How To Know If You Can Sing – Proper Singing Posture

— How to know if you can sing – Proper singing posture.

I don’t know about you but I love to sing. But the question is, “Can anybody sing?” Well the resounding answer to that question is simply, “Yes!”

It might surprise you to hear that only 1% of the general population is tone deaf. That means that most people can tell the difference between different notes. And that means that even if you can sing a song, that as long as you are not tone deaf, then you can improve your singing. This also means that virtually everyone can learn to sing and learn to improve their singing.

You will need time to practice and be patient with your practicing

The important point to remember is that it takes time to learn to sing. But you can learn. You will firstly need to boost your confidence and combat any psychological barriers that you had about singing. Once you are confident with your voice, you will relax more and will be able practice your singing and maybe will be able to sing in front of people.

Remember that it takes time to learn to sing. Your vocal chords are like a muscle. You need to exercise your vocal chords and over time, your singing will get better. If you practice singing for a short time each day, then you will see improvements in your voice over time.

Try to work out your range

You will need to work out what your range is. Just because you can’t sing higher than a certain note or cannot sing below a certain note does not mean that you cannot sing. Everybody has different ranges in their singing. Just by singing to different songs, you will be able to work out what your range is. Once you have worked out your range, choose songs that sing in this range and these are the songs that you can sing to confidently. But also remember that with practice everyday, it is possible to break through that range and maybe increase it. All you need though is practice and dedication to singing frequently.

Maybe you will find vocal coaching helpful

It may benefit you to have vocal training. If you find a good course, then you will learn all the techniques such as how to pronounce your words when singing or how to breathe and ultimately how to control your vocal chords. If you are serious about learning to sing, then it is recommended that you get proper training. Having vocal instruction can help you to improve your singing without ruining your voice or throat.

But if you do not want a vocal coach or do not have the funds to pay for a vocal coach then don’t despair because there is so much information about singing on the internet.

So in answer to your question, “Can anybody sing?” there is hope for you! Almost anyone will have the ability to learn to sing. And the ways to improve your singing is time and dedicated practice.

I hope this article will give you more confidence in your singing. The above steps sound simple enough but they can really help you to discover what kind of singer you are.

In a world overwhelmed with information, everyone is looking for that one singing tip that will help them gain a little higher range, or produce a more pure tone. Whether you are a novice vocalist looking to improve and develop a budding voice or an experienced vocalist striving to set his voice on a higher level, everyone is searching for that one unique singing tip that will work wonders on their voice.

In that rampant search for the “new” and “better,” it is sometimes easy to overlook the fundamental, basic singing tips that really do do wonders with your voice. One of the most important aspects of singing is comprised in one little singing tip that should never be overlooked.

That simple singing tip is: Posture. Proper posture is one of the most essential singing tips because it affects so many aspects of the body. We can all remember as middle-school students being reminded incessantly by a well-intentioned teacher to “sit up straight,” or by our mothers at the dinner table reminding us “not to slouch.” There is much wisdom in those words, especially for a vocalist.

Posture has multiple affects on one’s body. The alignment of the spine can affect the hip joints, shoulder and neck joints, which in turn affect the strain placed on the muscles of those joints and how that strain affects the muscle adjacent to it and the joint it connects to… and well I think you get the picture how posture has a “domino affect” on the rest of the body. For a vocalist, it is this “domino affect” that can either hinder or help improve upon the quality of one’s voice.

The affect that proper posture can have on one’s voice is profound. Just think about the affect improper posture, or “slouching” has on your body. When one slouches, the shoulders are pushed forward. The torso hunches over forward causing the rib cage to compress the stomach and other digestive organs. For a vocalist, this compression limits the space necessary for complete expansion of the diaphragm.

40 thoughts on “How To Know If You Can Sing – Proper Singing Posture”

  1. Once good technique is established, range is then gradually and
    methodically increased, one note (i.e., semitone) at a time, typically
    through short, simple exercises that use a very small range and intervals
    of only one half or full step at a time. A student and teacher team should
    then examine the reasons for this loss of balanced, steady, free-flowing
    tone and attempt to make adjustments to and improvements in the student’s
    technical execution of that note before moving on.

  2. To learn more about blending the registers, please read Blending the
    Registers in Good Tone Production For Singing, as well as Register Breaks
    and Passaggi in the Glossary of Vocal Terms and the article on vowel

    I have also just written an article on Eliminating Register Breaks that
    offers more explanation of the possible causes of register breaks and
    practical tips on how to even out the singer’s scale.

