Sing With Aga - Complete Singing Course for Begginers

Online singing course

The higher you sing,
the tighter your throat gets.

This is not the limit of your voice. It is a habit, and habits can be changed. I have taught 1,500 singers. It was almost never talent. It was technique that nobody had explained.

Certified in Speech Level Singing · Institute for Vocal Advancement · Modern Vocal Training

Aga Przestrzelska — vocal coach
Start the course — $49

Founding student price. Regular price $129.
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Sounds familiar?

These are the sentences my students write to me. Read them and count how many are yours.

1 Your throat closes

"My throat gets tight when I sing higher."

"I have to shout to reach a high note."

"I am hoarse for two days after one rehearsal."

2 Your pitch moves

"I can hear that I am flat. I cannot fix it."

"I cannot hold one note steady."

"The chorus falls apart, even when the verse was fine."

3 Your voice breaks

"My voice cracks in the middle of my range."

"There is a hard line between my low voice and my high voice."

"I stay in falsetto, because I am afraid my voice will break."

4 Your voice is weak

"I run out of air in the middle of a phrase."

"My voice sounds thin, with a lot of air in it."

"In a choir, nobody hears me."

Did you count three? Five? After fifteen years of teaching I can tell you this: these are not six problems. They are three technical errors. Each one shows up in several ways.

Do this before you read on

Sing one note

Take a low note that feels easy. Sing "ah" and move slowly upward. Stop when it stops being comfortable. Watch what your body does. Then find yourself below.

A You squeeze

Easy at the bottom. Higher up it gets louder, tighter and harder. At the top: a shout, or nothing.

You are pushing. The muscle that closes your vocal folds works too hard, and the muscles around your larynx join in to help. This is the most common pattern. About 6 in 10 people who write to me are here.

Your direction: let go without losing power.

B You sing too lightly

Relaxed the whole way, but the low notes are almost gone. In tune, but empty. A lot of air and no strength.

Your vocal folds do not close firmly enough. Air escapes. Your voice dries out and gets tired quickly, even when you sing quietly. This is where "thin" and "nobody hears me" come from.

Your direction: firmer closure and resonance.

C You have no balance

It works, but you cannot rely on it. Sometimes it is fine, sometimes it breaks. It cracks at the worst moment.

The technique is there, but it is not stable. Usually a tense tongue, a larynx that sits too low, or breath that is not organised. A hard border between registers instead of a bridge.

Your direction: smooth the transition and make the middle stable.

You just did something no YouTube video can do for you: you named your problem. Remember your letter. Inside the course there is a set of exercises built for exactly that answer — one for women and one for men. You practise your set, not a random warm-up.

The mechanism

It is not talent. It is three errors.

Singing is muscle coordination plus psychology. If you can speak, and you can hear the difference between two notes, you have everything you need. The problem is that nobody told you what you do wrong, or how to change it. Open each one.

1
You breathe wrong. Usually too much air, not too little.
+
Symptom
Breathy low notes. Phrases that fall at the end. No air left on a high note.
Cause
You believe that a strong sound needs a lot of air. You take a big breath. The pressure pushes your vocal folds apart, and the voice escapes. Your diaphragm has no nerve endings. You cannot steer it and you cannot tighten it. Support is not squeezing. It is balanced pressure.
What you
were told
"Breathe from your diaphragm." Nobody tells you how. That one piece of advice cost me years.
In the course
Module 3, Breathing.
2
You squeeze. This is the biggest error of the three.
+
Symptom
A tight throat. Pain. You get tired fast. You are hoarse straight after singing. High notes only work if you shout. Your range has a ceiling.
Cause
You use muscles that have nothing to do with making sound, and you use them as help. If you keep going, you risk strain, and in bad cases nodules on the vocal folds.
Where it
comes from
Character, more often than anatomy. People who squeeze usually need control. They are afraid that a lighter sound will feel empty. I did this for years. A strong sound was my safety. The result was pain and a damaged voice.
In the course
Your "too heavy voice" set in Voice Training, plus Module 5, Stress Relief — because squeezing is often fear, not muscle.
3
Your registers are forced, not connected.
+
Symptom
Your voice cracks or flips. There is a hard border in the middle. "My voice does something I did not plan."
Cause
There is no smooth bridge between your chest voice and your head voice. You push the sound across the break instead of connecting it. Pushing harder makes the border sharper, not softer.
In the course
Your "mix voice" set in Voice Training, then "voice stretch" once the middle is stable.

An honest answer

"But this is free on YouTube"

It is. I have put more than a hundred warm-ups there myself, and I want you to use them. But look at the difference.

YouTube

  • — Warm-ups in no order. You choose by feeling.
  • — You do not know if this exercise is right for your voice.
  • — No diagnosis. Nobody tells you which of the three you are.
  • — You can spend months making the wrong habit stronger.

The course

  • ✓ A clear order: foundations, breath, resonance, registers, song.
  • ✓ A test, and the set of exercises that matches your result.
  • ✓ You know where your error is, and which exercise fixes it.
  • ✓ Five hours you can come back to for years.

YouTube is a good place to start. The course is a system.

Who teaches this

I squeezed too. For years.

Aga Przestrzelska — vocal coach

I remember the squeak that came out of my throat in front of a microphone. I had a strong low voice, and people praised me for it. But I could not sing high notes. My classmates could. I could not. I strained. I squeezed.

I was afraid to sing more lightly, because I thought it would sound empty. What I got instead was pain and a damaged voice.

Everything changed when I trained with Greg Enriquez, the vocal coach of Céline Dion and George Michael. After that I got certified in Speech Level Singing, at the Institute for Vocal Advancement and in Modern Vocal Training, and I studied with Seth Riggs, who created Speech Level Singing and taught Michael Jackson and Stevie Wonder.

