I am committed to teaching, and this includes teaching new voice instructors to become better at what they do so that they can help their own students achieve their singing goals, and ultimately become successful in their teaching careers.
In addition to requiring a great deal of 'academic' study, either formal or informal, it often takes years of practical experience in the teaching studio to develop a thorough understanding of how the voice works and best to train it, and to develop an ear that can immedatiately identify where a singer might be going wrong in his or her approach. Without both a theoretical and practical understanding of how to train and heal the voice, the teacher will rely on a trial and error approach to teaching. Such experimentation can often end a teaching career, and ruin the voices of promising students.
An aspiring teacher who wishes to understand more about the science of the singing voice and discover useful exercises and training tools to help him or her work with his or her own students may schedule an hour-long training session with me, either 'in studio' or via Skype group or conference calling.
For demonstration and instructional purposes, I will invite a few of my students (or the teacher may invite some of his or her own students) to participate in these sessions, in fifteen or twenty minute blocks each. Each of these students will be selected based on which technical difficulties he or she experiences or consistently demonstrates. (A teacher who is struggling to help a particular student may invite that student, and I will provide a diagnosis of the problem and offer both teacher and student a set of exercises that will help them moving forward.)
I will work with the new teacher to help him or her visually and aurally identify and diagnose postural and technical errors that distort diction and negtively impact tone and vocal health, such as a lowered soft palate, flattened or retracted tongues, a raised or depressed larynx, tension in the suprahyoid muscles, supraglottic squeezing/compression, and incorrect management of the breath, as well as vocal injury such as muscle tension dysphonia.
We will also focus on registration and acoustic events to help the teacher recognize both register abuse and skillful, healthy navigation of the passaggi, vowel modification/alteration in the upper range, acoustic shifts (versus muscular shifts), resonance balance, etc., and perhaps help him or her make accurate determinations of students' voice types/classifications (vocal fach). Applications of classical technique to contemporary genres of singing will be discussed.
I will then teach and demonstrate exercises, and apply training tools that will directly address these postural and technical errors, and help the singers change their bad habits and improve their singing skills and vocal health. The unique aspects of training both the male and the female voice, as well as high voices and lower voices, will be explored.
These teacher training sessions will be tailored according the teacher's needs and wishes. For example, if a teacher feels that he or she is weak in a particular area, I will invite students who will help the teacher target this specific weakness and equip the teacher with knowledge and practical tools to improve his or her skills in that particular area.
A disscussion with me about anything related to the voice and how to train it, or about establishing a teaching career or creating 'lesson plans' or a systematic approach, would also be welcome. The hour can be booked as a purely information sharing and discussion time, with no students present, as well.
While these teacher training sessions can be booked through my on-line scheduling system (Book A Lesson), I will also require an e-mail from the teacher that explains the purpose for booking the session (e.g., what areas of focus the teacher might be interested in, etc.), along with a brief introduction and teaching history so that I will know best how to tailor the session. I will also require some notice in order to secure students for demonstration purposes (unless the teacher wishes to invite his or her students instead, or plans to only engage in a discussion on voice pedagogy).