One Simple Goal

Whether you are singing on broadway, in a studio, a choir, or in a concert hall, the foundation is the same….   Good singing enables you, the singer, to enjoy a lifetime of music.  

A life time of music is the result of a physically efficient coordinated motor behavior, or optimal functioning.  This kind of training is no different than any other athlete who trains his/her body to function optimally and with efficiency.

The Vocal Athlete

Every good athlete needs a qualified, well trained, and experienced coach.  A coach who understands that the body has a unique ability to self-organize around movement and part of optimal function is getting our conscious efforts out of the body’s way.

 

For the vocal athlete, good singing is the physically efficient coordination.  There is work involved in learning to observe the difference between good and bad technique or technique that is not physically efficient.  This is where practice comes into play.  Practice doesn’t make perfect, it makes habit.  When a behavior becomes habit, it occurs with little to no effort.

 

There are three processes that work together resulting in phonation and singing, the actuator (sub glottal), the vibrator (glottal), and  the resonator (supra glottal).  Within those three processes are others we can focus:

Breath Management in Singing

Agility

Resonance Balance & Adjustment

Sostenuto Singing

Registration unification

Range Extension

Messa di voce

Vibrancy

Working Hard to Make it Look Easy . . . Good singing is perceived as relaxed  – effortless with a tone that is open, agile, & supple – those characteristics allow the voice to be expressive and thus beautiful. It is adaptable to a variety of musical styles. Whether you are beginning, a seasoned professional, or somewhere in between – I can help you sing better.

Tortoise or the Hare?

Slow and steady wins the race.  As as young student I was ambitious and horribly impatient but as I learned, there are no shortcuts to physically efficient singing and anyone claiming such is at best selling snake oil and worse, causing potential harm.  My approach balances the body’s need for appropriate physical challenge in order to adapt and grow with the singers psychological need for challenge and gratification.

 

Khalil Gibran in his book, the Prophet, writes about teaching: No man can reveal to you aught but that which already lies half asleep in the dawning of your knowledge.

If he is indeed wise he …. leads you to the threshold of your own mind.

In the Beginning . . .

The body self organizes around movement – its does a lot of things without intervention of our conscious effort.  I spend a considerable amount of time during the first 2-4 lessons observing how the voice behaves.  With my assistance, the student will record these observation in his/her practice journal available through the student portal.  This is a reflective and critical thinking task and it will change over time.  Subsequent lessons engage the singers constant awareness through observation, direct questioning, direct instruction, and imagery. Goals will be set with milestones and music assigned.

 

Take Me To the Studio Handbook