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How I’d Learn to Sing in 2026 (If I Had To Start Over!) — Transcript

by Aussie Vocal Coach · 2,436 words · 413 segments · language en · Watch on YouTube

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0:00When I first started to sing, I was
0:02honestly clueless as to what I should be
0:05doing. I just sang random songs and and
0:08singing was hard because I had no
0:10structure and bad habits. And now, if I
0:12could go back and start singing
0:14completely from scratch, I would do
0:16things so differently. So, in this
0:19video, I'm going to give you the system
0:21that I wish somebody gave me when I was
0:24first starting my singing journey. You
0:27don't need to sing harder. You need to
0:29coordinate smarter. The goal of this
0:32master class is to give you a solid
0:34foundation to build your voice so that
0:36you don't waste years singing with poor
0:39technique and bad habits like I did.
0:42You're going to learn the three pillars
0:44of smarter singing. Support, balance,
0:47and resonance. And combine it all into a
0:50daily vocal routine to build a confident
0:52and strong voice. Now, when I was a much
0:55younger guy, I had so much passion for
0:58singing. I had a pretty decent vocal
1:00range, but I didn't know how to improve.
1:03So, I started having singing lessons.
1:06Now, unfortunately, my my first singing
1:08teacher didn't know how to get the best
1:10out of my voice. I ended up frustrated
1:13with a limited vocal range and a fear of
1:16high notes. I actually thought that my
1:18voice was broken. It wasn't. I just I
1:21just needed a proven system that I could
1:23follow to develop the correct
1:25coordination that would allow me to sing
1:27with freedom and confidence, a voice
1:30that that matched my passion. Now, these
1:33are the four biggest mistakes that I
1:35made when I was learning to sing that
1:38set me back years. Number one, pulling
1:41chest voice too high, resulting in
1:43cracking and strain. Number two,
1:45neglecting head voice. I just wasn't
1:47taught how to use it correctly. Number
1:49three, singing too loud without support
1:52and resonance. My throat was doing all
1:54the work. And number four, no structure.
1:57I was just guessing what to practice. I
1:59want you to avoid all of these mistakes.
2:01So, let's get started. Before we even
2:04talk about breath, we need to fix
2:06something that most beginner singers
2:09don't even realize is potentially
2:11holding them back. Posture. If your body
2:14is collapsed, tight, or misaligned, your
2:16voice won't work properly. Your
2:18breathing muscles will not engage. Your
2:21throat will compensate and cause tension
2:24and constriction resulting in increased
2:26effort to sing higher and vocal strain.
2:29Now, one of the best tools I've studied
2:32is the Alexander technique used by
2:35singers and actors and athletes to
2:37release unnecessary tension and
2:40coordinate the body for better function.
2:42Here is a technique that I was taught at
2:45the conservatorium of music during my
2:48degree. Your feet should be a shoulder
2:50width apart with one foot slightly in
2:53front of the other. This is similar to a
2:56boxer stance. It gives your body a solid
2:58and stable base. Keep your knees soft
3:02and not locked and your hips balanced.
3:05Your sternum should be gently lifted
3:08while keeping your shoulders low and
3:10slightly pushed back. This opens up your
3:13chest. Your neck should be long, almost
3:16as if someone is pulling you up by the
3:19top of your head. Think of your head is
3:21releasing forward and up while your
3:24shoulders drop away from your ears.
3:28Your chin should stay in a relaxed
3:30position parallel with the floor. If it
3:32rises or drops, it will cause
3:35constriction, limiting your vocal range
3:38and affecting your tone. Okay, now that
3:41your posture is aligned and your body is
3:43hopefully free from tension, let's talk
3:46about the second half of the foundation,
3:49support. Now, this is one of the most
3:51misunderstood parts of singing. Support
3:54is not about brute force. It's not about
3:56squeezing your abs or pushing your
3:59stomach out. It's about managing the
4:02flow of air in a way that keeps your
4:04voice stable, flexible, and free. Think
4:06of your body as the stabilizer. your
4:09ribs, your core, and your breath all
4:12working together to create a steady,
4:14anchored flow of energy. Good support
4:16feels like holding something gently but
4:19firmly. You're not collapsing and you're
4:22not locked. It's like engaging your core
4:24to stay upright on a moving bus.
4:27Grounded but responsive. Let's do a
4:30quick experiment. I want you to breathe
4:32in like you're about to sing a powerful
4:35note. Now notice what happens in your
4:37body, especially your chest and your
4:39shoulders. Did you notice any movement
4:42upward?
4:44Yeah.
4:46If so, we need to fix that. High shallow
4:50breathing is fine for talking and
4:52everyday life, but it will limit your
4:54power and cause tension and constriction
4:57when you sing. Instead, we need to
4:59breathe low and wide like this.
