Beautiful And Expressive Singing

I ask what their goals are, i.e., what they want to learn, why they want to study singing, what they want to sing, and how they think they learn best. 

At their first lesson I hear them sing something that they know well, and begin assessing what I think their vocal needs are. 

How I proceed depends upon their interest, experience (whether they have had previous vocal or musical study, and or performance), and what I think their needs are.  Generally, I explain the types of things we will be doing in lessons, begin laying the foundation for what we will be working on in their study.  I explain the need for them to practice at home, the need, if possible, to record their lessons and listen to them during the week, and begin helping them to feel/hear what happens when they sing.  I explain that vocal study is a partnership.  I can help guide them, but they have to be full partners, thinking, exploring, experimenting, questioning, listening differently, seeking to feel what happens in their bodies as they sing.

With most students, breathing and breath support is a major issue, so initially with them, a lot of time is spent on that, since it is a basic foundation upon which one's singing voice is built, and breathing/breath support needs to become habitual, as there are too many other things to think about when singing.  I make use of simple vocalises and songs to help them free their voice, and work on breathing/breath support. 

With more experienced or developed singers, we are able to begin with more advanced vocal concepts such as placement, phrasing, working on releasing any tenseness/tension in the lips, tongue, jaw, throat and abdomen, and are able to use more advanced vocalises and repertoire.

I have two music degrees where I emphasized vocal performance and pedagogy, and I studied voice professionally for over 25 years, including 16 years in New York City, where I studied and coached with some of the top voice teachers, and coaches from the Metropolitan Opera and New York City Opera.  I have also attended numerous professional vocal workshops/seminars and participated in numerous Master Classes. 

I was a participant in the Aspen Summer Music Festival and an apprentice with Des Moines Metro Opera.  I sang in the Dallas Opera Chorus, and performed leading roles in opera in New York City and New Jersey for 16 years.

Yes, my pricing for lessons is as follows. 30 minute lesson - $30 45 minute lesson - $40 60 minute lesson - $50

My first voice "students" were my high school choral classes I taught right after graduating from college in my first job as an adult. Then my next students were my adult and children's choirs at the churches where I was Music Director. Those were more group lessons. Then I started branching out and teaching individual lessons to church choir members, and finally others in the community.

I have had voice students ranging from 11 to 83 in age. I have worked with both men and women and all basic voice types. Some had some experience with voice lessons, but most did not. Some could read music, and some could not. Some planned to major in music in college, some just loved to sing and wanted to sing better for themselves or the choir in which they sang, some had run into vocal problems and needed help, some had an upcoming performances or an audition and wanted me to help them prepare.

I would tell them to look for a teacher who has lots of experience, who is classically trained, and who is a classical singer because generally, they have a better understanding of how to sing in a healthy manner, and classical vocal technique can work well in any musical genre or style. I would tell them to not be afraid to ask questions about the teacher's teaching style and methods, and what is his/her experience level. I would tell them to keep an open mind, as there are a lot of things about singing that aren't intuitive and will be very different than they expected that they would be, and to keep an open mind about repertoire the teacher might suggest to aid in their learning and development. I would tell them that when they make a decision if something their new teacher asked them to do in a lesson hurt, to immediately inform the teacher. I would tell them that it takes time for the teacher to get to know the student and the student to fully understand what the teacher is asking them to do and being able to do it. I'd tell them to be patient with themselves and the teacher, that it can take time to make changes in how one thinks about singing and how one sings. I'd tell them that if they leave a lesson hoarse more than once, to find a new teacher.

They should have some idea of what their strengths and weaknesses are, and what they want to learn or gain from studying voice. They should think through their commitment to practicing and working at getting better. Teachers can't just pour the knowledge into student's heads once a week. A student-teacher relationship is a partnership. The teacher can only help and guide the student. The student has to spend time thinking about what it feels like when they're singing, how they're producing their voice, why they have trouble with certain aspects of singing. They should also ask themselves if they're willing to trust the teacher and do what he or she says in terms of singing and practicing.