often with keyboards, less often with strings. This provides additional musical support and helps the performer get oriented.

How to learn to compose compositions?

Working with a teacher will help expand your musical skills. Re-singing famous compositions and composing your own are qualitatively different technologies. The teacher will tell you what the song consists of and how to combine different styles, what is the secret of the future hit.

Special attention is paid to recording. Classes involve working with the layout of vocal parts, voice arrangements that make the composition expressive, rich and different from others.

The training program is based on individual preferences. This helps to determine convenient dates for classes, select a comfortable repertoire and clarify exclusive preferences.

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The lesson is conducted according to educational program"Vocaletto" 1st year of study. This training session designed for the consistent formation of singing and performing skills.

The training session is designed for 2 academic hours with vocal ensemble“Vocaletto” (10 people) 1st year of study. The age of students is 7-17 years. Recruitment to the association is carried out on the basis of desire.

Lesson objectives:

1. formation of performing vocal skills in students skills and abilities.

2.creating conditions in which the student experiences pain achievable sensation

performing freedom and creative comfort.

Tasks:

1. development of singing skills (meaning sustainable singing

breathing on support, evenness of sound throughout the entire vocal range,accurate intonation, melodiousness, melodiousness of the voice, clear and precise diction, correct articulation).

1. stable intonation of monophonic singing

4.skills in working with phonograms and microphones

Teaching methods: explanatory-illustrative, reproductive, practical

Form of organizing a training session: individual, group

Equipment: piano, music Center, microphone, piano, CDs, phonograms minus, plus performance of “About Jam”, “Three Wishes”, “Lyceum”, handouts - lyrics

Stages and timing of the lesson

1 lesson – 1 hour 30 minutes

I.Organizational stage . Checking readiness for class. Correct singing position – 2 minutes;

II.Preparatory stage : gymnastics of the articulatory apparatus, phonetic exercises, breathing exercises, vocal - intonation exercises— 14 min

III.The stage of assimilation of new knowledge – learning the canon chant – 12 min.

IV.Main stage- work on the repertoire (work on

sound production, sound science, purity of intonation, expressive singing, two-voice).

1. Singing the songs “About Jam”, “Three Wishes”, accompanied by

piano and a capella – 8 min

2. Work with soloists. - 4 min.

3. Singing songs to a minus soundtrack - 8 minutes

4. Singing songs with a microphone – 8 min.

Dynamic pause - 10 minutes between songs for rest and relaxation,

Physical education minute

5. Work on the movements in the song “About Jam” - 5 min.

6. Repetition of the song “Lyceum” - 5 min.

V . Reflective stage : children’s self-esteem about their performance,

Emotional state – 2 min

VI. Final stage: singing songs from beginning to end under

Phonogram with movements. Summing up results, mistakes and successes

Each student – ​​10 minutes

VII. The final stage : homework assignment, message about the following

Lesson - 2 min

I. Organizational stage :

- meeting children;

— checking of those present;

— Correct singing position: stand straight, chest free, shoulders turned and lowered, good emphasis on both legs, hands free. Keep your head straight. A strong head lift leads to tension in the anterior neck muscles and constrains the larynx. The face should be free from grimaces. A smile on the face creates feeling of elation,

necessary for the lesson.

Preparatory exercises. II. Preparatory stage: Before we start singing, let’s prepare our vocal apparatus. We start each lesson with articulation and breathing exercises , intonation and phonetic exercises. What is the articulatory apparatus? (.)

tongue, lips, hard and soft palate, lower jaw

Articulation gymnastics

— Tongue gymnastics Lightly bite the tip of your tongue with your teeth four times.

— Stick your tongue out as far as you can, lightly biting the tip of your tongue in succession. Bite your tongue alternately with the right and left sides

— with my teeth, as if chewing it.Make a circular motion with your tongue between lips and teeth with closed mouth. The same in contrast

in the right direction.- Place your tongue on your upper lip, lower lip, right

my cheek, into my left cheek, trying to pierce them right through.