  3. Many of the same exercises described above and below can be used to develop
    tone in all areas of the range. My suggestion is to always work on
    improving the tone of the voice note by note, not attempting to sing a
    broad range of notes over and over again hoping for different results
    without making any real changes to technique. Each note of the scale should
    have an acoustical balance that creates a pleasant, fully resonant sound
    and ease of production (e.g., no discomfort or feeling of tightness or

  4. Within a few breaths, they find themselves feeling lightheaded or dizzy
    because their poor breath management has led to hyperventilation. I
    sometimes have to remind my students that they can either breathe less
    deeply for short phrases, or choose not to take a breath between two short

    For students who are struggling to use their breath correctly, I will
    sometimes have them go home and practice sustaining a note – a comfortable
    pitch for each individual – at a full volume (not shouting, though) for as
    long as they can.

  5. I warn them not to allow themselves to get to the point where they feel as
    though there is absolutely no air left in reserve because they will
    inevitably feel the desperate need to inhale loudly and quickly at the end
    of the sustained note – to gasp for air – which means that they are not
    learning to control their breathing well enough, as the whole body will
    often tense up while taking the next breath. Oftentimes, this exercise will
    help the singers stop pushing air out faster than is necessary, and they
    quickly learn to use their air more sparingly.

  6. Just as a serious athlete would never push his or her body to its physical
    limits without first stretching and loosening the muscles and joints, a
    singer should never put his or her vocal apparatus to the test without
    first ‘stretching’ it. A proper warm-up involves gently and systematically
    preparing the voice for the demands that are about to be placed on it.

  7. Daniel Samuel

    Aspirin and other analgesics are frequently prescribed for relief of minor
    throat and laryngeal irritations. Besides masking pain – an important
    indicator of underlying physiological problems – aspirin and ibuprophen can
    make it easier to have a hemorage on the vocal folds.

    The use of analgesics, including topical sprays, is extremely dangerous and
    should be avoided. Pain is an important protective physiologic function,
    and masking it risks incurring significant vocal damage, which may be
    unrecognized until after the analgesic or anesthetic wears off.

  8. Gabriel Peter

    Until more recently, there has been little mention of the vocal fry
    register in singing pedagogy (and especially in classical circles) for
    several reasons. First, not everyone can access the pitches that lie below
    the chest register. (It is more common for lower voiced males – basses – to
    sing pitches low enough to be considered to be within the actual vocal fry

  9. Gabriel Peter

    Many feel as though it is merely a lower extension of the chest register.
    (This is likely the case in medium and higher voices who cannot access this
    lowermost register.) Thirdly, vocal fry is not considered by all to be a
    legitimate, useful or pleasant performance timbre, (although it is often
    added as a desirable vocal effect at the beginnings of phrases in
    contemporary styles of singing).

  10. Every pair of adjacent notes – every step – has an identical frequency
    ratio, meaning that there are equal frequency ratios between successive
    notes, derived from the equal division of the octave logarithmically into
    twelve segments. Any given note’s frequency, when doubled, produces a note
    an octave higher, while the converse is also true. For example A880Hz (A5)
    is one octave higher than A440 (A4), and A220Hz (A3) is one octave lower
    than A440Hz (A4).

  11. Equal temperament is a system of tuning – arguably the most common tuning
    used around the world – in which the octave is divided into twelve musical
    intervals of equal size (equal tempered semitones).

    In scientific pitch notation, the note ‘C’ marks the beginning of each
    octave, so the D above middle C is labeled D4, the whole note above that
    E4, etc.. The B below middle C is part of a different octave – the third
    octave – and is labeled B3. The whole note below that is A3, etc..

  12. Hamilton Gail

    Technically, “Alto” is not a voice type but a designated vocal line in
    choral music based almost solely on vocal range, (i.e., without regard to
    factors like tessitura, vocal timbre, vocal facility and vocal weight).
    (Only in classical music is this subtle distinction between the terms
    contralto and alto made.) The range of the alto part in choral music is
    usually more similar to that of a mezzo-soprano than a true contralto.

  13. Hamilton Gail

    Coloratura contraltos, who have light, agile voices ranging very high for
    the classification and atypically extensive coloratura and high sustaining
    notes, specialize in florid passages and leaps. Given its deviations from
    the classification’s norms, this voice type is quite rare.
    Whenever compositions split the alto line into two parts, the Alto 2 part
    is generally sung by mezzo-sopranos, and the Alto 1 part is usually more
    suitable to a contralto voice than a mezzo-soprano voice.

