3 basic exercises for beginner in Artistic Singing

singing excercise

1) -Techniques for the lips

This exercise is done with the vibration of the lips. To do this, one must bring the lips forward, raising the diaphragm, so that it serves as supportin the execution of the exercise. The result of this remembers the joint pronunciation of the letters BR and we could compare it to an imitation of the snoring of the motor of a motorcycle.

2) -Technology

This technique is performed with the tongue vibration, remembering an exaggerated pronunciation of the letter R. For the execution of this technique, the diaphragm must also be elevated so that it provides a good support. The sound of this exercise reminds us of a moving helicopter propeller. Seek to walk around these techniques by the bass and sharp regions of your voice.

3) -Techniques with the letter M

This SInging exercise is done so that, in principle, the person feels the vibration of the letter M internally and, above all, feel this resonance in the region of the cheeks (resonance box of the voice).

The effect of this inner M is nothing more than the actual nipple preparation we normally do so that we can utter words beginning with this letter, but this preparation will now be prolonged. In order to produce this inner M properly, one must close the lips and imagine a space inside the mouth enough to fit a ping-pong ball. The tip of the tongue should be in contact with the upper front teeth and the sound of the exercise resembles the pronunciation of # 1, however prolonged and with the mouth closed.

Care must be taken that the vibration of the sound does not become nasal, because after a time of sustaining this sound, with the support of the diaphragm elevation, the mouth opens slowly in the pronunciation of the syllable MO, prolonging the O.

For a good execution of this exercise, I suggest a prolonged four-stroke, marked slowly, for the support of the internal M and four more times for the support of the letter O. This inner M is very used in the form of “mantra” (sounds used in the process of meditation, which have important meanings in Eastern religions) and the ideal is that it be pronounced as a form of reflection of the sound that we all have and want to learn to use. Once again I want to emphasize the importance of diaphragm elevation.

For this, you can contract the belly, gradually relaxing it as the exercise is performed and the air inspired at the beginning is loose. When I speak of the cheeks with resonance box, it is to raise awareness that, bring the vibration of the sound exclusively for the throat is a “vocal suicide” ie an invitation to hoarseness or acquisition of vocal nodules, among other damages. Lastly, I want to put these exercises serve as a warm-up for the vocal chords, as a beginning of use of the diaphragm and should be done leisurely, therefore in this way will be incorporated into the natural ginga of a good sambista.It is important to warn that every vocal study should be accompanied by a mentor: the teacher of vocal technique. Especially in the beginning, because it is difficult in such a peculiar and internal instrument, we can distinguish right from wrong.
When it comes to voice, all care is little. It is very easy to get bad vocal habits and to “fix” them often “very expensive”. Constant vocal abuse, whether overuse or misuse can lead to problems such as: hoarseness, edema, nodule, or even callus on the vocal cords. So all care is little!

As a sequence for a daily study the suggestion is to do it in the following order:

  1. Relaxation and Posture
  2. Breathing
  3. Vocalises
  4. RepertoirePreparing the body into the corner is very important.

Whether for vocal study, or before a presentation. It is necessary to observe and to differentiate the vocal heating of the daily study. In vocal heating, which is done for example in the corals before a presentation, the greater concern is to prepare the device, heating its muscles to perform the vocal work. Corner study is a research. An apprenticeship that is made through the knowledge of the correct functioning of its vocal apparatus, allied to a vocal technique.

Therefore it must be done with conscience, very discretion and care. Study time should not exceed fatigue. It is much more productive, especially at the beginning, to do a few minutes of exercise, sometimes a few days, instead of studying for hours at a time. The resistance of the vocal musculature comes with time and the extent to which we properly exercise our vocal apparatus. Some singers have a tendency to force their voice, for example, into drills, to “accustom” their device to emit these sounds. This is often done by force, causing serious future damage.

In singing nothing should be done through force and if this happens it is because we are doing something wrong, for lack of a correct breathing, etc. The technique is exactly so as not to force our voice. Breathing exercises should be done every day. Just as an athlete trains his muscles, the singer needs to do so in order to keep his abdominal and intercostal muscles always ready for vocal support, thus avoiding overloading the muscles of the larynx.

Only then should you start with the vocal exercises themselves. The so-called vocalises. If you have a good base of relaxation and breathing before you sing, you will realize how much of it is already a great help in the good voice.

Text basic techniques of sound production and heating. Prof. Ronaldo Viana for over 10 years teaching Vocal Technique for Churches and Pastors. In the above text, no specific singing exercises for diction were included. I’ll be talking about this next time.


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