By Guest BloggerBill Kernodle

Solo instrumental playing is often the hardest performance type of all and can occur in many contexts. Playing solo with no other instruments or playing a solo within a piece of music in the context of a band or orchestra. Both require the same techniques, focussing around the necessity to be knowledgeable about the music you are playing as well as being well rehearsed.

It is obvious that some instruments sound more plausible when played on their own. A piano and guitar have the capability of being able to play chords and melodies together, therefore accompanying themselves. Other instruments, such as violins and flutes are more suited to be played with another instrument but this can be overcome. To prepare for a solo performance takes some planning and preparation.

Study what pieces are available to your instrument. Don’t play a piece of music simply because you are familiar with it. For example, cellists have excellent solo Bach concertos to pick form, while anything form folk music to Paganini or Russian dances sound excellent on an unaccompanied violin.

Rehearse your music. As you will be the only person playing all attention is on you. You must know your piece.

Learn more about the venue and setting you will be playing for. A jazz guitarist at a small restaurant will probably not need any amplification. A solo violinist playing at a busy wedding meal however will definitely need this.

Look presentable and confident. It is important to look the part as well as having a good posture. No one will want to watch someone cowering in the corner, while everyone will be impressed by an impeccably dressed, confident player (even if you do make mistakes)

Solos with a band or orchestra

This situation will require the same rules as above but with more focus on one section. Obviously a confident sax player who stands while playing their solos will be taken more seriously than one who sits behind the music stand but knowing the piece is imperative.

Solos often occur in jazz performances and classical cadenzas. A jazz solo performance will require the player to learn how to improvise correctly around the keys used in the piece. A classical cadenza however requires the player to read the music, and make slight alterations if they so wish. In both cases, it is the performers’ time to shine and it is important to be prepared.

- Learn scales and chords if improvising around a jazz piece.
- Learn the cadenza off by heart if playing a classical piece. This way you can concentrate on what you are playing and change portions of the music if you so wish.
- Always stand if possible when playing your solos. This allows the audience to focus in on what you are playing and the ability to hear you will become easier. It is also easier for your breath and tone production.
- Try having a few full rehearsals with your band or orchestra. This will allow you to prepare for your cues and therefore know exactly when you will be playing.

It can be very rewarding to play a good solo or to perform as a solo musician. Practice these tips for solo musicians and you will have more confidence with your solos in no time.

Learn to read music How to choose your first musical instrument. Articles, tips and lessons on how to sing, play guitar,piano or band. Overcome stage fright. Write your own songs! Learn to play music. Be a better musician. http://www.simplemusicsecrets.com Learn music.

Article Source: http://EzineArticles.com/

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1. Become a Great Musician

By Guest Blogger Nehal Parikh

Becoming a great musician involves so much more than just learning a bunch of songs, theory, scales– so much more than just music. Becoming a great musician is about learning who you are as a person.

A great musician must face some of his greatest fears, and recognize all of his insecurities.

The reason great musicians have gotten where they are today is because of perseverance, not because of talent. Talented musicians go unrecognized every day.

The reason great musicians can touch your soul through their music is because they can emote through it, not necessarily because they play everything perfectly.

The reason great musicians exist is because they love what they do. They love making music, and they live their lives through it. If they didn’t, they would never be able to face all the hardship involved.
What great musicianship is, more than anything, is a journey into personal development. You can learn your music lessons from a book, or from a teacher, but only you can discover for yourself what kind of person you are, and express that personality through music.

It doesn’t matter if you are perfect, or beautiful, or confident, because people don’t care about that. People respond just as emotionally to insecurity, to neediness. Every person has insecurities, imperfections, and the secret is to get comfortable enough with that aspect of yourself to where you can broadcast it to thousands, even millions of people without an ounce of shame. This is one aspect that every great artist has, it’s why they can make people feel what they feel.

Need proof?

I have recently been reading the book On the Record, by Guy Oseary, which interviews over 150 of the top music professionals to date. Here are some of the responses to the question, “What qualities helped you to get where you are today?”:

“I think they’re [my] defects really. My attention span is really short, and I get bored fast.”- Andre 3000

“I have a lot of good qualities, but the ones that got me where I am today probably lean toward the needy and the angry!”- Fiona Apple

“Insecurity. It’s hard to get anywhere interesting without it.” – Bono

See the common trend? All of these great artists are so comfortable with who they are, they recognize their insecurities and they use them to their advantage! They put the good and bad of themselves into their music, and that’s what makes them great.

