Hi and welcome to another voice essentials specialist session and today I'm going to be talking to a good friend Shani Russell who is a jazz specialist and absolute legend in this industry of teaching voice but not only teaching but also that the whole area of performance and so she's going to share a whole range of gems with us today so without any further ado let's get straight into it and we'll have a chat with Shani Russell check one check two how much do I love you I'll tell you no how high is the sky and how far would I travel to be where you are how far is the journey from here to a stop hey Shawny hi Dan how are you today I'm good thank you and how is how things down you're down Brunswick pizza where we are yes way just around the corner from Brunswick kids now in Ocean Shores kind of just across the river like near the ocean I grew up down that I grew up down that so yes thanks for joining us today on voice essential specialist sessions and as you and I've talked off-camera now these sessions are all about helping young developing artists in developing their voice and giving access to the the wisdom and the professional experience of people that have gone before them and and I think you're an excellent candidate to to help us with that journey I thought I'd just quickly kick off by asking you you know how did you get into this singing thing and and and then we can take it from there it's been an interesting journey for me because I I mean I grew up I was born into a musical family so singing was just something that we did all the time and and I probably sang my first little solo in front of people you know shiny sing sing for our guests you know but nope your over cold you know I bit a Shirley Temple when I was about three our being singing all my life you know we sang harmony as teenagers we had a group you know mummy directed choirs and wrote arrangements I started writing vocal arrangements but I went to get a piano degree at the Queensland Conservatorium but I used to arrange for a little ensemble there as well and then I in casually I did a little playing the piano and singing you get some special function or whatever but I saw myself as a piano player from first and foremost and I ended up sort of moving away to Adelaide when after I graduated and just to earn a bit of money I started up a little trio and played piano with a bass player and drummer but they kept saying to me because I can't help singing I just can't help it so I'm singing while I'm playing and when I'm doing little lines and me being me well you know this you should you should get a microphone instead I went oh no no no no I'm noticing and I didn't see myself as a soloist at all even though I had done lead roles in school musicals I was very quiet you know they're always saying sing up SHINee sing up and so I just sort of and also I got a job singing with the ABC for their children's broadcasts so there I was you know singing in in restaurants and bars and singing for the ABC he's still saying I'm not a singer and I cut it kind of just grew from there I just started getting jobs and people kept saying oh I love your voice you're you're great and and I'm thinking you know well it can't be too bad that's how sad of thinking and I just just went from there I've kind of became a pianist vocalist and singing with always a love but I grew in confidence with thinking well this is working for me as a soloist that's quite a common story isn't it you know we I often hear singers professional singers talking about how they started off as as an instrumentalist yeah I started off playing guitar and I sort of discovered by chance by virtue of a teacher saying to me hey you should do some more singing yeah it's Oh Ray Brown said to a girl you got to see you know she's amazing piano player and he she said oh really you know and he said yes so he began to promote that in her it's incredible yeah and so so talk me through because we've got a lot of people that follow voice essentials on YouTube who are what might be described as emerging artists people who are wanting to perhaps take their singing to the next level beyond amateur and start getting paid and take that professional step yeah what what empowered you have what was that journey for you for me it's about for me it was always about being a musician first I think that's what it is for me it's like a the importance of knowing what you're singing what key who's singing where your voice feels comfortable so you're not stressing and straining about high notes or low notes and really being able to sort out a lot of that stuff for yourself was really important for me I think I never really you know my early days I didn't think about technique at all but I had because I was I was singing from a place of well this is just something I do because music was always a second language for me so opening my mouth and making a song was just another thing that I could do like you know reciting a poem more and my pitch I guess you know having training of ear is good so that you the ear is working for you so actually it's self monitoring all the time listening to what you're doing listening to the sound you're producing hoping it's a pleasant sound that people will relate to and enjoy I don't know does that answer the question well it certainly answers as impact I wonder what what was the step that you took to being a professional singer you know there would have been a when you were enamored and amateur so called amateur singer when did you start well I'll ask this the question this way what was your first professional paid gig that first trio gig in the restaurant in Adelaide in the parklands we got I don't know 50 bucks each or something so I just started doing it and then I got something in a piano bar and you know and then I got we got a week another weekly risk I had two weekly residences within literally within months of starting to sing professionally I know things always happen really fast for me yeah it's weird well in light I think it speaks to the amazing talent that you are char need to be to be frank uh and so but you haven't only been a professional singer you've also you also teach get into the teaching