Lip gymnastics:Bite your lower lip, upper lip, suck in your cheeks and

bite their inner surface with your side teeth.

Intonation-phonetic exercises. 1. Starting position: mouth open as much as possible with jaw movements

forward and down. The exercise consists of a strong, active pronunciation of consonant sounds in the following sequence: Sh, S, F, K, T. P, B, D, G. V, Z, Zh. Each sound is pronounced four times.

3. 2. Sequence of vowels: A, E, I, O, U.
The starting position is the same as in exercise 1.

The main element of the exercise is sliding ascending and descending intonation with a sharp transition from the chest to the falsetto register and from the falsetto to the chest with a characteristic fracture of the voice.

Ooh, ooh, ooh.

Tongue Twisters:

1. The bull is blunt-lipped, the bull is blunt-lipped, the bull’s white lip was blunt.

2. How 22 Egorki lived on a hill on a hill. One Yegorka, two Yegorkas, etc.

Breathing exercises. — How does the singing process begin? ()

with a breath - Where do we direct the air when inhaling ( in the stomach

). The body is loose, the shoulders are lowered. 1.Inflate balloon

(inhale through your nose, hold your breath, exhale through the SSS, the air comes out, the ball remains.)

2. Short inhale into the stomach, short exhale to “shoo”, “shush”.

4. Feet shoulder-width apart, arms at shoulder level, elbows bent parallel to each other. We connect the elbows, inhale, elbows to the sides, tack, body down. Exhale to “Ha.”

5. An exercise to activate the work of the anterior abdominal wall for the sounds “k” and “g”.

The teacher's attention should be directed to:

-muscle freedom

- correct posture;

— the ability to take a breath and expediently distribute the exhalation;

— operation of the resonator system;

— general speech intelligibility;

-rhythmic precision.

Vocal intonation exercises.

Goals of vocal intonation exercises:

Develop the skill of maintaining a tone at the same pitch with the same volume or with different nuances, which trains singing breathing
form correct articulation one or another vowel sound
achieve certainty in the attack of sound
clarify intonation at the moment of sound attack
build unison

All exercises are performed in an ascending and descending chromatic sequence (in the range A m - F 2)

1.Singing with your mouth closed helps to equalize the timbre sound and auditory tuning. The exercise is sung with slightly open teeth (mouth closed), high palate, sensation of sound in the upper resonator, on the sonorant consonant sound “M”. (example 1) When you feel a slight vibration and a slight tickling of the lips.

2. Register smoothing. (Lip vibration, then RRRR)

Make sure your lips are free and have an even, full sound when moving to

head register. The slower the vibration speed, the better.

3.Practice a soft but precise sound attack. This will be

facilitate the execution of legato exercises on one note.

4. Exercise based on triad sounds. Rely on breathing.

Goal: expanding the sound range in order to equalize the register sound of voices and to activate the work of the anterior abdominal wall.

2. Exercise to develop voice mobility and work on diction.

Monitor the clear pronunciation of syllables, the jerky work of the diaphragm, the larynx remains in the middle position and does not rise behind the sound. The tip of the tongue touches the two upper front teeth.

III. The stage of assimilation of new knowledge is learning the chant of the canon “There is a birch tree in the field”

The first acquaintance with two-voices should begin with the singing of canons. This is the most interesting and accessible form of polyphony for children. What is canon? Canon translated from Greek language means "rule, order." Musical canon - a song performed in a special way. All performers of the canon sing the same melody with the same text, entering alternately. The one who started singing first and finishes first. Singing with the canon became very popular in the 16th and 17th centuries, and now the canon is gaining a new surge in popularity among young performers due to the fact that it clearly demonstrates the performer’s singing technique

Stages of work on the canon:

1) speech recitation. Invite the children to recite the first

a line to everyone together. Recite again, and the teacher recites in canon. Divide the ensemble into two groups, the second group now taking the place of the teacher.

2) Having mastered the performance of the rhythmic canon, you can start singing.