The key is that whatever your personality may be, you know it inside and out, and you can present it through your music.

Realize that just learning music isn’t going to make you a great musician. It will make you good, it might impress some people, but it’s not going to change lives, it’s not going to warm hearts, and it’s not going to make you be remembered.

“Okay…so what do I need to do?!”

It’s simple, really. Just open your mind. Open it to new concepts, new ideas, new perspectives. Start focusing on your belief in yourself, start thinking positively. Take inspiration from things around you, be open to new lessons, to stepping out of your comfort zone.

People always seem to be looking for answers, for shortcuts, for tips and tricks on “how to become a famous musician”, or what techniques are going to make them the “best”. In the end, great technique barely takes you halfway there. Your desire is what lets you live your dreams. Take time to enjoy yourself, to have new experience, to learn new lessons, to take a break! Work incredibly hard, but always keep in touch with your emotions. The reason so many people can’t become great musicians is because they let their emotions best them, they let insecurities take over them. Instead, you should channel them through your music. Find out who you are, and let people see that, they will love it.

Enjoy this article? Find many more like it at my website, Musicians-Make-It.com.

-Nehal Parikh

Article Source: http://EzineArticles.com/

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A view exists that performing and practicing music are two different activities. It is true that learning the basics of music is an exercise which is important and without this, true performing cannot be undertaken to the highest ability. However, the relationship between performing and practicing is deeply intertwined and at a certain level the distinction between the two almost disappears.

At a certain stage in an individual’s musical career, practicing morphs rather than using them as a learning experience will prepare the performer for the performance. It is at this point, that performing becomes a larger learning experience.

There are countless reasons for this. One reason is the aspect of performing will give the performer a great energy kick that is experienced when performing to a live audience. The performer can feel the energy of the audience, which enables the performer to reach new heights of artistic achievement.

Once the performer has experienced the thrill of performing for a live audience, that thrill then becomes clear in every practice session which follows and the energy of the live performance. The true aim of developing mechanical and musical ability will become obvious and the focus in practice sessions will be changed. It is at this point that performing becomes the true learning experience and every practice session becomes preparation to concentrate and improve that experience. This will mark the difference between musician and artist.

The artists will easily find new ways in which to practice and bring live performances closer to the pure pleasure of musical expressions in every way. The performer will bring different and assorted disciplines such as psychology, exercise kinesiology and acoustics with other artistic disciplines such as theater and dance into the practice session to develop new areas of experimentation.

By doing this the artist-musician will achieve greater control of the instrument in which they are playing when it comes to their overall performance. The artist will also find new ideas and ways of practicing. There will be a gradual transformation of the musician in a creative and fulfilling way so it optimizes the live performances before an audience.

The true transformation from musician to artist is this, and during this combination the artist will surely be able to develop and find personal, unique and creative techniques of expression. As this progresses, the artist will become to realize that their concentration is largely improved with ease of performance and a greater synchronicity of body, mind and “soul” as professional musicians like to call it.

To some individuals, this may sound complicated. However, music is something which an artist enjoys. Practicing is in effect, playing music, which a musician should always enjoy for his own sake. Practicing will transform into a more rewarding and fulfilling experience and one of the most important steps in reaching such heights of artistic achievement will be reached.

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By David Braybrooke

INTRODUCTION -

Having studied pianoforte technique for a period of 15 years as well as sitting numerous examinations and working as a private music teacher, I can categorically state that technical exercises are an essential part of a good pianist’s everyday practice session. They keep one’s fingers nimble and tend to promote a smooth, even tone when playing.

However, when I started working as a professional musician playing the keyboard, I did notice a certain wooden quality to some of my performances of jazz standards and popular Broadway tunes. As I had been classically trained in Pianoforte techniques I found it difficult at times to free up my skills sufficiently in order to tackle free-form compositions.

Looking from a broad musical perspective the pros and cons of technical exercises are:

PROS -

. Keyboard fluidity of tone is maintained. Technique books such as “Czerny’s School of velocity” provide 100’s of solid technical exercises that promote smooth execution when performing scales and melodic runs.