thing what caused you to start teaching that journey is really interesting because people started actually I suppose one makes four children were young and at school I actually got a call from the Queensland Conservatorium saying was from Max holding and he said will you we're starting a jazz course we be our jazz vocal teacher and I said oh no home first the first reason was I didn't feel qualified because I hadn't studied voice I be I was singing professionally it was working for me but as far as the physiology of the voice and teaching people to use this instrument I thought I'm I don't feel qualified to do that I thought if I really wanted to go into a job like that man I'll reduce some intense focused speed study you know just to to get me going but I said no and also I had four young children and a lot of things going on in my life and no time but I'm a few years later when I moved south people just kept asking me to teach them singing and I kept saying no probably for about two years and finally I said this girl said but you must be able to help me just with you know how to breathe and how to work with the song and to work on my pitch and phrasing all this stuff so I thought well okay I can do that so I began to teach and as I began to teach you know straightaway Daniel as you know you start to hear things and you go oh you can hear this tension in that sound then you can hear this a disco discomfort in the production and you can hear this a pitch problem and you can hear the singing through the nose or well then come into a gravel pathway or whatever it is then dragged across broken glass and and I thought and I began to I began to a suppose this thing began to emerge in me my own I you have to dig deep into what you do as as a singer so that is what you do often when you're teaching and I guess in many ways this makes it good there's a teacher because you know you're not learning the technical stuff per se in the classroom but you're digging deep to go what feel like and I think so then I had to say I end up coming up with this theme then I'd say to singers seen from your body sing from your belly bypass the vocal folds bypass the vocal box or the larynx or whatever I used to call it and singing through your face singing through your eyes and I said people just think of you sound coming out through your face through your eyes through your persona through your countenance through your personality you're telling the story to children and it's coming from deep within you and your vocal it's I at least I didn't I did know of course that the vote the voice boxes you know the vocal folds are these tiny little things and really it's about the whole person and so I'd say just forget about that cuz that's where a lot of the tension happens right this is where the roadblock is often so yeah and I saw I just started teaching and I you know I was getting I had a few people then okay and then I moved back up to this Byron Bay area and I got another call from the Conservatorium and and then off I went and then of course I started watching Irene teaching and and and going to seminars and doing lots and lots of research and reading reading books that's my teaching journey and now I love it I love it so much I can't believe how much I love teaching vocals and bringing people's authentic voices out so you start you started teaching from a from the point that you've just described so dude what what do you consider now having having the the teaching experience what what do you consider to be the most important elements of teaching person and therefore learning voice what do you what are you really we're singing teachers we get we get certain things into our kitbag that become our favorite go to is what are your favorite games with students I guess my my kit bag really consists of first of all the whole body so I first always I say that where do you think where does whether just singing come from you know and I often say it comes from here you know and I go well yes that's the filter that's where the vibration occurs but there's so much more so I talk to them about you know body stance and everything being comfortable body alignment and all that stuff and I talk about things being open and there being a flow and it and then and then constantly keeping them aware of that so that when they're seeing and those things start to happen where they can feel it's not going right this tension just doing you know come on do the quick shoulder thing or the quick region what's your bottom doing and what's your what are your knees doing and all those things you know what's your bottom doing I'll have to use that one in the future don't you zero in on your bottom for a second what's your bottom doing speak in these Tunes you know talking about that core area and sometimes they're sort of you know it's sticking out you know everything's like so the knees are but that just the awareness of it this is a natural thing if you're standing talking to someone how does your body feel you know what's going on yeah and and always think of everything coming from the from the stomach all that working me like despite the fact that you know there's a very different health that there's a lot of difference in what you used to do teaching and what you now do teaching in many respects you've just become its it still sounds like you approach the voice very holistically as a as a full body instrument and it sounds to me like you intuitively we're doing that when you first started teaching you may not have been as refined in your in your description of that but nonetheless but nonetheless because I I can't agree more with the concept of this refinement of a holistic approach to the the instrument as a as a full body and not just a larynx and when we approach voice like that we're able to then take onboard our emotions our soul and and everything that that makes up the wonderful complexity of the human voice so I noticed another area that's quite dear to your heart is is this idea of as we've been talking about the whole person I find that that probably the number one thing a student gets from lessons probably in the first 12 months I'd like to think they get a number of