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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
8ercent
rade 8oint '#erage
'
H:$100
I.0
'$
H0$HD
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:.;
J
K;$KH
:.:
K:$KL
:.0
$
K0$KD
D.;
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)J
;;$;H
D.:
)
;:$;L
D.0
)$
;0$;D
1.;
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L0$LH
1.0
+
0$?H
0.0
4
4ithdrew
"
"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.
8re#ious acti#ity Cext acti#ity
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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.
8re#ious acti#ity Cext acti#ity
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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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&ntroduction 9esource
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
$$$$$$$$$$$$$
esson I
)reating an /Pecti#e 8ractice 9outine
ctober D1 $ ctober D;
&ntroduction 9esource
uilding a alanced 8ractice 9outine 9esource
"inging and +eeling 8age D 9esource
(our 8ractice 8lan* 4armup 9esource
Technique "tudy 9esource
"ong "tudy 9esource
)ool Aown 9esource
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8ractice* )reate a 8ractice 8lan 9esource
The +our 8s 9esource
4orkshop* 'mazing race 9esource
aining &ndependence 's (ou 8ractice 9esource
8ractice Tip of the 4eek 9esource
2ow to urn an /xercise )A 9esource
8ractice* Oatin Oong Tones 9esource
Aue* ctober D;
'ssignment I* "carborough +air or 2ow )an & Feep from "inging3 +orum
"ummary
$$$$$$$$$$
Oesson ?
Oet (our "tar "hine@ "imple 6elodic /mbellishment
ctober DK $ Co#ember :
&ntroduction 9esource
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9ange and 9egisters 9esource
)hest Voice 8age D 9esource
)hest Voice /xamples 8age : 9esource
wn the Voice (ou 2a#e 8age I 9esource
8ractice* Tone )olor 9esource
8itch ends 9esource
8ractice* 8itch ends 9esource
'dd "coops 8age D 9esource
+ast Track 8age : 9esource
'dded Cotes 9esource
"ingle$Cote and 6ulti$Cote rnaments 9esource
2ealth +orum 9esource
)onstructi#e 9est 8age D 9esource
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8ractice Tip of the 4eek 9esource
Aue* ctober :0
Aiscussion* 8ractice 9outine +orum
Aue* Co#ember :
'ssignment ?* 'mazing race +orum
"ummary
$$$$$$$$$$
Oesson L
/Pecti#e Aiction for "inging
Co#ember I $ Co#ember 10
&ntroduction 9esource
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8hrasing 8age D 9esource
)lassical 6usic and Uazz 8age : 9esource
6outh "hape and 8osition 8age I 9esource
Vowel 6odi%cation 8age ? 9esource
Aiction and 6icrophone =se 9esource
4ithout a 6icrophone 8age D 9esource
"tyle in "inging 9esource
Vowels and )onsonants 9esource
8ractice* Vowels and )onsonants 9esource
6ore on Vowels and )onsonants 9esource
/xtra Vocal "ounds 9esource
Tone
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Aiscussion* Voice
8/9/2019 Vocal Singing 101 Bekley Program
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"inging 2armony 9esource
2armony 4orkshop 9esource
8ractice* Aoo 4op 2armony 9esource
Aiction )hallenge 9esource
8ractice* Aiction 1 9esource
Aiction )hallenge D 9esource
8ractice* Aiction D 9esource
Vibrato and "tyle 9esource
Vibratoless Voices 8age D 9esource
'nalyzing (our "inging 8age : 9esource
8ractice* Vibrato 9esource
Vibrato and 2armony "inging 9esource
Vibrato and 2armony /xamples 8age D 9esource
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6irror )heck* Oegato Oines 9esource
2ealth +orum* 2erbal "upplements and 2ealth Tonics 9esource
Aue* Co#ember 1I
Aiscussion* 2erbal "upplements and 9emedies +orum
Aue* Co#ember 1;
'ssignment ;* 2armony "inging +orum
8ractice Tip of the 4eek 9esource
"ummary
$$$$$$$$$$$
Oesson K
'd#anced reath 6anagement
Co#ember 1K $ Co#ember DI
&ntroduction 9esource
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reath 6anagement 8roblems 8age D 9esource
reath "upport &ssues 8age : 9esource
8ractice* 8op N 9ock "lide 9esource
6ore on reath 6anagement 9esource
'erobic 'cti#ity 8age D 9esource
8ractice* "taccato Cotes 9esource
8ractice* "taccato Cotes D 9esource
b-ecti#e Oistening 9esource
8ractice* "elf$'ssessment 9esource
6ore on b-ecti#e Oistening 9esource
8ractice* 'udio 9ecording 9esource
Troubleshooting 9esource
"elf$'ssessment )hecklist 8age D 9esource
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The "tate of (our &nstrument 8age : 9esource