. Good technique is promoted in many areas through the practicing of specific exercises. Skills learned are transferable when one is performing complex musical works as many of the greatest composers such as Beethoven, Mozart, Haydn, Bach, Chopin, Debussy, Rachmaninoff and others wrote complex works that were built up through advanced technical-based passages; no matter if one is playing a sonata, piano concerto, rhapsody or something relatively simple such as a waltz or nocturne, good technique is an essential in order to convincingly perform many works.

. Having good piano technique is a bit like physical fitness for an athlete. It allows a musician to perform at a consistently high level and reduces the risk of tiredness or repetitive strain injury (R.S.I.) if one is playing for long periods.

. Good technique allows one a greater versatility when playing.

CONS -

. An established technique can at times promote a conservative and orthodox state-of-mind in some performers; when one attempts to play jazz compositions or in more modern style such as that found in atonal and impressionist compositions, one sometimes has a tendency to be a bit stiff in execution. Depending on the style or school of music attempted, appropriate technique may have to be tailored and necessary adjustments made.

. Some technically proficient pianists tend to lack originality when playing; they may be pitch perfect and smooth yet substandard in musical ingenuity and artistic flair.

. As technical exercises are inclined to be a bit on the dry side and quite boring to master they are often seen as being the least enjoyable part of learning to play the piano.

CONCLUSION -

As with most disciplines it is important that one establishes a solid foundation in any skill that is learned and it is hard to deny that good piano technique will give an individual a solid practical grounding when improving one’s overall musicality; nothing will improve the standard of overall performance like a solid technique.

To read more articles, on a variety of topics, by the same author, please visit: http://fatherspirit-mydailybread.blogspot.com (My Daily Bread – ‘Telling’, not ’selling’!)

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By Diana Christy

THE EARS and fingers feel orderliness in the arrangement of tunes long before we ourselves are conscious of any logical arrangement of the tones or the need to learn how to play scales. Since the ear player more or less feels his way along, rather than rationalizing it, he is able to progress far without any intellectual effort. The time comes, however, no matter how good he may be, when he reaches the limit of this easy development and his progress in music slows down or completely stops.

Few ear players progress beyond this point; it is too tedious for them to begin anew with the rational theory of music and develop it to the level which they have attained in performance with so little effort. Those who learn to play by note carry more or less of this theory right along with them as they improve their performance. Their playing is both developed and limited by intellectual manipulation.

The most efficient way of learning to play an instrument obviously lies somewhere between the two. So it is necessary to learn how to play scales. That is, the ear player should rely upon his ear as far as possible; but at the same time he should be conscious of the relationships which he is hearing and should use his knowledge when his ear fails. How valuable this ability is will be apparent to the reader if he will take the trouble to understand the system of scales.

Tonic

The basis of all the music which the ear player is likely to attempt is in a certain key; it gets its effect largely from the relation of the tones to the tonic or basic keynote. You have probably already attempted many tunes in different keys. In order to gain facility in doing this, it is well worth while to practice how to play scales. This should not be continued to a point where it becomes drudgery; but playing scales is fun and makes progress in learning new tunes much faster.

Half-steps

The piano is constructed in the key of C. That is, if you play all the white keys on the piano, you are playing the scale of C. Begin on C and play up or down the next seven tones and you will recognize the familiar scale. The characteristic of the major scale is that the half-steps come between 3 and 4, and 7 and 8, where there is no black key. All the other intervals are whole steps. Thus, the C scale runs:

C D E F G A B C

1 2 3 4 5 6 7 8

½ 1/2

Flats and Sharps

When a tune requires other notes than those in the scale, we call these tones “accidentals.” When the tone is lowered and uses the black key to the left, it is called a flat; when the tone is raised and uses the black key to the right, it is called a sharp. Thus, G# and Ab are the same key. All the scales except C, however, require the use of one or more black keys. These keys are not considered accidentals then, since they belong to the scale; instead, if the b or # is removed, the tone is considered an accidental, since it is foreign to that scale. Now, if we play the scale of D, it will run:

D E F# G A B C# D

Notice that the scale of D has two sharps: F# and C#.

Now you know how to play scales and can play scales beginning on any note you wish. Do not figure them out by steps and half-steps but trust to the ear to tell you what the next note will be. You will find that the ear soon develops a fine discrimination and is able to determine whether the next tone is a half or a whole step. It is of the utmost importance that you let the ear do the work; only by this procedure are the scales helpful in your ear playing.

Learning how to play scales is an important step in your training as a player of music.

