An introduction to vocal interpretation

Hello all!

Before we start working with any repertory they are some things we have to take in consideration in our study routine in order to offer a good interpretation of an opera aria or an art song, Here I am giving you a list of things to take in consideration when we start learning new repertory.

1. Respect the era and composer’s style:

When we talk about the different eras we are talking about the differences in the art of singing following the guidelines of a specific style. To be more clear, we must learn the differences between the bel canto and verismo for example. Respecting the guidelines of each era is crucial to give a correct performance. In singing competitions it is very important to present contrasting styles to show the judges your capabilities of adapting your voice from one style to another, from one composer to another. Singing Puccini for example, is very different than singing Mozart. If you learn the guidelines of the different styles and composers you will be able to adapt your voice to the differences that set apart each style and this will make you a better and more versatile singer.  More styles you can adapt to your voice, more choices on repertory you can find.

2. Understanding the words we are singing:

Many songs and arias are written in foreign languages. In a perfect world we should  be able to fluently speak in each language we sing. Unfortunately for many singers that’s not the case. To have a good understanding of the words we are singing we must find a word by word translation, even if this translation doesn’t make an understandable poetical sense, it is good to be able to know what each word means for interpretation purposes. This translation should be done on the sheet music. Write each word in your own language over each word on the original language. This is just for you and is  to help you to understand the whys of the harmony, tempo and dynamics. Remember, composers wrote dynamics, harmonies and tempo for a reason. Doing this will help you to get a better picture of the composer’s set of mind and will give you a clear idea on how to approach the words and set your mind in the character you want to portrait.

3. Diction, diction, diction!

Your voice might be beautiful but if you are not able to sing the words clearly you will be in trouble. Practice your diction every day. Make sure you learn the basis of the language you are about to sing. Make sure you learn to  pronounce correctly those umlaut vowels in German and the double consonants in Italian, the nasal sounds in French etc. Each language has it’s own cadence and composers followed the language’s natural rhythm to write their music to enhance the message  the words are communicating. It is very frustrating for fellow singers, voice teachers and vocal coaches to hear a singer’s beautiful voice and not be able to guess what language he/she is singing. Make sure you do your best in pronouncing correctly.

4. Understanding the libretto or the poetry of  a cycle:

We need to have a complete understanding of the piece we are going to sing. Opera gives singers, in my opinion an easier way to understand and interpret the arias because they are sung by a character. The libretto gives singers and idea of the qualities and human charisma each character has in the opera and the arias are reflecting the character’s  thoughts  and feelings of a particular situation in the opera. This along with the music, the rhythms, the speed, dynamics and the major or minor keys give singers a good understanding of the character. For example,  when a soprano sings Vissi d’arte from Tosca, she knows that particular aria is sung by Fiora Tosca, she should know Fiora is in love with Mario Cavaradossi and she should know Scarpia has an obsession with Fiora. I would recommend to learn not only your aria, but read a synopsis of the whole opera. Listen the whole opera even if you are only learning the aria. More you learn about the character better the results in terms of vocal interpretation. I would recommend the same about art songs that belong to a cycle. If you are singing Er, der herrlichste von allen form the Cycle Frauenlibe und leben Op. 42 you should know the whole story. And answer the following questions: Who is singing? Why is he/she singing that song ? To whom is he/she singing that song? If the song is not coming from a particular character, create your own! Listen to the whole cycle. Find the translations for all songs. And, if possible, learn the whole cycle!

5. Give the words the meaning they deserve:

It is important to study not only the voice’s line and the meaning of the words, but also studying the orchestra parts or the piano reduction or the piano accompaniment. It is imperative to understand the atmosphere in which the words become alive like in a real situation. The key (major or minor key) the harmony and rhythms play a very special role in the vocal interpretation. The music is supporting the words and creating an ambiance that let the audience know  if that particular moment is sad or happy, if the character is facing a complex situation or if is  giving his/her thoughts about something that happened previously in the opera or something that will happen after the character sings the aria. It is also very important to respect the dynamics and understand why a particular dynamic was written in a particular passage or words. Dynamics usually project feelings and emotions through the words we sing. Then, it is also necessary to pay close attention to the tempo and the changes on the pulses as they are presented on the music. Tempo and tempo changes also project emotions and feelings by adding tension or relaxing the music and the singer’s line. In song cycles it is even more important to understand the piano part. The pianist along with the singer is telling the story and creates the atmosphere with beautiful lines that opens or closes each song. In many art songs the pianist has important lines that complement and create images that singers will describe with their words.

