How to get better at singing | How to sing better

how to get better at singing  |  How to sing betterHow to get better at singing : preparing your body and being able to listen. When we listen to our favorite music, we can’t help but turn up the volume and start singing. However, good posture is needed to encourage singing. This applies to everyone, both adults and children: teaching children to sing also requires work on posture and breathing.

Physical and mental preparation for singing

Before you start singing, it is important to position your body well because a good posture allows you to fully reach your abilities. Posture is essential for good singing! Have a good posture to get the singing out of the chest cage is essential!

The basic rule is to keep your back straight: standing or sitting, your legs should be parallel, your shoulders wide and your feet lying on the floor. A straight back allows the chest to be opened and the lungs to be completely filled with oxygen. The upright position allows you to obtain pleasant notes and better phrasing, accurately and precisely. Another fundamental theme is that of breathing, to be observed when singing.

To learn how to sing well you need to start with… breathing! Yes, but in the right way! As the voice is considered a wind instrument, breathing makes up 80% of the song. Deep and slow breathing, slow inspiration and slow exhalation , stimulate the abdominal muscles.

You don’t learn the technique from one day to the next: you need to work a lot on breathing. For example, you can start by holding back the air and exhaling then emitting the vocal sound of O, regulating the emission of air through the diaphragm. In this way, we will not immediately empty the lungs of all the air retained, but we can modulate the exhalation and make it as constant as possible in order to have a stable voice.

This is only a first exercise, but it has the double advantage of making us aware of movements and gestures that sometimes we perform naturally and therefore without paying particular attention, but also the ability to contribute to our overall relaxation, creating the best condition for singing. Diaphragmatic breathing involves not only the diaphragm, as the name suggests, but also the abdominal muscles: it is a job that is done in synergy and that requires some effort to be performed at its best.

But we’re sure this won’t scare anyone

Especially if you take into account that there are actually several daily occasions when diaphragmatic breathing comes into play, even if we do not know (for example when we sleep and when we yawn). Unbelievable, right? How to learn how to sing well and where to start to achieve this ambitious goal?

First of all we must hear our own voice, that is, develop our own musical ear and believe in our own abilities without being discouraged by some possible initial obstacle. Hearing one’s own voice, that is, developing one’s own musical ear and believing in one’s own abilities, is fundamental for any singer.

how to get better at singing | How to sing better

To improve in singing 

Vocal cord training, work and perseverance serve to gain self-confidence, becoming gradually aware of oneself and the fact that everyone can have a fantastic voice and sing. No one is out of tune, it’s more about “educating” music. Some are actually more talented than others, yet any mediocre voice can be corrected and improved.

You need to be able to listen to each other by singing, recording or listening to each other. Knowing your voice to get better at singing .We must begin our journey of voice training to understand how the voice actually works. We need to know the basics to improve singing skills! The basics to know to improve your voice skills!

Having a good voice when you sing is a fact that depends on 5 basic elements:

breathing: although breathing is a natural practice, breathing for singing is something technical and very different. By using good control of breathing through the diaphragm, by opening the thoracic cage, the singer is able to relax the body and have a better flow of air during inhalation and exhalation, diction: is a skill that requires both good pronunciation and articulation of words, The rhythm:

knowing where to start and stop in relation to the flow of notes of a song is the secret of every great singer, the position: the tone is the quality of the note you are singing, which allows you to perceive the sound as relatively high or low, the voice: our voice is unique. The body, genre, air passages, the shape of our vocal cords, age and many other factors will determine the sound and quality of our voice. It also determines the type of voice and range we have.

Exercises for learning to sing
Often it is necessary not to be in a hurry to get there but to proceed in stages and work hard before reaching any of the goals we have set ourselves. The same goes for singing. Singing in a choir can be an advantage for you! If you sing in a choir, the art of singing has no secrets for you!

That’s why you can’t improvise singers but you need to follow some general advice to approach this activity in the right way. We recommend that you warm up your voice before a performance. Warm-up phases are in fact essential to avoid unnecessarily stressing the vocal cords and not straining the voice; in this case, it would be not only the single performance that would be affected but, more generally, the singing itself.

Let us not think of skipping this very important preparatory phase!

To do this, it is necessary to perform vocal exercises on a medium scale, then on a low scale, then finally on a high scale. When you are at the middle scale, you should repeat the exercise two or three times until you hear that your voice starts to “stiffen”. Then start singing by increasing the volume gradually (in crescendo), and then gradually decrease the tone of the voice (decreasing). This is to expand the vocal range.

Learn to sing online

Improve your singing technique without moving from home is possible! The online tools provide a great help in this regard and provide real vocal coaches, coaches of the voice in the broadest sense that, to the technique, combine a knowledge of the psychophysical aspect. For example, these figures also take care of the nutrition of the singer, because this is an aspect that greatly affects the voice. Among the many videos of vocal coaches present online (Online Singing Course), we can find contributions related to:

the joint,
the rhythmic basis,
the MRIs,
the back pressure,
harmony or combinations.

Learning to sing in front of a camera . No need to have too professional materials! You don’t have to have too sophisticated tools! In order to continue to improve your singing, recording is a great way to become aware of your qualities and your faults to correct.