More Tips & Tricks on Playing Piano Scales!

If You’ve Ever Wanted Free Piano Music…

Visit Our Website: http://www.freepianomusic.net

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By Guest Blogger Skyler Jett

If you are a singer, or an aspiring singer then you probably have a decent voice already. However you need to constantly improve, and practice your technique in order to stay on top of things. After all the songs aren’t going to sing themselves, as far as how to improve your singing voice there are many methods. Just keep in mind it’s not something that will happen quickly.

First of let’s take a look at what you did to develop your voice in the first place. You probably sang along with songs on the radio, or songs you had on CD. You constantly practices, then practiced more, and finally practiced even more. When everyone else said you were doing too much and going overboard you just kept practicing. This has lead you to where you are now. The method for improving yourself is the same, practice.

If you want to improve your singing voice then start with the basics. Do the basic vocal exercises you practiced when first starting out, and then move onto the more advanced exercises. After that start singing along with songs again. Try the simple ones first like when you first started out, and then move on to the more complex songs.

Try to match the singers pitch, and hold the words as long as they can. Many people forget to do these basic steps when trying to improve. They think because they got this far they do not have to go over the basics anymore. This is a very deadly mistake in any industry, but especially singing. Regardless of what you do for a living, if it’s a specialized trade you need to keep practicing.

Going back to the basics is just one way to improve your singing voice. Other ways may be to take more advanced lessons from instructors, although this will be costly. Another thing you can try besides singing along is vocalization exercises. Try tones and pitches you aren’t use to singing and improve yourself in these areas. You never know when it may come in handy.

Of course no matter what you do if you don’t have the breath to back up your singing there’s really no point. In this regard you should do exercises to improve your lung capacity, and endurance. Running, jogging, and any kind of exercise that improves your lung capacity will serve this purpose. It’s important to consider what forms the foundation of the skill you are trying to improve. In creasing the base attribute of the skill will improve the skill itself.

In closing learning how to improve your singing voice isn’t hard, in fact it’s quite easy; just do what you did when you started out. Always rehearse the basics so you have a constant handle on them. After that trying things you haven’t done before, you may discover you have a talent for singing notes you never thought you could hit. Never be afraid to do this, after all one does not learn, and grow if one does not do something they have never done before. Don’t forget to take care of yourself as well, keep those lungs healthy, and improve their capacity, otherwise your singing won’t last very long.

Skyler Jett is a prolific singer, songwriter and producer. He has worked with many top musicians, such as Stevie Wonder, Celine Dion and Aretha Franklin. Skyler started singing in church and fell in love with jazz and R&B at an early age. Find more tips on how to improve your singing voice at http://howtosing.org

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Rhythm and dynamics may be two different things, but both of them play a part in affecting the mood of a song. Sometimes, the structure of a song is made up of a myriad of varying rhythms and gradually transforming dynamics that it can represent and even heighten the emotional reaction of any person listening to the piece. If you want to know how rhythm and dynamics contribute to the overall mood of music, then read on.

Rhythm

In order for you to understand how rhythm can affect a certain musical mood, it’s important to know what it is first. Rhythm is basically a musical piece’s measurement variation of its length and accentuation. In simple terms, a rhythm is simply the timing of how notes are played. It is what drives the whole essence of a musical piece to either simplicity or complication, depending on what the composer had in mind for the song. In other words, rhythm is an element of a musical piece that helps define it from other musical pieces. Along with the variation of notes and pitches, rhythm can distinguish a song so as to affect a certain mood.

Technical Understanding of Rhythm

The above paragraph may make it sound like it’s nearly the same as the definition of a beat; but in all actuality, it’s really quite different. A beat is basically the time unit of a musical piece (e.g. 3/4 beat is 1-2-3 repetitively; 4/4 is 1-2-3-4) while rhythm is a pattern of how the notes are placed within a series of beats (for example in a 4/4 beat: notes are placed in usually every 1st count of the 1-2-3-4 repetitions but you can add another note within every 3rd or 4th count). When rhythm is used to repeat a certain melody, it affects the whole mood of a song.

Dynamics

In music, dynamics is basically defined as the execution level of notes in rhythms or whole segments. In its original definition, dynamics mainly referred to the volume of a note (or series of notes). As time progressed, it evolved to incorporate various styles of playing notes such as staccato, legato, as well as velocity. Here’s a definition of some various styles of dynamics.