To begin, sing the melody of the canon to everyone together with the teacher:

Bring to pure a-cappella unison. After the melody is learned, the children perform the 1st voice, and the teacher performs the 2nd.

Then divide the children into 2 groups. Everyone sing a cappella, in dynamics p, listen to each other, vertical. Remind children: “First I listen, then I sing.” Pay attention to the precise introductions of voices, the ability to maintain the tempo from beginning to end.

Appendix No. 1

Main part.

Work on the repertoire.

Work on the songs “Three Wishes” and “About Jam”.

Stage 1 . Singing songs with piano accompaniment and a capella. Work on purity of intonation, clear pronunciation of words, endings, correct sound management, unison.

The song “Three Wishes” has a complex dotted rhythm, it is important that each of the students learn it. Simultaneous removal and entry of voices by the hand of the teacher. Consonant sounds are pronounced easily, clearly, clearly and energetically. Pay attention to singing narrow vowels, avoid flat sounds. Needed whenteach students to clearly pronounce consonants at the end of words, monitor the clear pronunciation of consonants in the middle of words fast pace.

Particular attention is paid to working on two-voices in the song “About Jam” - pure intonation. The main task is to teach students to listen to each other, to hear both voices, and not just their own. First, each part is worked out separately, then the voices are combined.

Stage 2. Working with soloists in the song “Carousel of Melodies”. This song contains solo episodes.

Much attention is paid to working on intonation and sound production, since each student has his own voice timbre and his own shortcomings. This applies to the vowels “A” and “E”.

The basis of any singing is vowel sounds. Depends on the correct sound formation of vowelssits the beauty of timbre. For students of the 1st and 2nd year of study school age the timbre is uneven, which is annoyingcaught mainly by the “variegation” of vowels. Sound smoothness is achievedthrough maintaining a high sound (position) on all sounds of the singing range on the.

The condition for competent sound production is a correctly open mouth, a freely lowering jaw, active lips that clearly articulate eachsound. On initial stage Basically, you should pay attention tothe student inhaled correctly, distributing the exhalation until the end of the word or smallphrases, did not take breath in the middle of a word.

10 minutes rest

Face massage

- Go over the entire face with a tapping massagewith the tips of bent fingers. The blows must be strong enoughso that the face “lights up”.

- Massage the jaw-temporal joints with your fingers.Make a forward and downward circular motion with your lower jaw.: Make a forward circular movement with your lower jaw - right-back-left-forward.

Back massage.

Free time

Stage 3. Singing songs to a soundtrack. Songs are sung at a faster tempo, with a clear rhythm.

Stage 4. Singing songs with a microphone.

Stage 5. Working on movements in the song “Slush”

Stage 6. Repeating the song "New Day"

IV. Reflective stage: children’s self-esteem about their performance, emotional state

— What did you remember most about the lesson and what did you like...

V. Final stage: singing songs from beginning to end to a soundtrack with movements. Summing up the results, mistakes and successes of each student

— What new concepts did you learn about in class?

— Meanings of the concept canon.

VI. The final stage: homework, message about next lesson

Bibliography

Gerasimova I. « Vocal and choral education children" Samara 2001

Gontarenko N.B. Solo singing. Secrets of vocal mastery. —

Rostov-on-Don, 2006

Methodological development. Samara, 1997

Dmitriev L.B. Fundamentals of vocal pedagogy. M., 1968.

Erokhina I.A. Working with beginning singers. Methodological development. -Samara, 1999

I. Isaeva « Pop singing. Express course for the development of vocal abilities"

Ogorodnikov D.E.. Musical and singing education of children in secondary schools. - M.: Muzyka, 1972

Romanova L.V. School pop vocals. - St. Petersburg: Publishing House "Lan"; Publishing house "PLANET OF MUSIC" 2007.

Stulova G.P. Theory and practice of working with a children's choir. Moscow 2002

Seth Riggs How to become a star. -M, 2004.

