Info for Students

What to Expect from Voice Lessons

As a voice teacher, I frequently find myself explaining what I do to non-singers.  Many people have no idea how much careful work goes into training a voice, and what kind of knowledge a good voice teacher needs.  “So, voice lessons is just teaching people songs, right?”  No.

First of all, learning any instrument involves extreme attention to detail and persistence.  Giving a good performance requires many hours of work, and not just practicing the song over and over.  Scales and exercises build technique by focusing on particular skills.  Repertoire must be carefully chosen so that it is challenging enough but not beyond the abilities of the student.  The student must also learn how to incorporate emotion and musicality into their performance as well, otherwise the audience won’t care how technically proficient they are.

The thing about singers is our instrument is our bodies.  Sounds are produced by the vocal folds and amplified by resonating through our throat and mouth.  Breathing technique is important, and the muscles involved in breathing must be trained to be active enough without working harder than necessary.  Tension anywhere in the body can create tension in the throat, which makes the singer work harder and not sound as good.  Some of these tensions are visible, like when singers raise their shoulders when inhaling or have a quivering jaw while singing, so they are easier to diagnose and correct.  However, much of what goes on while singing is invisible to the naked eye.

So, how do you improve your singing?  Study with a teacher who knows how the voice works.  Not just one who can sing well, but one who really understands different approaches to vocal technique and how they apply to different singers in different musical styles.  Be patient when your teacher asks you to sing scales and exercises, because these are more than just “warm ups.”

This is what a typical trial voice lesson with me looks like:

1.  First things first, I introduce myself.  I talk to the student and/or parent and ask questions like: How long have you been singing, do you have any performance experience, do you play any instruments, and what styles of music do you like best?  Then I’ll ask if you have any questions for me before we start singing.

2.  Next we’ll start with some simple warm up exercises.  Many students are shy about singing in front of a new teacher, and that’s totally normal!  I may sing the first few exercises with you to help you feel more comfortable.  Remember that the point of this is for me to learn about your voice, not to judge you in any way.  I use these exercises to assess a new student’s range, pitch accuracy, and how the voice is being used.  I just want to know what I can do to help you sing better.

3.  Once I’ve had a chance to hear your voice, we may spend a few minutes working on a song.  If you’ve brought a song to sing, that’s great.  If not, I’ll pick a simple song to work on.  This won’t necessarily be a song we’ll continue working on in subsequent lessons, but starting to learn a song gives me more information that helps me develop a plan for our future lessons.

4.  Before we finish, I’ll ask if you have any more questions for me.  I’ll talk to you a little about what I noticed about your voice and what I’d like to work on.  (For example, “I think your voice has a pretty tone and a lot of potential.  I’d like to help you feel more comfortable with your upper range.”)

A few things to keep in mind:

Vocal training takes time.  You probably won’t notice results right away.  It takes time to develop the muscle coordination required for consistent singing, so don’t get discouraged if you feel like you’re not making as much progress as you hoped.   Also remember that your voice sounds different to you than it does to other people, and what you think you sound like is not necessarily accurate.

There’s always a reason for the exercises.  Sometimes voice lessons involve making silly sounds.  I may ask you to sing “nya nya nya” or do a lip trill, and you may think that’s silly and pointless.  But trust me– there is always a point.  Different sounds have different effects on the vocal cords.   I’m not asking you to sing “blah blah blah” because I think it’s funny, but because that particular combination of vowels and consonants will help you find a better sound.

Sometimes showing is easier than telling.  Especially when working on breath support, it may be helpful for a student to put his or her hand on a teacher’s torso or back to feel how the muscles are working.  Then the teacher may place a hand on the same place on the student to compare.  I always ask permission first (i.e. “Is it ok if I put my hand on your back?  I want to see if I can feel any expansion there when you breathe in.”) and make sure to use touch in a neutral, non-threatening way.   Don’t be afraid to speak up if you feel uncomfortable or have any questions!

Practice is important!  What you do between lessons is just as important as the work we do together.  We can have a really productive lesson and make lots of progress, but if you don’t do the work to reinforce that progress at home, we’ll just be doing the same thing again in your next lesson.  If you’re not sure how to practice, I can help you put together a strategy that will help you practice efficiently.  Generally, it’s best to begin a practice session with a few of the warm up exercises we’ve been working on in your lessons.  It also helps to bring a notebook with you to lessons so you can write down what we did and what I’d like you to practice before the next lesson.  For more on practice, see my post “Practice Makes Perfect.”

If you have questions, please ask!  I value feedback from my students.  Ultimately, you are the only one who knows how your voice is feeling, so if something doesn’t feel right, it’s important to speak up.  If your voice gets hoarse after a short practice session, something is not right and we need to address it.  If you don’t like the songs we are working on, tell me!  I want you to love singing as much as I do, and I will do my best to help you find songs that are fun as well as appropriate.  If you are feeling frustrated, confused, or thrilled with your singing, I want to know.  Customizing my approach for each student is an important part of my teaching philosophy, and I try to regularly check in and ask how things are going, but I also want my students to feel comfortable bringing up any questions or concerns that arise.