* Staccato is a style of playing a note wherein it’s basically cut short and separated with another short note that follows it. A musician can execute this style of note-playing over a series of patterns or randomizing and displacing them at different sections of a song. Coupled with a good rhythm, staccato can be used to build up a mood that heightens the effect of a succeeding melody (like a chorus or refrain).

* Legato is basically the style of tying two notes together wherein there is almost no noticeable gap. In contrast to staccato, which has a break, a legato is a prolonged note that follows another one. A legato can be used to heighten the purpose of a melody or to prolong a certain emotion (through the sustaining of residual overtones) that a previous segment conveyed. Used in tandem with a rhythm that suits it, it can greatly affect the mood of a musical piece from upbeat to downbeat, or vice versa.

* Velocity is the speed and volume at which a certain note travels. It’s basically defined in terms of how hard a key was pressed or how smoothly it can ascend or descend in volume. In short, it’s a style of playing wherein it affects the speed of a crescendo or a decrescendo. When used alongside a rhythmic pattern, the varying velocities of notes can heighten or smooth out the purpose of a particular rhythm to great effect.

Combinations

Musicians can also use other variations of styles such as a polyrhythm (two different rhythms that can enhance or contrast with each other to create a near-syncopated pattern) coupled with various combinations of dynamic styles. Also, you could employ a staccato-run that ends in a slow velocity of a legato-decrescendo to create various moods within a piece. The possibilities of creating new moods through discovering various patterns are endless.

Combined together, dynamics and rhythm can create a mood within a particular song that captures the attention of a listener. Much like how melodies and harmonies can shift and call your attention to a particular segment, rhythm and dynamics can greatly increase the purpose of a musical piece.

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Many people want to learn electric guitar in the easiest and fastest way possible. However, what people don’t realize is that learning an instrument is never an easy thing. It takes determination and will-power to submit oneself to the everyday task of practicing.

On the other hand, there is a certain something that can let you ignore the hard task of learning the guitar. First, this article will give you a few simple hints on what that little secret is. So read on if you want to know what it is.

A wise man once said that you have to learn how to walk before you can start learning how to run. With electric guitars, you need to learn the basics first. That means you have to study up on chords or basic notes on the guitar first if you want to learn electric guitar. Memorization of chords, riffs, and notes can be fun for you if you start learning them with songs. Learning a few songs happens to be the first step to becoming a real guitarist.

The fastest way you can learn electric guitar is through jamming. Once you’ve memorized enough scales and chords, you can have fun jamming with a friend who also knows how to play the guitar. If your friend happens to be better than you, then it’s a good incentive to aspire to be the best. As long as you know that it’s a healthy competition and you don’t end getting envious every time, you’ll definitely have fun jamming while learning.

Guitar clinics are also helpful, and not to mention fun for you since you’ll be amazed at how awesome those guitarists can be. They’ll probably start off with some shredding exhibition, but in the end they’ll let you in on some tips that can let you master a particular lick quickly. You’re there to learn electric guitar, so it’s absolutely vital that you open your ears to what the featured guitarist is saying, and not just his notes. Listening is the most important element in music, and that is the key to learning how to play.

So what’s the secret? Well here it is (if you haven’t guessed it already): It’s all about having FUN with it. If you don’t have fun while learning, then you’ll most likely have a hard time practicing the guitar. That’s why it’s called playing the guitar, not working the guitar. Fun is the most important element of creativity.

You’re supposed to be creative with the way you play, while learning the basics. Don’t treat it like it’s a job because if you ever learn how to play with that mindset, all you’ll become is a copycat and without your own soulful style of playing. People learn faster when they’re having fun, especially when it comes to music.

As a final tip for those who want to learn electric guitar quickly: Practice every day but stop if you’re fingers begin hurting too much. You certainly won’t enjoy your guitar any more if your fingers keep bleeding. Also, never be too lazy to learn new things. Learn to open your mind so you can enjoy playing music with your newly acquired electric guitar skills.

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By Guest Blogger Skyler Jett

Ever wonder how some people manage to hit those really high notes. What most people don’t realize is that your voice is your musical instrument like a violin. And like a musical instrument there techniques in learning to produce certain sounds such as those high notes. Following are some techniques in training your voice and tips on how to sing high notes.

