This course is all about learning how to sing in tune. It is all about mastering the ability to be on pitch and in tune. Before breath control, warm-ups, posture, resonance, shaping, and any other various real or imagined vocal techniques, one has to be able to simply sing in tune. Otherwise you are just yelling in an interesting manner.
If you have ever been told you were tone deaf or think you are tone deaf but want to sing, this course is for you. The gradual fundamental basics provided in this course will give you an unshakable ability to not only sing in tune, but sing well. And if you already can sing, this course may very well fill in those gaps in ability that you didn't even know existed.
I don't go into a bunch of flourish and filler and so forth. The majority of this course is practical exercises, called drills, that are done in a specific order designed to build the correct singing foundation. Along with these drills are downloadable versions of the drill instructions for you further unlimited use.
Taken from the first part of my book, Singing From Scratch, this course provides you the ability to sing in tune and the the tools needed to hone and master that ability to whatever extent you wish.
You will need access to at least one recording device, such as smartphone or voice recorder and a keyboard/piano. If you don't have a keyboard/piano, you can find one online at my website singingfromscratch. Also, there are pre-recorded scales for your use as they are called for in the drills.
In this lecture I reveal the ultimate root ability needed to sing. Good news is, everyone has it. You just have to learn how to use it to sing.
The introduction singing drill.
In this lecture, I introduce the basic ingredients of a note so that the student can begin to learn how to make them properly with their voice.
This the first listening drill and will begin to establish the ability to hear sound from the viewpoint of a singer.
A continuing lesson in formative listening.
In this lecture I cover the basic building block of a note, frequency.
This lecture is all about the difference between sound and music when it comes to singing.
This drill uses the information in the previous lectures regarding tone and frequency to further the establishment of the students understanding of sound and how it relates to learning how to sing.
In this lecture I go over the relation of notes and how they fit together, and how they don't.
This drill will help to establish a concept of notes that are relative and those that are not.
In this lecture I introduce and explain the structural tool used in Conceptual Placement.
This drill has you using the familiar to take the ladder for a test drive.
In this drill the student will expand on the visualization of frequencies.
This is the first singing drill where the student puts to practical action what has been covered so far.
In this the second singing drill, the student will lean less on the previous visual aid in order to further develop Conceptual Placement.
This drill is a continuation of the previous 2 drills with a new level of difficulty, but needed in learning how to sing.
This singing drill is the culmination of the last three drills and where the student learns how to do the drill without the visual aid.
This drill helps you tie what you learned of singing into listening as the two are very related and both need to be trained.
In this lecture the student will be introduced to being in tune, how it ties into freqencies while learning how to sing.
In this singing drill the student will begin the first steps to singing confidently in tune.
In this singing drill the student will start zeroing on the frequency of the note they are singing and how they relate to the vocal cords.
This singing drill is the next gradient up from the previous drill removing the visual aid.
This listening drill will have the student listening to notes and easily visualizing them as frequencies.
In this lecture I wrap up the previous section on learning how to sing with Conceptual Placement.
In this lecture we go over vocal range and what a persons Natural Note is.
In this lecture the anatomy of DO RE MI is explained, setting up the foundation of the music theory needed for the remaining drills.
In this lecture the DO RE MI is tied into piano theory as that will be the tool needed to move into the more advanced singing drills and learning how to sing in tune.
This listening drill has the student using what they have learned in the previous piano lecture and tying that in to the ladder for a better understanding.
This listening drill, the last listening drill, builds on the previous drill while upping the stakes by removing the visual aid.
In this singing drill, the student will start sing with the piano exploring general pitch.
This singing drill builds on the previous drill by adding visualization.
In this lecture, with the necessary music theory completed, the student begins to learn about pitch and how to move into it.
In this singing drill the student starts targeting and vocally zeroing in on pitch.
In this singing drill the student uses what they learned from the previous singing drill and start moving up and down the piano expanding and further solidifying the ability to zero in on pitch vocally.
This singing drill takes the stakes a little higher than the previous singing drill.
In this singing drill the student will start targeting pitch to a much finer point reducing the amount of sliding and increasing his or her ability to "nail the note".
In this lecture I go over the the information needed to help the student find his or her Natural Note.
In this singing drill the student finds his or her Natural Note.
In this singing drill I finally reveal the secret to mastering pitch.
This the final singing drill and the culmination of all the information and drills that precede it. Once the learning how to sing foundation is built with the previous information and drills, this is the drill that anyone can use to master pitch and sing in tune to whatever level he or she wishes to take it.
In this lecture I wrap things up for the course and briefly go over those techniques that will be covered in future courses.
Michael Graves has been performing since the age of 4. From those very formative performing years, a long and gratifying career grew that spans 35+ years and still growing.He has performed at some of the worlds most prestigious venues like the Shrine Auditorium in Los Angeles , The Ryman Auditorium (Home of the Grand Ole Opry) and The Grand Ole Opry House among many many others. He has performed all over the United States, in Europe, and Asia.
He has performed with and for several performers over the years including, Kirstie Alley, John Travolta, Kelly Preston, Giovanni Ribisi, David Campbell, Lisa Marie Presley, James Barbour, and many many more.
Michael has throughout the years shared his knowledge and abilities as a singer and a performer with several students, aspiring musicians, singers, and performers and has finally put that vast knowledge of musical performance to paper and video in the book Singing From Scratch and the Singing From Scratch Video Course.