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Featured Voice Teachers Near Austin, TX

Chris A

Chris A

Instruments:

I have successfully brought begining singers that had trouble matching pitch to competition-level singing abillity within a year. I have also worked with more advanced singers who could sing well in one genre but wanted to learn a new one. 

Julianne B

Julianne B

Instruments:

Students who are beginning with me are presented with two methods and may choose based upon the Theory book. Generally, I present Faber's Piano Adventures, Hal Leonard, and at times, Succeeding at Piano by Helen Marlais. I use Frances Clark's Music Tree for students younger than five years of age. I follow the Lessons and Theory pairing from a student's method of choice. Once students can read the grand staff, I use A Dozen A Day by Edna Mae Burnam to teach keyboard geography and help lay the foundation for developing technique. For voice, I use simple vocal exercises that I have written. For adults who wish to learn to sing, I begin with basics of technique and introduce them to various styles unless they have expressed specific interest, ie, popular, musical theater, or classical. I encourage summer study and use that time to teach out of an anthology in order to allow students to apply their skills with expressive or character pieces. I teach duets in order to help students become comfortable with jazz and blues. I have held service recitals at local retirement homes in order to foster a love of sharing music with others.

Alan E

Alan E

Instruments:

I grew up in Stephens City, VA, where I started playing drum set professionally at age 16. Piano, guitar, and songwriting came soon after, and in 2005 I was awarded the Jazz Studies Scholarship from the University of North Texas to study drum set with the world-renowned educator, Ed Soph. At North Texas, I participated in the 6 O'Clock Lab Band, Advanced AfroCuban Ensemble, Chamber Brass Band and Brazilian Ensemble, and soon after, was commissioned to compose original music for the computer game Wriggle Words.. In early 2008, I began touring nationally with a Denton-based band, and now tour nationally with several Austin-based groups. While not on the road, I play with numerous groups in Austin, write and record original music in my home studio, and teach.. I bring my extensive music industry experience into each lesson. While teaching my students their primary instruments, I also strive to make the lessons well-rounded, incorporating theory, ear training, music culture and history.

Keeley H

Keeley H

Instruments:

Each lesson is designed specifically with the students’ abilities and challenges in mind as well. For young or beginning voice students, I like to begin with a solid foundation of intonation, body alignment, sight reading, and breath support using beginning level folk songs. The repertoire I choose is specific to each student's short-term goal and stylistic preference. For intermediate students, I focus on tone, coloration, vocal agility, diction, musicality, dynamics and performance anxiety. I am a firm believer in support and encouragement from family, and I insist that parents/guardians of high school students and younger stay informed with what their child is working on. The more supportive their environment, the more growth they experience! For piano students, I love to utilize Faber's Piano Adventures books and sprinkle in popular repertoire once the basics are covered.

Stephen R

Stephen R

Instruments:

Voice progress is very personal to each student.  Not only is every voice unique, but so are the student's goals.  Singing needs to be fun and inspirational- or you won't keep up with it.  The skills you will learn in my studio will help you get into college, find a job (with better interviewing skills), and express yourself.  These are tools that you will take with you for the rest of your life.

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Recent Articles from the Musika Blog

Piano Technique: The Importance of Good Playing Habits

...piano and organ. These are three of the rules the site chronicles: “(1) That no finger must fall upon its key, or (as also often happens) be thrown on it, but only needs to be placed upon it with a certain consciousness of the internal power and com­mand over the motion. (2) The impulse thus given to the keys, or the quantity of pressure, must be maintained in equal strength, and that in such a manner that the finger be not raised perpendicularly from the key, but that it glide off the forepart of the key, by gradually drawing back... Read More

Parts of an Opera: A Quick Beginner's Guide

...form.   By the middle of the 17th century, Lully had started popularizing “extended binary” arias into his French Opera style. What do we mean by extended binary? In short, extended binary arias followed an A-B-B form: the aria had distinct A and B sections, and the secondary B section could revisit previous material and/or alter it as the composer pleased. Lully also employed the beginnings of “rondo” form into his French operas by using an A-B-A-C-A-D… structure. Basically, the A theme would keep returning.   Alessandro Scarlatti (who was born in 1660) was the composer who essentially turned the ... Read More

Parts of an Opera: A Quick Beginner's Guide

...much embellishment and drama in Da Capo arias—these parts of an opera just didn’t add to the plot or music of the show anymore. And singers were calling attention to themselves rather than to the overall performance.   In fact, a phenomenon known as the “insertion aria” started to take shape. Singers would use whatever aria they wanted during the opera, whether or not it had something to do with the plot or music. These arias were also called “suitcase arias,” and famous singers would carry their favorite “suitcase aria” with them on tour. Opera audiences even jumped on board ... Read More

Suzuki Performance: An Approach to Playing for an Audience

...page turn or someone in the audience who has a coughing fit. To help encourage students to keep concentrating on their own playing instead of the playing of others, some Suzuki students are instructed to ‘watch your highway.’ This means that you’re looking at the general area of the violin strings between the bridge and the fingerboard, right where the bow connects with the string. Sometimes called the “Kreisler Highway,” it means that you watch the ‘highway’ of your violin, to keep your bow straight. (Fritz Kreisler, the virtuoso violinist, was the inspiration of the name, by the way. Kreisler sounds like Chrysler, which ... Read More

Five Benefits of Music Education

...toward a conductor for specific non-verbal cues, but often, particularly in chamber music, a simple glance or a nod is essential to achieving a common goal. Thirdly, musicians must agree, or at least compromise, on interpretation. Whether it be dynamic contrast, tempo, instrumentation, or even rehearsal times, making decisions as a group is an essential characteristic of musicianship. 4. Community building at its finest There’s something about being around other musicians that just feels comfortable. Speaking as a somewhat shy individual, I rarely feel out of place in a space where music is happening. Sure, it’s the age-old assumption that folks ... Read More
Piano Technique: The Importance of Good Playing Habits
Parts of an Opera: A Quick Beginner's Guide
Parts of an Opera: A Quick Beginner's Guide
Suzuki Performance: An Approach to Playing for an Audience
Five Benefits of Music Education

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