Advanced Singing Lessons

Advanced Singing Lessons are designed exclusively for adults seeking efficient, high-level vocal development.

Through a refined technique, only taught through the Eugene Method.

How to Sing With Chest Voice

How to Sing With Chest Voice: Chest Voice Dominance

Lesson Objective

This advanced lesson focuses on mastering chest voice dominance. With healthy diaphragmatic support. You will refine power, stability, resonance control. As well as endurance. All without strain.

This is not about shouting or forcing volume, but about efficient breath management, optimal cord closure, and resonant placement that allows the chest voice to remain strong, flexible and sustainable across demanding repertoire.

1. Understanding Chest Voice at an Advanced Level

Chest voice is the lower and thicker-sounding vocal register that you use when you speak. Hence, creating a vibration that you can feel if you place your hand on your chest. This is the most natural and common register for both singing and speaking.

It’s called ‘chest voice’ because the sound resonates in your chest cavity.

Chest voice is characterised by thicker vocal fold engagement and a strong harmonic content. As well as a sensation of vibration in the sternum and lower throat. At an advanced level, chest voice should:

Feel anchored and not pushed
Remain responsive across dynamic changes
Blend smoothly toward the passaggio without breaking

A common misconception is that chest voice comes from the chest itself. In reality, the sound is produced at the vocal folds; the chest sensation is resonance feedback, not the source of power.

2. The Role of the Diaphragm

The diaphragm is a large, dome-shaped, involuntary muscle. You can locate it at the base of the lungs under your rib cage. It plays a crucial role in breathing and supporting your voice when you sing.

When you inhale, your diaphragm expands and moves upward, creating space for your lungs to expand. When you exhale, the diaphragm relaxes and moves downward. Thus, helping to control the release of air.

Proper breath support from the diaphragm is essential for powerful and controlled singing. Advanced vocalism masters breath management through coordinated breathing techniques involving:

Diaphragm
Intercostal muscles (rib expansion and contraction)
Abdominal muscles (controlled engagement, but never clenching)

Key Concept: Appoggio

Appoggio is the balance between breath pressure and vocal fold resistance. You should feel:

Expansion around the lower ribs and back
A steady, pressurised, controlled airflow
Very little chest movement

3. Optimal Chest Voice Posture & Alignment

Advanced chest singing requires structural efficiency:

Head balanced over spine
Sternum comfortably lifted (not rigid)
Neck and jaw released/relaxed
Knees unlocked
Legs at shoulder width

Poor alignment forces the throat to compensate, leading to strain and fatigue.

4. Advanced Breathing Drill (Silent Power Breath)

How to Sing from Your Chest/Diaphragm: A Step-by-Step Guide

Here is a step-by-step guide to help you master singing from your chest and diaphragm:

Step 1: Master Diaphragmatic Breathing

Before you can sing from your diaphragm, you need to learn how to breathe correctly. You will have covered this by now and will be expected to used your learnt knowledge to complete these exercises.

Stand up straight with your shoulders relaxed. Inhale slowly through your pursed lips. Allow your abdomen area to expand. Exhale slowly through your mouth, feeling the area contract. Repeat a few times.
Using the ‘Hot Potato’, breathe out a relieved breath. Breathing in and out four times.
Now add vocals to the relieved breath. ‘Haa’, ‘Hee’, ‘Hoo’.
Allowing no air before sound, sing a verse from a song.
Keep practising, making sure you connect the breathing to the sound, as you have learned to do.

5. Chest Voice Strength Without Strain

Exercise: Anchored Sustain

Choose a comfortable pitch in your range.
Sing ‘Ahh’ at medium volume
By now you should remember to add the ‘H’.
Sing ‘Haaaah’. Air before sound.
Maintain rib expansion while controlling the exhalation of the sound
Don’t be afraid to use higher notes also

You should feel vibration in the chest at whatever pitch you begin at.

Exercise: Descending Power Scales

Begin above your speaking range
Descend on a 5-note scale ‘Yah’
Allow thickness to increase naturally as pitch lowers

This builds chest dominance safely.

6. Managing Volume

True chest power comes from resonance efficiency, not force. Advanced singers control loudness by:

Increasing resonance space (pharyngeal openness)
Maintaining steady airflow
Controlled projection

If volume increases but clarity decreases, you are overblowing.

