About
Dominique McCormick - Soprano/piano teacher
-20 years experience teaching voice and piano in the United States and France, Queens College and Paris Conservatory
-Doctorate in Voice from CUNY Graduate Center- New York NY
-Performed in over 300 productions of opera and oratorio nationally and internationally
-When teaching voice or piano, it is very important to have an open environment to encourage easy communication within the student-teacher relationship. Clear objectives are discussed at the beginning of the lessons. These objectives help focus the creative process for the student and maximize their learning and concentration. My lessons are divided into three segments. The first segment consists of a physical activity: warming up of the hands, or body to encourage the brain to prepare for the musical activity that will take place. The second segment consists of technical exercises specific to the needs of each student. I incorporate rhythmic activities and sight-reading exercises to aid and develop the student's musicianship. Finally, the third segment consists of playing and/or singing actual music. It is important for the student to establish a varied repertoire that not only challenges them but also gives them a sense of accomplishment.
Dominique McCormick is a lyric soprano from Long Island, New York. She obtained her Bachelors degree in Vocal Performance from the Eastman School of Music, followed by a Masters of Arts in Voice from CUNY Queens College Aaron Copland School of Music. After obtaining her Masters, she furthered her studies in France where she received a post Masters diploma in Musical Analysis and a Performers Certificate in Voice from the Conservatoire National de Region Boulogne-Billancourt.
From September 2011 to August 2013, Dominique held the position of assistant music director at the American Cathedral in Paris. As assistant director she gave vocal technique classes to the youth choir, conducted the children's ensemble, stage directed the Christmas Gala and taught sight singing and music theory to the Young Singers Ensemble. In October 2011 she was appointed voice professor for Choeur Régional Vittoria d'ile de France under the direction of Michel Piquemal. She continues to give master classes during her visits to Paris. Upon her return to the United States in 2013 where she is currently a Doctoral candidate in vocal performance at the CUNY Graduate Center, she worked as an adjunct professor at Queens College teaching sight singing, applied voice, and French diction for singers. She just completed a faculty appointment position in voice and piano with the Vivaldi Music Academy for their two locations in Houston, Texas.
Dominique has performed in the United States, France, Belgium and Switzerland. Roles in opera and operetta include Mother in Amahl and the Night Visitors by Menotti; Gretel in Hansel and Gretel by Humperdinck; Laetitia in The Old Maid and the Thief by Gian Carlo Menotti; Susanna in Le Nozze di Figaro, Mozart; Sola Myrrhis, in Coup de Roulis by Messager; Lady Marian in Robin Hood by De Koven; Hanna Glavari in The Merry Widow by Lehar; Lisa in The Land of Smiles by Lehar; Lauretta in Gianni Schicchi by Puccini; Title role in Eileen by Victor Herbert; Polly Peachum in Three Penny Opera by Kurt Weill; Josephine in HMS Pinafore and Elsie Maynard in Yeomen of the Guard by Gilbert and Sullivan for the NY Gilbert and Sullivan Players.
Equally, she has performed as a recitalist and soloist for works such as: Soloist in Summer Zephyr with Ars Lyrica at Zilka Hall at the Hobby Center; Recitalist for Music in Midtown at Elebash Hall in New York City, and Composers Alliance soloist at Elebash Hall in New York City, The Creation by Haydn; Gloria by Poulenc- Choeur Regional Vittoria d'ile de France; Lauda Sion by Mendelssohn- direction Michel Piquemal; Recitalist for Les Musicales de Normandie; Dixit Dominus by Handel with L'Ensemble Vocal La Chappelle du Hainaut; Festival Soloist for Les Nuits de Cheronne; Cabaret of Rodgers and Hart- Les Arts George V Paris France; Ceremony of Carols by Britten for the ensemble of Cité Universitaire; Requiem by Mozart with l'Orchestre Nationale des Pays de la Loire, directed by John Axelrod; Requiem of Brahms with Ensemble Laudate Dominum Fontainebleau France; Mass in b minor by Bach directed by Jean Jacques Prevost; Mass in C by Beethoven; Psalm 42 by Mendelssohn; Gloria by Vivaldi; Requiem by Faure; Requiem by Durufle; Magnificats of Bach and Vivaldi; The Messiah by Handel; Missa Solemnis by Beethoven; The Lord Nelson Mass by Haydn; Exultate Jubilate by Mozart; Grand Mass in c minor by Mozart.
In the area of competitions, Dominique has been the recipient of the: First prize for women in the Concours International d'Opérettes of Marseille 2010; Regional Finalist for the Metropolitan National Council Awards in Louisiana 2005; Annual Youth Council Award in New York 2004; MacAllister Award Finalist in Indianapolis 2003.
