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Approach to Practice

Lesson 13/71 | Study Time: 5 Min
Approach to Practice

Approach to Practice

Regardless of the style of music you sing, It is important to have a correct approach to practice. You will benefit more from several short practices (e.g., 20-30 minutes per day) than one or two long sessions per week.

This is especially so in the early stages, because your muscles and your voice are still developing. If you want to become a great singer you will obviously have to practice more as time goes on, but it is still better to work on new things a bit at a time.

Get one small piece of information and learn it well before going on to the next topic. Make sure each new thing you learn is thoroughly worked into your singing. This way you won’t forget it, and you can build on everything you learn.

In a practice session you should divide your time evenly between the study of new material and the revision of past work. It is a common mistake for semi-advanced students to practice only the songs they can already sing well.

Although this is enjoyable, it is not a satisfactory method of practice. You should also try to correct mistakes and experiment with new ideas. It is the author’s belief that the guidance of an experienced teacher will be an invaluable aid in your progress.

To develop good timing, it is essential that you always practice with a metronome (or drum machine). Beginning singers are often particularly weak in this area. As mentioned earlier, your timing and all-round musicianship will improve dramatically if you learn to accompany yourself on keyboard or guitar.

Apart from practicing your actual singing technique, it is important to spend time thinking about the lyrics to each song and how you can bring meaning to the song with your interpretation.

From this point of view it is useful to learn a bit about acting. Maybe you could talk to an actor or take a few drama lessons. It is also useful to look at film scripts and notice the director’s remarks and directions which are often written in.

Peter Gelling

Peter Gelling

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Class Sessions

1- Everyone Can Sing 2- GLOSSARY OF MUSICAL TERMS 3- Performing in Public 4- Transposing 5- The Triplet 6- The Tie 7- Sharps (<span class="symbolA">#</span>) and Flats (<span class="symbolA">b</span>) 8- Sounds Used in Singing 9- The Major Scale 10- Voice Types and Ranges 11- Understanding Music 12- INTRODUCTION 13- Vowels 14- Octave Displacement 15- The Chromatic Scale 16- Syncopation 17- How to Find Your Voice Range 18- Swing Rhythms 19- Harmony and Chords 20- How to Read Music 21- Matching Pitches and Rhythms 22- Overcoming Nerves 23- Vocal Range 24- Interpretation and Improvisation 25- How Chords Relate to Scales 26- The Lead-in 27- Diphthongs 28- Eye Contact 29- Intervals 30- Sol-fa Syllables 31- The Keyboard 32- When to Breathe 33- Timbre 34- First and Second Endings 35- Matching Pitches 36- Keys 37- A Word About Pitch 38- Arpeggios 39- Stage Presence and Stage Craft 40- The Shaping of Vowels 41- Chord Progressions 42- The Octave 43- Rests 44- Developing Your Own Style 45- Relative Minor Keys 46- The Ultimate Melodic Instrument 47- Consonants 48- Microphones 49- The Importance of Timing 50- Dynamics 51- How We Sing 52- Breathing 53- Microphones for Performing Live 54- Slurs 55- Phrasing and Expression 56- Microphone Technique 57- Posture 58- Learning to Sing 59- Studio Microphones 60- Moving Between Registers 61- Vibrato 62- Pre-Hearing Notes 63- Warming Up 64- Common Problems 65- Looking After Your Voice 66- Approach to Practice 67- Registers 68- Working With a Teacher 69- Listening 70- Breath Control 71- Recording Yourself

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