6. Become the character:

I think something very important will be missing if we don’t add our own selves and become the character not only musically, but in our mind. I think this is the most difficult task for any singer. Becoming the character and giving everything you have in your soul, mind and heart without any hesitation is not an easy thing to do. In order to become the character we have to think and act like the character would think and act in real life. Those feelings and emotions, that state of mind and the character’s actions and intentions must become real in order to create a believable persona. As singers we have to walk on the character’s shoes and give your mind and soul in a way that  the character becomes alive through your voice. You must believe you are Mimi, or Tosca, or Scarpia. If you don’t believe it, the audience won’t believe it either. The music, the dynamics, the tempo, the keys, the libretto and  the poetry  are there to help you to build a strong foundation to become who ever you have to become. In your soul, mind and heart are the tools to express what ever the character has to express. Do not be afraid to experience the vulnerability of the character you are about to portrait. Find in your own voice the colors and inflections that project the pain, the suffering, the happiness, the excitement, the anger and many other human emotions we all have experienced, because we are all human beings. Work on your dynamics, try different tempos, give every word the feeling and the emotion they deserve.  Do not hesitate! Just, make it happen!

7. Use your vocal resources and vocal technique:

Finally and most importantly is using your voice in an effective way, with a technique that gives you the tools to change your vocal inflections, colors, dynamics and at the same time gives you the freedom to be in total control of your instrument. Learn a technique that allows you to sing with flexibility and grace. Better technique you develop, better and easier will be for you to become the character you are about to portrait. Do not disregard the fact that developing a correct vocal technique will help you to deal with any vocal challenges you might face through your singing career.

How does acid reflux affect singers?

What is Acid Reflux?

Acid reflux is a condition where the stomach acids go backwards from the stomach to the esophagus. In severe cases stomach acids can go all the way up to the throat. Acid reflux can be present during short periods of times or in severe cases people can experience acid reflux symptoms in a daily basis. For a complete explanation of this condition click here. 

How does acid reflux affect singers?

Acid reflux burns and swells the throat, trachea and the vocal chords and can cause severe inflammation and hoarseness. Singers may experience a feeling of pushing and forcing the voice because "the voice won't go out if is not pushed". The voice doesn't respond to your commands making you feel like a total failure... You know what to do but the voice doesn't do it... Why does this happen? It happens because the vocal chords and everything around is BURNED!! including the stomach and the esophagus - Stomach acids burn like any other acid you might think of. 

Here I included  the 7 common symptoms singers experience while suffering of acid reflux. To read about triggers, treatment and other useful information click here. 

1 - TOO MUCH PUSHING - Many singers feel if they don't push the voice won't come out. This makes singers to "push" more air than what is required to create a sound. 

2 -  SENSATION OF RANGE LIMITATION - Mostly on the big transition right before the head voice. The singer experiences a very hard time mixing chest and head voice. In men the mix can break and voice will go to falsetto or he'll feel something is in the middle of the way and he might feel he can't keep going up. In women the feeling is of pulling too much chest voice and she might feel "too much weight" on her voice and too much muscle engagement trying to reach higher notes. The voice might break giving a breathy and very weak sound. This sound is totally disconnected like a feminine falsetto (if it can be described like that.) Another symptom is the feeling is the voice is "placed" to low and unable to reach the resonant cavities or "the mask" where the sound wants to go naturally. This gives the singer the sensation of a tired voice and it can be painful at times. 

3 -  MORNING HOARSENESS - Singers might experience the voice is airy, tired, weak and hoarse. If the acid reflux is not severe, the voice usually seems to get better through the day and they can sing without big problems in the afternoon but even they can sing they might experience a little bit of pulling on the mixing voice and a little bit of pushing singing the high notes. Morning hoarseness can be accompanied by a burning sensation on the mouth, throat and esophagus. 

4 - VOICE BREAKS DURING SINGING OR SPEAKING - Some singers might experience the voice breaks and just air comes out while singing or even while speaking. This happens when the vocal chords are swollen and cannot make a full closure letting air escape and not sound is coming out because the vocal chords are not vibrating properly and not getting together at all times during compression activity. 

