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16 August 2003 The difference between a Voice Teacher and a Vocal Coach There are two broad categories of people who train singers: Voice teacher (or Singing Teacher) One who trains and improves voice (singing) quality by teaching suitable techniques. Can also establish vocal stability by solving technical problems. The emphasis is on the use of singing techniques to develop the voice. Voice teachers can also cover performance and the interpretation of songs. Vocal Coach (or Singing Coach) One who establishes performance finesse through freedom of musical expression. That is, the emphasis of a coach is on the performance and interpretation of the song. The novice singer, with no previous experience, who wishes to sing better will probably benefit most by going to a voice (singing) teacher. They will teach you the mechanics of singing with the goal of bringing your voice to its full potential. Once the technical skills of singing have been mastered and consolidated, a vocal coach will then show you how to perform and interpret the songs, primarily for the purpose of performing before an audience. Happy Singing! |
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15 August 2003 Reminder: LHSS Teacher in musical Leanne Hoad Singing Studio teacher Allison Bourke and LHSS student Katherine Ali will be playing the roles of Elizabeth and Lydia in the Marie Clark Singers contemporary musical production of: Pride and Prejudice
Bernard
J. Taylor's Pride and Prejudice - based on the classic
novel by Jane Austen - has been staged about thirty times to date. Set
in a small town in Hertfordshire, lived the Bennets, a family with a mother,
a father and five lovely daughters. They would have been a very happy
family if it hadn't been for one thing: the lamentable lack of suitable
young men for the girls to marry. One day, however, such a man moved into
a nearby house, and the mother worried more than ever... click
here to read on. Click here to read reviews on the musical Males wanted for this production. Click here for more. |
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14 August 2003 Contemporary & Classical Singing Differences Singing teachers and singers can be hesitant to sing in a different style if they have not been taught how or are not used to it. A classical singer may say “I wasn't born with the voice to sing pop”. Likewise, a pop singer may think they can never achieve the rich, ‘full-bodied’ sound of an aria. However, singing different song styles is as much a learnt skill as learning to sing itself. The basic techniques for singing such as breathing, support, posture, register transitions and so on are the same for any style of singing. There are, however, certain techniques unique to different styles. It is these that usually need to be taught. The difficulty often arises for students in finding teachers who have the knowledge and experience in teaching more than one style. The following table summarises some of the more obvious differences between the classical and contemporary styles of singing:
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12 August 2003 Leanne (Hoad) & John's wedding reception photos By popular request we have finally put the photos from the disposable cameras at our wedding reception online. All photos were taken by the
guests...you never know what you might find! Click here to view professional wedding photos Click here to view wedding articles |
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10 August 2003 Facilities in a Singing Studio Every Singing Studio needs facilities to conduct lessons. These obviously vary from Studio to Studio depending on the styles of music and how lessons are conducted. Contemporary music studios generally require some form of PA system (microphones, amplifiers etc) and CD players for backing music. The following equipment is in each of our singing studios (teaching rooms):
This equipment allows students to be exposed to basic teaching tools and equipment they will encounter on the contemporary music scene. In addition, the following has proven invaluable for us over the years:
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7 August 2003 Campbelltown Mayoral Youth Talent NightThe Campelltown Talent Quest is a competition for those under 25 years from any area of the arts including singing, acting and dancing. Auditions to choose those performing at the concert will be held Thursday 11 September, 5 - 7pm and Friday 12 September, 5-8pm. Those who are selected will compete in the concert on Friday 19 September at Campbelltown Council Chambers Past LHSS first place winners have included Lisa Simonetti, Madeleine Arthur, Maria Di Biase, Tara Richter. Full details of this year's Talent Quest will be available soon. Stay tuned. |
Click here to download Application Form (PDF 150KB)
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6 August 2003 Student says... LHSS student of 3 years Peter King "King of Croon" believes:
Staff Training We place a great deal of importance on Staff Training and the teacher's professional development. So the teachers can keep up to date with the latest scientific discoveries and singing practices, we hold regular Staff Training sessions. Consequently, this knowledge is passed onto the students. Our next Staff Training session, held at the Studio will be at the end of this month and will cover:
