Oxford Singing Lessons

read moreDeveloping solid vocal technique, based on good voice science, is the foundation of all our work. We learn first to understand and master our instrument, how to apply the knowledge to songs, how to diagnose and fix your vocal problems, and how to look after our voice. With solid vocal technique, our voices become flexible, reliable, and responsive. Then we can start on interpretation, and finding true freedom of expression. We work on songs, repertoire, and the artistic questions of how to convey emotion, meaning, story and character as a singer.

read moreDec 2019 - I will start blogging about this soon. Articles will include: vocal loading - managing how you use your speaking and singing voice throughout the week what can stress the voice medical challenges - respiratory infections; acid reflux; menstruation; IBS; side effects of medications; intubation during surgery; muscle-skeletal conditions smoking, recreational drugs, alcohol.

read moreMy singing students are well acquainted with my teaching model for singing lessons, and this summary is a reminder for them of the core concepts. It serves as a draft outline of a book I would like to write about what I have learned and teach about singing. I don't know whether the book will ever. 1. ALIGNING In the '3 + 1' map I set out how all vocal technique has to be relevant to the Breathing system, Vibrating source, Resonating system, or inner life of the singer. The one aspect that affects all of these is how we ALIGN ourselves.

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read morePlease could we stop using the word 'open' in relation to anything to do with singing? I realise that teachers and voice scientists may have specific meanings for this word in different contexts, but I am concerned that a) students don't necessarily have a clear understanding of the different uses of the word, b) we. This post is an invitation to take another look at my earlier post called Reading List (8 July 2014). I've added a number of books on voice science and pedagogy that have come out of the USA.

read moreCan we learn to sing from a book? Absolutely not. I regard myself as reasonably knowledgable about voice, and a number of its related fields, including the teaching of voice. While I use the books listed here as reference tools, I think they might be only moderately useful to someone who isn't a voice geek and voice teaching geek like myself. There is so much technical language, ambiguity, questionable arguments (and pseudo-science), and terminological confusion. How can we be sure what the writer means when we cannot see the physical technique they describe, feel what it is like in the body (or, for that matter, emotionally or mentally), or hear the vocal-acoustic result?

read moreTypically, auditionees focus almost entirely on how deliver the actual material, whether spoken monologue or song. However, there are other factors at play that can either enhance or undermine the experience of the audience (or audition panel) the performer. To create a professional piece of theatre for your song, take into account the following: The. Here are the questions I ask myself when I am assessing a song performance, whether it's by a professional singer, by an actor, or by an actor who doesn't think they can sing, or may not be very musically reliable.

read moreExploring this website should give a good feel for how I approach our work together. The Four Core Areas page sets out the topics we can cover, and how I organise and sequence the teaching. The Voice Pentagon model describes a whole person approach to singing development, taking account of the relationship between mind, body, emotions, and values.