My name is Maria. I'm 28. Six months ago I realized that I was afraid to sing. And it was strange. After all, I sang to everyone school holidays, friendly gatherings and relatives’ anniversaries.

First lesson

I'm afraid to sing

As a child, I sang at all school holidays, and later, when I grew up, at friendly gatherings and family feasts. I have hearing, a pleasant voice and unsmoked ligaments. I also remember the inexplicable state of bliss from singing in a choir, where forty fragile timbres were combined into one, strong and magical. I have always liked singing, because it is as natural for a person as sleeping or eating. And then suddenly - psychological pressures, fears and the feeling that some important part of you is broken, out of order. And one could spit, get drunk and forget. But I began to follow the rule: if you are afraid, go for fear! There you will encounter something important.

Fear made me think about vocal lessons. I turned on word of mouth and searched on social networks professional teachers. If I didn't like the singing of a potential teacher, even a super-duper-deserving one, my search continued.
Then I remembered about a friend who works at a music school for adults and called her.
“Dasha,” I say “Do you have a teacher who also has the abilities of a psychologist?”

It turned out that there was such a person. Moreover, I can go to the first free lesson and meet the teacher. It would be stupid not to take advantage of the situation!

And so I came to school. While I'm waiting in the wings, I look with pleasure at the cozy interior of the school, sip tea with crackers - they always serve hot tea here. I meet 14-year-old Zabava, who is waiting for her violin lesson. Interesting, much smarter than many of her peers, she told how happy she was when she learned about the existence music school for adults. At her age, they are already finishing their music school.

While we are chatting with Zabava, I hear one of the students singing and screaming outside the door and I think that in 10 minutes I will be howling in the same way, scaring away the crows outside the window. And I'm overcome with awkwardness.

My time has come. I walk into a charming purple room (I would stay in one like this). Meeting teacher Anara Aripovna ComplexLastName:)). She immediately asks what I want and what goal I am pursuing. I honestly lay everything out, like this and that, I want to remove the clamps.

Let's start listening. We follow the standard chord ladder. Literally from the first seconds, I was surprised to discover that the embarrassment I had just experienced had almost disappeared. I think about Zabava, sitting on a comfortable sofa outside the classroom door and weaving a bauble for her friend’s birthday, that she hears my unproduced voice, but for some reason this does not frighten me (I am even pleased with her invisible presence).

The first thing I realized was that I Can sing! All that remains is to awaken these dormant forces.

Second - me Want sing! This process brings me inexplicable pleasure. And may I not become the new “grandmother of rock and roll”, like Janis Joplin or Patti Smith.

And the third thing that caught my attention was the teacher. When Anara Aripovna started hitting my back with her fists (it didn’t hurt, of course!), I realized: this woman knows what she’s doing. I am a journalist who worked on radio, and I know that the voice does not exist on its own, and the speech apparatus does not work separately from the whole body. Actors, journalists, and politicians spend a long time learning to breathe correctly, relax their muscles, and speak with their chest. If you are scared and tense, your voice will become flat, sound higher, unnatural and false. It is not the bundles that need to speak, but the guts. Anyone who has seen the film “The King's Speech” will understand what I mean. And he will understand why this mini-massage session during the vocal lesson made me so happy.

And when I also took the D sharp of the second octave without much difficulty, a green light appeared for me above the sign of the “Virtuosi” music school. (Actually, D sharp of the second octave is not high at all. But even in the choir I never dared to climb there).

Fifteen minutes was enough for me trial lesson to use your last money to buy a subscription for 8 classes. I will keep a diary about how I am taught to sing again. I will describe my feelings from lesson to lesson.

Lesson two

Turn off your head

“It’s an amazing picture,” says Anara Aripovna, “in Russia girls have masculine energy. They live not with their hearts, but with their heads.”

And it is true. I analyze too much instead of just doing and having fun. But you can’t sing with your head.

Well, you can't.

Well, that's not possible.

I have always been a prudent and obedient child. And my mother couldn’t be happier with the A’s in the diary and the fact that I did everything as I was told. Only occasionally did the self-control program fail. Then the teachers were perplexed how the best student could pour out a bucket of dirty water from a third floor window. But similar stories happened very rarely.