Practice Makes Perfect

One of the biggest challenges I face with my students is getting them to practice regularly.  Consistent, focused practice is a necessary part of developing good vocal (or any other instrument) technique.   Students with good practice habits progress much more rapidly than those who only practice occasionally or not at all.

The goal is not to practice for hours every day, but instead to practice carefully and deliberately, reinforcing what was learned in your lesson and practicing those skills so that they become comfortable.   Pay close attention to what you are doing, how you are singing, and how it feels.  Focus your attention on practicing difficult sections and trouble spots.  Don’t just sing through the same song over and over and expect the problems to fix themselves.

For more on how to practice effectively, see this excellent post on Bulletproof Musician: How Many Hours a Day Should You Practice?

Finding time to practice regularly is something I struggle with myself as well.  Besides teaching, I work an office job, and I don’t have a lot of free time.  I also live in an apartment building with thin walls, so I try to be considerate of my neighbors by not practicing too early or too late.  I’ve been trying different methods of scheduling my practice sessions, and have yet to find the perfect solution.  I usually do some basic warm-ups and vocalizes during my 20-minute morning commute, but it’s pretty much impossible to accomplish any productive practice while driving.

One thing that has helped for me is finding small chunks of time for practice, and setting a timer so I am not distracted by the clock or all the other things on my To-Do list.  Fifteen minutes is a good place to start when it seems like there is no time for practice.  Even with a crazy schedule, you can always find 15 minutes for singing, and you might be surprised how much you can accomplish in that short amount of time.  If I have a little more time, I’ll sing scales and exercises for 15 minutes, then work on a song for 15 more.  I am often more productive during these short practice sessions than I am when I have more time.

As a coloratura soprano, a lot of the repertoire I sing is very vocally demanding.  Repeatedly singing through some of these arias is tiring, and not the most effective way to practice.  This is where mental practice comes in– a technique I first learned about at the OperaWorks summer intensive program.    Especially with difficult coloratura passages, being able to hear the notes in your head (sung in your voice, the way you want it to sound) is crucial.  While mental practice is not the same as physical practice, really visualizing yourself singing (or playing) the way that you want to sound can be very helpful.  For more on mental practice, see this post, also from Bulletproof Musician: Does Mental Practice Work? 

For many musicians, keeping a practice journal also helps.  I’ve found that writing down goals (repertoire to learn, technical concepts to focus on, etc) can really help me focus my practice time.  Also, keeping a record of what was accomplished can help me track my progress toward those goals.

What do you think?  I’d love to hear from you in the comments.  Thanks for reading, and happy practicing!

Big Decisions – Part 3

Part 3: My advice

Should you major in music at a conservatory?

If you are certain that all you want to do with your life is music, if you have an abundance of raw talent and potential, and if you understand the challenges that come with a music career, then going to a conservatory as an undergraduate might work well for you.  It is inspiring and motivating to be surrounded by talented musicians and instructors.  However, the more competitive the school, the fewer performance opportunities the undergraduate students get, and it’s easy to end up blending in with the scenery.  For some students it might be better to major in music at a university with a strong music program, and then go to a conservatory for your master’s degree.

If you’re not sure, and if music is not the only thing you can imagine doing with your life, don’t limit yourself.  There are plenty of universities that have great academics as well as wonderful music programs.  If you do decide on a music career, where you earned your Master’s Degree is more important than your Bachelor’s.   (More info here:  What does an Operatic career look like?)

You’ll have plenty of time to focus solely on music in graduate school, if you decide that’s the path you want to take.  Especially for opera singers, there is no need to rush!!  Your voice won’t even be mature until your mid- to late-twenties, so there is plenty of time to get a solid education before focusing on music.  Trying to do too much before you are ready will only lead to frustration and rejection.

Finally, understand that a career as a musician takes a while to establish, and you’re probably going to need some kind of day job to get you there.  While you are in college, try to get some work experience that will be helpful.  A part-time office job on campus is a great place to start.  Try to work your way toward a steady day job that will pay enough to support your budding music career.

Now, don’t get me wrong, I’m not saying that going to a conservatory as an undergraduate is a bad idea.  For a lot of young musicians, it’s the right choice.  It’s just not the best idea for everyone.   Consider all of your options and choose what feels right for you.

Big Decisions – Part 2

Part 2: My Story

I grew up in a small town.  I was stubborn, and all I knew was that I wanted to be a singer.  I only applied to a few schools, all in my home state of California, and I figured that if I was good enough to get in to the San Francisco Conservatory of Music, then I’d go there.  My parents weren’t crazy about the idea, and they thought I’d be better off getting a more well-rounded education at a regular university.  But I was stubborn and determined to pursue music no matter what.

