VOOM Vocal Academy

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VOOM Vocal Academy helps singers, choirs, worship teams, and music leaders develop healthier vocal technique, stronger choir blending, and greater musical confidence through online vocal coaching, practical training, and digital learning resources.

20/08/2026

Your voice doesn’t always need more power. Sometimes, better singing comes from learning to use less unnecessary effort. In this lesson, I’ll show you why practicing at a lighter intensity can help you develop better pitch control, awareness, and vocal coordination.

20/08/2026

“Your voice doesn’t need to sound like someone else’s. It needs to become the best version of itself.”

WHY RELAXATION IS SO IMPORTANT FOR SINGERS Relaxation is one of the most important skills a singer can develop.But here'...
20/08/2026

WHY RELAXATION IS SO IMPORTANT FOR SINGERS

Relaxation is one of the most important skills a singer can develop.

But here's the interesting part...

Relaxation can be surprisingly difficult to master.

Why?

Because singing requires muscular activity.

Your voice doesn't work by simply “relaxing everything.”

You need the right muscles to engage at the right time, while avoiding unnecessary tension in areas that don't need to work so hard.

That's the real goal:

Not complete relaxation. But efficient coordination without unnecessary tension.

Once you become better at releasing unnecessary tension while singing, you'll begin to notice a big difference in the way your voice feels and responds.

This is why I encourage singers to make relaxation and tension awareness an important part of their practice and rehearsal sessions.

Think about it this way:

Stage performance already comes with its own level of physical and mental pressure.

If you've spent your practice sessions constantly singing with unnecessary tension, that tension can become even more noticeable when you get on stage.

But if you've trained your body to remain coordinated and relatively free from unnecessary tension during practice...you give yourself a much better foundation for performing under pressure.

However, there's an important warning:

Don't confuse relaxation with becoming completely loose.

You don't want to collapse your posture, lose the engagement you need, or switch off the muscles responsible for healthy vocal coordination.

You want to be relaxed enough to avoid unnecessary tension...

while still engaged enough to sing efficiently.

So, how can you start developing this?

👉🏽 GIVE YOUR MIND PERMISSION TO MAKE MISTAKES

Before you begin an exercise, remind yourself:

“I am not competing with anyone.”

Your practice session is not a performance.

You are allowed to make mistakes.

You are allowed to sound imperfect.

You are allowed to try something and get it wrong.

In fact, that's part of what practice is for.

When you're constantly worried about sounding perfect, you can create unnecessary mental and physical tension.

Instead, focus on understanding what you're doing.

Don't make perfection the immediate goal.

Make learning the goal.

As your understanding and coordination improve, better ex*****on can develop naturally.

👉🏽 PREPARE YOUR BODY AND RELEASE UNNECESSARY TENSION

Before singing, take a comfortable breath and allow your body to settle.

Pay attention to areas where singers commonly hold unnecessary tension:

Your shoulders.

Neck.

Jaw.

Tongue.

Throat.

Don't force these areas to “relax.”

Instead, become aware of them.

Notice whether you're tightening something unnecessarily.

Your breathing should help you prepare for singing rather than becoming another source of tension.

Think of your breath as part of the preparation for coordinated singing.

👉🏽 START SLOWLY

This is one of the most important things you can do.

Whenever you're learning a new exercise, don't immediately try to perform it at full speed.

Start slowly.

Give yourself time to notice what your body is doing.

Pay attention to your breathing.

Pay attention to your posture.

Pay attention to your jaw, tongue, neck, and throat.

Pay attention to whether you're creating unnecessary tension.

When your body understands the movement and can perform it comfortably and consistently...

then you can gradually increase the speed or difficulty.

Don't rush the process.

Your body needs time to learn coordination.

THE BIGGER LESSON

A relaxed singer isn't a singer who has switched off all muscular activity.

A relaxed singer is one who has learned to avoid unnecessary tension while maintaining the coordination needed to produce the sound.

That's an important difference.

So during your next practice session, don't only ask:

“Did I sing the note correctly?”

Also ask:

“Where am I holding tension?”

“Can I do this with less unnecessary effort?”

“Am I staying coordinated while remaining comfortable?”

The more aware you become of your body...the better you can learn to manage your voice.

And remember:

Relaxation is not the absence of engagement.

It's learning to engage what you need...

and release what you don't.

❤️ NE🎤
HAPPY SINGING❤️
VOOM

19/08/2026

Why does your voice crack when you sing?

A vocal crack doesn't always mean your voice is weak or that you need more breath or power. In this lesson, we explore what can cause vocal cracking, how pitch, vowels, pressure, vocal weight, and coordination can affect it, and how to use your ear to understand what happens before the crack.