7. Chest-to-Mix Preparation (Critical for Advanced Singers)

A strong chest voice must transition smoothly into mix. Practice:

Projecting your voice at different volumes
Reduced air pressure near the passaggio
Maintaining support while releasing fold thickness
Sing a song and maintain control over the chest voice

Chest voice mastery includes knowing when to let go.

8. Common Advanced Mistakes

Locking the abs instead of coordinating them
Over-darkening vowels to sound ‘powerful’
Driving chest voice too high without modification
Not breathing and misplacing air
Using backward voice and missing the forward voice projection

Support feels stable and buoyant, never rigid.

9. Sensation Checklist (Healthy Chest Singing)

✔ Vibrations in chest and mouth
✔ Open throat sensation
✔ Steady breath flow
✔ No pain, scratchiness, or hoarseness

If discomfort appears, stop and reset.

Key Takeaway

Advanced chest voice is not built by force. It is refined through coordination, awareness and consistency. When breath, body, and resonance work together, chest voice becomes powerful, expressive, and sustainable.

Mastery is measured not by how loud you sing, but by how free and controlled you remain under pressure.

Performance Preparation

Lesson Overview

Performance preparation is not about getting lucky on the day. It is the disciplined process of aligning technique, mindset, body, breath and intention so that your performance becomes reliable under pressure. At an advanced level, the voice itself is usually capable. What determines a successful performance at an advanced level, is how well the performer manages nerves, energy, focus and recovery.

This Advanced lesson addresses preparation as a system, not a last-minute warm-up.

1. Understanding Performance Readiness

True readiness begins long before stepping on stage. Advanced performers prepare on three levels:

Technical readiness – the voice responds automatically without conscious control. Practice your ‘labial, sibilant, guttural, lingual, palatals and vowel’ groups in conjunction with the song/s you are going to sing. (Singers Alphabet Lesson)
Mental readiness – the performer remains focused on past learning and present situation. Calm and adaptable.
Physical readiness – the body supports the voice efficiently, not tensely. Practice your ‘scales, arpeggios and breathing’ to warm up your voice, as well as relax your shoulders. (Arpeggios, Breathing Techniques and Scales Lessons)

If one of these is missing, the performance becomes inconsistent.

2. Long-Term Preparation (Days to Weeks Before)

Advanced preparation means rehearsing as you intend to perform.

Practice full run-throughs without stopping.
Rehearse standing, with performance posture.
Simulate performance conditions (lighting, distance, expression)
Train endurance and prepare for distractions, not just accuracy.

At this stage, avoid over-singing. The goal is efficiency, not force. If the voice feels tired after practice, preparation is incorrect. Hydrate with tepid or lukewarm drinks/water. Do about 7 basic ‘Polo’ warm ups. Hydrate again and then sound off your first note. If it sounds correct then rest and continue to hydrate.

At this stage, you will have purchased and completed all of the exercise lessons that prepare you for performance. If you haven’t, then hold this lesson, complete the lessons that you need, such as Breathing Techniques, Singers Alphabet or Connecting Sound to Lessons. Then come back to the Performance Preparation.

VSL Harmonic Identity lessons all lead to the moment you apply your learning. Be sure that you have the necessary tools that we have available to help you, when you need it.

3. Mental Conditioning and Nerves

Performance nerves are not the enemy. Unmanaged adrenaline is.

Advanced performers need to:

Reframe nerves as energy. Use your knowledge of the ‘Straw in a Balloon Breathing’ to warm up and to relax yourself.
Narrow focus to the task, not the audience. Remember the important trick we gave to you. Focus for 2 seconds of the foreheads of those in the audience. They will engage with you and feel included.
Replace outcome thinking (Will I be good?) with process thinking (Breathe, relax, convey my message)

Visualisation is crucial. Repeatedly imagine a calm, controlled performance. The brain does not distinguish strongly between real and imagined experiences, so use this to your advantage.

4. Day-of Performance Strategy

On the day of performance:

Speak minimally and gently.
If you have been diligently practising your Breathing Techniques for some time now, the secret is, that you will naturally have started to breath that way anyway. Also, if you have practised your Singers Alphabet as well, you will be speaking in a softer voice naturally.
Avoid whispering. There is no need and it may strain your voice. Just don’t shout.
Hydrate steadily, not excessively. NO fridge cold water and NO raw lemons.
Eat light, non-acidic foods and no dairy. Phlegm is the enemy of a good performance. Poor placement of air and phlegm, will cause you to cough when you least want to. Then when you have finished, you will sound strained, tired and unprofessional.

