Jane Edgren - Vocal Fitness Trainings Teach Yourself to Sing!: 20 Singing Lessons to Improve Your Voice (Book, Online Audio, Instructional Videos and Interactive Practice Plans)

Vocal Fitness Training's

Teach Y o urself to Sing!

20 Singing Lessons to Improve Your Voice

Jane Edgren

Teach Yourself to Sing!

20 Singing Lessons to Improve Your Voice

Author: Jane Edgren

Copyright 2019 Vocal Fitness Training, LLC

All rights reserved. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, without the prior written permission of the publisher.

First Printing: 2019

Vocal Fitness Training, LLC

www.VocalFitnessStudio.com

Included with your purchase of this Kindle edition is a free 12-month Online Access to Audio Tracks, Instructional Videos and Practice Plans. Coupon code can be found at the end of Chapter 13.

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Chapter 1

Introduction

W elcome to the first book in your journey to improve your singing voice. Vocal Fitness Trainings Teach Yourself to Sing! 20 Singing Lessons to Improve Your Voice is a course of study that teaches you a solid vocal technique to strengthen and build your voice with simple concepts and terminology through well-constructed vocal exercises.

Why I Wrote This Book

When I was young, I took piano lessons using two popular piano methods developed by John Thompson and John W. Schaum respectively, after which I progressed to the standard classical piano repertoire. When my children began piano studies, they too followed a standard teaching method made up of a series of progressive books that taught them the fundamentals. One day it occurred to me that there are very few voice books that offer the same kind of structured and progressive method of teaching basic vocal technique. Therefore, I decided to set out to design and write such a vocal course for students and teachers alike, based on the teaching methods I use in my own studio.

My own singing lessons included study with seven different voice teachers, as well as many vocal coaches. Each one of them brought their own special gifts to the table and helped me to develop my abilities as I gained knowledge and artistry from their teaching. Along the way, experiencing different perspectives and various approaches taught me both how to sing and how not to sing. However, sometimes it was confusing and frustrating to reconcile seemingly conflicting information presented to me as I passed from teacher to teacher, coach to coach.

My teachers always encouraged me to teach voice, and I have done so throughout my singing career. As the years progressed, and as I gained a wealth of experience teaching, I began to refine the way I present information to my students. Many nonclassical singers joined my studio with little or no vocal training, and it became very clear to me that their vocal lessons required a new approach. They needed clear and easily understood instruction to give them enough information about the voice without overwhelming them with too much technical detail.

Initially, many were concerned that I would teach them a classical technique that would give them a classical sound, but the exercises and approach in this technique are not reflective of any particular singing style (although they certainly are robust enough to develop a classical voice). Rather, following this progressive format of vocal training gives singers a reliable foundation and helps to create sounds that are strong, pure, and healthy.

There are many rewards in teaching voice, but the greatest one is giving singers of all different styles of music a dependable vocal instrument they know how to play. For some, success may come from the joy of singing a solo for the first time in their church. For others, it might be the acquisition of vocal stamina that allows them to tour and sing numerous gigs without constantly losing their voice. Great vocal technique may not guarantee that lucrative recording contract or role on Broadway, but it gives students the tools they need to go wherever their singing takes them.

I had a student come to me who was hoarse every Monday morning after playing weekend gigs with his rock band. He also was having trouble reaching and maintaining his high notes. After studying this vocal technique, he improved to the point where he could sing without any hoarseness and eventually reached the celebrity round of a well-known television singing competition.

Another student came to me after suffering from long-term vocal strain. Once the doctor cleared her to study voice, we worked to change the way she produced her singing tones. She has not had any problems since, and her voice has become stronger as the months have progressed.

My favorite story is that of a student who due to health conditions could no longer continue with her painting career. Needing to feed her artistic side, she decided to join her husband and sing in a local community choir, with no prior singing experience. With a very strong commitment, and hours of practicing, she learned how to sing and over time produced a very pleasant soprano sound.

My desire is to put solid and basic vocal information, instruction, and exercises in the hands of those who would like to improve their voice, no matter what their level of experience. This is more than a book, though, because it integrates audio and video examples with written instruction and explanations that support the exercises. The audio examples include a vocal model indicating how to produce each sound, because learning to sing necessitates aural input, and listening to a proper vocal tone helps to speed up the process. Please use all of the information presented in the written, audio, and video resources to both inform and inspire your vocal study.

This first book is just that, a first book. After its completion, I will release companion modules providing further instruction on such subjects as integrating the vocal technique into songs, and intermediate and advanced exercises to develop flexibility and range extension, including strategies and instructions for singing high notes. These modules will have more specialized content, and you can continue your vocal study using them once you have learned and integrated the information presented in this book.

I considered writing one very long book, but instead decided to present the basic materials first, so that they would be available for your use sooner. Some of the additional modules may be available before you complete this book, but I do not recommend learning them until you attain a level of competency with the material presented in this book, even for those of you who may have previous vocal training. All of the concepts and exercises presented here are sequential and build on both knowledge and acquired muscle memory, and jumping ahead in your study will not give you the greatest opportunity to be successful in tackling more difficult technical material ahead.