How to develop your voice without taking vocal lessons. Vocal lessons

Those who dream of singing on stage, but do not have a classical music education, often have to face the problem of not being able to find a suitable vocal teacher.
If you feel that your destiny is a stage, then you keep
in your hands is just the book you need!
If you want people to LISTEN and HEAR your VOICE, this is the place for you.
If you need to understand how to get applause in small clubs, concert halls and huge stadiums - you will understand this.
How to pass the casting and please the jury? About this here too:
written.
But the main thing is that you will learn to SING.
The book contains the author's annual training program, with the help5 of which you can develop a quite good voice, which can then be developed and improved in your chosen vocal direction. Don't give up on your dreams!
We wish you packed houses, deafening applause and loyal fans of your VOICE. And the book will help you move to creative heights!

Practice teaches you to sing. But there is nothing more practical than a good theory! With its help, they become aware of the singing technique. It gives you confidence in your voice, which will be easier to improve.
The book is dedicated to the initial academic training of adults, those who are familiar with the basics of vocal music. However, this work is also useful for professionals. The initial period is aimed at liberating the singer and improving his sound. A. This is the care of experienced performers. Bel canto master M. Battistini argued that the singer should search for his voice every day and sing as if he were hearing himself for the first time. (Pazovsky A. Conductor and singer. - Muzgiz, 1959). Indeed, you have to constantly look for positions, shades of voice, as if anew. The vocal apparatus is so complex and hidden that even a professional singer does not fully comprehend the principles of voice development. Knowledge of vocal fundamentals will not allow obvious deviations from the truth. This is the significance of methodological literature, and, in particular, this textbook. In addition, new valuable installations will be offered.
A singing voice cannot be developed through trial and error. Fixed mistakes at the initial stage can later be disastrous. Without laying a solid foundation, do not expect singing success. If the first vocal steps establish the correct neuromuscular coordination, then subsequent singing becomes natural and more manageable.

Singing training is associated with musical art, physiology, psychology, acoustics, spelling, acting, and phoniatry. The individually designed vocal apparatus is hidden in the thickness of the muscles. All its components work interconnected. The muscular techniques used in vocal pedagogy, invading this integral coordination, can disrupt it. The teacher-vocalist, relying on his singing experience, believed in what helped him on stage. But this is not always suitable for other singers.
Issues of artistic development are not as controversial as the “technology” of the voice, where there is an ocean of subjectivity and contradictions. Should we write about voice production if there is no unity of views in this area, if we work by intuition, partly even blindly? It is precisely for the sake of bringing positions closer together that experience must be recorded. “It is the duty of every artist, no matter great or small, to write about his art, if only because our art dies with us and lives only for its contemporaries” (K.S. Stanislavsky).

Having 47 years of teaching experience in Moscow universities, the author chose a “thankless” topic - vocal “technology”. It is difficult to express, but that is why it is especially needed! Creating an accessible vocal aid is relevant. This work was conceived as the most intelligible for perception.
The existing vocal methodological literature not only enlightens, but also puzzles and sometimes confuses. However, it is still possible to identify commonality in it. After all, different authors have fragments of truth in the complicated issues of voice production. These statements need to be identified and summarized.
Are singers primarily aware of those sensations? which teachers often pay attention to. 13 In connection with this, vocal schools are conventionally divided according to the method of respiratory, resonator or muscle sensations. There is no one-size-fits-all vocal school. But general guidelines exist.
The book should be read selectively. First, assimilate what is currently consonant with personal interests, with which the reader has come into contact in practice. Subsequently, study new sections. The process of familiarization depends on the readiness of the reader. It is important that the abundance of information does not lead to unnecessary concern.
Each singer, taking into account his properties, would have to have his own textbook, which is impossible. All that remains is to give general recommendations, and students will “try” them on themselves. Classical singing is based on proven general positions, based on which it is more convenient to develop the individual qualities of voices.
At the end of the book, a decoding of the most used vocal terms, “key” words, is given in this text.
The author's drawings do not pretend to be masterpieces. The artistic and visual form of presentation is better understood by singers. After all, emotional vocalists have a penchant for imaginative thinking.

The “Voice” series is a unique book on teaching such a popular art in the modern world as singing. A vocal self-instruction manual is a book that will help you learn to sing, even if you have never practiced singing professionally. It provides a one-year vocal training program that will help you develop a good voice on your own. The authors reveal all the myths about the art of singing; warn against possible mistakes regarding the vocal apparatus that a beginner in this field may make. All exercises and training are based on Russian, native and close songs. Those who are planning to participate in competitions and auditions will find in the book a lot of useful recommendations that will help them appear in a favorable light before the jury, as well as advice for those who see their future on stage.