Warm up only to the level needed. Over-warming leads to fatigue. An advanced singer arrives warmed, not exhausted.

By now you will have arrived at the exercises that suit you best. Now is the time to use the most effective exercise to warm up.

5. Pre-Performance Routine

Your routine should be repeatable and calming.

This may include:

Breathing Techniques
Gentle Humming, Arpeggios, Diction
Physical release (neck, shoulders, jaw)
Quiet focus time

Never change your routine drastically on performance day. Consistency signals safety to the nervous system.

6. On-Stage Focus

Once the performance begins:

Trust the preparation
Do not micro-manage technique
Stay connected to breath and intention

Mistakes happen when attention turns inward in a panicked way. If something goes wrong, continue forward—audiences respond to confidence, not perfection.

7. Post-Performance Recovery

Advanced performers also train recovery.

After performing:

Cool down gently
Hydrate
Avoid loud environments if possible
Reflect objectively, not emotionally

Improvement comes from analysis, not self-criticism.

Key Takeaway

Performance preparation is the art of making excellence repeatable. When preparation is correct, performance becomes an extension of training—not a gamble.

The other secret is; once you have reached the Advanced Level Lessons, with practice you will be able to sing your songs at short notice. Practice makes perfect.

Stage Presence for Singers

Advanced Stage Presence – A Masterclass

Revealing Presence Through Correct Performance

At an advanced level, stage presence is not something that you add. It already exists. What most performers lack is not presence, but clarity, control and permission to allow it to surface.

A vocalists stage presence isn’t separate from their performance. It is the physical and emotional embodiment of the song itself. It’s the difference between merely singing a song and truly living it in front of an audience. While your voice is the primary instrument, your entire being is the vessel for the music.

The core idea is to shift your focus from an internal monologue of anxiety to an external focus on your message and your audience. Advanced stage presence is about authentic connection, not just ‘performing.’

True presence emerges when voice, body, intention and awareness are aligned.

This lesson does not attempt to manufacture charisma. Instead, it removes the technical and psychological interference that blocks authentic presence.

1. The Foundation – Mastering Your Physicality

Your body communicates more than your words. An advanced performer has complete control over their physical self. They understand that presence begins before sound.

Novice performers often fidget or move aimlessly. An advanced performer makes every movement deliberate and purposeful.
The stage is your canvas. Don’t just stand in one spot. Assign different parts of your vocals to different areas of the stage. For example, you might introduce your song at centre stage. Begin and then walk to the right to emphasis the words and then slowly to the left, to take the audience on the journey with you. This creates a more dynamic and visually engaging experience for the audience.

Exercise
Perform a full song allowing yourself only three intentional movements. Each movement must be musically justified.

Key Takeaway

Stillness creates authority. Movement without purpose weakens presence. When you move, it must be because the music demands it – not because you feel exposed.

2. The Connection

The audience isn’t a passive observer; they are your scene partner.

Your body is the framework that supports your voice. An advanced singer uses their body to serve the song, not distract from it. This is non-negotiable for both vocal presence.
Charisma is often seen as a mysterious quality, but it can be broken down into components like confidence, passion and expressiveness. It’s the ability to make others feel that you have something special to offer. Your presence needs to be a focused energy that you share with the audience.
Many vocalists fail to convey their charisma by not knowing what to do with their hands. Fidgeting or stiff arms can signal nervousness and stop the connection that could have been had with the audience.

Engaging the Audience

Don’t just scan the room. Eye contact is more about about projecting intention through the eyes, than looking at people. Hold eye contact with one person for a full thought or sentence. This creates a moment of genuine connection. Then, move to another person in a different section of the room. Thus, allowing individuals to feel seen and makes the entire audience feel included. If you are unable to look anyone in the eye without feeling anxious, then look at the space between their eyes, on their forehead. They will still think that you are looking at them.
Ultimately, your voice is an instrument. Vary your pitch, volume and pacing to create interest and convey emotion through your vocal dynamics.

Exercise

Record yourself practising. Before you even step on stage, adopt a power pose for two minutes. Standing tall, with your feet apart, hands on your hips and chin up, with your head held high. For the first two minutes, stand completely still. Then, allow yourself to make only three distinct gestures or movements during your vocals. Nod your head towards your imaginary audience, or gesture a word from the song. Whatever you are comfortable with. This forces you to choose movements that emphasise your points, rather than distracting from them. Your movement should be motivated by the song’s narrative and energy.
Imagine you are inside a large bubble. As you sing, practice using your hands and arms to ‘paint’ the music on the inside of this bubble. Let your gestures flow from the emotion of the lyrics. A soaring high note might inspire an upward, open gesture. A quiet, intimate phrase might bring your hands closer to your chest. The goal is for the gesture to feel like a natural extension of the sound.