"inging "hould +eel ood 9esource
"ingers of a 5)ertain 'ge5 9esource
Vibrato 8roblems 9esource
"hortened reath 9esource
Oower 9ange and Oess +lexibility 9esource
2earing Ooss 9esource
8erception 8age D 9esource
6irror )heck* reath 'ction 9esource
2ealth +orum 9esource
Voice 8rofessionals 8age D 9esource
Aue* Co#ember DI
'ssignment K* 4ayfaring "tranger +orum
8ractice Tip of the 4eek 9esource
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"ummary
$$$$$$$$$$$$$$
Oesson H
8erformance 8olish
Co#ember D? $ Aecember 1
&ntroduction 9esource
"tage 6o#ement 9esource
8erformance "pace )haracteristics 8age D 9esource
The Catural 8rogression 8age : 9esource
8ractice* esturing 9esource
8ractice* Oooking Catural 9esource
4arming =p (our ody 8age D 9esource
"peaking and 6o#ing 8age : 9esource
=sing the 6irror 8age I 9esource
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8erformance Tips 9esource
8hrasing and 6o#ement 8age D 9esource
8osture and 2and 8lacement 8age : 9esource
'cting ut 4ords 8age I 9esource
reat 8erformance* Oiza 6inelli 9esource
8erformance 6icrophone Technique 9esource
4hat Find of "inger are (ou3 9esource
"triking a alance 8age D 9esource
+eelings 8age : 9esource
"inging with /motion 9esource
8ractice* alanced /xpression 9esource
The 4ater is 4ide 8age D 9esource
&nner Aialogue 9esource
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reat 8erformance* Cancy 4ilson 9esource
The "ong!s "tory 8age D 9esource
2ow to ain )on%dence 9esource
"inging and 8laying 8age D 9esource
2ealth +orum* =nderstanding 8erformance 'nxiety 9esource
9educing 8erformance 'nxiety 8age D 9esource
Ae#eloping a 8re$8erformance 9outine 9esource
+ood &ntake and "leep 8age D 9esource
9elaxing and 6editation 8age : 9esource
"upporti#e Oifestyle 9esource
6ental 9ehearsal and &magery 9esource
8ractice Tip of the 4eek 9esource
Aue* Aecember 1
'ssignment H* 'in!t Cobody!s izness +orum
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47/52
"ummary
$$$$$$$$$$$$$$
Oesson 10
+lexibility, )ontrol, and "tamina
Aecember D $ Aecember K
&ntroduction 9esource
2ow to Ae#elop an 'gile Voice 9esource
"taccato 9esource
"taccato /xamples 8age D 9esource
8ractice* 'gility 9esource
8ractice* "taccato 9esource
8ractice* 'gility and "taccato 9esource
6elisma N 9iPs 9esource
8ractice* 6a-or N 6inor Triplet for +lexibility 9esource
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8ractice* 6inor 8entatonic 8attern 9esource
Aynamic +lexibility 9esource
Varying Aynamics 8age D 9esource
8ractice* "ingle$Cote Aynamic /xercise 9esource
8ractice* 6ulti$Cote Aynamic /xercise 9esource
8ractice* "inging "kips 9esource
reat 8erformance* "hankar 6ahade#an 9esource
2ealth +orum* )onsulting a Aoctor 9esource
2oarseness and )linics 8age D 9esource
8ractice Tip of the 4eek 9esource
Aue* Aecember K
'ssignment 10* Oatin Vocalise +orum
"ummary
$$$$$$$$$$$$$$$$
Oesson 11
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/ssential uilding locks of Vocal Training
Aecember H $ Aecember 1?
&ntroduction 9esource
6o#ing +orward with a Oook ack 9esource
6irror )heck* 8entatonic 8attern 9esource
)reati#e Ae#elopment* &mitation 9esource
8ractice* &mitation 9esource
"ummertime 9esource
'ssimilation 9esource
&nno#ation 9esource
Aue* Aecember 1D
Aiscussion* "elf$/#aluation +orum
8ractice* 4ait for 6e 9esource
Aue* Aecember 1I
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Aiscussion* /lla +itzgerald +orum
2ealth +orum* Oonge#ity 9esource
"teps for Vocal 2ealth 8age D 9esource
8ractice Tip of the 4eek 9esource
Aue* Aecember 1?
'ssignment 11* The 4ater is 4ide +orum
"ummary
$$$$$$$$$$
Oesson 1D
The rand +inale
Aecember 1L $ Aecember DD
&ntroduction 9esource
2olistic 8ractice )ycle 9esource
"tep 1* 8ractice "olo 9esource
Faraoke 8age D 9esource
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"tep D* 8ractice with thers 9esource
"tep :* "et =p 8erformances 9esource
"tep :* "cheduling a 9ecital 8age D 9esource
8lanning a 9ecital 9esource
"tep I* 9ecord (ourself 9esource
9e#iew of the )ycle 9esource
eyond the 8ractice )ycle 9esource
&ncrease (our 6usical Fnowledge 9esource
Tools 8age D 9esource
"inging "kills 9e#iew 9esource
reat 8erformance* Uames rown 9esource
Aue* Aecember DD
'ssignment 1D* 'fter (ou!#e one or 2ouse of the 9ising "un +orum
"ummary 9esource
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+inal rades 'ssignment
Aue* Aecember DD
+inal )ourse "ur#ey
$$$$$$$$$$