On our website you can download the book “Vocal Self-Teacher” Shekhov Vladimir Gennadievich, Ruzhieva Evgenia Andreevna for free and without registration in fb2, rtf, epub, pdf, txt format, read the book online or buy the book in the online store.

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People have been singing since ancient times. And both then and now, singing is a special way to express your feelings, emotions, and mood. And who wouldn't want to learn how to do it beautifully? I think many. Of course, training a professional singer takes quite a long period of time, but if you start small, you will be captivated by the process itself, and you will notice the positive impact of the exercises that I would like to offer you: singing will become easier and more enjoyable for you. The fact is that physiologically we are all capable of singing: we have vocal cords, a larynx and our body itself, but when it comes to learning vocals, we are actually talking about how to learn to control the processes that arise in our body and voice. apparatus.

The vocals that you hear in songs or at concerts are what the singer came to after mastering breathing techniques and learning to hit the notes (intonation); he learned to use resonators and has his own timbre (by which, by the way, you will always recognize him); the singer does not mint words, but sings according to vocal orthoepy (for example, there is a specificity in pronunciation when performing a song in English or any other foreign language, and it does not always coincide with the norms of the spoken language). And in order to learn to sing beautifully and professionally, it is important to master the above “points”.

I've put together exercises here that you shouldn't find difficult, but that will help you take a step forward on the path to mastery.

Breath

Establishing proper breathing is where the path of any vocalist begins. Why is it so important to learn how to breathe correctly? The fact is that incorrect inhalation, insufficient inhalation, or the absence of it at all leads to clamps, in which instead of singing you switch to shouting, singing “on the chords,” and this often leads to injuries to the vocal apparatus. Everyone has probably had the experience of singing in companies, after which their voice “shrinked.” Meanwhile, the strength of the voice, its freedom, timbre, endurance and expressiveness of performance depend on breathing.

What you need to pay attention to when performing breathing exercises: make sure that when inhaling there is no overstrain or clamping; shoulders did not rise; When you inhale, the muscles of the larynx relax, so you should try to maintain the feeling of inhalation and “transfer” the same position to exhale. The inhalation should be active, more intense than our everyday inhalation, but not greedy or tense. Exhalation should be economical, but at the same time free.

Of course, it is useful to know human anatomy, because we work with such a “musical instrument” as the human body. First, find the diaphragm (abdominal diaphragm). This is a broad muscle that separates the chest and abdominal cavities. Its border conventionally runs along the lower edge of the ribs. If the inhalation is done correctly, it will engage this major respiratory muscle.

Breathing exercises

1. Calm, even inhalation without a jerk, without delay. As you exhale, relax.
2. Short inhale, long, calm exhale. Be careful not to release all the trapped air at once. Exhale evenly.
3. "Ksh." Inhale, then exhale with a “ksh” sound, as if chasing away a cat or bird. This exercise engages the muscles responsible for exhalation. The exercise should be done confidently, but not “brazenly”, not aggressively, watch your neck - it should not strain.

Intonation

Pure intonation is hitting the notes. Most often, problems arise due to a lack of synchronization between hearing and voice. Why is it so important to sing clearly? Any note has its own frequency, maybe you remember this from your school physics course. So, when a person does not hit the note, he does not hit a specific frequency, and emits, one might say, a frequency that is nearby, as a result of this, dissonance arises and what we hear is caught by our ear as something incorrect, inharmonious. Our favorite activity from childhood (who attended music school as a child) will help us learn to hit the notes - solfeggio. In this case, we develop different facets of our musical ear: hearing and recognizing, hearing and reproducing, memorizing and reproducing notes. For those who are not familiar with music theory (which is directly related to practice), the recommendation is this: sing intervals. For example, the well-known “A Christmas tree was born in the forest” - on the words “in the forest” an interval called “big sixth” is sung, and the first 2 notes of our anthem (which is “Russia is our sacred power ...”) are the interval “quart”. Moreover, any song is a sequence of intervals, no matter how prosaic it may sound. And any falsehood arises precisely when you take one or another interval incorrectly - by lowering or raising the note.

Intonation exercises

1. We sing the ascending scale (do-re-mi-fa-sol-la-si-do)
2. We sing a descending scale (do-si-la-sol-fa-mi-re-do)
3. We sing the scale from the tonic step by step (do-re, do-mi, do-fa, do-sol, do-la, do-si, do-do).

The tonic is the first degree of the mode. You can play the C major scale on the white piano keys from C. The A minor scale is also played on the white keys from the note “A”. These are the simplest (relatively, of course) scales that you can play even without knowledge of the structural features of the minor and major scales.