Learn to investigate your voice instead of fighting it.

19/08/2026

Don’t sing to impress people. Sing to express, connect, and communicate...✍🏽

WHY YOU RUN OUT OF BREATH WHILE SINGING LONG PHRASESOne singer recently mentioned this as a challenge:“Shortness of brea...
18/08/2026

WHY YOU RUN OUT OF BREATH WHILE SINGING LONG PHRASES

One singer recently mentioned this as a challenge:

“Shortness of breath in a prolonged part.”

This is a very common problem among singers.

You may have experienced this before: you're singing a long phrase, everything is going well, and then suddenly you realize you're running out of breath before the phrase is finished.

Your immediate thought might be:

“I need to take in more air.”

But that isn't always the solution.

Sometimes, the problem isn't how much air you can take in.

It's how efficiently you're using the air you already have.

BREATH CAPACITY IS NOT THE SAME AS BREATH MANAGEMENT

Your lungs have a certain capacity, but singing isn't simply about filling your lungs with as much air as possible.

You also need to control how quickly that air leaves your body.

Think of it like having water in a bottle.

Having a large bottle doesn't help much if you pour all the water out at once.

In the same way, taking a huge breath won't necessarily help you complete a long phrase if you're using the air too quickly.

That's where breath management comes in.

YOU MAY BE USING TOO MUCH AIR

One of the biggest reasons singers run out of breath is excessive airflow.

Some singers allow a lot of air to escape while producing the tone.

This can make the voice sound breathy, but it also means you're consuming your available breath much faster.

For a long phrase, you don't necessarily want to push a large amount of air through the vocal folds.

You want to develop a more efficient coordination between:

👉🏽 Breath

👉🏽 Vocal fold closure

👉🏽 Airflow

👉🏽 Pressure

👉🏽 Resonance

The goal is not to hold your breath.

The goal is to use the air efficiently.

SINGING TOO LOUD CAN MAKE YOU RUN OUT OF BREATH FASTER

Volume also matters.

If you're trying to sing a prolonged phrase loudly from beginning to end, you may be using considerably more air and muscular effort than necessary.

This is especially common when singers think:

“I need more power.”

So they push more air.

But more air does not automatically mean more vocal power.

A well-coordinated voice can produce a strong sound without simply dumping large amounts of air into the phrase.

Sometimes, reducing unnecessary airflow actually makes the voice feel more sustainable.

DON'T TAKE A HUGE BREATH JUST BECAUSE THE PHRASE IS LONG

Another common mistake is taking an enormous breath before a long phrase.

This can create unnecessary tension.

The singer may lift the shoulders, expand excessively, stiffen the body, and then try to control all that air.

Instead, learn to take a comfortable, efficient breath that prepares you for the phrase.

Your breathing should support the phrase—not become a struggle of its own.

LEARN WHERE TO BREATHE

Sometimes the problem isn't your breathing technique.

It's your breath planning.

Music contains natural places where a singer can take a quick breath.

If you're trying to sing an entire musical thought without taking advantage of appropriate breathing points, you're making the phrase unnecessarily difficult.

Study the lyrics and melody.

Ask yourself:

“Where can I take a breath without interrupting the musical idea?”

Mark those places when practicing.

You don't always need a long breath.

Sometimes a well-timed quick recovery breath is enough.

YOUR BREATH SHOULD MATCH THE PHRASE

Not every phrase requires the same amount of breath.

A soft, gentle phrase may require very different breath management from a powerful sustained phrase.

Likewise, singing low notes, high notes, staccato passages, legato phrases, and sustained notes can all change how you manage airflow.

So don't approach every phrase with the same breathing strategy.

The musical demand should influence the breath strategy.

TRY THIS SIMPLE EXERCISE(Very Popular)

Take a comfortable breath.

Then produce a gentle “sss” sound.

Don't force it.

Don't squeeze your throat.

Simply maintain a steady, controlled stream of air.

Notice how quickly you use the air when you push versus when you keep the airflow controlled.

Now try singing a comfortable sustained vowel such as:

“Ahhh.”

The objective isn't to hold the note for as long as physically possible.

Instead, focus on maintaining a steady tone with controlled airflow.

Then gradually apply that same feeling to short musical phrases.

The exercise is teaching you to become more aware of how you're spending your breath.

HERE'S SOMETHING IMPORTANT

If you consistently run out of breath during phrases that shouldn't be particularly demanding, don't immediately conclude:

“My lungs are weak.”

Investigate your technique first.

Ask yourself:

Am I using too much air?

Am I singing louder than necessary?

Am I allowing too much breath to escape?

Am I taking breaths at appropriate places?

Am I creating unnecessary tension?