Key Takeaway

Presence is often strongest between phrases, not during them.

3. Internal Focus – External Awareness

Weak presence comes from self-monitoring. Strong presence comes from outward attention.

The audience connects with emotion. An advanced performer doesn’t just show emotion; they feel it and let the audience witness that experience. You bring your audience on your journey. Even if it’s only a three minute song.

Before you sing a song, you must know what it’s about for you.
Answer these questions for every song: Who am I singing to? What do I desperately want them to know or feel? What just happened before the song began? What will happen if I fail to get my message across?

Having this clear subtext will inform every note you sing and every look you give. Your performance becomes a scene and you are the lead character. With your eyes being the most powerful tool for connection.

Your face must match the emotional tone of the lyric. Tension in the jaw, forehead, or neck not only hinders vocal technique but also creates a mask that prevents the audience from seeing your true emotion.

Exercise

Here are other exercises that teache you to connect externally, while deliberately ignoring any internal conflicts.

Instead of scanning the crowd, which connects with no one, think of yourself as a lighthouse. Focus your gaze on one small section of the audience (or one friendly face) for a full musical phrase. Let them feel the full weight of that line. Then, slowly and deliberately, move your ‘light. to another section for the next phrase. This creates intimate, personal moments with the entire room.
Sing your song in front of a mirror. Are you raising your eyebrows in a tense way on high notes? Is your jaw tight? Practice relaxing these muscles so your face is free to express the genuine emotion of the song. A relaxed, expressive face is key to both better singing and better presence.

4. The Performer’s Mindset

Your internal state dictates your external performance. Confidence is a choice and a practice.

Embrace the Adrenaline. The nervous energy you feel is the same energy that fuels legendary performances. It’s your body giving you the fuel you need to be extraordinary.
Shift your focus from being judged to giving a gift. You have prepared, you have practised and now you are here to give the gift of this song to the audience. This changes the dynamic from a test you might fail into a generous act. Your goal is to move them, to give them an experience.

Owning the Stage

No matter how many times you’ve rehearsed, you must perform the song as if you are discovering the thoughts and feelings for the very first time. Right there on stage. This creates a sense of immediacy and authenticity that is absolutely magnetic. The audience will feel like they are witnessing something special and unique.
Adopt the practise of walking from heel to toe. Thus, avoiding any trips over any microphone or musical wires.
Keep your performance movements relevant. A concert calls for more movement, but a church would call for more.
Walk purposefully and confidently, without a hint of arrogance. Always have an introduction ready, in case you are asked to or have not been introduced.
Employ the correct singing techniques, as in VSL Harmonic Identity Lessons.

By integrating these physical, emotional and mental practices, your stage presence will become a seamless and powerful extension of your voice. Transforming your performances from simple recitals into unforgettable experiences.

Key Takeaway

Reframe it in your mind: “This isn’t fear, this is my power source. I am ready.”

Emotion should be contained, not displayed. The audience leans in when you withhold slightly. Overacting kills mystery and mystery is power. That said, no one has been grudged for a silent tear.

5. Ownership of Space

Advanced performers do not ‘fill’ a stage—they claim it.

Walk with purpose.
Stop with certainty.
Stand as if the space belongs to you.

If you believe you belong there, the audience will agree.

Key Takeaway

Stage presence cannot be taught because it is not a technique.
But correct performance removes fear, distraction and excess, allowing presence to appear naturally.

When technique is secure and intention is clear, presence is unavoidable.

You do not need to become someone else on stage. You only need to stop getting in your own way.

Key principle:

Convey less. Mean more.

Pitch Accuracy When Singing

Pitch Accuracy: Achieving Intentional Tonal Precision

Introduction

Pitch accuracy, often referred to as intonation, is the ability to produce a sound. Whether vocally or instrumentally, it precisely matches a target frequency. For a vocal musician, this is not merely a matter of chance but a conscious, repeatable skill. Which integrates physical control, auditory perception and mental focus.

Pitch accuracy is not luck, instinct, or talent. It is the ability to hear a pitch clearly, prepare the body correctly, and reproduce that pitch with control. Achieving a correct and accurate sound on purpose requires moving beyond simply reacting to sound. To developing a proactive system of Vocal Pitch Sense and the VSL Harmonic Identity Technique.