And so reverse side self-control - I can’t turn off my head during vocal lessons. I analyze how the “E” of the second octave sounds today and how it sounded in the last lesson. I analyze how my teacher reacts and think about what is expected of me. I even think about whether a performer needs to think while singing... What a horror! Brrr))

Once my friends and I were at a piano concert by Misha Luzin. And a girl sang with him. Pretty, with a high clear voice, everything seems cool, but something is wrong.

What's wrong, Marus? - Lisa asks me (a St. Petersburg nugget, author and rap artist '21 from Pushkin).

Let him feel sorry for himself, I say. - She thinks too much about whether the public will like her. And therefore he protects himself, does not give himself completely to feelings.

(Haha. I'm facing the same problem a couple of months later).

The more I think and control myself, the worse I sing. It amazes me every time.

Lesson three

Breathe

The first thing you hear in vocal lessons is the phrase “to sing well, you need to breathe correctly.” Doesn't it sound strange? How can you breathe incorrectly?

I'm starting to come to the conclusion that almost everything "wrong" in life is something I do unconsciously. How will I learn to sing if I don’t understand how sound is created? If I don’t know that the air inside me can not only saturate my cells with oxygen, but can also become a strong core, a support for the song that I will sing in a minute. Being aware of your breathing is really very important. But how many of us think about the things that happen in our body by themselves?

Fortunately, in different time and in different situations I had to be aware of breathing:

• when I was freediving (they explained to me that there is always more air in your lungs than you think, and if you know this, you can stay under water much longer);
• when diving into the sea with scuba gear (here, on the contrary, you must breathe continuously, in no case should you hold your breath)
• I’m not even talking about my recent experience of Vipassana meditation, where for the first few days you learn to only recognize the breath as something natural, constant, real. Only after this are you able to concentrate your attention on the material shell - the body.

Since the days of children's music school, I knew that the singer breathes not from the chest, but from the diaphragm. This muscle separates the abdominal cavity from the chest cavity, and our lungs “sit” on it. When we inhale, the diaphragm drops a couple of centimeters, and then the lungs expand. So, if you train your diaphragm, learn to keep it in good shape, then “the tone will be in you”, and you will sing beautifully :))

A funny cause-and-effect relationship: if the diaphragm begins to contract involuntarily (when we don’t specifically want it) - we begin to hiccup, if we consciously control our diaphragm - we sing beautifully.

Proper breathing provides maximum psychological relaxation. Then there is no room for many clamps.

Sometimes during vocal lessons I make a mistake - I take in a lot of air, even though I take it in with my stomach. And now I feel like a ball that has eaten too much heavy food. Oddly enough, if there is too much air, this is also bad - again, clamps may appear (too much effort is spent on keeping the air inside). If you breathe not with your diaphragm, but top part lungs, then this will be the so-called “clavicular breathing” - in this case the shoulders rise and the neck is blocked. By the way, women predominantly breathe with their chests, and men, with their stomachs, it just so happens physiologically.

Professional singers take years to learn to breathe! When I think about it, I get a little scared. But I have something inspiring in store:) Even if I was not born Luciano Pavarotti, I will still learn to sing well. And everyone can learn, despite different capabilities, voice devices and clamps. Everyone has breathing. It's time to just start realizing it...

Lesson four

Forget about the ceiling

At the next vocal lesson at Virtuosi, the teacher notices how my tightness is reflected in my body. Sometimes I tilt my head to the side a little before I hit a higher note. Sometimes I “draw” an imaginary staircase with my hand, but it still turns out to be below my capabilities.

“Masha, imagine that there is an endless sky above you, and not a layer of white plaster,” says Anara Aripovna. I undoubtedly believe her, but I continue to rest my head against my own psychological ceiling.

When did he appear? I can't say for sure. I built up a little bit, year after year, with each new disappointment.