5 - STOMACH, CHEST AND THROAT PAIN - Singers can experience pain before, during and after singing or speaking. They can also experience pain when swallowing food, liquids or even their own saliva. This happens because of the swelling of all the muscles involved in the digestion process and includes the trachea, the larynx the base of the tongue and of course, the vocal chords.

6 - THROAT AND MOUTH DRYNESS - Singers can experience dryness on their throat and mouth. This can result in a raspy voice. This is not a normal dryness you can fix easily by drinking water. The dryness sensation is due to the continuous burn of the acid reflux on your vocal chords. 

7. - DEVELOPING BAD SINGING HABITS - Singers might unconsciously develop bad and unhealthy singing habits by forcing, pulling, pushing and engaging to much muscle force while singing or even speaking. This will create a battery of bad habits that can be difficult to fix because the voice is not capable to respond to a gentle approach to create an effortless sound. Even if the acid reflux is getting "under control" many singers have to face the fact they have developed many bad habits during the time the acid reflux was active. This can be very frustrating and many singers stop practicing and singing.

REBUILDING THE VOICE:

This can be and is the most frustrating and difficult thing to do after controlling the acid reflux. To rebuild and re coordinate the vocal mechanism takes time and patience, not only from the singer but from the voice teacher as well. It is important to find a teacher who knows this condition and knows how to guide the singer into re coordinating the vocal mechanism carefully and keeping in mind the singer's voice had gone through a severe trauma. 

It is important to understand the voice will get better step by step. Rebuilding and re coordinating the voice must be done with a gentle approach. Working the muscles and the air flow in a soft and gentle manner. Re training the light vocal mechanism and toning the vocal chords one bit at a time. 

This re coordination takes months of therapeutic vocalization until the voice regain strength, flexibility, beauty and endurance.  As the therapeutic vocalization advances and shows progress, the singer's mind set might changes from shame and fear, to regain self confidence and happiness. 

The tenor voice - Dealing with the high notes

Hello everyone:

Today I want to specifically talk about the high range on the tenor voices. Many tenors face a lot of difficulties when they have to sing repeatedly on the highest  part of their vocal range. For tenors who haven't developed the high notes or don't have those high pitches, singing high notes can be frustrating, overwhelming and very intimidating. 

This situation results on insecurities, low self esteem as a singer, shame and even psychological disturbances simply because tenors are required to sing a solid high C5, and in some cases a high C#5 or even a high D5. 

In the past, before the Bel Canto era, tenors were not required to sing those high notes. All the difficult arias before the Bel Canto style were written for the Castrati . In fact, many opera experts agree that the Castrati arias are the most difficult to sing due to the vocal extension, fioratura  and the length of the roles. To many hours of singing difficult vocal passages!

Here is an example of a castrato's aria:

After the decline of the Castrati and the blossom of the Bel Canto style, the tenor voice begun to have a starring role in the new Opera productions. The new repertory for tenors demanded a very flexible voice, a pure sound and most importantly the ease to sing high notes without  pushing the instrument   over the limit to create the illusion of an effortless sound.

The tenors on the Bel Canto era learned a technique using the head voice to sing these high notes without harming the instrument. This technique is well known as "covering" the sound - "coprire" or "chiaroscuro" in Italian and is also known as a "vowel modification".  This technique is achieved by mixing or blending the chest and  head voice together to create a high note that sounds full but feels completely free. Developing this technique will take time and a great effort from the singer, mostly if it's voice is not naturally high or if the singer's voice is not flexible enough naturally.  Many people confuse the concept of singing with mixing voice with pure head voice or falsetto. At the early stages working with this technique the singer's voice will sound weak, it will crack on the transition areas, mostly between the middle and high range (F4, F#4 and G4) where the bigger transition is and it will certainly sound as a falsetto or pure head voice. With time and practice the high notes will develop into a solid sound, the cracking sound will be completely gone and the singer will be able to sing up and down with the same color and power through the whole vocal range.

Luciano Pavarotti talks about covering the sound on the following video: 

Seth Riggs - The famous vocal coach of many pop stars also talks about this technique. In fact, before Seth Riggs was famous he worked as a vocal teacher in Los Angeles California training classical singers. In the following video he explains clearly how to sing using the covering sound, he called it chiaroscuro:

This is the technique many teachers don't know or don't understand completely. Just a few teachers continue teaching this technique that might take time for the male singers to learn, understand and  apply, but once the singer understands it and learns it,  singing high notes will be like a walk in the park! 