Once I got to the conservatory, I was immersed in a whole new world of music.  I’d played piano and sung for my whole life, but I knew very little about music history, literature, or theory.  I was fascinated.  My grades hadn’t been that great in high school, but once I was studying the things that interested me, I excelled academically.  Emotionally, however, I struggled, and I was often lonely and insecure.  I also struggled financially, and worked hard to support myself.  I missed many opportunities for additional education and training (summer programs, etc.) because they were simply too expensive.  There were many ups and downs, and I was incredibly fortunate to have a wonderful, supportive voice teacher who taught me how to sing as well as how to survive.

The main problem was, I was not quite mature enough to handle the pressure.  To be perfectly honest, I was kind of an emotional wreck for most of those  4 years.  I spent too much time in unhealthy relationships and friendships.  And I took rejection too personally, so every time I didn’t get the part I auditioned for (or any part, for that matter), I was absolutely devastated.   I knew I was making progress, but I still wasn’t being cast in anything.  I realize now that there are lots of reasons for this, but mostly I was awkward on stage (since I had no real acting training, and very limited experience) and not confident enough.

When I finished my Bachelor’s Degree, I wasn’t sure what to do next.  I wanted to apply to other schools, but I didn’t have the money for application fees, let alone plane tickets across the country if I got an audition.  I thought that continuing at SFCM was the best choice, since I was happy with my teacher, and I was already there.  However, that turned out to be a mistake, and I was especially miserable that year.  My financial struggles increased as well, and I finally reached a point where I realized that the education I was paying dearly for was not the education I wanted or needed.  I needed stage experience and acting training, and I was not getting that at all.  I also doubted whether I was on the right path, and did not think I wanted to be a professional opera singer.  I decided to leave SFCM and move back to my hometown while I figured out my next move.

That summer I was also fortunate enough to attend the OperaWorks program in Southern California.  I’m not exaggerating at all when I say that those two weeks changed my life.   The program included classes in improv, performance techniques, and movement: everything that had been missing from my previous education.  I began learning how to move on stage, and realized how disconnected from my body I was.  We also took yoga classes every day, which made my constant back pain go away and started me on the path to a healthier lifestyle– over the next year I lost almost 60 pounds.

I was fortunate that my tiny hometown has an active music community, and I was able to sing lead roles in several productions with Mendocino Chamber Opera.  Working with just one or two other singers and the director gave me the training and confidence I needed to become a better actor.  I also started teaching voice lessons, and began finally figuring out what I wanted to do with my life.

The thing is, I love to sing, and performing in operas is so much fun.  But I am also sensitive, a perfectionist, and an over-thinker, and those qualities hold me back as a singer.  However, those are the same qualities that make me a great teacher.  I realized that, rather than trying to change so many things about myself so I could thrive as a singer, why not find a career that actually fits me?

But, enough about me.  The bottom line is, even though it was tough and maybe not the best choice for me, I wouldn’t change any of it because I learned so much and I am happy with where I am now.  But would I recommend that path to my young students?  That depends on several factors, which I will discuss in the next (and final) post in this series.

Big Decisions – Part 1

I recently spent part of a voice lesson discussing college choices, majors, and life plans with one of my students.  It got me thinking about the choices I made and what I might do differently knowing what I know now.   I have far too much to say on this subject for just one post, so this will be the first in a series of entries.

When I was finishing high school and making huge decisions that would determine the course of my adult life, I had no idea what I was getting into.   I wanted to be an opera singer, and I didn’t care what anyone said.  I’m not saying that I wish I had done things differently, but I wish I had at least done my research.

Most importantly,  I wish I had known what I was choosing, so that I could have been prepared for it.  Specifically, what does the path to being a professional opera singer look like?  When I choose this career, what does that mean for the next ten years of my life?  You can find an excellent answer to that question here: What does an operatic career look like?  Building a career as a professional singer takes time, money, determination, and lots and lots of auditioning.   For more on auditioning, read this: How much did your last job interview set you back?

The thing is, getting an opera career off the ground takes money.  Quite a bit of money.  You’ll need audition/performance outfits, not to mention the money for application fees, accompanists, travel expenses, and tuition fees for the “pay to sing” programs that give you the experience needed to be considered for the paying gigs.   Assuming that you don’t have unlimited money at your disposal, you’ll need a steady job to fund all of this.   Being an opera singer can pay the bills eventually, but you’ll need a good day job in order to make it to that point.

Building an opera career also means learning to tolerate rejection.  In the beginning, you will probably be rejected a lot.  It’s nothing personal, that’s just how it works.  It takes time and practice to become great at auditioning.  Most importantly, you have to believe in your talent and turn each rejection into motivation to keep yourself moving forward.

That being said, being an opera singer is also amazing and totally fun.  And there’s also no rule that states you have to make it to the professional level to have value as a singer– there are many definitions of success.   My goal here is not to discourage anyone from following his or her dreams, I only want you to plan for the challenges involved so they do not derail you.

In my next post, I’ll discuss my own experiences and struggles, how I sabotaged myself with naive enthusiasm and lack of practical preparation, and how I still would not change a thing because the music training I’ve received has made me a better person overall.