Fifteen years and 1,500 voices later, I give you the same road. Without the years I lost on the way.

"Nobody told me HOW. I looked for it for years. That is exactly where this course starts."

Aga Przestrzelska

1,500voices trained
15years teaching
3international certifications

What is inside

Eight modules. Ten exercise sets.
One of them is yours.

Most courses give everyone the same programme. This one splits twice: first for your voice, then for what your voice does wrong.

1 Introduction

How to use the course, and in what order to work.

2 How Voice Works

The parts of your instrument, and the voice types — separately for women and for men.

3 Breathing

The concrete "how". Not "breathe from your diaphragm".

4 Ear Training

So that the note you hear in your head is the note that comes out.

5 Stress Relief

Nerves before you sing in front of people. This is technique too.

8 Application to Songs

How to keep the technique when you actually sing a song.

Modules 6 and 7 — the part nobody else has

Voice Training — for women, and for men

Two separate module tracks, because a woman's break and a man's break are not in the same place. Inside each one, five sets of exercises. You do the one that matches the test you took above.

Too light voiceIf you were B: air escapes, the sound is thin.
Too heavy voiceIf you were A: you squeeze and push.
Mix voiceIf you were C: the break is sharp and unstable.
Voice stretchTo reach higher, once the balance is there.
Before a concertWhat to do on the day you perform.

Ten sets in total. You need one of them. That is the difference between a course and a playlist.

Reviews

1,500 voices. Here is what some of them say.

★★★★★

"I have practised every day for over a year. The course helped me get rid of the heaviness in my voice. I finally understand resonance and registers."

Kasia D. — one year in the course

★★★★★

"Everything is explained, even for beginners. The exercises are matched to your type of voice."

Karolina — started with no lessons

★★★★★

"Aga is a brilliant vocal coach. For her, no sound is impossible."

Magda Bereda — singer and composer

Before you buy anything

One payment, or every month?

Sing With Aga
Subscription platforms
What you pay
$49, one time
$30 every month — $360 after one year
If you stop paying
You keep everything, forever
Your access ends that day
Matched to your voice
Ten exercise sets — for women and men, and for each problem
One programme for everyone
Method
Certified: SLS, IVA, MVT
Different on every platform
Time pressure
Practise when it suits you
Every month you did not practise is money gone

A subscription makes sense if you want a large library. This is not a library. It is a diagnosis and a way out — and once you have it, it is yours.

Start today

Sing With Aga — the complete course

🎤 Founding student price — first 100 students only. After that the price goes to $129 and stays there.

Why $49 and not $129?

Because this is the first time I am opening the course in English, and there is one thing I cannot buy: honest feedback from the people who take it in English.

So the first 100 students pay $49. Once you have used the course, I will send you one email and ask what worked and what did not. Answer it or ignore it — the price is the same either way. After 100 students, the price goes to $129.

Complete vocal course

$49regular price $129
  • Eight modules, five hours, in a clear order
  • Ten exercise sets — separate tracks for women and men, and a set for each problem
  • Breathing, ear training, stress relief, applying it to songs
  • A warm-up routine for the day you perform
  • Lifetime access. No subscription.
  • Works on your phone and on your computer
  • 60 days to get your money back
Start the course — $49

Instant access. You get your login by email.

60 days. The risk is mine.

Watch the modules. Take the test. Practise your set. If after two months you decide it is not for you, send me one email and I return your money. No questions and no forms.

Before you decide

Common questions

No lessons is a starting point, not a problem. It is often an advantage, because you have no bad habits from a weak teacher to unlearn. The course starts with how the voice works. You need no musical knowledge.
The problems choir singers write to me about are exactly what this course covers: a tight throat on high notes, a hard border between registers, no air left in long lines, and holding your part when you can hear the sopranos next to you. The course starts with the basics, but it does not stay there.
Almost everything people describe — squeezing, a weak sound, cracking, no high notes — is technique, not damage. One exception: if you have pain now, or hoarseness that has not gone away in two weeks, see a doctor first and train afterwards. That is not a disclaimer. It is the right order.
Then this is closer to your problem than most singing courses. A tired, hoarse, quiet voice comes from the same three errors. You can skip the song module and stay in the breath and release modules. The same medical note above applies to you too.
Honestly: in a lesson you get feedback immediately, and a course cannot replace that. But you also leave a lesson with one tool and then work alone for the rest of the week. That is why I ask my students to record their lessons. The course gives you the same tools, plus the order and the diagnosis, and you can repeat it as often as you want.
Fifteen to twenty minutes a day. I will not tell you "two months and you sing like Whitney Houston", because that would be a lie. With a good plan and regular practice, six to eight weeks is realistic for a clear change. The first "this tired me less today" usually comes much sooner.
Yes. Vocal folds stretch less easily with age, so I will not promise you three octaves. But freedom, breath and the end of squeezing can be built at any age. My oldest student was over 70.
I hear this every week. Sing into a pillow, into an open wardrobe, or in your car. It really works and it still trains the coordination. Just not after ten in the evening.
Access is immediate. Your login arrives by email right after you buy, and it does not expire. If you do not like the course, you have 60 days. One email and I return your money.

Not today?

Then take this. It is free.

One of the most common reasons high notes feel impossible is simple: you are singing the song in a key that does not fit your voice. I made a short guide that shows you how to find the right key for the voice you have today.

Send me the free guide →

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In one year your voice will be
either freer, or tighter.

Habits do not stand still. A squeeze that you do not fix gets deeper. In two years you will notice that another part of your range has gone quiet. You can stop this. Fifteen minutes a day, starting today.

Start the course — $49

Founding student price · one payment · lifetime access · 60-day guarantee

$49 — founding priceLifetime access · 60-day guarantee
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