For example, I remember how, in 8th grade, I couldn’t jump over the bar for the first time in a physical education lesson (scientifically, this is called a “running high jump”). I always jumped like a saiga, but that autumn something happened. And the 75-centimeter-high plank turned into the Great Wall of China. Why did this happen?

It seems that that summer I forced myself to stop loving. The first one is real and very strong love was strangled by the first pride. The protocol says: “Eldar L., being in the same detachment with me summer camp"S.", suggested to my best friend Lenke A. friendship for ten days.”

Ceilings, walls, slats - everything will have to be destroyed in order to start singing. The funniest thing is that I will destroy these barriers with the help of singing. For this there is Anara Aripovna, special exercises and my realization that “our roof is the blue sky”)))

Let me go and sing “with a smile” (this is one of the techniques for loosening centuries-old arches).

Introduction
The most important thing in vocal production is correct breathing. This is where professional training begins. singing, which serves as a conductor in huge world scenes. If you are not fluent vocal technique , then, willy-nilly, those muscles that by nature should not work much are included in the work. Naturally, later we expect unpleasant moments, such as: tightness, nasality, unpleasant aurally the manner of “pulling” the non-pulling and, finally, “ voice failure" Even if vocalist continues to “break” vigorously ligaments, still with this approach to vocals about nothing stage out of the question. Such ignorance most often results in dissatisfaction with oneself and dissatisfaction with life. After all, someone who has been given a gift from God in one area or another feels throughout his life that he “belongs” and is in constant search of his purpose. This will continue until the person succeeds and uses his talent, which was given to him at birth, in practice to the fullest.

Right from the right place breathing the performance of the song begins, because this is the support on which everything rests vocal technique, and therefore we recommend returning before each chant to the section “ breathing lessons" for warming up.
In order to group into correct position muscle group, we will resort to various types technician: turning your fantasies into reality, playing various skits. We will influence the mental, physical mechanisms of your body and consciousness to achieve the desired result.
At the very first vocal lessons use no more seven sounds, gradually expanding range. As mentioned earlier, breathing control is mandatory. To help with the exercises, place your hand on your stomach or wear a rubber band.

• During developmental vocal exercises understand the mandatory rules:
• Watch your body position. The neck should not be tense and stretched forward. You should be in a state of comfort, relax slightly. During exercise, only the stomach works. When will you take high note, abdominal muscles they will compress more strongly, and the low one, on the contrary, all this should be felt by the hand that fixes the press.

Learning to breathe correctly
Gently cup your palms stomach. Feel it. Listen. Try to warm every cell with your hands. You breathe calmly: inhale-exhale... inhale-exhale... abdominal muscles rise and fall... Calm down. Leave all the fuss behind and listen to your breathing. Feel every muscle in your body. abdominal cavity, as it inflates when you inhale, and deflates when you exhale. Laugh, it is in laughter that breathing is more naturally controlled.
In order to control your breathing, without removing your hand from your stomach, slowly inhale the air, while counting to four. Without holding the “peak,” exhale slowly, also counting to four. If you still have trouble feeling movement in stomach, then try to lean forward, clasping your lower back with your hands. This area should inflate and deflate. Gradually increase the count: inhale - one, two, three, four, five..., exhale - one, two, three, four, five..., and so on until 20.

Vocal leveling exercises
The most common problem is “uneven” playback vocals, this is trembling, jolting, twitching, and therefore the following exercises will be aimed specifically at alignment and voice production.

• Let's start with exercises"dog". We sit comfortably on a chair, lean on the back, relax the muscles of our shoulders and neck, stick out our tongue and try to more accurately portray a dog. Make sure that your shoulders do not move, but that only your lungs and chest as a whole work.