This lesson outlines the three steps of pitch mastery: the Physical Foundation, the Mental Blueprint and the Practical Application through targeted exercises.

Most pitch problems occur before the sound is made, not after. Accurate singers know where the note is before they sing it.

Pitch accuracy is a coordination between the ear, brain, breath and vocal folds. When one of these elements is missing or rushed, pitch becomes unstable, flat, or sharp.

Step 1: Hearing the Pitch Internally (Audiation)

Accurate pitch begins with a stable and responsive physical mechanism. For the voice, this involves the coordinated function of the breath, the vocal folds, also the vocal tract.

A. Breath Support and Consistency

The air stream is the power source for the voice, and its consistency is paramount for stable pitch. Fluctuations in air pressure cause the vocal folds to vibrate erratically, leading to wavering or ‘wobbly’ pitch (vibrato that is too wide or slow).

Technique	Purpose	Application
Appoggio (Support)	To maintain consistent subglottal pressure.	Engage the core and lower back muscles to manage the release of air, resisting the natural tendency of the diaphragm to collapse quickly.
Steady Flow	To eliminate pitch fluctuation.	Practice singing long tones (5-10 seconds) on a single vowel, focusing on a smooth, unwavering stream of air, as if blowing a candle flame without extinguishing it.

B. Laryngeal Control and Vocal Fold Tension

Pitch is determined by the length and tension of the vocal folds, which are controlled by the laryngeal muscles. Therefore, precise pitch requires the ability to make minute, instantaneous adjustments to this tension.

The vocal folds must meet cleanly and completely. A breathy onset or offset indicates a lack of control, which can cause the pitch to sound flat or unstable. Using the concept of ‘air before sound’ essentially correct this.
While pitch is controlled in the larynx, the way the sound resonates in the vocal tract affects its clarity and perceived accuracy. A forward voice, bright placement, helps the vocalist to hear the pitch more clearly. It additionally provides a more focused tone that is easier to tune. Added to this, low notes, in particular, benefit from a brighter, more focused tone to prevent them from sounding flat.

Step 2: The Mental Blueprint (Vocal Pitch Sense)

The most critical component of pitch accuracy is the mental ability to pre-hear the note before singing it. This is the process of creating an internal, vivid aural image of the target pitch. VSL refers to this skill as Vocal Pitch Sense.

1. Auditory Imagery and Anticipation

The brain must send a precise motor command to the larynx based on a clear auditory goal. If the goal is fuzzy, the physical execution will be imprecise.

Before singing any note, pause and mentally hear the pitch in your mind. This is not just a quick thought, but a deliberate act of auditory imagery. To be exact, you are merely remembering what you have just heard or listened to.
Practice singing short melodic phrases (e.g., the hook to your favourite song) and then repeat it exactly as your heard it. This strengthens the connection between the heard sound and the internal representation.

2. Proprioceptive Awareness

Proprioception is the body’s sense of its own position and movement. For pitch, this means learning to associate a specific pitch with a specific physical sensation in the throat, neck and chest.

When you successfully match a pitch, there is a moment of vibrational lock where the sound waves of your voice align perfectly with the target pitch (e.g., a piano note) Pay attention to the feeling of ease, the increased resonance, as well as the clarity in your head or chest. This physical feedback loop is what allows you to reproduce the pitch intentionally.

Step 3: Practical Application (Targeted Exercises)

These exercises are designed to integrate the physical foundation with the mental blueprint. Moving from simple pitch matching to complex melodic accuracy.

First Exercise: The Sounding Off Technique

Sounding Off is the practise of a continuous, sustained note and not, in this context, the situation of not sounding correct. You choose the note and using only that note you sing it. This is the single most effective tool for developing fine-tuned pitch control. For all of the exercises, firstly, warm up using the ‘Polo’. Then applying the ‘Hot Potato’, sound off the note that you choose. Always air, before sound.

Unison Matching: Mentally map the pitch. Sing the same note on a neutral vowel (‘ah’ or ‘oo’). The aim is to hear and do the same sound, which is achieved as if blowing out the hot potato air. The goal is to lock your voice with the note, creating a single, unified, resonant sound.
Interval Singing: While you sustain the note, sing a scale or arpeggio against it. For example, sing C-D-E-F-G, then back down. Ensuring that each note is tuned relatively. This trains your ear and voice to navigate tonal relationships accurately. For an exact example, watch the YouTube VSL Harmonic Identity Pitch Accuracy Lesson.