If you have an instrument at home, practice this way:

1. Without looking at the piano keyboard, press 2 notes at the same time (which form an interval) and play them first separately, then try to connect them - go from the lower note to the upper one and back again. This develops a “sense of tonality” in you: you remember intervals, not only our ordinary memory is activated, but also muscle memory.

Resonators

Sound resonates in the cavities of our singing apparatus. This gives it strength and shapes its timbre. And timbre is the most important component, timbre is an individual characteristic of the singer, timbres can be similar, but each singer has his own timbre, by which he can be distinguished from all others.

Thoracic resonator - vibrations of the upper clavicular region, lower costal region, back, chest, trachea, and even large bronchi. At the same time, they are born low overtones vote.

The head resonator is vibrations in the head, in the skull up to the back of the head, this also includes the teeth and crown. Here are born high frequency overtones.

A mixed resonator is simultaneous vibrations in the head and chest, sometimes in the shoulder blades and back.

It is also worth adding that inside the chest resonator space the sound is based on relaxation.

Exercises for resonators

1. To use the head register, to feel it, try shouting a long “Heeeey”, without tension, as if you want to shout to someone in the distance. The jaw should be relaxed, the tongue and larynx should also be relaxed.
2. Lie on the floor, on your back, release all your muscles, then freely shout Hey at the ceiling.
3. Roll over onto your stomach, touching your forehead to your hands, and exhale calmly several times. Shout in this position Hey. While lying on your stomach, it will be easy for you to feel the tension in the back of your neck and jaw, feel the muscles involved in the process and gradually learn to control them.

Exercises to develop facial muscles

1. Raise and lower your left and right eyebrows alternately
2. Raise and lower your right cheek, then your left
3. Raise and lower first the upper, then the lower lip
4. Pull and lower the right corner of your mouth, then the left
5. Wrinkle the bridge of your nose, move it up, then down.

All of the above exercises on breathing, intonation and development of resonators are a very important initial stage. Of course, I want to start singing both chants and songs as soon as possible, and all this will definitely happen. The main thing is to lay the foundation at the very beginning and gradually build up your skills.

Almost every person loves to sing. Despite the fact that many people study at a music school to train their voices, you can even develop your own singing style and confidence in your own performing skills on your own. For general practice, start with regular daily chanting. This could be singing your favorite song or simply singing scales. Don't be afraid to get creative with your voice. In addition, taking care of your own health and maintaining hydration, as well as quitting smoking, will help you achieve the best sounding voice.

Steps

Determine your vocal range

Record your voice using a microphone. Launch the audio recording application on your computer or smartphone. Then check your settings to ensure the recording is clear without any voice changes. Try singing different songs and recording your voice.

• For more comfort, connect a real music microphone to your computer or smartphone. This will give you a better understanding of how the way you hold the microphone and sing into it will affect the final sound.
• Perfect Piano and Pocket Pitch are considered good apps for singers.
• You can also use a digital tuner or download an app like Vanido, which will show you your level of vocal range proficiency.

1. Sing a song you know over and over again. Print out the lyrics to a song you like. Take the time to study all the nuances of the text. Then work on the details of the song by modulating your own voice, thereby changing the song itself.

   • It is important to choose a song that you really like, as you will have to work on it over and over again for a while.
   • When first starting out, try to use a song that is within your vocal range to avoid straining your vocal cords.

2. Work on producing sound using different parts of the vocal apparatus. Singing is not limited to sounds coming from the throat through an open mouth. Focus on performing the same song, but with different approaches to controlling the position of the tongue, mouth, diaphragm, throat, and even nose. Recording your results and listening to them will help you better understand your own body and the sounds it can make.

   • For example, passing more airflow through the nose can create higher-pitched nasal sounds, which is not surprising. If you gently close one nostril while singing, your voice will also change.
   • Move your tongue closer to the roof of your mouth as you sing to see how much your voice changes. You can also try moving your tongue to your cheek. Moving the jaw to the side will also allow you to vocalize other sounds.
   • To experiment with your diaphragm, try releasing all the air from your lungs at once while singing. Alternatively, see what happens if you sing with minimal air flow.
3. • The most important thing is to catch the desired emotional mood, but not to be at the mercy of emotions. Besides, the quality of your singing will not improve if you cry while singing any sad song.
   • For example, if you're singing about a falling out, try to remember the negative aspects of your past personal relationships.
   • In order not to get bogged down in emotions, after thinking about a specific event, immediately return the focus of your attention to the text and notes being performed.

4. Sing before singing to avoid straining your vocal cords. Start by softly singing the "I" sound on one note (for example, F of the first octave for women and F of the minor octave for men) and hold the note as long as possible. Repeat the exercise twice. You can also sing on one note with the phrase “Mi-me-ma-mo-mu”, and then move on to chanting from low to high notes. Repeat the exercise twice. Then move on to chanting in the other direction from high notes to low notes, repeat the exercise three times.

