With a beginner, I devote half of each course to technical work. I start the class with some body exercises to wake up the body and then follow up with breathing exercises. Once the body is awake and breathing has entered its cycle, I propose drumming exercises. First I make him sing vocalizations on the vowels that suit him well, then I add the consonants to these vowels. Consonants arouse sensations in the muscles of the face, make the lips vibrate and some help lift the soft palate. Once the voice is turned on, I ask the student to sing while walking so that he finds a kind of flexibility in his body and he looks for his voice from the physical movements. This gives a movement, a game that engages the body. Thanks to this approach, the body is better mobilized and the abdominal muscles participate unconsciously in the work. This also helps him to perceive his center of gravity and awakens deeper support. During class, I often approach the student to check the muscular work and the opening of the ribs and back. I fix my attention on the jaw tension and I propose exercises that can solve this problem. Thus the voice begins to free itself by taking a richer tone and a rounder tone. The course is dedicated to music learning and interpretation, incorporating technical elements as well as some vocalizations. In general, before choosing the program for the student, I take the time to get to know the type of voice of the student, his way of being, the characteristics of his personality to better adapt the genre of music and the directory. I often choose pieces that help to install the medium of the voice, especially taking into account the student's mother tongue. Having already worked on the medium of the voice, the student gradually begins to expand his vocal range. The touching and dramatic content of the chosen piece often pushes the student to engage physically and mentally in the song by expressing his own expressiveness. Italian is the language of singing par excellence because it contains pure vowels. Thanks to the Italian repertoire, I'm working on the legato, on longer sentences as well as on the phrasing, on the spirit of the piece and on the dynamics of the piece to discover how the music really exists when all the elements are found. Goals and objectives • Purpose I would like to share with my student the joy of singing, discovering his body, his voice, the pleasure of performing on stage (both in a choir and as a soloist). • Goal By remaining attentive to his desire and his aspirations, I would like to transmit to him a singing technique that will serve him as a starting point and that he knows that by increasing his singing and control abilities on himself the pleasure will be all the greater. • Main objective I would like that at the end of a year of work my student is able to manage his breath and learn to support his sentences in a consistent way to find the resonance of his voice by putting all this at the service of the interpretation through his own musicality. • Specific objective At the end of a year of work, I hope that my student will have obtained the sound of his voice in his natural tone. The autonomy of his work at home will be beneficial for his progress while continuing to go further in the discovery of music, its forms, its amenities and its dangers while cultivating its own curiosity.