  14. Until the baby is sleeping better – for longer stretches at a time – the
    new mother may find that her singing tone continues to be breathy and her
    onsets less than precise. (I have always found that co-sleeping with my
    babies, right in my own bed, has allowed me to get much better rest because
    I can nurse them before they completely awaken, and I don’t have to get out
    of bed to do so.

  15. Life with a newborn can be extremely exhausting due to consistently
    interrupted sleep cycles long after recovery from a marathon pregnancy,
    labour and delivery. As mentioned earlier, physical fatigue can lead to a
    lack of energy to give to vocal tasks. I can simply nod back off to sleep
    while the baby is still eating, and the baby remains, essentially, asleep
    for the entire night.)

  16. While this vocal unsteadiness may be unsettling and frustrating, this is
    part of the process of strengthening the weaker cricothyroid muscles and
    allowing the stronger, overdeveloped and overused ones (the
    thyroarytenoids) a chance to rest. The weaker cricothyroid (head voice)
    muscles cannot compete with the stronger chest voice muscles. While the
    chest voice muscles are being asked to ‘sit it out’ for while, the head
    voice muscles have a chance to do some ‘weight lifting’.

  17. Habitually using chest voice dominant muscular function higher in the scale
    (above the primo passaggio) will cause this muscle group (the
    thyroarytenoids) to become overdeveloped, while the head voice muscles (the
    cricothyroids) remain underdeveloped in that same part of the singer’s

  18. Tannen Deborah

    Make your diction better. Ensure that you pronounce your lyrics correctly
    so that your audience can understand the lyrics. Opening your mouth wide as
    this would help you to better your diction. Master your song word by word
    and have the proper pronunciation.

    This is a good platform to boost your confidence as you get to entertain
    the audience and practice your singing.

  19. Tannen Deborah

    A quick reminder about the importance of getting your voice ready. In the
    same way that professional athletes warm up before any race, a singer must
    do the same to get the best performance. The right techniques involve
    getting the air flowing freely around your body. Your muscles should be
    relaxed and ready for action. A little bit of preparation will give you the
    best sounding voice whilst preventing any possibilities of damaging your
    vocal cords.

  20. Tannen Deborah

    Just like if you were going running, and stretched your legs beforehand, if
    you are going to be using your voice, the muscles, like the vocal chords,
    need to be warmed up. The vocal chords, thin small muscles, which vibrate
    when air goes through them, need to be fit as these vibrations have
    different speeds, and the stronger and fitter they are, the easier these
    shifts in speed are handled by them.

  21. Singing is a work out on its own hence it releases endorphins that help
    reduce pain and it also motivates the immune system to fight harder and in
    a more effective manner.
    Singing helps fight off anxiety, depressions and anger issues.
    Singing is a sort of mood enhancer which helps in uplifting the spirits and
    in general being in a happier state of mind.
    It helps boost our creative side of the brain.

  22. It also helps form a bond between various cultures and people which in turn
    help generate a sense of community and well being between people.
    It makes you more social and helps you meet new people as well as different
    Singing helps bring people across the globe together through the love of
    one thing alone and that is music.
    It helps bring about poise and polishes presentation skills.

  23. It helps hone the brain by improving concentration and memory.
    It helps in expressing your inner most feelings without any fear of
    It is a great form of therapy and meditation as well.
    Singing helps enrich your speaking voice with a warm rich tone, thereby
    improving the quality of your speech.
    It also helps not only vocalizing your emotions but also enacting them out.
    You become a good actor with singing.

  24. Don’t get disappointed if you don’t reach your high notes in the first try,
    it takes years of practice to excel the high notes, so remember to keep

    • It is imperative to have a professional attitude when invited to sing in
    a recording studio. Be on time, or even be early, it will add to your
    benefit, people who work in the orchestra are always early, tuning their
    instruments and reading their notes.

  25. Learn up all the parts of the song if possible as sometimes you may be
    asked to sing someone else’s piece and if you know most of the parts you
    will be viewed as an important asset and be called again for future
    assignments. In case someone is going off-key, don’t be the one to point it
    out, snitches are never popular or liked, leave it to the manager or
    assistant to point out the mistakes.

  26. • Being a team player is a very important aspect of recording studio
    singers, mostly you will have to work with other singers, some of whom you
    may have never met before, it is important that you get on well with
    everyone and not be a trouble maker or seeker.

    • Learn how to use a microphone from before, some syllables are tricky and
    can cause minor explosions of sound like p’s, s’s and f’s come out a bit
    funny, so know how to sing into a microphone and remember to back off on
    high notes.

