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Featured Voice Teachers Near Havre De Grace , MD

Diane P

Diane P

Instruments:

I have been teaching for 15 years.  I am primarily a voice instructor as this is my principle instrument, but I do teach piano and guitar as well, with an emphasis on songwriting.  I feel that my ability to teach is demonstrated in the performance and progress of my students.  I have a passion to teach music as I believe that it is and amazing form of personal expression at any level.

Jennifer S

Jennifer S

Instruments:

My first teaching experience was part of a college class over 10 years ago when as part of the coursework we had to "student teach." Between the anatomy and physiology we were learning, an introduction to various vocal pedagogies, and gaining an understanding of the psychological components of voice study, I was hooked, and I haven't stopped. I taught voice at the university's community music school for a few years, while simultaneously teaching at Trinity University in Washington, DC, as well as at a girls' boarding school. About the time I started a family, I consolidated my teaching, opening a home studio while maintaining my position at the boarding school. Since 2006 I have taught every year in a summer arts program for gifted and talented youth, only taking off the summer of 2013 while on maternity leave. While I do recommend my beginning students start with a classical foundation, I also teach a variety of contemporary commercial music (CCM) styles including pop, Music Theatre, and country, among others. Students need to enjoy and connect with the music they are singing, and I work with my students to find music they enjoy that also meets their developmental goals. I also encourage my students to perform in recitals and competitions, if sharing their voice is part of their personal and/or professional goals. Finally, knowing how busy people are these days, I work with my students to find creative ways of fitting in their practice and I teach them HOW to practice, since consistent, quality practice is critical to achieving their goals.

Charles A

Charles A

Instruments:

For students eleven and up: I like to start off with a clean sample of my student's singing voice. This sample is preferentially analyzed before the bias of extensive student-teacher contact. My analysis dissects and profiles the voice for any damaging vocal behaviors which are addressed immediately through reconditioning, stylistic propensities and proficiencies, areas for growth, and affinity towards given genres. I explain this analysis to the student upon meeting, after which I inquire about their vocal history and goals. If timbre is among their initial salient vocal goals, I target this first so to increase compliance with drills for subsequent goals (if students like what they hear when they do drills, they are more likely to do them). In this event, I mitigate their current timbral propensities with that of the student's intially desired genre. The targets here include aryepiglottic sphincter contractility, ventricular fold contractility, velar closure, tongue posturing, as well as pharyngeal volume. After accomplishing this, we move on to ground work in technique and ornamentation, usually expanding and/or connecting ranges and registration and learning ornamentations (to include note attacks and offsets, vibrato, tremolo, flutter melisma, yodeled passagios) upon which the student helps decide. As the student establishes mastery with these principle timbral settings and techniques, new ones are introduced to the student and evaluated by them for entry into the curriculum. Through personal engagement and customization, I do my best to assure that each segment of curriculum I introduce feels relevant and exciting to each student. For younger students: The approach here varies more widely, but has a consistent basis on implicit learning. Through mimicry and discussion, students take a hands on exploratory approach to vocalization, challenging themselves to imitate increasingly difficult noises as I attempt to expanding their internal concept of how their voice works. In addition, I tend to like to do implicit work on scales and timing.  

Jasmine B

Jasmine B

Instruments:

For all of my students, I use the Bel canto (beautiful singing) method.Bel Canto is a traditional method rooted in classical singing. I have found this method to work for all students of all levels of skill because it teaches a seamless blend of the vocal registers no matter the genre. It is a method that works most with the Mezzo de Voce (middle of the voice) which in return strengthens the passaggio ( the transition area between the vocal registers). I teach traditionally, but I like to have a lot of fun. I work with each student to show them that this can be a lot of fun .

Daniel G

Daniel G

Instruments:

I have taught one-on-one lessons for guitar, voice, piano, and trumpet for multiple years. My lessons are student-driven so that the learner can begin to critically think about and perform music on their own without the constant "need" for a teacher. I have taught a wide-range of learners of different ages and abilities. With the guidance from me, learners feel confident in their ability to successfully perform.

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