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BFA, The University of the Arts, Musical Theatre
Finalist in The 2018 Shana Farr Competition Finalist in The 2018 Hal Leonard College Musical Theatre Competition
I am an aspiring actor and performer who has been training in voice for over 10 years with a foundation in an operatic repertoire and technique, and have flexed out to vocal styles including pop, rock, jazz, folk, and musical theatre. I have 5 years of piano training as well as music theory, ear training, sight singing, rythmic and melodic dictation, and solfege. I have performed with Kristin Chenoweth, Ricky Ian Gordon, and participated in numerous masterclasses with vocalists from Broadway and Opera. I am a proud graduate of The University of the Arts, Class of 2017.
I began teaching about a year ago where I served as an adjunct faculty member at The Allegra School of Music in Hillsborough, NJ. What I love most about teaching is taking the time to taking things a part and exploring them, one thing at a time, concept by concept, and molding them back together to form a strong, solid technical foundation. Also, having an understanding of how singing is an activity that requires involvement from all of your body, engaging every part and make sure they are working together to create ease, and efficient vocal production.
Something I feel strongly about in my teaching is a introduction to classical music and style of singing. This is in many ways the most uninhibited, free positioning for vocal production and once a student feels comfort in that, they can move forward and explore different genres without any impediments or things holding them back. They have a root position to return to if they feel lost or have not completely grasped a vocal styling. Also, practice is key. For me, you can make so many discoveries in a voice lesson. But if you don’t apply these discoveries to a daily practice, they won’t stick as easily. You have to put in work a little bit at a time, consistently to see results.
My approach is always to encourage a student to stop using language like “that was bad” or “that sucked.” It’s not the best or most productive way of getting you freer and singing with less tension or nerves. What I look to motivate in a student is becoming aware of any tension or nerves and explore where it comes from. Become an analyst. “Oh, I just my chin out everytime I have to sing an E vowel really high on the staff.” “My tongue is creeping up in the back of my throat and is resulting in a less expansive, full sound.” “My feet aren’t rooted in the ground, I can’t get enough support underneath me to produce powerful, strong breath.”
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