This is the first lesson with scored pitch work, and it comes after warm-ups on purpose. Research on inaccurate singers points mostly at the link between hearing a note and reproducing it. For singers who can match a pitch, though, off-key notes usually have physical causes, and two common ones, breath that collapses on long notes and a register shift that pulls the pitch off, are both easier to hear once the voice is warm.
The guide behind this lesson goes through why singers go flat, why they go sharp, and what to do about each. This lesson is about the two exercises and, just as much, about reading what the app tells you afterward, because the score alone is not the useful part.
What to notice
The first exercise is "nay" on a 1-3-5-3-1 pattern. The vowel is deliberately bright and a little nasal, the kind of sound you might make imitating a cartoon. That brightness helps the folds close cleanly, which is one reason the exercise is a staple in contemporary and musical-theatre teaching. Do not soften it into a polite "neh."
The second is a descending 5-to-1, also on "nay." Starting on the top note and stepping down is harder than it sounds, because the tendency is to reach for the low note and go flat on the way. Think of each note as something you settle onto from above.
After each key, open the per-note breakdown. Look at the sign, not just the size. A row of small minus numbers means you are consistently under, which often points at breath or at a vowel that has gone dull, though it can also be the ear-to-voice link itself. One note that is far off while the rest are close often points at the register shift, especially if it sits where your voice wants to flip, and the Coach this button on the logged session will pick that note out for you and let you replay it against the correct version.
What done means
Sing both exercises through in Standard mode, log them, and look at the breakdown for at least one key of each. Compare the five-note scale from lesson one if you logged it; the Progress tab shows both.
For your routine, the "nay" 1-3-5-3-1 is the better daily pick of the two. Add the descending one too if the breakdown showed you going flat on the way down.
The exercises
Nay 1-3-5-3-1
About this exercise
A CCM and belt-prep staple popularised by Speech Level Singing and common in musical-theatre belt work. The bright, nasal /næ/ (closer to 'nyah' than 'nay') encourages twang, a narrowing above the larynx that adds ring and firms vocal-fold closure, building the chest-mix and belt coordination used in theatrical and contemporary commercial styles. Some methods let the larynx rise on this sound; others use it only briefly on the way to a stable larynx.
Trains head-voice or mix to lead the descent rather than pulling chest registration upward. Starting on scale degree 5 in the upper-mid range and stepping down keeps the larynx stable and reinforces the sensation of 'falling into' the lower note rather than reaching for it.