Equity (performers' union)
Association of Teachers of Singing (AOTOS)
British Voice Association (BVA) (previous)
Natural Voice Practitioners Network (NVPN) (previous)
BA Hons (Music, Christ Church, Oxford)
MA (Music, Christ Church)
PGCE (Music and Drama, Leeds Uni)
MSc (Educational Research, Christ Church)
Vocal anatomy and function
Learning & performance psychology
Contemporary & CCM
Music Theatre (MT)
Intermediate to Advanced
For over 35 years, I have worked in the singing business – as a professional singer, teacher, and writer on voice, teaching and learning. And I’m happy to say, I still love doing all of those things!
I offer comprehensive singing lessons in my studio to students aged 18 and upward. Our work together tends to be medium to longer term, and focuses on four core areas:
-- Vocal technique --
... understanding vocal anatomy, muscles and function; vocal acoustics; alignment; breathing; larynx management; resonance; singing high notes & low notes safely, artistically and effectively; mastering forte, piano, crescendo, and diminuendo; fast singing (rapid pitch change and/or rapid syllables); adjusting larynx and resonators for different genres and sounds (e.g. opera, early music, jazz, music theatre, belt, folk, rock etc); voice care, vocal stamina, and vocal recovery; pronunciation (especially English, French, German, Italian & Hebrew).
-- Learning & psychology --
... mastering the ‘inner game’ of successful learning & performing – all physical skills training is also mental training; understanding the basic neuroscience of how we learn (we aren’t born with skill, we grow it); finding the learning methods that work best for a specific student; using clear, accurate conceptual models, and handy, memorable checklists; systematic exercises; explanatory handouts; tailored warmups & practice routines; methods designed to help the singer become confidently independent - capable of self-monitoring, self-analysis, and vocal problem-solving for themselves.
-- Interpretation --
... deepening knowledge of the relationship between words & music; understanding the emotional & narrative journey; expanding choices for musical phrasing; understanding the context of character, situation and story; delivering the message, and nuances of a song/aria, including individual word colour (singing as storytelling); recitative coaching; art song in several languages; learning the musical adjustments necessary to sing authentically in different styles (e.g. music theatre, jazz, opera, folk); performance conventions (e.g. the origins of the piece, the style and standards expected in the industry).
-- Performance --
... making the transition from the studio into public performance; communicating with an audience; handling performance nerves; balancing control and spontaneity / creativity in performance; handling the unexpected; memorising and preparation skills; mental rehearsal techniques; stage presence & self-presentation; planning a recital programme or set list; audition preparation & technique; how to make the most of competitions and exams; performance psychology & the cycle of improvement; dealing with negative experiences; role preparation; microphone technique; working in a recording studio; moving into professional singing, or developing an existing singing career.
Given that these are the four areas that we focus on, I ask all singers who work with me to have at least a basic level of musical proficiency before they start, and be ready to engage with the systematic and holistic approach. (Read more) I work with keen, musically capable amateurs, music students, aspiring professionals, semi-pro singers, singing teachers, professional singers, cantors, recording artists, and singers recovering from vocal damage, vocal strain, or a career crisis.
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