These questions can reveal the real problem.

THE GOAL IS NOT TO SING WITH LESS BREATH

This doesn't mean you should deliberately starve your voice of air.

Your voice needs appropriate airflow and subglottal pressure to function.

The goal is efficiency, not restriction.

You want enough airflow to produce the desired sound while avoiding unnecessary air loss.

That's an important distinction.

REMEMBER:

More air doesn't automatically mean better singing.

More breath capacity doesn't automatically mean better breath control.

And running out of breath doesn't automatically mean you need to take a bigger breath.

Sometimes, you simply need to learn how to manage the breath you already have.

AND FINALLY:

If you're struggling with long phrases, don't just practice holding your breath longer.

Practice singing efficiently for longer.

That is a much more useful skill for a singer.


❤️NE🎤
HAPPY SINGING💙
VOOM

18/08/2026

Singers, What's one habit that has improved your singing the most?.. ✍🏽

Why Do Singers Unconsciously Switch to Another Part in the Choir?Have you ever known your choir part perfectly when sing...
17/08/2026

Why Do Singers Unconsciously Switch to Another Part in the Choir?

Have you ever known your choir part perfectly when singing alone, but the moment the full choir starts singing, you suddenly find yourself following another section?

For example, you're an alto, but somehow your voice starts moving toward the soprano line. Or you're a tenor, but when the basses become more prominent, you find yourself drifting toward their notes... Etc

And the funny thing is, you may not even realise you're doing it until someone corrects you.

This is a real choir problem, and it doesn't necessarily mean that you don't know your part.

Sometimes, the problem is that knowing your part and being able to hold your part are two different skills.

KNOWING YOUR PART IS NOT ENOUGH

Imagine an alto who has learned her part perfectly.

She can sing it alone.

She can sing it during sectional rehearsal.

She knows every note and every phrase.

Then the entire choir comes together.

The sopranos begin singing their melody above her. The tenors introduce another line. The basses provide a strong foundation underneath.

Suddenly, there is much more information reaching her ears.

And without consciously deciding to do so, her voice begins to move toward another part.

She may not have forgotten her own notes.

She may simply be responding to what she is hearing around her.

This is why choir singing is different from simply knowing the notes on a page.

When you're singing alone, your musical environment is relatively simple.

In a choir, you're surrounded by multiple simultaneous musical lines.

Your job is not only to know which notes belong to you.

Your job is to maintain your musical line while hearing everything else that is happening around you.

YOUR EAR CAN PULL YOUR VOICE TOWARD ANOTHER PART

This is where your listening ability becomes extremely important.

When another section is singing a prominent melody, your ear naturally notices it.

If that melody is familiar, strong, or easier for you to hear than your own part, your brain may begin giving more attention to it.

And if you aren't sufficiently anchored to your own musical line, your voice can start following what your ear is hearing most strongly.

This can happen almost unconsciously.

You aren't necessarily thinking:

“I want to sing the soprano part now.”

Your voice simply begins moving in that direction.

That is why some singers say:

“I don't know why I keep switching parts. I know my part.”

Exactly.

Knowing the part isn't always the problem.

The challenge is maintaining it while other parts are competing for your attention.

LISTENING TO THE CHOIR DOESN'T MEAN FOLLOWING THE CHOIR

This is an important distinction.

A good choir singer needs to listen to the other sections.

But listening to them does not mean following them.

You need to be aware of the entire harmony while remaining anchored to your own line.

Think about it this way.

You should be able to hear the soprano.

You should be able to hear the tenor.

You should be able to hear the bass.

You should be able to hear your fellow altos.

But while hearing all of them, your brain still needs to know:

“This is my line.”

That is a much more developed form of choir listening.

You're not shutting out the other parts.

You're learning how to hear them without allowing them to take control of your own part.

WHY SUSTAINED NOTES CAN EXPOSE THE PROBLEM

This problem can become particularly obvious during sustained chords.

Imagine that the choir holds a chord.

Your section is holding one note while another section moves through a melody above you.

Because the other part is moving, your ear may naturally follow that movement.

Meanwhile, your own note is remaining steady.

If you aren't sufficiently aware of your own pitch, you may begin moving with the other section.

Sometimes the movement is obvious.

Other times it is subtle.

You may only move slightly away from your original note.

But even a small movement can affect the harmony and make your section less distinct.

This is why holding your part is not simply about memorising the melody.

It is also about developing the ability to remain stable while other musical information is moving around you.

YOU DON'T HAVE TO SING LOUDER TO HOLD YOUR PART

Some singers respond to this problem by trying to sing louder.

They think:

“If I sing louder, I'll be able to hear myself and I won't lose my part.”

But that can create another problem.