5:07Notice how my chest and shoulders stayed
5:10relatively still. Most of the movement
5:13should occur around the lower ribs and
5:15abdomen. The expansion of this area
5:18happens because as the air enters my
5:21lungs, my diaphragm flattens out and
5:24descends. If you watch a baby breathe,
5:26they do this naturally. We were all born
5:30as singers to use our voice in an
5:32efficient and powerful way. As we get a
5:35bit older, we tend to get lazy with our
5:37breathing. But it's time to get in touch
5:39with your inner child and relearn the
5:42coordination. Try taking a couple of low
5:45expanded breaths with me. Place one hand
5:47on your stomach and one on your ribs.
5:50Inhale slowly through your nose and feel
5:53your ribs expand. Now exhale on a hiss
5:56while maintaining posture and gentle
5:58core engagement.
6:01As singers, we resist the collapse as we
6:04exhale. That's what support feels like.
6:07Okay, I want to share with you a
6:09breathing exercise that you can do to
6:12develop and strengthen this
6:14coordination. It's called the fareli.
6:17This exercise is centuries old and has
6:20been used by opera singers to train
6:22their body to support and sustain their
6:25voice. Here's how it works. Inhale for
6:27four counts through your nose, focusing
6:30on the expansion of your ribs.
6:33Breathe in 2 3 4. Next, pause your
6:38breath and hold the expanded rib
6:40position for four counts, engaging
6:42without clenching. Hold. 2 3 4. Finally,
6:48exhale on a hiss for 8 seconds,
6:51resisting the collapse.
6:59In the Singmarter MP3 workout, I guide
7:02you through this exercise with 8, 10,
7:04and 12 second exhales to build your
7:07breath control support. It isn't
7:09squeezing. It's a buoyant, grounded
7:11sensation. Now, once you have done this
7:13exercise a few times, you can substitute
7:16the hiss with a lip drill or a hum to
7:19warm up your voice and develop tone
7:21control. Breathe in 2 3 4. Hold 2 3 4.
7:30[Music]
7:34Now, once you've established a stable
7:36foundation with posture and breath
7:39support, the next challenge most singers
7:41face, especially beginners, is the
7:44dreaded vocal break. That flip, crack,
7:47or sudden change in tone, where you move
7:49from your chest voice to your head
7:52voice. Sound familiar? This break isn't
7:55a flaw. It's a natural part of how the
7:57voice is structured. Your voice has
8:00different registers or gears. The chest
8:02voice which you speak in
8:08the head voice your higher range which
8:11feels lighter with a hooty tone
8:15[Music]
8:19and in between is the pajio or
8:22transition zone often called mixed
8:24voice.
8:29When I was an untrained singer, I pushed
8:31my chest voice too high, causing strain
8:34and hitting a ceiling with my voice,
8:37losing all strength and tone.
8:41What I lacked was a smooth bridge
8:43between these registers. That's what
8:45this pillar is about, balance. When you
8:48balance air flow, vocal cord closure,
8:50and resonance, you can sing through your
8:52break rather than around it. These next
8:55exercises are designed to develop your
8:58bridge. They gently train your voice to
9:01coordinate through the pagio with
9:03flexibility and control. Let's start
9:06with a lip trill to connect the
9:08registers naturally. Now, if you
9:10struggle with the lip trill, you can use
9:12straw phonation. I'll demonstrate both
9:15exercises.
9:17[Music]
9:34The first exercise is a five note
9:36ascending and descending scale. This
9:38exercise is designed to balance your air
9:41and vocal cords to develop optimal air
9:44pressure. Try the exercise with me.
9:47Remember to maintain correct posture and
9:49breath support. Make sure you don't push
9:52or squeeze as you sing higher. Allow
9:55your voice to gently glide over the
9:57notes.
9:59[Music]
10:072 3 4.
10:152 3 4.
10:242 3 4.
10:332 3 4
10:423
10:502 3 4.
10:56Last one.
11:04These semioed vocal tract exercises
11:07reduce pressure and build clean closure.
11:11One of the major reasons I developed a
11:14huge gap in my voice was taking chest
11:17voice far too high without blending my
11:20other resonators, twang, nasality, and
11:22head voice. The next exercise is a
11:25gamecher as it primes your voice for the
11:28gear change into that tricky middle part
11:30of your range. We are going to sing an
11:33ng sound followed by a short minor note
11:36pattern.
11:38[Music]
11:46This exercise is all about balancing
11:49tone placement to allow a seamless
11:52transition into the pagio. Let's do the
11:55exercise together. Keep your sound
11:57energized and supported and make sure
12:00your posture is correct. 2 3 4
12:05[Music]
12:08Ning
12:10[Music]
12:18Ning
12:20ning.
12:23[Music]
12:48N
12:50[Music]
13:08last one.
13:14[Music]
13:19The goal of this exercise is to develop
13:21balance in your lower voice. I've
13:24included a little more range in the
13:26Singmarter MP3 workout to cater for
13:28different voice types. The next exercise
13:31is going to go a little higher so that
13:34we transition in and out of chest and
13:37head voice. But before we do, let's do
13:40some relaxed vocal glides in head voice
13:43to warm that register up.
13:53[Music]
13:59[Music]
14:07as an untrained singer. And even while I
14:10was having lessons with my first singing
14:12teacher, my head voice was not just
14:15neglected, it was non-existent.
