#1 Easy Trick to Sing Better – Faster. Video

Want to learn to sing better faster? Here is one trick you must do if you want to sing better faster.

Clearly I love speed. Clearly I love to sing. So here’s the one thing that made me learn singing really fast, even though I was already older than probably you are.

The one thing you must do is to learn to feel what the singer you’re watching is doing. Yes, you use your hearing, clearly, and you use your eyes, AND you use your sense of feeling, your intuition, tuning into your own body, tuning into the body of the other person, look what they’re doing.

Choose a good classical singer and examine them, look at them, hear them, feel them: what is their body doing? What is their posture? What is the gesturing? How are their facial expressions? How are they breathing? What does their sound quality look like? And then simply mirror that.

Problem is sometimes we like a song, and we love a singer, but it’s a singer that will not help us. It’s a singer who has terrible technique. Who strains on high notes, who has a raspy voice and one who has breaks in their voice, chooses a repertoire that is completely out of our range, has auto-tune on it, and all these things are not helpful to figuring out how you can sing better.

Find a singer who’s vibe you like. Find a singer who sings a song that’s in your range. Find a singer who is classically trained.

And then look at the video, hear that sound, and mirror with your body how they’re standing. If they’re standing, don’t listen sitting.

EXERCISE:

Stand up and stand how they’re standing, gesture how they gesture, breathe in when they breathe in. Feel the drama of how they’re singing. Exaggerate. If your voice can’t do it yet, do it with your body.

Stand up right now and just watch what I do, and see if you can mirror it.

Standing? Good. Stand feet hip-width apart, knees slightly bent. Now breathe in. Breathe in through your nose into your chest, yes, also into your tummy, and your lower back. Okay, so breathe in, and just fill up your  entire torso like a big huge gigantic inner tube, top to bottom, bottom to back, back to front, all around the sides, every which way. All right, can you do that? You may feel like a bodybuilder. You know how they feel? They strut around with their ribs all out.

Do that for a second. Breathe in all the way around as much air as you can possibly hold, and then hold that breath even just for a second, okay? Let’s do it. — I held it several seconds. If you can do that, great.

Watch what happens to your ribs: Can you feel them being pushed out? Now the next step is to keep the ribs out, while you are continuing to breathe underneath, and that may take some practice, but it’s a really great exercise to get your lungs independent – as if – from your ribs.

Especially as we age it’s really important to keep those ribs off the lungs, and not have the ribs collapse our lungs artificially and prematurely.

Okay, so breathe in through your nose. Feel the cool air come into your sinuses. You can even start that inner smile, that lift with every inhale, good. And breathe all the way down into your lungs. Your ribs come out, your tummy may pop out, your back may extend too. Good. Breath in as much as you can and just pause, and now see if you can keep those ribs out and exhale underneath. Okay my ribs are still out I’m exhaling all the way there’s hardly any left. Now I’m breathing back in. My ribs are still out as much as I possibly can.

This is what you want to train yourself to do: keep your ribs expanded as much as you can, while you’re singing, while you’re practicing, even in daily life. You want greater lung capacity with life and especially if you’re going to be a singer, or are a singer.

It’ll help you sing longer phrases, have more stamina, stay healthier, have a greater immune system, all around it’s a great idea to use the full capacity of your lungs and of your ribs, and therefore have your ribs out, so they don’t fall down on top of your lungs and push the air back out.

Okay one more time: breathe in all the way around: tummy out, back out, ribs out, good. Hold your breath, and now slowly exhale underneath. You could even do a “sssssss”, good.

So practice this. A good singer will do this. Sometimes if you watch an opera singer, the costumes will not allow you to see it, because they actually squish the whole torso a little bit.

But choose a singer where you can see what they do with their breath, and they will have their rib cage out, they will have a bigger chest, and just strut around on stage, because they’re full of themselves, they’re full of air, and that extra fullness in the air will allow you to be the character that you are playing more fully, all right?

There is only one character you can play when you’re all collapsed, and that’s a very meek and weak character who can’t sing very well at all for very long, okay? Even if you are playing a meek character, but you want to play it fully, you must inflate your chest, you must have everything at your disposal, all the air, all the emotions, all the volume, you must

always have your space open up here, your yawn, and then all around the entire lung capacity at your disposal.

So in good singers, you will be able to see that. And other than watching their breath, watch how they stand, how they posture, what their

facial expression is. Even if you’re playing a sad character, or an

angry character, or a happy character, or a grieving character, or concerned character, or an afraid character — whatever you play, you still must have the inner resonances alive.

You must lift behind the upper molars and have the yawn, and drop the chin back and lift here, you must have it, and then with that always there, you can play the concerned, or the mopey, or the sad, or the angry or the happy, or whatever. You put it into your face and into your eyes, but never, ever do you collapse the resonances, and never, ever do you collapse your torso.

You need that fullness, you need to communicate to the audience the fullness of your emotions, even if then you channel them into a very demure character, or an arrogant character or an upset character whatever the flavor is, all right?

So this is how you can learn to sing better faster with this one simple trick of mirroring what you see a very good singer do.

All right, that was it, until next time: Sing Yourself Well.


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