The Voice Studio
My Teaching Philosophy
Everyone is welcome in my studio regardless of race, ethnicity, gender, sexual identity, age, or disability. I invite you to be a co-creator with me as we discover and release your unique voice. I have been trained in methodologies that are based in classical western music and musical theatre, but I want to help you find your voice using whatever methodology speaks to your mind, body and soul.
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For your best vocal health and sustainability, the voice needs to be balanced. Singers who want to belt must have easy access to their upper register (head voice or mode 2). And singers who want to pursue more classical pathways need to have a solid foundation and connection to their lower register (chest voice or mode 1). So, we will begin working in the register that you are least familiar with.
Think of the process like making chocolate. If your chest voice is the cocoa, then your head voice is the milk and sugar. Before combining them together we want to make sure that the ingredients are high quality. If you are used to singing in your chest voice all the time then the quality of the head voice needs to be improved so that when we go to put them together in some kind of mix then you can make whatever kind of chocolate you want - dark chocolate, milk chocolate, chocolate milk etc. And all good singing, regardless of genre or style can be considered a mix so we will work to make sure that both sides of your voice are functioning, balance and nuanced.
I teach that the mix/belt technique comes from healthy speech-based sounds. In order for singers to be successful belters, they must first have healthy speech. For students that need some help with their speech I implement principles used by classical stage actors. When a student can perform free and easy call sounds, then they are ready to be successful in the mix/belt repertoire.
Regardless of the style and genre of the piece, it must be presented from a truthful interpretation and point of view. I believe that musical theatre singers are actors first, and the acting work must not be left at the door of the voice studio. Students often will sing with better technique when they make an emotional connection to the material. I even encourage singers to make acting connections while singing technical vocalises, because ideally, the paths of technique and interpretation are inseparably connected, informing each other from the very first lesson.
My students are working on Broadway, Off-Broadway, on national and international tours, cruise ships, and many regional and summer
stock theaters. Contact me today to get started!