Shooting can be useful for:

see the errors in the formation of the notes, bserve one’s own expressions and, if necessary, correct them, listen to the notes and check their accuracy,
listening to the timbre, the texture and the resonance, improve the height of the notes. The best way is to choose a song that we particularly like and then sing it for the first time by recovering.

how to get better at singing | How to sing better

The fear of the public can be controlled

Singing in public or in front of a small audience often means unleashing the emotion or fear of the audience that can become annoying, if not a real brake on your ambition. And since for a speaker or musician, admitting to being emotionally vulnerable is almost a “shame”, many, many of them live with silent solitude this little anguish. We want to talks about this “fear of the public”, trying to make a bit of clarity. The emotion in front of the audience captures everyone, without distinction, only that it captures in a different way from person to person. The diversity is due in part to physiological factors, and therefore little controllable by the individual, in part to psychological factors to be traced back to the experience of each person, and finally to factors related to the way you prepare for a performance and the control of the mind and body during the performance itself. Many people suffer the public in an appreciable way, going so far as to render during a public performance no more than 60-70 % of what they would instead be able to do.

What causes public fear?

First of all, there is the physiological component, that is, the one referring to the behaviours that our body assumes with a certain degree of involuntariness. Fear, which is the one that creates problems for those who present themselves in public, depends on the functionality of the nervous system and on a hormone, epinephrine (or adrenaline), which is secreted by the adrenal glands. This hormone has a fundamental function because it is able to put the body in a situation of alert in the face of a danger. What annoys the emotional subject – that is, the increase in frequency and blood pressure, the decrease in salivation, sweat, muscle excitement due to a greater blood supply and a higher concentration of blood sugars – is actually an armamentarium of defense and support to deal with the alarm.

It is therefore impossible to control pharmacologically how much epinephrine our adrenal glands can secrete except by lowering our entire level of global reactivity, undermining this that no speaker or musician would be willing to pay. It would therefore seem impossible to find a solution to the problem. Instead, there are solutions, and they can be very powerful and effective. It is necessary to shift the objectives of our reflections from the physiological sphere to the psychological one before and methodological one after. If the production of epinephrine depends on fear, it is on the causes of this fear that we must concentrate. The audience itself, the audience of our times, is not threatening to those who speak and play “on stage”. Once he could pull some tomatoes, or whistle, but today the average public, in the maximum sense of his disapproval, approves timidly, yawning and with a smile of circumstance. So to be afraid of the public, as people who react to what the musician produces, is illogical, and our bodies hardly react violently to what they have no reason to fear.

Are we really afraid of who?

Actually, the reaction of our body is not frightened by the public but by the very reaction that our body has in front of the public. The individual is afraid of the judgment that he himself will give to his reaction to the public and to his performance, a judgment that the individual knows he is afraid of. The dynamic is therefore all internal, independent of the type of audience and its breadth and competence. We have experienced different types of audience, different situations and different emotions. The quality of the audience, its quantity as well as the prestige of one theatre or another have hardly ever influenced our emotion. On the contrary, when we happened to present in very prestigious venues, with a wide audience and predictably accustomed to high level performances, we always need meticulously did the work of preparation.This also automatically lowered the level of fear.

Preparation and awareness

I mean that the security of one’s preparation and awareness of one’s limits at the time of performance are one of the most powerful deterrents to public fear. Safety and awareness are states of consciousness that directly involve our most intimate “I”, and with which they are not worth tricks or mystifications. Having the certainty of having prepared oneself adequately implies having done it for real; the same is true for the awareness of having touched the limit of one’s own possibilities. Unfortunately, the evaluation of both states of consciousness presupposes a certain maturity.. Before, we often live in constant dissatisfaction with ourselves, sure that we have always left something out and with the conviction that we can always do better.

Well, the difference between the student who presents himself in public with envied bravado and those who suffer every performance, is precisely in the different degree of security and relative awareness of the two, which may depend, in young people, on infinite physiological and psychological variations. The insecurities of young people are still the sign of research, of the ambition to improve and understand themselves and the world. The apparently safe but deserving young person has a safety threshold generally a little higher than the insecure one and this because he probably has a physiological structure less sensitive to the solicitations. However, insecurity must be correctly oriented to evolution without starting to put under the magnifying glass one’s own experience, but naturally working to build one’s own maturity, day after day, hour after hour.

Turn the fear of the public in their favor

The initial part of each performance is the most difficult to face. Frozen hands, the mind not yet concentrated but, above all, the thought that goes precisely to these signals of emotion that invariably arrive. The initial emotion is natural, or rather physiological. It is important to be aware that it is completely normal, indeed that its presence can induce what in psychology is called “antagonistic process”.In practice, it is a reaction to the feeling of fear, the opposite sign to fear itself, which by exploiting the greater blood circulation, the greater sugars and a progressive sharpness of concentration, brings our body into a condition of higher potential, able to make us do things, during the exhibitions, that at home we would not be able to do.  It is the same phenomenon that allows sportsmen to break records only during competitions and not during training. To get to this magical stadium, it is necessary to let the initial emotion give way to this antagonistic and beneficial feeling.


One last element that can help to overcome the public’s fear is the lack of control of one’s body at the muscle level. To sing or Playing a musical instrument involves postures that are often unnatural. Musicians know what stiffness can be induced by incorrect positions of the limbs, back or head. Unfortunately, all situations of muscular tension get worse when our body has to physiologically respond to an emotional stress. The brain part that governs the adrenal glands that produce adrenaline doesn’t care if we have muscles that are tensed and what they are: the goal of adrenal production is to put all muscles on alert. A rigid muscle will receive the same amount of sweetened blood as a relaxed muscle: the first muscle, however, will begin to tremble and from rigid will become paralyzed while those more relaxed will tend to make up for the futility of the former. Therefore a work of relaxation of the global setting is important. Presenting oneself in public with the whole muscular system as relaxed as possible is fundamental to dominate that slight tension due to the state of initial emotion. For the purposes of public performances the techniques of relaxation are very useful, as much as the technical study.

how to get better at singing | How to sing better