Articulate: Use your lips, tip of tongue and teeth to be more specific in creating your words. This will help you sing better and easily. To improve on your articulation use this little technique; quickly say this tongue twister at least five times.” Lips, teeth, tips of the tongue.” Making sure that the lips, tip of the tongue and teeth are exaggerated in movement.

Feathers: To learn how to sing your full range, you may experience cracking in your voice. To solve this problem is to lighten up on the trouble notes let the notes float. The reason that the notes crack is the membranes and muscles do not have the “memory” required to do the transition you need. Sing through the breaks, do not stop otherwise a habit of doing so will develop.

Increase the air speed: Increase the air speed for the high notes, decrease air speed on the lower. The reason is this, different frequency has certain air speed to produce the best tone. Let your ears tell you that the balance is achieved. The tone should be clear pure and clear.

Tense jaws: Stretch the jaws and face before singing to make sure the jaws and face are relaxed. That is because if they are tense they will prevent you hitting those high notes. One way to tell if you are breathing correctly is that your chest isn’t moving, your belly is. Never strain or hurt your voice. It helps to drink water to keep the vocal cords hydrated.

Use your diaphragm: If you breath by using your belly muscles then you are only half of your resources. Cutting into the power that the back muscles can provide. To properly breath, fill the abdomen, feel the expansion all around including the back. Then “compress the air” which will support the vocal release. This caused by lifting the diaphragm up from the center of the body. One way to tell if you are breathing correctly is that your chest isn’t moving, your belly is.

Vowel modification: every one has particular vowels that work best for them when they sing “above the staff.” When you learn the vowels that work for you then you can practice modifying the vowels as you go up the scale.

A good way to sing high notes is to start with singing as low as possible. This allows your vocal cords to stretch so that when you go to sing the higher notes you can increase the range you can sing. Caution though don’t strain your voice when you are singing below your normal range because you voice will crack preventing you from hitting the higher notes.

An easy test to see if you are singing the high notes properly is to put a finger on the voice box in other words your larynx then you sing up the scale to tell whether if your voice box moves higher up the neck. This is the wrong way. Another way is to hold your tongue and sing, this to tell if your tongue gets in the way. If your throat hurts the best way to help that is to drink peppermint tea with lemon juice and honey.

Skyler Jett is a prolific singer, songwriter and producer. He has worked with many top musicians, such as Stevie Wonder, Celine Dion and Aretha Franklin. Skyler started singing in church and fell in love with jazz and R&B at an early age. Find more tips on how to sing high notes at http://howtosing.org

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Practice makes perfect, as the saying goes and the skill of singing is no exception to this rule. Firstly, you should practice for at least thirty minutes each day. Once you have disciplined yourself to do this, there are certain guidelines you can follow during your practice sessions.

- Find a music teacher who will teach you in the style you choose. Ask as many questions as you feel necessary and meet with your teacher to get a feel for whether he or she will be the right music tutor for you. Your tutor will help you with your goal setting and guide you in how to achieve those goals.

- Make sure you warm up properly before starting you practice session.

- Make a recording of your voice singing a certain song with the vocal exercises which you want to learn during your practice session.

- Choose your song and sing it as properly and beautifully as you can when making your recording and you will be able to use this as a reference to check your improvement by.

- Throughout your practice session concentrate fully on one difficulty. This way you will work through each part of singing, improving steadily instead of trying to solve all your frustrations at one time.

- When you feel like you need a break, take half an hour out. Sometimes the repetition can result in you feeling a bit like a robot and you will not accomplish anything when you feel this way – it will only lead to more mistakes.

- Makes notes throughout your practice. That is, notes of your progress and your mistakes.

- Cold drinks are not recommended after your practice.

There are some other important factors which affect your singing skills and one of them is smoking. This will swell and irritate your vocal chords. Your career relies on your voice, so make sure to take the best care of it. Alcohol is also not good for your vocal chords. If trying to put some volume behind your voice involves straining, then it is best to use a microphone adjusted to meet your particular needs.

The fine-tuning and conditioning of your voice, as well as your actions, definitely affects your singing. When you perform your singing, at the same time practice your body actions because singing isn’t just about what comes out of your mouth. Positive body language is essential when connecting with your audience.

If you practice regularly your singing will improve no end. Try to integrate your singing practice into your daily routine because little and often is far more effective than once a week practicing for a longer period of time. Remember, above all to have fun and enjoy yourself singing skills.

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