things for me in their first 12 months of lessons however I think the number one thing they get is a sense of confidence and confidence in themselves but confidence also for performance and stepping up onto stage for what many people would class amongst the most vulnerable dreadful players what how do you work your students through that process of developing that sense of confidence and and working through what is you know typically referred to as performance anxiety or nerves it's a really tough one you know sometimes it's not easy because you're always working through sometimes such a tough barrier of but I get so nervous but I get so scared and the first thing I think the thing that often taught my students about performance anxiety is um you need often when you you have performance anxiety because you're actually self-centered and not in a bad lastly way it is a way of I'm only thinking about myself and I think that a lot of the problem is you go on stage you're thinking what do I look like do I do what I look dorky do I look scared is my nervousness showing am I going to sing okay am I gonna hit those hard notes properly is it all gonna work are they gonna hate me they gonna wish that that person who was on before me it's still I think that if you can get out of that I think and say okay look so there's got to be a lot of self talk that goes on beforehand and the self talk needs to be I'm a singer I've chosen to be a singer because I love to sing I've got something to give I'm now on stage because I have a song that I've worked on that I know an audience is going to love so I come on stage if I go I can see I'm a singer here's a song you're better loved and you start to focus your attention on the audience and you think I'm here to give you something and again you get back to the whole person I'm here not only to give you a song but I'm here to give you me I'm gonna I'm giving you a present today I'm gonna love you I'm gonna I'm gonna warm you up with a gorgeous song or I'm gonna make you laugh or I'm gonna make you cry whatever it is but I'm gonna give my audience and give it so straight away you step out of that places mmm it's all about me it's all about me it's all about a meeting and instead and then it becomes it's about you guys and I want to give you a good time so when I got static oh that was great you know I said I love what you just said in fact I was doing a vocal seminar for a group last night and and one of the areas that we talked about was appropriate self-talk because we're constantly talking to ourselves aren't we and we're constantly having little conversations with ourselves but more often than not certainly as performers that conversation is often very negative and and it eats away at confidence and eats away at what needs to be when we step on the stage this your audience want you to be vulnerable they're desperate for you to be vulnerable that is exactly right I've got a great story would you like to I would love to hear it I did a performance once and the trio had played it was in a big Civic Center was a cook I think it's Caloundra Civic Center and years ago the the trio played two tunes and they said and now introducing miss Shani Russell so miss shiny robust will come bounding onstage miss shiny Russell's only got one eye she can see her so Miss Charlie Russell miss this little tiny half-inch that step up onto the wooden palisade with Shani Russell fell onto the stage onto her belly got up to the hands of me for the audience is clapping and then they all stopped and they just looked at me and I on my hands and knees and I just looked at them with hi and they laughed and you know what was the best thing you could have happened they loved me the best I had the best most relaxed performance because how vulnerable can you be to actually fall onstage and be on your hands and knees in front of a whole auditorium you don't know I don't wish that on anybody know a lot of people might be devastated by that I'm a bit of a nutcase I thinking that I can go oh there we go yeah I had a really relaxed performance after that enough I've probably had a few things like that happen in my life so that I go look the audience actually as you said they want you to be a normal human being and they just want to they want to interact with you and they want you to do what you do best and and enjoy doing it that's that's a great segue into probably what needs to be our last few questions and there are three questions that I'm intending on I asked everyone who does the specialist sessions and and this will bring us to a close so the first one is kind of leading out of what you've just told it told us and that is what is the worst performance experience you've ever had the worst performance experience had Oh actually probably the worst performance experience I've had would be aside from a couple of gigs that I took playing in rough bars where they just really wanted rock and roll and I didn't have any and so you're trying to kind of soup up some of your jazzy poppy things as much as you can they're still looking at you like they want to beat you out or something but I think one performance like it was at a festival where I was on stage doing solo and all the other the other performing venues were very close and were very very loud wool balls coming through from both sides and and I'm singing solo piano gospel songs with all my heart but my literally my brain left building the tent because I I just I thought this must be what everyone was hearing is this little shiny coming through all this other sound coming it was a bad setup and by the end of it I was my husband if you talk about two hot chocolates – and lots of hugs to make me feel better again and I thought they would ever want to give me you know because I kept forgetting my lyrics and all sorts of things happened them I mean not as probably now it's never as bad to the audience as it is to yourself and Frank said to me it's fine it was fine it was beautiful and in fact from what I thought was probably the worst performance of my life and the most horrible almost made me give up ever before me on the stage again and apparently there was this finished couple in the