  27. Thompson Dorothy

    Knowing how to sing is a tremendous ability to have if ever you’re in a
    regional music group, want to karaoke, sing in a school choir, or you want
    to audition for programs along the lines of The Voice. Receiving voice
    lessons from a master can be very really expensive, so what are the
    alternative options if you truly want to learn to sing better?

  28. Given the chance to compare anyone would prefer to have a computer karaoke
    system rather than any other karaoke system. The basic reason for this
    preference is that a computer is more compatible and it has all that one
    requires not only to play music but also to burn CDs, store a huge number
    of songs etc.

    The components meant for a computer have become so well advanced that it
    can be fitted into the tiniest mobile that one carries along wherever they
    go. Even if you don’t have a PC or a laptop you need not worry because
    music will follow you wherever you go.

  29. If the karaoke system has a slim appearance like that of the remote it
    would look awesome and that’s what everyone would like to have. No one
    would like to have a system that is huge and ugly to look at. Whatever we
    buy in the market we always look for the best, then why compromise on a
    karaoke system?

    Who would like to sit at home alone and listen to party music? Similarly
    who would like to stay at a party and prefer melancholy music? So the best
    friends at these times are the computer or the iPod or the mobiles that
    have been introduced in the market these days with all the powers of the

  30. If you are a shy person you would prefer to stay by yourself when you are
    practice to sing with the karaoke music. Or you could be a fund loving
    person and would like to share your talent with others. Even in these times
    the computer is a faithful companion.

  31. Let not these worries worry you, take a few tips on how to learn to sing
    and feel the difference. First of all one should remember that if we spend
    our time pleasing others we are not going to be pleased. Similarly, if you
    are planning to sing a karaoke tune, make sure you choose the song that you
    love the best rather than what you think the audience would love best.

  32. Varese Edgard

    Protect your vocal chords:

    The third important factor is to protect your vocal chords. If you will
    notice, most singers will stay away from cool water and juices, ice creams
    etc. These would cause dryness in the throat which would affect the vocal
    chords and result in poor performance. Apart from abstaining from these it
    is advised not to shout aloud, a proper diet and proper exercise should be
    maintained. Anesthetics should be avoided for they could damage your voice.
    If you have a sore throat please don’t attempt to whisper because
    whispering causes more damage than shouting.

  33. Varese Edgard

    Warm up excersises:

    Finally warm up exercises should also be followed. This should last for a
    minimum of thirty minutes before the main performance. This warm up
    practice is another reason you should learn to know how to sing like a
    professional. Warm up practices are simple, just a bit of humming to begin
    with you can practice with ‘oooohs’ and ‘ahhhhs’. This would help tone up
    your vocal chords and prepare them for the main show.

  34. Varese Edgard

    It’s the fact; everyone has fun with karaoke singing. Not everyone is
    gifted with a good tenor or soprano voice. No doubt we would love to have
    that voice, but if it was not to be, it can’t be try as we might. The
    karaoke has today come as a dream to such people who love to sing but are
    not able to sing or just feel shy to expose their singing for fear that
    they may be mocked.

  35. The great part about karaoke machines is that anyone can have one. There’s
    no set guidelines as to who should and shouldn’t get a karaoke machine, and
    they can be a great addition to anybody’s home. Karaoke machines come in a
    wide variety of shapes, styles, colors, and forms. Nowadays, you can even
    buy a special software to turn your computer or game system into a karaoke
    machine. This saves you from having to get an extra piece of electronic
    equipment that just sits around your house.

  36. You may never develop the calibre of talent that could make you a
    world-class singer, but you will improve with time and practice. Then
    again, you may prove to be a “diamond in the rough” who ends up surprising
    everyone, especially yourself, with your potential.

    First of all, everyone starts from different places vocally. Some singers
    have more natural talent and better technique than others. Also, changing
    vocal habits is a process, and some singers have more unhealthy habits to
    reverse than others.

  37. Second, every singer’s voice develops at a different rate depending on how
    quickly he or she learns to apply the concepts being taught and how much
    self-discipline he or she exhibits. Your dedication to learning will affect
    how quickly you develop. Some students practise daily between lessons and
    come to lessons well prepared with lots of questions, and they tend to
    progress at a very steady pace. Others take a more relaxed approach to
    learning, and thus develop a little more slowly.

  38. Also, progress will happen more rapidly with weekly or even bi-weekly
    lessons, but sometimes a student’s financial position must dictate how
    frequently and for how long he or she can take lessons. Improvements can
    still be made with lessons taking place less often than once a week, but it
    will likely take longer to see significant changes.

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