Practice Singing

Student Resources

Vocal Elements
Solfège
4 Stages
Solfège +
Vocal Regis
ter
Vocal Range

Learning something new can be challenging, and it’s okay to stumble. Here’s a reminder of the journey we all go through:

Unconscious Incompetence: At first, you might not realize what you need to work on—and that’s totally fine!
Conscious Incompetence: You start to recognize areas for improvement. This stage can be tough, but it’s a big step forward.
Conscious Competence: With focus and practice, you begin to get the hang of it! It may not be perfect every time, but you’re on the path to improvement.
Unconscious Competence: The ultimate goal! You’ve practiced enough that it feels natural. This is when things start to flow effortlessly.

Why Do We Practice Solfège So Much?

Think of Solfège (you know, “Do Re Mi…”) like a workout for your musical ear! Here’s why it’s so helpful:

Find the Right Notes More Easily: Solfège helps you get used to the distance between notes. This makes it easier to find your notes when singing new songs.
Sing in Harmony Without the Stress: By practicing intervals (like the space between Do and Mi), you’ll be more confident picking out harmony parts.
Boost Your Confidence: The more you practice, the more comfortable you’ll feel. Think of it like learning a dance step; it might be tricky at first, but soon it becomes second nature.
Become a Better Listener: Solfège helps you hear what’s happening in the music around you, whether it’s the melody, harmony, or how you fit in when singing in a group.

So, when we practice Solfège, you’re giving your ears and voice the tools to find those sweet spots in your songs.

Vocal Exercises

Each playlist consist of two or more videos:

First, sing along with Sensei Carolyn.
Then, sing again with the instrumental track.

Do Re Do
Do Ti Do
3’s
4’s
Aeiou

High

Playlist:

with vocals
Instrumental track

Low

Playlist:

with vocals
Instrumental track

High

Playlist:

with vocals
Instrumental track

Low

Playlist:

with vocals
Instrumental track

High

Playlist:

with vocals
Instrumental track

Low

Playlist:

with vocals
Instrumental track

High

Playlist:

with vocals
Instrumental track

Low

Playlist:

with vocals
Instrumental track

High

Playlist:

Slow with vocals
Slow Instrumental track
Fast with vocals
Fast Instrumental track

Low

Playlist:

Slow with vocals
Slow Instrumental track
Fast with vocals
Fast Instrumental track

Vocal Warmups

These playlists consist of a fun variety of exercises that help keep your voice in great shape.

Playlist 1 Playlist 2 Playlist 3

Rounds

Row Row Row Your Boat C4

Row Row Row Your Boat C3

Frère Jacques C4

Frère Jacques C3

Baa Baa Black Sheep C4

Baa Baa Black Sheep C3

Do Re Do Rounds Warmup

Do Ti Do Rounds Warmup

Dona Nobis Pacem

Do-oh-na No-oh-bee Pa-ah-chem, Pa-chem
Do-oh-oh-na-ha No-ho-bee Pa-ah-ah-ah-chem
Dohhh-nahhh No-oh-bee Pa-chem
Do-na No-bee Pa-ah-ah-ah-chem
Dohhh-nahhh No-oh-bee-ee Pa-chem
Do-na No-bis Pa-ah-ah-ah-chem

Dona Nobis Pacem – Lyrics Download

How to Stand When Singing

Stand with feet shoulder-width apart, hands by your side, palms on your thighs.
Stand straight but relaxed, with soft hands, knees, and shoulders.
Why It Matters:
- Proper posture improves tone, clarity, pitch, and energy.
- Fidgeting or awkward hand placement can distract from your performance.

How to Memorize a Song

Stay tuned

Vocal Vocabulary

Alto — The lowest female or feminine voice type. Altos typically sing in a range from approximately F3 to F5, with a warm, rich tone in the lower register.
Baritone — The middle male or masculine voice type, sitting between bass and tenor. Baritones have a full, balanced tone across a range of approximately G2 to G4.
Bass — The lowest male or masculine voice type. Basses sing in the deepest range, typically from E2 to E4, with a powerful, resonant quality in the lower register.
Countertenor — The highest male or masculine voice type, overlapping with the alto range. Countertenors typically use an extended falsetto to access their upper register and are most common in classical and early music.
Mezzo-Soprano — The middle female or feminine voice type, sitting between soprano and alto. Mezzo-sopranos typically range from A3 to A5, with a fuller, warmer tone than a soprano.
Soprano — The highest female or feminine voice type, typically ranging from C4 to C6. Sopranos often carry the melody and are known for brightness and clarity in the upper range.
Tenor — The highest male or masculine voice type, typically ranging from C3 to C5. Tenors are often associated with power and brightness in the upper register.

Falsetto — A lighter, breathier register above your full voice, used to access higher notes. Often described as a flipped or disconnected sound compared to chest voice.
Register — The different sections of your vocal range — chest voice, head voice, and mixed voice. Each register has a distinct feel and sound.
Vocal Fry — The lowest vocal register, produced by a slow, rattling vibration of the vocal cords. It’s the creaky sound at the very bottom of your range. Sometimes used stylistically, but habitual or excessive vocal fry can affect clarity and vocal health.
Whistle Voice — The highest register of the human voice, sitting above falsetto. It produces a thin, pure, flute-like tone and is accessible to some singers — most notably in the extreme upper range.