• During exercises preferably on the stomach put on a corrective belt. This is necessary in order to press the abdomen worked correctly. It puts stress on the muscles and serves as a kind of exercise machine. You will feel those muscles that are in ordinary life They don’t function often, and a belt will help with this. By the way, some people think that if you pump up your abs, then everything will be sound production will come easy. In fact, the opinion is erroneous, especially to go to Gym and there is no need to exercise intensely. The fact is that on simulators the organization of muscles will not be aimed at coordination clean vocal output, but for something else. But if you still support the opinion about the benefits of physical activity, then it is best to do yoga, swimming or therapeutic exercises. Try get into harmony with your body, feel every cell of your body.

• Take care of yours posture. It must be correct: back straight, shoulders straight, head in a level position. You can level the position by standing in the doorway, straightening up in the door frame. It is in an even position, without straining, vocal cords are working correctly.

• We relax the neck muscles and slowly turn our heads: left-right... left-right... and so on 10-15 times.

• We carefully lower the lower part of the jaw down, then also carefully return it to its place, finding correct position. And so: 10-15 times.

• Pull it out tube lips and we begin to move them left-right... left-right... circular movement clockwise, counterclockwise... and so on 10-15 times.
• Loosen the tube from your lips and dial in lungs air. Using the air from the lungs with the lips, and not the throat cords, we sing “Brrrrr”

• Following exercise called "monkey". We take a small mirror and start “monkeying.” Collapse tube lips, stretch out and smile, stretch with a bath and bare your teeth, showing two rows of your teeth. Opening our mouth as broadly as possible and consider all the delights of language. We extend the tongue and shape it into a sail, then retract it, folding it inward. We pull the tongue to the left wall of the cheek, then to the right, roll into a tube and bend over the upper teeth, then over the lower ones. If you can’t “play” your tongue well, don’t be discouraged, do what you can without straining yourself.
• Open as soon as possible wider mouth, now throw it away language, reaching for their chin, and also sharply pull them back. Imagine a frog catching flies. Do the exercise until you feel tired. Make sure they work the right muscles, with the right positions, you yourself will feel what muscles are needed for vocals, and which ones are not.

• In the next exercise we determine vocal yawn. Examine your neck and find your Adam's apple. Gently grasp it and watch its movement. During a conversation or when you swallow saliva, it moves. Make a mental note bottom position, remember and then project him in the vocals. Do not hold it with your hands under any circumstances! You must control him, and not force him to obey using physical force. Find the right one yawning sensation It is best to do the “examination by a doctor” exercise, i.e. open your mouth, as during inspection, and say “Ahh,” showing and opening a small tongue.

• Open slightly surprised mouth while inhaling. You should feel Fresh air in the oral cavity. Fix the lower position of the Adam's apple. This exercise is performed 10-15 times. It is advisable to control the entire process in front of the mirror.

Sound brightness exercise

• Let's take an exercise from yoga, only in our case we concentrate not in the frontal part, but in nasal. We unclench our jaws, while keeping our lips closed, and produce an even, long sound “Mmm.” The lower jaw is lowered to a comfortable limit.

For the full development of your vocal data and securing the material, you can proceed to selection. Start with lower sounding songs, choosing to practice with backing vocals.
Choose a song that suits you, learn the words well, feel melody.
While listening to a melody, tap to the beat, even if you...

Example:

Imagine musical instrument: drums or piano. Imagine yourself knocking on keys fingers in rhythm of music, or take two pencils and imagine drums, but it’s better to imagine yourself as a dancer, how you dashingly beat your feet to the beat.

If this is still difficult, then use special program.

And in conclusion I would like to say: do not be ashamed of yourself, friends. Don't be tight-lipped and don't follow your neighbors' lead. Sing at the top of your voice in your apartment voice power. Don't think that when vocal lessons you can sing quietly, but if you go out on stage, then you’ll sing at the top of your lungs. This will never happen! In which range you will teach vocal cords work, in this way they will produce subsequent sound. After all, the vocal cords are living musical instrument, and setting it up takes more than one year human life. If you have “gentle” neighbors, then try to come to an agreement. After all, if one of them listens loudly music or doing repairs, you are being patient at this time. So why can't you daytime sing loudly?
That's all.
Creative success, dears vocalists!

Sincerely,
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