Second Exercise: Pitch Glides

Pitch glides, or ‘sirens,’ are exercises where you smoothly slide your voice across a wide range.

Purpose: To train the laryngeal muscles to move fluidly and precisely between pitches. Without discrete ‘steps.’ This is crucial for finding the exact centre of a note rather than landing slightly above or below it.
Application: Start on a low note and slowly glide up to a high note and back down, maintaining a consistent, supported air stream. This will be the same as an Arpeggio. As you glide, focus on the smoothness of the transition. Then, practice gliding from one specific note to another specific note (e.g., C4 to G4), stopping precisely on the target pitch.

Third Exercise: Melodic Memory and Self-Correction

This exercise develops the ability to maintain pitch accuracy without constant external reference.

Reference and Sing: Play a short, simple phrase (e.g., C-D-E-F) on an instrument or recorded. Mentally map the phrase.
Mute and Execute: Sing the phrase while the music is silent.
Check and Correct: Immediately play the phrase again to check your accuracy. If you were off, identify which note was incorrect (flat or sharp) Then repeat the exercise, focusing your Vocal Pitch Sense for that specific note.

If you cannot hear the pitch internally, your voice has nothing accurate to follow.

Key rule:
👉 If you don’t hear it first, you cannot sing it accurately.

Troubleshooting and Advanced Strategies

The Flat vs. Sharp Dichotomy

Most pitch issues fall into two categories, each with distinct causes and solutions.

Pitch Issue	Common Causes	Solution Strategies
Flat (Below Pitch)	Insufficient breath support; lack of vocal fold closure; singing with a depressed or ‘dark’ larynx; mental fatigue.	Increase breath support and core engagement; use a brighter vowel or more forward placement; practice memory and correction.
Sharp (Above Pitch)	Excessive laryngeal tension; pushing too much air; over-singing or forcing the sound; anticipating the next note too early.	Relax the neck and jaw; breath correctly; focus on the ‘release’ of the note rather than the ‘attack.’

The Power of Recording and Analysis

To truly achieve intentional accuracy, you must become your own objective listener.

Record Every Session: Use a recording device to capture your practice. What you hear in your head while singing is often different from what the microphone captures.
Analyse Objectively: Listen back and identify specific moments of inaccuracy. Do not judge, but analyse: Was the note flat due to a drop in breath, or sharp due to a squeeze in the throat? This objective analysis closes the feedback loop between your physical action and the resulting sound, making your corrections intentional and permanent.

Ultimately, by diligently practising these physical, mental and practical techniques, you will transition from hoping for an accurate sound, to intentionally commanding it.

Pitch accuracy is a skill built on consistency, awareness and the unwavering commitment to the centre of the tone.

Key Takeaway

Pitch accuracy is trainable at any age.

It is not a gift, it is a skill built through awareness, patience and repetition.

When you learn to Sense the pitch before you sing, accuracy becomes intentional, reliable and effortless.

Projection for Singing & Speaking

Projection for Singing and Speaking:

Reaching the Back of the Room

Please complete the Vocal Control, Performance Preparation, Vocalists Alphabet Lesson and Breathing Techniques before starting this lesson. You will better understand how to achieve vocal projection.

Welcome to this comprehensive lesson on Vocal Projection. Whether you are a singer on a stage or a speaker in a boardroom, the ability to project your voice is one of the most vital skills you can possess.

Many people confuse ‘projecting’ with ‘shouting.’ However, they are fundamentally different. Shouting is a throat-based action that causes strain and fatigue. Projection is a body-based action that uses air and resonance to propel your sound forward with clarity and power.

Our goal for this lesson, is to teach you how to reach the person at the back of the room without ever having to shout.

We aim to convey the reality that projection for vocalists mean achieving a clearer, more focused and efficient sound. VSL teaches you that projection has the ability to control your sound as you propel it forward. Allowing your voice to reach the person at the back of the room without shouting.

True projection protects the voice while increasing its impact, as originally taught via the Eugene Technique.

Projection Is Not Volume

Shouting forces sound outward using throat tension. Which leads to fatigue, strain and inconsistency. Proper projection, on the other hand, relies on breath support, resonance and direction. When these elements are aligned, the voice travels naturally and effortlessly.

A projected voice feels easy to produce, even though it carries far.