A lot of what will be covered I (Leanne) picked up from the ANATS Internship and Winter Workshop held in Sydney last month. We always look forward to them as they are a great time of learning and updating skills. |
LHSS Teachers
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5 August 2003 Congratulations to... 12 year old LHSS Student Tamara Kemp who landed the leading role of 'Joseph' in her school's production of Joseph and the Technicolor Dreamcoat. Joshua Taylor (11 yrs) who has been attending lessons for almost a year and is in the chorus of the MS Production of Oliver. Joshua Parish (9 yrs) started lessons at the Studio last month and was selected for the cast of Oliver a few months ago. |
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4 August 2003 One of our recent success stories is country singer and musician, Jac Dalton, who has just recorded his first CD after fine-tuning his voice for four months at the Studio with a program we tailored specifically for his needs. Two of the singles from his CD - Second Time Around and Nobody Wins - are both currently in the top ten of the Sydney and Melbourne country music charts. A video was completed last weekend for the song Girls Talk which will be ready for play on Rage etc by the end of the week. Click here to visit Jac's Website and to hear his songs. |
Jac Dalton |
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3 August 2003 What is belting? The quality of singing called 'belt voice', 'belt' or 'belting' is a strong, driving sound produced by extending a strong chest register beyond its natural limits (an advanced vocal technique). It has been described in various ways such as dynamic, powerful and (incorrectly) yelling. Although the original 'belters' (Ethel Merman and others) were female, men can also 'belt'. The various terms describing belting were coined in American music theatre and heard in shows such as Chicago, Annie and Jesus Christ Superstar. Belt as we know it today originally came from the African-American style of music which consisted of spirituals, blues, rock gospel and jazz. It became popular by the singing of Ethel Merman in the 1940s and 1950s. Today we identify singers such as Celine Dion, Mariah Carey, Barbra Streisand, Whitney Houston, Tina Arena and Delta Goodrem with belt. Like other aspects of contemporary singing, belt has been the subject of little research to date. There is, however, a reasonable body of evidence to assist those who wish to study it. Can anyone belt? There are different types of belt depending on the song and desired effect. The singer's voice type, and their ability also determines the amount and type of belt attainable. Every voice is different and not everyone can belt. Singers with 'big' strong voices are more likely to produce the belting quality as we know it. I believe belting is an advanced skill and, at our Studio, we don't apply it until the student is vocally advanced and has solid technique, as well as a sound understanding and awareness of their voice. Is belting dangerous? Strong belt does require a lot of physical effort and if not done correctly can put a lot of unnecessary strain on the muscles of the larynx (voicebox) and vocal folds. There are also efficient ways to belt which come with a good understanding of the preservation of the voice, its limitations and how the technique is applied. There is some misunderstanding on this style of singing, particularly among "classical" singing teachers. The misconception is that belting can damage voices. Applied incorrectly this is correct. Research tells us that belting can damage voices if:
Phrases in songs that use belt: Run to You Whitney Houston from "The Body Guard" "No... I need you here, I need you here to wipe away my tears, to kiss away my fears no---, if you only knew, how much I wanna..." "I Run to you, but if I come to you" I Have Nothing Whitney Houston from "The Body Guard" "Don't make me close one more door, I don't wanna stay anymore, stay in my arms if you dare.....I have nothing, nothing, nothing," Chains Tina Arena "I'm in Chains, I'm in chains, I'm in chains, oh" "I Never thought this could happen to be, never thought this is where I'd be, but baby, baby" Born To Try Delta Goodrem "You gotta make choices, be wrong or right, sometimes you gotta sacrifice the things you like, but I was born to try, try oh" When You Believe Mariah Carey & Whitney Houston "They don't always happen when you ask, and its easy to give in to your fear. But when you're blinded by your pain, can't see your way get through the rain, a still resilient voice says love is very near, oh" Songs that use belt: Respect Aretha Franklin All That Jazz from 'Chicago' Reference Thurman, Leon., Welch, Graham, eds. (2000). Bodymind & Voice: Foundations of Voice Education, Minnesota, USA: The VoiceCare Network. |
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2 August 2003 15 of our students competed at the Balaklava Eisteddfod today. The winners from the Studio to date are:
Comments from competitors:
We will keep you updated as the results come in! |
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