14:18I eventually discovered and strengthened
14:20my head voice using this exercise. The
14:23exercise is a combination between the
14:25lip trill and a G sound. Here's a
14:28demonstration.
14:35G.
14:37[Music]
14:39The lip trill will help you maintain
14:41correct air pressure and the G sound
14:44develops chord closure. Again, if you
14:46struggle with the lip trill, you can use
14:48straw phonation or even a tongue trill.
14:51Let's do the exercise together. Keep
14:53your tone energized but light and pay
14:56attention to your support and breath
14:59when doing this exercise.
15:06[Music]
15:17G G
15:21[Music]
15:49Geek G
16:00ge D
16:10Geek
16:20G.
16:24[Music]
16:44I've created a 25inut vocal workout and
16:48downloadable MP3 routine featuring all
16:50of the exercises in this master class as
16:53a daily vocal system. Click on the link
16:55in the description to sign up. It's
16:57completely free. You'll also get a PDF
16:59voice tracker to track your progress.
17:01Now that your breath is anchored and
17:04your registers are starting to connect,
17:06it's time to talk about what gives your
17:09voice its character, clarity, and power.
17:12Resonance. Resonance is how your voice,
17:16your sound waves bounce and amplify
17:19inside your vocal tract. And where you
17:22place that resonance can either make
17:24your voice feel free and vibrant or
17:27heavy and stuck. Now, when I was an
17:30untrained singer, I thought that power
17:32came from more volume, which resulted in
17:35pushing and forcing my voice. But volume
17:38doesn't equal power. Real power comes
17:41from efficient resonance. When your
17:44voice is placed in the right spaces, not
17:47forced from the throat. Here's a
17:50demonstration of a note in the middle of
17:52my range, a C4, sung three different
17:55ways with power.
18:00[Music]
18:02In this section, we'll explore how to
18:05shift your resonance forward into what's
18:08called the mask. The area around your
18:11nose, your cheeks, and your forehead,
18:13where your voice naturally amplifies
18:16with less effort. These exercises will
18:18help you develop that forward buzzy
18:20placement. You'll notice a sound feels
18:22clearer, more controlled, and you won't
18:25need to push to be heard. The first
18:27resonance exercise is a descending scale
18:30on ny. The sound utilizes twang which
18:33gives your voice a natural power boost
18:36with no extra effort. The shape of the
18:39ny sound narrows your vocal tract
18:41resulting in better clarity, projection,
18:43and efficiency. Here's a demonstration.
18:51Let's do the exercise together. Starting
18:53on a mid-range note and gradually
18:55ascending. As you sing higher, resist
18:58the temptation to push. Remember to
19:01support each note and let your breath
19:03pressure and placement do all the work.
19:072 3 4
19:152 3 4
19:222 3 4
19:24[Music]
19:292 3 4
19:32[Music]
19:372 3 4a
19:43All right, let's put everything together
19:45into a larger range vocal exercise. This
19:48will give you a taste of how it feels to
19:50sing with more freedom, better tone, and
19:53expanded range, all while staying
19:56supported, balanced, and resonant. This
19:59exercise is a round scale and we'll move
20:02through all three of your vocal
20:03registers. We will sing a lip trill on
20:06the notes first for correct breath
20:08pressure and air flow followed by a no
20:11sound using the same scale. The N places
20:15your voice forward and the slightly dark
20:17sounding O keeps your larynx low which
20:21will help you sing through your pagio.
20:24Check your posture and support on every
20:26note. Here's a quick demonstration.
20:32[Laughter]
20:34[Music]
20:44The lip trill or straw phonation works
20:46on improving balanced breath pressure.
20:49By doing the no immediately after,
20:52you're developing muscle memory and
20:55resonance. Keep resonance forward,
20:58breath anchored, and transitions smooth.
21:01Now, here's a handy trick that will help
21:03you keep your voice connected. Imagine
21:06you have a long rubber band between your
21:08fingers. As you glide up and down,
21:11imagine this band is your range, your
21:14breath and tone connected to your
21:16support. Let's try the exercise
21:18together.
21:19[Music]
21:27No, no, no, no, no, no, no, no, no, no,
21:32no.
21:33[Music]
21:49[Music]
21:57No, no, no, no, no, no, no, no, no, no,
22:01no, no.
22:03[Music]
22:16[Music]
22:26No, no, no, no, no, no, no, no, no, no,
22:31no, no.
22:33[Music]
22:44No, no, no, no.
22:48You feel that stretch? That's you
22:50expanding your range without strain. If
22:53this feels like the voice you've always
22:55wanted, clearer, freer, and stronger,
22:58this is just the beginning. The
23:00exercises we've worked on today form the
23:03Singmarter daily workout. I've created
23:05an MP3 download for you to practice
23:07with. I've also created a Singmarter
23:10voice tracker PDF so you can keep track
23:13of your progress. You can access them by
23:16clicking on the link below. They are
23:18completely free and my gift to you for
23:21subscribing to my email list. Have fun
23:23discovering and developing your voice
23:26and we will continue working together
23:28soon. Bye for now.

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