audience that day who loved my music so much they bought my CD they went back to Finland there are well-known jazz artists in Finland they have recorded three of my songs um in Finnish and they're being played on radio and I get the story and the story it's always the case isn't it the gigs you feel like are the worst you've ever done and there's always this wonderful little counter story where you get this little gem out of it it's it's it never ceases to amaze me that that's the case I know second question to close and that is what is your favorite vocal exercise and I know you would have many but what's an exercise you love to give to developing singers oh look I think it's probably my number six exercise in my general vocal exercise on my seed my own CD I have a CD to do but yet they love it and therefore they do it and I've seen singers who are a little bit trapped in there in the muscular being around their voice and a few pictures shoes and a little bit like confidence and they if they do that exercise everyday you've seen one little girl just improved out and it's just it's the old and it but I do it so that they you cover every consonant so they're singing ba ba ba ba ba on the way up and car coming down dah going up far coming down so that every consonant is covered and so then I talk about you know come on what's the why is the door going going I know when you're only going lalalalala because people overuse their jaw and just things like that and um and they're just getting as a seat just just seeing it fill the room with it do the pavarotti's things bounce it off the walls you know seeing you make a big noise and just enjoy it self monitor with pitch etc but then I just find that they love it they have fun we're off and laughing through it you know and at the end everyone has a big laugh and because it feels so funny like going and doing an aerobic workout on your voice fantastic and finally what is your best piece of advice that you would give to say your you find yourself at a wedding you sitting around the table it just happened to be sat next to a young developing singer and they say you know what's the piece of advice that you could give to me you know what would you say to them I would probably say go and find the repertoire you love and start learning it they look learn repertoire and learn songs that you can relate to that kind of when you learn them they fall pretty easily out of you then develop your voice sing every day just sing every day because it it it it just really comes down unto muscular masculine muscle memory and muscular development apart from a whole beep of other things but if you sing every day your your brain is telling your body that your voice can do these things and the more you try to do them the more I often talk about the the muscles these little people who go oh she wants us to do that now oh one and there might be a bit slow coming to the party but then the next time you do it they go all of that again and they come a bit faster and in the end it becomes automatically their standing to attention to do what you want to do to make the sound you want to do and to create the song the way you want to create it so I say just keep seeing get good coaching mmm love it so this is why you're on this show it's big money fabulous fabulous fabulous it's just thank you so much for the the wisdom that you've shared with us today and for being so generous with your time and and I I've said this to you before privately but I've put it out there I just so admire what you do and have have for quite some time and you're certainly a person that has you're not only talented but you're so genuine and giving of yourself and so thank you very much for giving of yourself today on the specialist sessions sessions specialist sentences I mean it's lovely to be able to do it with you well thank you very what you're doing great hearing how much you share with everyone it's wonderful that's very good of you Shani thank you very much so let me I'll just close off now so switch over to this so there you go Shani Russell isn't she just wonderful and I encourage you to check out her website I'll have the the link in the comments section below so make sure you check out and check out her exercise CD of course you'll have to have bought mine first but make sure you grab Shani's exercise CD and and because it is fantastic and if you're into jazz it is the CD to grab a hold of because there's just so many what you just heard one of those exercises just then my name is dr. dan and this is voice essential specialist sessions and if you want to continue to get the latest and greatest information from ones like Shani and myself about the development of your voice then I encourage you to subscribe to voice essentials here at YouTube and and we'll make sure that we keep the good information coming in so that we can help you improve your sound and develop your voice until next time I'm doctor Dan sing well.
Hi, I'm Aryan cowlings Eli Amon how you doing Eli we're going to talk about improvisation as jazz singers it behooves us to improvise how do we do this so it's a couple of physical warm-ups I want to bring into the picture little little physical things get us in the ahead of us singing okay first the shoulders back that way then forward okay then we can do a little head circles breathing deeply all the time the other way nice and easy relax the shoulders you'd be surprised what this brings up okay and then I'm going to do a little tongue push up called the lion so 4,000 year old Sanskrit thing from yoga goes like this again on three one two three ah swallow you might feel that cheese danish going back down that you had for lunch okay so and it also expands the jaw in a wide position most of the time in conversation our mouths are like this we don't really open our mouths the way we do when we sing we're required to open our mouth okay Part B we want to talk about becoming one with our band our family with the harmonic structures that are around us it's kind of an ear training we'd like to do the two five one chords in the key of G and then go up a half step I want to have the freedom to play music okay I don't want to work