Breath as the Engine

Think of breath as the engine, not something you push, but something that sustains movement. Without a steady stream of air, your voice has no ‘fuel’ to travel.

Projection begins with controlled breath in the core, not the throat. Rather than lifting the shoulders or forcing air, the breath should expand low into the ribs and abdomen. This creates a stable airflow that supports the sound from underneath. When the breath is steady, the voice can remain relaxed and focused.

Resonance and Forward Placement

To project effectively, sound must be allowed to resonate. This happens when the throat remains open and the sound is directed forward, outwards. Rather than trapped in the chest or throat.

Sound is like light; it can be scattered or focused. Projection is about focusing your sound into a ‘beam’ that travels.

1. Directing the Sound

Imagine your voice travelling over the heads of the audience. In a straight line and hitting the wall behind them. Not being thrown and hitting them. Thus, you see that the lift, clarity and reach achieved by projection.
Don’t just speak at the people in front of you. Aim your voice at a specific point at the very back of the room, such as a clock, a door, or a person.
Also, imagine your voice is a physical object that you are ‘throwing’ to that distant point. If you aim for the back, the people in the front will still hear you perfectly, but the sound will have the momentum it needs to travel.

2. Crisp Articulation

Mumbling is the enemy of projection. If your consonants (T, K, P, B) are lazy, your voice will sound like a muffled blur, no matter how loud you are.

Clarity Over Force

Projection improves dramatically when articulation is clear. Consonants shape the sound and vowels carry it. A well-articulated phrase will project further than a louder, poorly shaped one.

The goal is audibility with ease, not dominance through volume.

Practical Projection Exercises

Practice ‘over-articulating’ your words apply what you learnt from the Hot Potato and Vocalists Alphabet Lesson. Exaggerate the movement of your lips and tongue. This clarity ensures that your message remains intelligible even at a distance.

Imagine you see a friend across a busy street. Call out ‘Hey!’ using your belly muscles to push the sound, as learned in the Breathing Techniques Lesson. Always, air before sound.
Note the difference to shouting. It should feel ‘supported’ and not scratchy in your throat.
Start by speaking a sentence to someone 2 feet away. Then, imagine they move to 10 feet, then 30 feet, then 50 feet.
The Wall Bounce: Stand facing a wall about 10 feet away. Find a visible spot at eye level. Speak or sing ‘Ha’ using the force of your abdominal muscles. Push the sound out and hit the spot that you identified. Try to ‘feel’ the sound bounce off the wall and come back to you. If you can feel the vibration returning, you are projecting effectively. Repeat this four times.
Continue until projection is second nature.

You may feel as if you are shouting, but we have given you the tools to control that.

Conclusion

Projection is a physical skill that requires coordination between your breath, your resonance and your focus. By shifting the work from your throat to your core, you can command any room with a voice that is powerful and clear.

Key Takeaway

If you can reach the back of the room without shouting, you are projecting – not forcing.

Coordinated Singing Skills

Coordinated Singing Skills:

Advanced Integration of Breath, Support & Sound

Essentially, Coordinating Singing Skills involves connecting abdomen breathing with respiration. Also, connecting respiration with sound and warm ups with tuning. All while making sure that is so well coordinated that you do not suffer air displacement and so on.

The end result will be regular practise of learnt skills in order to connect each skill, then regular exercises to tune the voice.

At this advanced level, the VSL Harmonic Identity has evolved into technical knowledge, but conversely that is no longer the goal – coordination is. You have already developed awareness of abdominal breathing, support management, resonance shaping, diction clarity and tonal control, among other skills.

This lesson focuses on integrating those elements into a unified vocal function and aims to be the missing link between you feeling as if you ‘get it’ and knowing that you actually do. Then repeating it again and again, on purpose.

Coordination is the point at which separate technical skills cease to feel separate. Breath is no longer something you ‘do’ properly before and during singing. Support is no longer something you ‘apply.’ Sound emerges as the natural result of a coordinated system.

This lesson is about building that system and knowing how to do it, on purpose.

1. Understanding Coordination

Coordination in singing means:

Breath responding to sound
Abdominal engagement responding to airflow
Resonance adjusting without excess muscular effort
Tone emerging without forced air displacement
Technique serving expression rather than interrupting it

At this advanced level, you, the singers’ task is to remove unnecessary interference. The body must learn to stabilise airflow while allowing phonation to occur efficiently.

Key Takeaway

Your breating energy must be connected to tone production — not pushed into it.