You may become unnecessarily loud, tense, or dominant.

The goal is not to overpower the choir so you can hear yourself.

The goal is to develop enough internal and auditory awareness that you know where your part is even while you're hearing the other sections.

There will certainly be situations where you need enough volume to hear yourself appropriately.

But volume should not be your primary strategy for maintaining your part.

Awareness is more important than force.

HOW DO YOU GET BETTER AT THIS?

Start by becoming more familiar with your part than simply memorising the notes.

Learn to hear your line internally.

Know where your part moves upward and downward.

Know where it stays.

Know which phrases are similar to another section's melody.

Pay particular attention to places where your part comes close to another section's notes.

Then practise your part while deliberately listening to another section.

For example, if you're an alto, you can listen to the soprano line while continuing to sing your alto part.

The goal isn't to ignore the soprano.

The goal is to prove to yourself that you can hear the soprano without abandoning your own musical line.

Over time, this can strengthen your ability to maintain your part inside the full harmony.

DON'T ONLY ASK, “DO I KNOW MY PART?”

Ask a better question:

“Can I hold my part when everyone else is singing?”

That is the real test.

You may know your part perfectly in isolation.

But choir singing happens in a musical environment.

So your training should eventually prepare you for that environment.

Practise your part alone.

Practise it with your section.

Practise it with the full arrangement.

And when possible, practise while deliberately exposing yourself to the other parts.

You're teaching your brain:

“I can hear all of this information and still remain anchored to my own line.”

That is a valuable choir skill.

THIS IS ALSO WHY BLENDING REQUIRES A TRAINED EAR

Interestingly, the same listening ability that helps you hold your part also helps you blend.

A singer who is only listening to themselves may sing the correct notes but still stick out of the choir.

They may have a different vowel.

They may have a brighter or heavier tone.

They may be louder than necessary.

They may pronounce consonants differently.

They may simply have a different sound balance from the people around them.

You need to hear the whole group to recognise these differences.

So choir listening has two sides.

You need enough awareness to maintain your identity within the harmony.

But you also need enough awareness to adjust your contribution so that it works with the group.

That's why good choir singing is not simply:

“Sing your part.”

It's:

“Know your part, hold your part, and understand how your part fits into the whole.”

THE BIGGER LESSON

If you find yourself unconsciously switching from alto to tenor, soprano to alto, tenor to bass, or any other part, don't immediately conclude that you don't know your music.

Ask yourself what is happening when the full choir enters.

Are you losing your internal sense of your own line?

Is another section much louder than yours?

Are you following a familiar melody?

Are you struggling to hear your own section?

Are you listening to the other parts without remaining anchored to yours?

Those questions can help you identify what is actually happening.

And once you understand the problem, you can train specifically for it.

Because the solution isn't always:

“Learn your part again.”

Sometimes you already know it.

You simply need to learn how to hold it.

THIS IS WHY I WROTE CHOIR SECRETS

This particular issue is one of the reasons I wrote my booklet, CHOIR SECRETS — 5 Truths Nobody Told You About Harmony, Blending & Choir Clarity.

Truth 2 is titled:

“Knowing Your Part Is Not Enough — You Must Hold It.”

Because in a real choir, knowing the notes is only the beginning.

Other voices will be singing around you.

Melodies will move.

Harmonies will change.

Volume levels will shift.

Your attention will be divided.

And through all of that, you still have to maintain your musical line.

If you've ever experienced yourself unconsciously following another section, this is one of the choir issues you should understand more deeply.

You don't just need to know your part.

You need to develop the ability to hold it.

And that's a very different skill.

❤️ NE🎤
HAPPY SINGING❤️

Coach Victor | VOOM
Founder & Lead Vocal Coach
VOOM Vocal Academy

CHOIR SECRETS — 5 Truths Nobody Told You About Harmony, Blending & Choir Clarity
Available from VOOM Vocal Academy.

“Good breathing for singing doesn't begin with forcing the breath. It begins with allowing the breathing system to work ...
17/08/2026

“Good breathing for singing doesn't begin with forcing the breath. It begins with allowing the breathing system to work efficiently.”

Happy New Week, Singers..!😊It’s another new week again..!💪🏽 A fresh opportunity to learn, practise, and become better si...
17/08/2026

Happy New Week, Singers..!😊

It’s another new week again..!💪🏽

A fresh opportunity to learn, practise, and become better singers.

So, tell me… what will you be working on this week to improve your voice?

Will it be your high notes, breath control, pitch, vocal flexibility, tone, riffs & runs, or something else?

Drop it in the comments. Let’s learn and grow together..!✍🏽

💜NE🎤
HAPPY SINGING❤️
VOOM

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