music I want to play it there are times when I may forget a word I'm lost in the form and that time especially those times I have to even more closely to what my musical environment is there are a lot of to five ones all over this world and pop music and the American Songbook and in jazz so we're going to play around with an exercise on two five one one two Oh dodo dada are you recognize that one okay thank you thanks Eli okay um alright put this information into a song but I'm going to add another level a lot of times when we sing a lyric we're in touch with our audience when we're at our best we're telling stories we're communicating ideas we're challenging their emotional level their values their thoughts their we're putting them into that private place that they can't go to at work where they remember their their lover from high school or whatever they're going through this is our job our job is to enhance and encourage the emotional nature of our audience all of a sudden it's time to scat oh yeah I'm a jazz singer Oh got a scat and then the communication too often stops and the person that's performing goes into this strange zone of a science experiment where nothing is really working out the way they want of uncomfortability believe me your audiences will be kinesthetically responding to that uncomfortability so I take a page out of the Louis Armstrong book even though I'm singing nonsense syllables on my scat portion of the song I'm still essentially communicating the ideas Clark Terry did a great job done this with mumbles as well but here is uh all of me the key of C I'll give you two measures up front I'm going to scat I'm going to go walk through the song once the second time I'll scat the first part and then sing the words on the second part okay on me why not take all of me can't you see I'm no good without you take my lips I wanna lose them take my arms I'll never use them Oh your goodbyes left me with eyes and how can I go on dear without you you took the part that well ah me booyah boy I dare say but I wore chandelier when moose up with clever we would've up with a plan tips Ashley about me Luna Oh silly little blue boo boo boo baby ha worried about Oh season your neighbor will did I call you do we shut down only are you took the part that once was my so why not take Oh me why not take all of me.
Hello singers I'm Sophie Scheer today we're talking about singing jazz I love jazz good jazz alright what makes jazz vocalists different from pop vocalists first of all they tend to take on a little more of a husky tone quality they tend to use slow-moving vibrato a little wider of a vibrato they make slower movements in general also they use quite a bit of edginess in their sound and often they add a unique pronunciation to the lyrics that they're singing so let's talk about each one of these and cut how we would use it in a song okay I'm going to take one of my favorite jazz songs somebody to watch over me there's a somebody I longing to see I hope that he turns out to be someone to watch over me okay that's the bare bones of the melody their bare bones okay now let's figure out how we would add each one of these things in to jazz it up a little bit slow moving vibrato there's a somebody I'm longing to see I hope that he he turns out to be so I'm not using quick vibrato here turns out to be that would be very quick for like pop music okay rock music something else it's a little slower it's a little more molasses II think of it kind of stretching out and like kind of like a jellyfish movement okay using more edginess allows you to add some moodiness into it it really helps you create emotions well so if you're going longing to see I hope to be kind of helps engage the audience a little bit more notice to how I'm pulling back on the volume a little bit in order to achieve that edginess that's perfectly fine there there are more ska\u00f0i kind of versions of jazz or it's like zmapp but about but do you know everything there is really loud it's kind of all in your face this this song would be the opposite of that and you'll find both in the world of jazz so plan accordingly okay now let's try some unique pronunciation this is cool because really there are no rules you can go way weird and as long as you're engaging your audience making them watch it's not bad it could even be bad but they're still engaged because it's so different and weird and bad okay so like this there's somebody that's extreme okay very extreme but you're glued it's like what's next what is she going to do next it's so off the wall that it makes you watch so experiment with that one have some fun maybe even record yourself watch the weird faces listen to the weird sounds that you get and you may kind of push it two steps too far and then reel it back in but don't be afraid to experiment okay let's try some huskier tones adding huskier tone to a jazz song is going to really make it mysterious it's going to add some warmth to it and and more soul so you can say something like there's somebody I helps to stick your lips for it I turns out someone to I so a little different mood okay of course you have to go with the song figure out what mood you're trying to create and then figure out which tools can help you create it thanks so much for watching be sure to subscribe here so you can get all the new vocal tips and connect with me on Twitter and Facebook also um think of it like a jellyfish.