As she and her family settle into their new life in Texas, Dominique is very excited about the creation of her new music studio, Century Fine Arts. This learning environment will give students the opportunity to fulfill their creative dream in an atmosphere that is warm, friendly and welcoming. Playing successfully and singing beautifully the music that one loves is a very important goal to have as a student, and also as a professional musician. It is Dominique's wish for her students to achieve that goal with ease and joy within the learning process. She is offering piano and voice lessons in the New Territory area as well as Cypress, Texas.
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Frequently asked questions
What is your typical process for working with a new student?
When teaching voice or piano, it is very important to have an open environment to encourage easy communication within the student-teacher relationship. Clear objectives are discussed at the beginning of the lessons. These objectives help focus the creative process for the student and maximize their learning and concentration. My lessons are divided into three segments. The first segment consists of a physical activity: warming up of the hands, or body to encourage the brain to prepare for the musical activity that will take place. The second segment consists of technical exercises specific to the needs of each student. I incorporate rhythmic activities and sight-reading exercises to aid and develop the student's musicianship. Finally, the third segment consists of playing and/or singing actual music. It is important for the student to establish a varied repertoire that not only challenges them but also gives them a sense of accomplishment.
What education and/or training do you have that relates to your work?
I am a lyric soprano from Long Island, New York. I obtained my Bachelors degree in Vocal Performance from the Eastman School of Music, followed by a Masters of Arts in Voice from CUNY Queens College Aaron Copland School of Music. After obtaining my Masters, I furthered my studies in France where I received a post Masters diploma in Musical Analysis and a Performers Certificate in Voice from the Conservatoire National de Region Boulogne-Billancourt.
I have performed in the United States, France, Belgium and Switzerland. Roles in opera and operetta include Mother in Amahl and the Night Visitors by Menotti; Gretel in Hansel and Gretel by Humperdinck; Laetitia in The Old Maid and the Thief by Gian Carlo Menotti; Susanna in Le Nozze di Figaro, Mozart; Sola Myrrhis, in Coup de Roulis by Messager; Lady Marian in Robin Hood by De Koven; Hanna Glavari in The Merry Widow by Lehar; Lisa in The Land of Smiles by Lehar; Lauretta in Gianni Schicchi by Puccini; Title role in Eileen by Victor Herbert; Polly Peachum in Three Penny Opera by Kurt Weill; Josephine in HMS Pinafore and Elsie Maynard in Yeomen of the Guard by Gilbert and Sullivan for the NY Gilbert and Sullivan Players.
Do you have a standard pricing system for your lessons? If so, please share the details here.
Depending on the needs of the student, they have the option of taking a half an hour lesson, forty five minute lesson or an hour lesson. I offer bundle packages to encourage a commitment from the student and to avoid non clarity in scheduling. The first lesson is what we call in French "un essai". A trial lesson. No payment is expected. It is important to discover if the student/teacher relationship is a good fit, and a non pressure trial lesson is a perfect way to discover that relationship.
How did you get started teaching?
I believe that performing your craft and teaching your craft go hand in hand. All of my teachers have performed while teaching me, and I currently study with a soprano who is still teaching and performing. I actually started a small piano and voice studio in High School to make some extra cash before going to college. I found that I loved the process of teaching and the process of learning. Not only were my students developing their craft and excelling on their instruments, but I was learning too. Through teaching, we not only teach but we are learning as well.
What types of students have you worked with?
All types of students. All different levels. As a music teacher it is my belief that all students are capable of learning music, regardless of their diverse abilities. It is a wonderful, luxurious advantage when working with a student one on one in a studio environment. This opportunity allows me to understand the learning style of each student and assess how to reach the goals that he/she has set for him/herself. My job is to nurture their love of music through fun and exciting techniques and to work on the music they love while creating an expectation of hard work and patience.
Describe a recent event you are fond of.
I have a student who has been working very hard for about a year and half just to release her upper register. In the last three to four lessons, we have- well she has- made a break through. The technical application along with her patience and hard work has helped her find her true voice. I am very proud of that, and very proud of her.
What advice would you give a student looking to hire a teacher in your area of expertise?
When first working with a teacher (and throughout that relationship)be as clear as you can with your vision of what you want in regard to your success and your goals. Your teacher is there to guide you and give you the tools to accomplish these things. Ask questions, do not stay with a teacher that intimidates you or doesn't allow you to find your true musical/artistic self. Follow your gut, but also be patient. Learning an instrument takes a lot of time and hard work to see results.
What questions should students think through before talking to teachers about their needs?
What I ask my students when they walk through my door on first meeting:
What is your formal musical background? Any instrumental training? Vocal training?
What do you like to sing? What do you feel are the most beautiful aspects of your voice, what do you feel or the most difficult and frustrating aspects about your voice?
What do you want to accomplish? Do you want to work more technique, breathing (for voice) hand strengthening and agility (piano) actual music, style?
Ask yourself WHY? Why do you want to learn an instrument. Jot down a list of reasons even if it one word, and we will uncover them together.