# View the prospects listed in "tips" before moving on to the steps.

The "tips' show certain valuable references on correct singing, such as raising the soft pa llet, breathing and posture, jaw placement, breath control, and other aspects. T he steps provide vocal warm-ups which may be beneficial as part of a vocal train ing practice. Enjoy! # Begin with the basic solfege (by sound) notes: "do, re, mi, fa, so, la, ti, do ," while ascending the pitches along with a piano or keyboard accordingly. The o bject is to decline back down to the pitch "do," by singing "do, si, la, so, fa, mi, re, do." # Sing "mi-mommy-made-me-eat-my-m&ms" on the notes "do re mi fa so fa mi re do." Start out by singing "mi" while moving the pitch up higher on the notes "do re mi fa." "Ya" is to be sung on "so fa mi re do." The note "so" is one pitch highe r than "fa," and therefore, it is necessary to imply on one pitch higher with th e word "ya" before going back down the scale. Try to connect the notes and the w ords sung on the melody in a smooth fashion. This is called legato. # Sing "do mi so mi do" while repeatedly singing the word "ha" on the notes. Asc end the word "ha" on the notes "do mi so," and descend the word "ha" on the note s "mi do." Sing this warm up in staccato, meaning, making each and every note sh ort and separated, yet with control.It is best to place your hand on your stomac h to make sure you are doing this exercise correctly. Each time you say "ha" whi le making sure the breath is coming from your diaphragm, you should feel a sligh t shaking feeling in your stomach, and the hand that is on it. # Sing the pitches "do re mi fa so mi do." Sing "zi-ya" on the pitches. "Zi" is to be sung on "do re mi fa" in legato. Make these notes smooth and connected. "Y a" is to be sung on "so mi do." It is supposedly sung in staccato. Make these no tes short and separate, just like you sang "ha." Putting these concepts together requires practice, as it involves transitioning between concepts. When singing "zi," try to keep the jaw relaxed. Do not open your mouth too wide. In fact,sing this note with a rounded mouth that is only slightly open. This way, you will a chieve a soft sound that is round and full. When you sing "ya," do not widen the mouth once again. Slightly elongate the shape of your mouth. Because this also involves apregiation to some extent, it is always best to leave your hand on you r diaphragm. #If you notice the keys on the piano, note that the pitch "do" occurs more than once along the keys. The entire range of notes from one "do" to the next is call ed an octave. As your vocal range expands, you may achieve the ability to sing s everal octaves. To practice this, a piano would be very helpful. Press the key o f the note "do" on the piano. This may be anywhere, depending on the type of ins trument you have, such as a soprano, alto, or mezzo. Note that your voice will b e traveling in an uprising fashion, so choose the spot accordingly. Start from a pitch you can comfortably sing. If you are an alto, it is best to start at a sp ot further down on the piano. Likewise, if you sing soprano, start higher. Mezzo s should find a spot somewhere in between, midway throughout the keys. If you do not know your vocal type, make an estimate and find what works for you. Press t he key "do" on the piano, and match pitch with your voice. Hold out this note as long as you comfortably can. Then, press the "do" one octave higher than the on e you were singing and match pitch, holding it out accordingly. If you find this is too high for you, either start lower from the beginning, or you could try ha lf of an octave by going from "do" to "so" instead. After singing the higher not e "do" match pitch with the lower one again and sing it out to a comfortable ext ent. If you are a beginner, this may be enough octave training for the day. If y ou choose to persevere and move on, try singing out the note "re" as long as you comfortably can, then matching pitch with the higher note "re" and holding it a s long as you may. Then hold out the lower note "re" once more. Try this practic e with the notes "mi, fa,, so, la, ti, etc. depending on the stretch of your ran ge. This exercise is intended to lengthen and strengthen the range of your vocal chords. Please be cautioned of straining your instrument. # The basic solfege method is a system of symbols for each of the solfege pitche s. The symbol for "do" is a fist. The symbol for "re" is a slanted hand with the side of your hand facing towards you, as should your thumb. Your finger tips sh

ould point slightly to the left. The symbol for "mi" is a flat hand as if you we re placing it on a desk, and the side of your hand should face you once again, a s should your thumb. The symbol for "fa" is a thumb's down symbol with the insid e of your thumb facing outward. The symbol for "so" is a flat hand with the palm facing outward. The symbol for "la" is a cupped hand that faces downward. The s ymbol for "ti" is a fist with the index finger pointing up and slightly to the l eft. Then, bring your index finger back into your fist to make "do." You could a ttempt to master this method by practicing it over and over to gain the ability to symbol the notes faster. This could be an enjoyable and inspirational way to practice, as it helps to signal the notes while singing each of them. See what w orks for you. :) # Begin with the solfege symbol "do" while singing the pitch. Hold out this note to the extent of your comfort. Then, sing and signal the note "re" while holdin g it out. Then, go back down and sing the note "do." The object is to move on an d sing from "do" to "mi," then "do" to "fa," then "do" to "so," then "do" to "la " then "do" to "ti," then "do" to "do," or as far as desired. # If none of the above work, try taking classes. You can find classes in your ar ea online or in your local paper.(They probably will cost money!)