   • In the middle of your range, sing "Ouch!" five notes up the scale (do-re-mi-fa-sol). Repeat the exercise twice.

5. Sing the sound “A” according to the notes “Do, Re, Mi.”.." up and down scales within your vocal range. This is another great way to warm up your vocal cords and practice holding the required notes. Start with the C major scale in the first octave, then move to a higher octave, another scale, and so on. Take your time, sing each note clearly, rather than smoothly shifting the tone of the previous note towards the next.

   • Concentrate on working in the basic C major scale by notes: “Do, D, E, F, G, A, B, C.” To make it more difficult, you can try singing two notes in a row, and then jumping over one or using a different order.
   • Then make the exercise even more difficult by singing two notes up, one down, and so on through the scale.
   • A scale is a set of sounds that sequentially increase at certain intervals (tones and semitones). As you move up and down the scale, you hit both low and high notes. For example, between the notes C and C sharp the interval is equal to a semitone, and between the notes C sharp and D sharp the interval is equal to a tone.

6. Try to sing at least 30 minutes a day. This will be enough to stretch your vocal cords without being too long to strain them. It is better to study when no one will bother you. However, if you sing for a living, this type of work will allow you to develop your singing skills in public.

   • Brief daily performances in front of audiences can teach you to read the mood of the audience and adjust your work with them accordingly.
   • You can earn extra money by singing on small stages in entertainment venues, cafes and restaurants. If you don't like this option, you can try volunteering to participate in a local music group.

7. Work on maintaining proper posture while singing. Stand up, keep your back straight, look forward. Make sure your shoulders are back and your neck is not arched too much. Place your tongue at the bottom of your mouth so that it barely touches the bottom row of teeth. Gently move your jaw from side to side to relax the muscles.

   Do breathing exercises to strengthen your diaphragm. Try rib breathing, which involves expanding your chest as you inhale. As you inhale, expand your chest and allow your abdominal muscles to relax. To exhale, on the contrary, use your abdominal muscles. Also try the following exercise while breathing from your diaphragm:

   • on the count of 1, inhale and fill your lungs 1/4;
   • on the count of 2, inhale and fill your lungs 2/4 full;
   • On the count of 3, inhale and fill your lungs 3/4 full.
   • on the count of 4, inhale and fill your lungs completely;
   • on the count of 5-12, exhale slowly and gradually;
   • then repeat everything from the beginning.

Take care of your own health and preservation of your voice

1. Drink at least 6-8 glasses of liquid per day. Keeping your throat moist allows it to produce deeper, richer sounds. Your best choice will be regular warm (but not hot) water. Cold water tightens the throat. You can also add 1 teaspoon of honey or a slice of lemon to the water to taste and soften the throat.

   • If you decide to add honey to your water, try to use as natural a product as possible. If possible, try to avoid eating foods with chemical additives.

2. Provide yourself with at least 8 hours of sleep a night. If you feel tired, your voice will also suffer. It is especially important to follow this recommendation if you have to sing for a long time. When you can't get 8 hours of sleep at night, try to get some sleep during the day.

   • Try lying in bed immediately before singing and performing - such rest will help improve the sound quality of your voice.

3. Practice deep breathing. Focus on breathing deeply, inhaling through your mouth and filling your lungs to capacity, then exhaling through your nose. Try cycling through these actions while counting, for example, counting 1 and 2 as you inhale, and then 3 and 4 as you exhale. You can also watch videos online that demonstrate deep breathing techniques and even working with a respiratory therapist.

   • Meditation techniques similar to deep breathing can also help you keep stress at manageable levels.

4. Try not to overwork your voice. Do not talk loudly, shout or sing so loudly that you can hear others, especially for long periods of time. Instead, use a microphone to amplify your voice whenever possible. If you are actively working with your voice, for example, participating in a concert or giving a speech, be sure to give it a rest afterwards to recover.

   Do not smoke . If you currently smoke, consult your doctor for advice on how to quit the habit. He may recommend a nicotine patch or even medication for nicotine addiction. You probably won't be able to quit smoking right away, but even cutting down on how much you smoke will have a positive impact on the quality of your voice.

   • Smoking not only irritates your throat and vocal cords, but it is also hard on your lung capacity and your ability to hold notes.

5. Pay attention to symptoms of vocal strain. If your voice is hoarse, hoarse and rattling, then you have overstrained your vocal cords. Your throat may also feel raw and slightly sore when you try to sing or sing. If you have to spend noticeably more effort to produce the same note than before, then your vocal cords are not in the best condition.