Juan Diego Flores singing A mes amis... the famous aria from Donizzetti's La fille du regiment. In this aria the tenor has to sing 9 high C5. Impossible to sing without mixing the voice adequately. 

I am offering voice lessons on Google helpouts!

Hello everyone!

I am very excited to announce that Google approved me to offer voice lessons through Google helpouts. This is a very innovative way to teach using google hang outs. If you are away from the Phoenix area, or even out of the U. S. you can take voice lessons with me through this application. I am posting the link for my Google helpouts profile below the video. 

Watch the video and click on the link below! 

Click on the link below  to go to my Google Helpouts profile:

Voice lessons and coaching for classical singers

Start Singing Now - theonlinevoicestudio is ​an online business that offers voice lessons and vocal coaching on live video conferences on Skype. We work with classical and pop singers and train them into a healthy way of  singing. We retrain the vocal mechanism to make it work efficiently,  giving the singer a way  to sing effortlessly, with power, flexibility and  beauty. This is only achieved when the singer finds a perfect balance between the muscle movement and the flow of air, allowing the vocal mechanism to work with the less amount of tension possible. The singer will find that perfect balance by learning to use the voice correctly, relaxing the muscles in the right places, allowing the flow of air to go directly to the resonance areas. Singing this way, singers will develop the volume, stamina, flexibility, beauty, strength and endurance they all need to sing for long periods of time without causing vocal damage and keeping the voice healthy for years to come. 

For information about the voice lessons on Skype please visit our website: 

Startsingingnow - theonlinevoicestudio

Should I warm up my voice before singing?

Many times I have came across this questions.

The answer is YES!

The voice instrument  is composed by muscles, tissues, cavities, nerves etc. Like any athlete who needs to warm up his/her body before a practice or a competition, singers must follow a routine of simple vocalizations to prepare the muscles that will be involved in the singing process.

It is recommended for singers to start slowly right in the middle of the voice's range. Humming is a great way to start. Then going slowly from the humming to the lip trill, always making sure that the vocal cords are engaged with a deep breathing and good support for the air to pass smoothly to the resonance cavities without compromising the muscles on the upper body but most importantly the muscles around your throat. 

Always look for a nice, even and light sound at the beginning of the warm ups and build your sound  from there. When you feel your voice is ready, start introducing vowel sounds to your vocalization. Taking this step will depends from how your voice feels at that specific moment. Some days the voice won't need that much to warm up and you can go into singing open vowel sounds after 5 minutes. Other days your voice may take longer to warm up. This can be frustrating, mostly if you need to be ready for a vocal coaching or a concert or if you don't have time to warm up and you feel your voice is not responding quickly enough. 

In cases like this the best thing you can do is going up and down slowly using the lip trill and rolling your tongue making sure you engage the whole vocal range but not pushing the sound. Then go to the open vowel sounds starting  with the eeh sound making sure you take the air flow to your resonance cavities (the mask). 

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Start Singing Now - theonlinevoicestudio is ​an online business that offers voice lessons and vocal coaching on live video conferences on Skype. We work with classical and pop singers and train them into a healthy way of  singing. We retrain the vocal mechanism to make it work efficiently,  giving the singer a way  to sing effortlessly, with power, flexibility and  beauty. This is only achieved when the singer finds a perfect balance between the muscle movement and the flow of air, allowing the vocal mechanism to work with the less amount of tension possible. The singer will find that perfect balance by learning to use the voice correctly, relaxing the muscles in the right places, allowing the flow of air to go directly to the resonance areas. Singing this way, singers will develop the volume, stamina, flexibility, beauty, strength and endurance they all need to sing for long periods of time without causing vocal damage and keeping the voice healthy for years to come. 

For information about the voice lessons on Skype please visit our website: 

Startsingingnow - theonlinevoicestudio

5 Easy to do vocalizations to warm up your voice and be ready to sing!

Hello every one!

Singing is a physical activity, we cannot see the muscle movement because it happens inside our bodies. Many singers feel like they have ran a marathon after singing for a couple of hours. We sweat and we also get tired even if we don't move around the stage. 

When we sing certain muscles activate, these muscle movements combined with air flow create the voice's sound. Because voice is created with muscle movement we need to warm up those muscles to prepare them for the activity they are going to do. Singing! 

There are a specific series of vocal routines to warm up your voice and prepare you to sing without major trouble. Warming ups are important to create flexibility, elasticity and stronger and more durable vocal chords that will last for many years if you learn to sing properly. 