2. Reconnecting Abdominal Breathing to Sound

Abdominal breathing alone is not sufficient. Many advanced singers over-breathe or over-control.

Activity One: Silent Coordination

Inhale allowing the lower abdominal region and lower ribs to expand naturally (balloon in straw method).
Suspend briefly without locking.
Release the breath on a silent ‘ah’ shape – but without phonation and relax.
Observe whether your abdomen collapses suddenly or releases gradually.

The goal is measured release, not collapse. You have learnt control in previous lessons, so now, you will learn to use that control further.

Activity Two: Adding Tone Without Air Displacement

Now introduce tone:

Inhale as before.
Begin phonation gently on a sustained vowel (e.g., ‘oo’ or ‘ee’).
Monitor your diaphragm and abdominal wall.
Your abdomen area should remain responsive, but not rigid.
The sound should begin without a burst of air.
Remember, inhale with your diaphragm and area up/out. Exhale with your diaphragm and area down/in.

If you feel the air pushing outward or escaping before tone stabilises, reduce your breath intake.

At this advanced level, more air is rarely the solution.

3. Warm-Ups Without Excess Air

Many singers mistake airflow for support. Warm-ups in this lesson must emphasise economy of air.

Exercise: Controlled Onset on a Single Pitch

Sustain a comfortable mid-range note with phonation.
At this stage, it goes without saying that with breathing in and out, comes before practising any phonation. Begin the tone after breathing out, with minimal air leakage.
Maintain consistent resonance without volume increase.
Sustain that control for 6–8 seconds.
Repeat on adjacent notes.

Focus on:

Stability and control
Even airflow
No visible chest collapse
No abdominal thrust

Key Takeaway

You would or should not begin a conversation with a sharp intake of breath and then speak on top of the full of air lungs. Try it, you will sound strange. By the same token, you do not take a sharp intake of breath and then sing. You will begin relaxed and use the relaxed or relieved breath to begin singing. Start how you mean to continue and the sound will be of a better quality.

Exercise: Semi-Occluded Coordination

Lip trills or light ‘vv’ sounds are useful here.

Glide gently through a five-note scale. (ahhh…)
Maintain a consistent controlled airflow.
Ensure that your abdominal engages and adjusts gradually, not abruptly.

This trains the body to regulate breath automatically.

Key Takeaway

At this advanced level of practise, you should have been doing your breathing exercises to warm up, before singing and so on. Have you noticed that you are breathing from your abdomen? If so, great! VSL has done what we set out to do. Not just show you how to be a singer, but show you how a singer immerses into that role.

4. Integrating Learned Skills

Now begin layering previously learned elements:

Breath awareness
Support regulation
Vowel shaping
Diction clarity
Resonance placement

Choose a simple phrase from repertoire.

Sing it at 60% intensity and observe:

Does your breath remain stable and controlled through consonants?
Does abdominal support disengage at the end of phrases?
Is there excess air on initial vowels?
Does resonance shift when diction increases?
Are you engaging your Singers Alphabet knowledge with ease?

Reduce your tempo if necessary. Coordination improves through slow, conscious repetition.

5. Practising for Integration

Advanced coordination develops through deliberate repetition. We hope that we have stressed the need for practise enough.

Structured Practise Model

1: Isolate
Work briefly on one element (e.g., breath stability).

2: Layer
Add tone production.

3: Integrate
Add diction (singers alphabet) and dynamic variation.

4: Project
Add your forward voice for the professional touch.

5: Apply
Apply your skills within each musical context.

Repeat regularly until your body no longer treats these as separate tasks.

6. Regular Exercises to Tune the Voice

Daily coordination exercises should include:

Sustained tone with a controlled abdominal response
Gentle scale work maintaining consistent controlled airflow
Controlled dynamic variation without breath collapse
Phrase singing at reduced volume before full intensity

The purpose is not vocal strength, but responsiveness.

Over time, your voice becomes:

Efficient
Stable
Flexible
Expressive without force

7. The End Result

When coordination is achieved:

Your breath and sound are inseparable.
Your abdominal engagement responds automatically through muscle memory.
Warm-ups feel efficient, not effortful.
Your tone begins cleanly without air push, yet never without air present.
Your vocal expression becomes easier.

Key Takeaway

As an advanced singer, you no longer ‘apply the technique.’
The technique operates as a unified system.

Coordination is not achieved in a single session. It is reinforced through consistent, mindful practise. Your voice must be trained to respond automatically under musical demand.