Ear Training — The practice of developing your ability to recognize and reproduce pitch, intervals, and melody by ear. Strong ear training makes you a more independent and responsive singer.
Harmony — Notes sung alongside the melody to enrich and deepen the sound. Harmonies are typically built on intervals like the Major 3rd and Perfect 5th.
Intonation — The accuracy of pitch across a phrase or song. Good intonation means staying consistently in tune as you move through a line, not just hitting individual notes.
Interval — The distance between two notes. Common intervals include the Major 3rd (C to E) and Perfect 5th (C to G).
Major 3rd — An interval where the second note is four half-steps above the first. Example: C to E.
Melody — The main tune of a song — the part you’d naturally hum or sing as the primary line.
Octave — The interval between two notes where the higher note is double the frequency of the lower, producing the same note at a different pitch. Example: C to high C.
Perfect 5th — An interval where the second note is seven half-steps above the first. Example: C to G. Creates a strong, open-sounding harmony.
Pitch / Tuning — How high or low a note sounds, and how accurately you’re producing it. Singing in tune means matching the correct pitch. A note that’s too high is sharp; too low is flat.
Root Note — The foundation note of a chord or scale. Other notes in a harmony — like the 3rd and 5th — are built from the root.
Solfège — A system for learning and identifying pitch using syllables: Do, Re, Mi, Fa, Sol, La, Ti.
Unison — When two voices sing the same note at the same time.

Bridge — A contrasting section of a song that adds variety between verses and the chorus.
Chorus — The repeated section of a song that carries the main message and melody.
Hook — the most memorable, catchy element of a song; often the title line or the peak of the chorus
Intro — The opening section of a song, typically an instrumental or vocal passage that sets the tone, key, and mood before the first verse begins.
Outro — The closing section of a song, often a variation or wind-down of the chorus or main theme.
Pre-Chorus — the section that builds tension between the verse and chorus; common in pop
Verse — A main section of a song that advances the story. Each verse typically has different lyrics but the same melody.

Placement — Where you direct the voice in the body or face. Placement affects tone, resonance, and how far the voice carries. You may hear directions like “place it forward” or “bring it into the mask.”
Resonance — Where your voice vibrates in the body — chest, head, or the mask of the face. Resonance shapes the richness and colour of your tone.
Tone — The quality and colour of your voice. Two singers can sing the same note at the same volume and sound completely different — that difference is tone.
Vibrato — A natural, controlled fluctuation in pitch that adds warmth and richness to a sustained note. Vibrato develops as the voice relaxes and opens — it’s a sign of freedom, not a technique forced onto the sound.

Clarity / Diction / Articulation — The precision with which you form consonants and vowels. Clear diction makes your words intelligible and shapes the overall tone of your delivery.
Control — The ability to use your voice consistently and reliably — staying steady under pressure, through registers, and across a full performance.
Legato / Staccato — Two contrasting ways of singing notes. Legato means smooth and connected — notes flow into each other without gaps. Staccato means short and detached — each note is crisp and separated.
Range — The full span of notes your voice can produce, from your lowest to your highest. Range develops over time with consistent practice.
Runs / Riffs — A quick sequence of notes sung in rapid succession, often used for stylistic expression or agility. Runs follow the scale or chord; riffs are more improvised and stylistic.
Scales — A sequence of notes played or sung in ascending or descending order. Scales are a core part of vocal warm-ups and training — they build range, intonation, and muscle memory across registers.
Warm-Up — The vocal and physical exercises done before singing or speaking to prepare the voice, body, and mind. A proper warm-up reduces strain, improves tone, and helps the voice respond more freely.

Dynamics — The variation in volume while singing — soft, loud, building, fading. Dynamics add emotion and shape to a performance.
Phrasing — How you shape a musical or spoken line — where you breathe, where you emphasize, and how you move through the material with intention.
Rhythm — The pattern of beats and timing in music. Rhythm determines when notes are sung and how long they last — it’s the pulse that holds a song together.
Tempo — How fast or slow a song moves. Tempo is usually described in beats per minute (BPM) and sets the overall pace and feel of a piece.

Blend — How well two voices mix together to sound unified. Especially relevant in Duo Coaching sessions.
Body Language — How posture, gesture, and movement communicate meaning. In performance and public speaking, body language shapes how your message lands before you say a word.
Delivery — How a line is communicated, covering tone, timing, intention, and presence. Delivery is the difference between saying the words and actually landing them.
Posture / Stance — The way you hold and position your body while singing or speaking. Good posture supports tone, clarity, and stamina — and communicates confidence to your audience.
Projection — Directing your voice to carry clearly to a listener without strain. Projection is about intention and placement, not volume.
Stage Fright — The anxiety, physical tension, or mental pressure that shows up before or during a performance or presentation. Stage fright is common, it’s not a flaw, and it’s workable. Managing it is part of the training.
Stage Presence — The energy and awareness you bring to a performance space. Stage presence isn’t about being loud or showy — it’s about being fully present and connected to your material and your audience.

Professional Backing Tracks

Karaoke Version

KaraFun

Jamzone