There  are  a bunch of warming up vocalizations. I recommend 5 vocal routines that are easy to do and will help you to get ready to sing without major complications. Here they are:

1.  A. The lip trill: (Just air)

This is a very useful exercise to star warming up the muscles on your face. You just need to put your lips together and blow air softly between them. 

B. The lip trill: (With sound)

After you do 3 or 4 lip trills without any sound,  you can softly add sound to your lip trill. The vowel  used on this vocalization can be an OH or AH sound. You should try both vowels and see which one is best for you.  You can go up and down softly trying to create the sound of a siren. You should NEVER scream  or force your voice during the warming up time. Well, in fact, you should never force your voice at all!

2. Panting and yawning exercise:  

Panting is an excellent exercise to wake up your diaphragm and activate the muscles on your stomach area. When these muscles work properly they support the current of air that pass through your vocal chords helping the voice to go directly to your  resonance areas, the cavities on your head, nose, eyes and mouth. The yawning helps the voice to find the highest vocal placement possible by lifting the soft palate, helping the sound to go to the nose cavities, avoiding staying trapped in the larynx. This will also help to have a stable larynx while singing. Do this exercise by panting slowly and softly at the time you yawn with an AH sound. Do a siren sound from a comfortable note for you and go all the way down slowly creating a glissando between the highest and lowest notes you can sing comfortably.  Make sure the muscles on your stomach go in, helping your diaphragm to support the air current until the end of the exercise. Repeat it at least 4 or 5  time going higher each time. Do not force your voice. 

3. Panting yawning and vocal fry:  Vocal  fry does wonders on voices that sound fatigued, whispering and have air escape. These things happen when the vocal folds are not getting together completely and there is not a 100% closure between them. Vocal fry makes the vocal chords stronger but without making them hard or taking away the flexibility and the soft nature they have. Additionally, vocal fry helps the vocal chords to get together completely without forcing them at all, making their closure easier and more efficient. This exercise is performed exactly the same as the panting and yawning exercise but adding the vocal fry at the end of the glissando. 

4. The M and sound:

A. The M sound is fantastic to find high voice placement and warming up the vocal chords slowly. When shaping your lips for the M, make sure that you separate the lower yaw from the higher yaw but keep the lips together. Behind that M sound you should sing and AH sound like you are yawning. Remember that yawning or keeping the yawning sensation while warming up is very important to develop good vocal habits. 

5. The Pharyngeal  sound:
This exercise is especially designed to work with the Pharynx. The pharynx plays an important role in the singing process. The pharyngeal sound helps the singer to develop those high notes with less effort and more power.  It also helps with creating an equal sound from top to bottom without any breaks in between. At the beginning the pharyngeal sound is a little bit hard to find,  the singer  must feel vibrations in the nasal cavities and at the same time the singer will feel the voice going up to the head passing through the back of the neck, behind the ears and finally getting right behind the nose. To do this vocalization the singer should stick the tongue out and make it vibrate very delicately and slowly. The sound behind the vibrating tongue should be an  AH or OH  in a yawning sensation. The upper teeth and lip should not pinched or stressed the tongue in any way, if they do, the tongue will not vibrate. Do sirens going up and down, make sure the larynx don't move while singing this vocalization. Repeat this exercise 4 or 5 times.

I hope this simple vocalizations can help you to warm up quickly and efficiently. Happy singing!

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Start Singing Now - theonlinevoicestudio is ​an online business that offers voice lessons and vocal coaching on live video conferences on Skype. We work with classical and pop singers and train them into a healthy way of  singing. We retrain the vocal mechanism to make it work efficiently,  giving the singer a way  to sing effortlessly, with power, flexibility and  beauty. This is only achieved when the singer finds a perfect balance between the muscle movement and the flow of air, allowing the vocal mechanism to work with the less amount of tension possible. The singer will find that perfect balance by learning to use the voice correctly, relaxing the muscles in the right places, allowing the flow of air to go directly to the resonance areas. Singing this way, singers will develop the volume, stamina, flexibility, beauty, strength and endurance they all need to sing for long periods of time without causing vocal damage and keeping the voice healthy for years to come. 

For more information and for booking lessons please visit our web page:

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How to find the perfect voice teacher?

How to find a good voice teacher.