Jazz originally was about trying to get people to dance when you think when you look back in jazz history at the Blues and at big-band music and it was about getting people to dance and that's where that groove comes from that's where that swing feel comes from and so when you take a song like a Broadway song that's very popular in the jazz repertoire but also in musical theater a song like cheek to cheek for instance if you have somebody sing it that isn't a jazz singer they'll more they're more than likely sing it very kind of straight like it's written on the page sort of heaven I'm in heaven and my heart beats so that I can hardly speak like that but because rhythm is our currency and our priority we have a different way of approaching a song and it would be more like heaven I'm in heaven and my heart beats so that I can hardly speak and I seem to find the happiness I seek when we're out together dancing cheek to cheek now if everybody could see you as soon as I started doing that you started grooving you were dancing you were grooving because there it is singing jazz is not really about singing as much as you would think singing jazz is really more about what your priorities are as opposed to other kinds of music and so your priorities as a jazz singer are actually rhythm storytelling and your wit your a your ability to be able to respond in the moment to what's going on around you and that ability to respond in the moment comes from all the work that you put into it up until then up until that day of the performance all the work that you put into learning the song in the song form and the harmony and the melody and the lyrics and all of those things you have to have that at such a high level that when you get on stage and something happens you can respond to it in a sophisticated way and you can respond to the audience and you can respond to the drummer and the bass player and the piano player one more thing that I'll say that's very important if you want to sing jazz you have to listen to jazz you have to love jazz you have to care about jazz you have to listen and listen and listen to all the great jazz singers from the beginning to now and that's how you get the language inside you you don't get the language by studying a book and you don't get the language by doing vocal exercises you get the language by hearing the language so much that it becomes a part of who you are tearing off a game of golf I may make a play for the caddie but when I do I don't follow through my heart.
Hey it's Nicola Milan from singer secret and today's video is for all my jazz singers out there we are going to be looking at scatting now even if you don't sing jazz and you've never scattered before you will still get a lot out of this video because in order to scat you actually have to have a few ninja music things going on first in order to get it going so it's going to benefit your entire singing vibe anyway so what is scat well if you've never heard of scat before it sounds like this but our third in the book with Louie that kind of using nonsense syllables to basically turn your voice into an instrument an instrument that's very similar to the way that a horn would be up on stage saxophone or a trumpet or a clarinet and you're basically becoming really really versatile as a singer because you'll be able to improvise and take a solo along with your instrumentalists you know how a lot of the time even in non jazz music there are sections where there is an instrumental section an instrumental solo either for the guitar or the piano and you as the singer quite often just have to sit back and let the instrumental guys take over not anymore not with scatting so you can hog the limelight for the entire song if you know how to scat well in addition to that addition to making us your voice into an instrument you're also able and this is most important I think you're also able to express yourself in a whole new way and take your your expression of the song to a completely new level by improvising and scanning because you are basically improvising the melody or creating a new melody using these nonsense syllables as you go and it's one of the purest art forms that there is because it's one of the only art forms in the world but you do it live and once it's done it never gets done again exactly that same way and that is one of the beauty beautiful things about scouting so with all of that said I'm going to break it down for you and I'm going to show you some techniques they're going to help you get your your mouth and your voice in your mind around skating and we're going to make it really easy now scatting sounds the best when you only use a few different scat syllables so nonsense syllables things like do bar or Duden or um buh buh buh those sorts of scat syllables that have you know you're able to easily articulate so you can really easily get your mouth around doo ba doo ba and it sounds quite rhythmic just in the words itself so you want to limit yourself just to a few of these scat syllables because if you start going to town on a whole different little nervous little bit of kind of scat syllables like that it just sounds like gobbledygook and it loses its rhythm so in order to get your mind used to the habit of just sticking to a couple of scat syllables we're going to do this exercise now this really works on your quavers so we're going to use do bar because it's one of my favorites we're just going to do a scale using do bar together so deep breath in and it sounds like this feel free to sing along simple simple exercise but is getting really sign adieu so you can do that exercises of just a simple scale exercise wherever you are you don't even need a piano you just hit a start noticing at the scale so then once you've gone through that a few times then I want you to add the crotchet note at the start so this is the crotchet note one two three four and we're just going to say do and then we're going to add that to our really simple exercise but very very effective now I would start doing this with do and do bars then you can try other scat syllables to see which ones resonate better with you because everything is different and something is like to bar other singers like dude something is like boom boom so you kind of pick two words and just play around with it and have a go of this exercise in your own time so this is just a great starting point for you and I am going to do some more videos on skating to walk you through the process so stay tuned for those I hope you've enjoyed this video if you have please let me know if you liked it in the comments below and if you want to get your hands on some seriously good singing training that i only share on my website and in my emails head on over to singer secret calm and you can grab it there thanks so much for watching I'm Nicola Millan and I'll see you in the next video but um I'm a candidate in bathroom. More singing lessons go to the how to sing page.