Frequently Asked Questions

Q: What do you mean by vocal function?
A: A very simple definition of "function" is the ability to sing high and low, loud and soft, slow and fast, with the appropriate registration (coordination of head and chest voice, depending on style), all with maximum freedom and ease. I believe that a voice that does these things well is inherently beautiful. In other words, one doesn't need to try to make it "sound like" anyone or anything other than what it is when it is functioning at its most optimal level. If one wants to be a singer, they should not imitate a particular singer, but rather train to be able to do what the singers in that genre need to do!

Q: How long and how often should lessons be?
A: This will depend on where you are in your development, and what your goals are. A hundred years ago, classical vocalists might have several medium-length lessons per week. Pavarotti had daily lessons for seven years before he made his debut. For very young singers a half hour weekly may be appropriate, but for age 12 and up, 45 minutes is the minimum. As you advance and start working with repertoire, a full hour is better. If your budget allows for an hour, and you are emphasizing building technique above all else, coming for two half hours can work, but the reason I don't like half hours is because it can take several minutes to get focused, and another few minutes to warm up the voice, leaving little time to do new constructive work or work on songs.

Q: What do you emphasize in your teaching?
A: The first and most important thing I teach is technique. Technique is so important because it affects your ability to sing in a healthy way for the rest of your life, as well as just making everything easier.

Q: What is the definition of "technique"?
A: By technique I mean the physical aspects of singing - what your body has to do in order to sing. Another very important part of studying singing is called "musicianship" and has to do with musical style, timing, expression, groove, and stage presence, but those things are secondary to having a good technique that allows your voice to be free to do what you want it to do.

Q: What is different about your technical approach?
A: Some of the main goals in the beginning are developing the coordination between the chest and falsetto (or head voice), getting the vocal folds to come together properly, and releasing interfering tensions. These are areas that many singers present as challenges when they first come for instruction. One important aspect of my approach to teaching technique is that you learn through real physical actions based on actual vocal function and sensory feedback, with minimal use of visualizations and vague metaphors.

Q: Do you teach the other stuff besides technique?
A: In addition to establishing a reliable technique, we will work on other skills that are important for singers, such as diction, performing the music in a style-appropriate way, finding the dramatic intent of the lyric, how to physicalize a song, how to practice, etc.

Q: What is the difference between a voice teacher and a voice coach?
A: The terms are often used interchangeably, but strictly speaking a voice teacher's main role is to help you with technique, to build your voice. Coaches accompany you and help you with all of the nonvocal issues like rhythm, text (language and diction), general style and musicianship. I am a voice teacher for jazz, classical, musical theatre, rock, and R&B singers, but in a coaching role I'm more comfortable with musical theatre, classical, old standards, and some "easy listening" styles. In traditional classical study, and at some conservatories such as Peabody and Juilliard, every voice student has a voice teacher plus a coach. The voice teacher teaches voice, and the coach helps with repertoire and rehearsing for performance.

Q: I sing R & B and pop songs. Are you going to try to make me study "classical" style?
A: No.

Q: How can I increase my range?
A: Many of the most common vocal problems are caused by a faulty technique, especially noticeable when the singer forces the higher tones. You will never be able to expand your range to its maximum potential until you are using only the muscles that are necessary, and keep the others relaxed and out of the way. For most singers, this means retraining muscles in the throat, tongue, and jaw areas. It takes careful work with a teacher to sort this out. Fortunately, range problems usually show quick improvement once certain wrong tensions are released.

Q: What is this "mix" I've heard about?
A: Due to the anatomy of the muscles of the larynx, there are two basic registers of the voice. The one usually associated with our lowest voice, called "chest voice" is the voice most of us speak with. The lighter register is called "falsetto" or "head voice" and is associated with higher and softer sounds. If you sing from your lowest notes to your highest notes, you may experience a distinct break or crack between your lower register and your higher register. The "mix" refers to the coordination between your chest and head voice that allows there to be a smooth transition, with no breaks. This has other names such as "middle voice" and "balanced registration". Done properly, it makes a sound that sounds like an extension of the chest voice, pure and strong, without the strain of pushing chest until it becomes strained yelling. A good mix makes going on up into head voice easy and it sounds and feels great. The mix is not another register, it is just a name for the result of coordination between the muscles controlling the lower and upper registers.

Q: Can you teach me how to belt?
A: Yes, with several caveats. First, it is important to understand that one voice can't do everything equally well. True belt is a very chest-dominant way of singing. Sometimes what people really need and want when they say "belt" is an ability to adjust the mix to allow for more or lest chest in the sound. Someone with control over their mix can often perform belt style numbers very effectively without using a full belt that could eliminate the possibility of a transition to a headier mix or head voice, especially for higher and/or softer notes.

Q: Isn't falsetto the same as head voice?
A: Not in the terminology that I use. Falsetto refers to the more breathy, hollow sound that occurs when the vocal folds (also called "cords") are not completely together. Head voice refers to a tone above the "break" that has more "ring" or "ping" in the sound due to its being coordinated with the lower register or "chest voice". Understanding falsetto is important for vocal study but is not used much by itself in performance.

Q: I have been told that I need to use better breath support. What does this mean?
A: When you ask different people what they think "breath support" means, you get very different answers. Because this term has so much goofy baggage with it, I don't use it. But here are some thoughts about the air supply that is the fuel for our singing. It does not take much air to sing. When a great singer can sing a long phrase on a breath, it is not because they have learned to put more air into their lungs, it is because they use it more slowly. Constantly taking the largest possible breaths can create unnecessary tension. Neither do we want to squeeze out every cubic centimeter of air before taking the next breath, because this encourages a collapsed and tense condition of the torso. All the fancy breathing in the world (and there are some really complicated breathing methods out there!) won't fix problems in the coordination of the muscles in your larynx that are responsible for changing and sustaining pitches. When the intrinsic muscles of the larynx have been properly trained, there is plenty of breath for phrases. Tall, free, relaxed posture needs to be maintained during the beginning, middle, and end of every breath. This is not hard to do, but sometimes attention needs to be focused on this area for a while until it becomes a good habit. Complicated formulas about different body parts moving in different directions tend to make breathing laborious and take attention away from vocal flaws that need to be resolved directly.

Q: Can you help me get ready for American Idol?
A: I can help you to sing your material in a more healthy manner, but I am not a pop music stylist. There are coaches who can help you with stylistic interpretation, while your voice teacher helps you with your technique. I would also advise you to think about a career here, and not just one audition. If you train in order to audition for American Idol, and you are not selected, what then? The answer to that question will determine whether you should be considering voice lessons.

Q: Is it true that if you can sing classical, you can sing anything?
A: A lot of people say so, but I disagree. Learning how to sing with a free, well-coordinated, powerful voice is a different goal from learning how to sing a particular genre of music. People can certainly learn to sing popular styles in addition to classical, but there are important stylistic differences to learn in each. Crossing between classical and contemporary commercial styles can be especially tricky for women. Check out this great article by Randy Buescher entitled The Recovering Female Opera Singer.

More coming soon!