Hello all:

Many people would love to develop the beautiful art of singing. Everybody has the capacity to improve their vocal ability and get better in their singing. But the question is: How to start? What to do or where to to to find the perfect voice teacher for me? Where do I find a good teacher that understands my voice and will help me to get the best of it? There are many choices... so many, it can be an  overwhelming experience. I decided to help you out with this decision and giving you some tips that you can use to find the Voice teacher that works best for your voice and your goals in singing.

1. It is very important that your voice teacher knows what he/she is teaching.

Do not hesitate in asking your potential teacher about his/her background in Music. What studies and training does he/she have? for how many years  has he/she been teaching voice technique? It is crucial to find someone that really knows about voice technique and vocal pedagogy. Someone that can helps you to work with whatever voice technique issues you may have and helps you to develop a healthy sound avoiding vocal damage in the future.  Usually the best teachers are those who have been trained   their voices with classical singers because they have really studied the voice technique and know pretty well the singing process and can help you to create a solid voice technique.

2.  Keep in mind what are your goals in singing and find a teacher that can walk that path with you. For example, if you want to sing Opera, you certainly need someone that can guide you with voice technique, style, repertoire, languages, etc. You certainly need a teacher that can train you and helps you to develop all of that and even more. But if you want to sing rock you need someone that knows how to work with the falsetto (head voice) to help you develop the high range for those "rock style screaming"  in a healthiest way possible.

3. The best letter of recommendation of any voice teacher are his/her students. 

Listen to them. Do you like how they sing? Do you think they sing well, pretty, healthy, etc? If listening to the students inspires you and makes you want to start singing you will probably enjoy taking voice lessons with this teacher.

4. Online voice lessons, video lessons or person to person voice lessons?

The best way to learn to sing is ALWAYS on a person to person setting. This is the best way to learn because your teacher and you can find out what your needs are and create a routine of vocal exercises to work with your specific needs.  Videos may be too general and not going to the root of your vocal issues and at certain point you'll feel that you stop learning; this may discourages and frustrates you and you will stop your practice. Between video conferences lessons (live lessons) and person to person lessons I would prefer again a person to person setting. But in this modern world, where you can access the information from the comfort of your home, you can find good  and experienced teachers that offer lessons in an online - one on one settings. Just do a good research before you go with any teacher for an online or person to person  lesson.

5. Try more than one teacher. 

It is very important for you to feel confident and free of negative energies. A good teacher will encourage you to give your best. But will also point your weaknesses  and will help you  to address those vocal issues in order to build a healthy voice and a proper technique helping you to get the best of your vocal ability.  Keeping this in mind, write down a list of qualities you would like to find in your voice teacher. Then start your search in your closest community college, music academies, private instructors etc.  I would suggest you to find at least 3 teachers and talk to them personally, online, on the phone or by e mail. Ask them all the questions you want and check if they match your list. Then find the time to meet them personally or online if it's the case and try one voice lesson. You can ask the teacher to give you a  30 minutes voice lesson to see if you are a good match. But be ready to pay for the class; most teachers charge for their time.

6. Finally, ask your self: How do I feel?

How do you feel before, during and after the voice lesson? This is VERY IMPORTANT!!! How do you feel physically, mentally and psychologically before, during and after each voice lesson is very important. You should feel comfortable, confident, secure, appreciated, and you need to feel that you are learning something. Physically, you need to feel that what you are doing is not painful on your throat, and very important, that you don't end your voice lesson with stress on your vocal chords or hoarse voice.  A good voice technique leads to a beautiful, healthy and powerful sound. It gives you confidence, it makes you feel good about your self. So, look for all these feelings while taking your voice lessons.

Good luck and happy singing everyone!
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Start Singing Now - theonlinevoicestudio is ​an online business that offers voice lessons and vocal coaching on live video conferences on Skype. We work with classical and pop singers and train them into a healthy way of  singing. We retrain the vocal mechanism to make it work efficiently,  giving the singer a way  to sing effortlessly, with power, flexibility and  beauty. This is only achieved when the singer finds a perfect balance between the muscle movement and the flow of air, allowing the vocal mechanism to work with the less amount of tension possible. The singer will find that perfect balance by learning to use the voice correctly, relaxing the muscles in the right places, allowing the flow of air to go directly to the resonance areas. Singing this way, singers will develop the volume, stamina, flexibility, beauty, strength and endurance they all need to sing for long periods of time without causing vocal damage and keeping the voice healthy for years to come. 

For more information and for booking lessons please visit our web page:

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