South Australia 5068
p: 8364 0773
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Magill Road St Morris South Australia 5068 p: 8364 0773 Email Us View Map |
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29 June 2003 LHSS Resource Centre An exciting addition to this website is our Resource Centre. The Singing Tips & Articles section is designed to provide articles on topics of interest for all singers, from enthusiasts to professionals. Everything from Vocal Health to Voice Warm-ups to Singing Tips is covered. The Business Tips & Articles for Singing Teachers section offers articles and food for thought for singing teachers. |
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26 June 2003 Food for thought... Last night a man in his thirties did a No-Obligation Introductory lesson with us to see if he wanted to continue. It is his ambition to sing at a future special event he is having. As with most students who start lessons with us, he had had no previous experience. He was understandably extremely nervous and found it hard to come to terms with actually performing at this event. During our post-lesson conversation, it occurred to me why the thought of performing terrified him. At this point in time he does not have the skills, experience, and therefore the confidence, to sing well. If he had performed tomorrow, he may well have panicked or got stage fright, reinforcing his fear of not doing a good job. I reassured him that singing is a learnt skill, it will take approximately 6 - 12 months to learn and consolidate technique to the point where it becomes second nature. Another 6 - 12 months of performing is then required to develop these skills and gain confidence in this area. Conclusion Singing is a learnt skill, like anything else. Given good training and the necessary opportunities, time, practice and determination, personal ambitions are achievable. |
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25 June 2003 I thought it would be interesting for those who may have missed the 13 March 2003 entry to be familiarised with the concept of a 'blog'... FYI (For Your Information): What is a "Blog"? You are currently reading one! A Weblog, or Blog for short, (web = website, log = journal) is similar to a traditional paper 'diary' but it is written as a website or on one. It consists of dated entries, organised chronologically, which are used to deliver information to readers. A Blogger is a person who writes a blog but is not necessarily a web designer. Bloggers are regular people who have something to say and use the web to say it. Traditionally, the readership of a blog has not extended further than family and friends. Indeed, personal ones have often been kept simply as a record of ideas, events and deeds that matter to the writer. Increasingly, blogs are being read by millions. Many commercial enterprises view them as great vehicles for communication with clients and the general public due to their immediate, intimate and topical nature (not to mention their cost-effectiveness). Where
did blogs come from? By 2002, there were thousands of Weblogs; topic-orientated, alternative viewpoints and links to almost anything you could imagine. The
LHSS blog (a.k.a. our "News" page) Our blog is also intended to improve our readers' knowledge and understanding of some of the aspects involved in the singing process e.g. Singing Tips. We aim to keep people informed of life at our Studio; be it concerts we hold, competitions, auditions or eisteddfods which singers can enter, students' successes, upcoming Shows they may be performing in and so on. Thus, it doubles as a newsletter for us. For good measure, we throw in the occasional Internet Tip too :-) Click here to learn more on how to write a Weblog. Click here for a history and perspective on Weblogging |
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24 June 2003 Start of a new term... LHSS 3rd term Starts: Monday 23 June Ends: Saturday 30 August (10 weeks) With the commencement of our 3rd term this week, and some exciting events, there is a lot to look forward to over the next 2 - 3months. Our 2nd Performers Concert for the year will be held at the Studio on Friday July 18th, giving beginner singers the opportunity to gain valuable performance experience. Forms available for download online (PDF) or from the Studio. The Balaklava Eisteddfods are on in the beginning of August. With 15 singers attending in a total of over 30 sections, the experience and fun gained makes for a worthwhile day in country South Australia! For those who have not booked in for 3rd term, please do so quick to save disappointment. |
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23 June 2003 Updated logo... We have just finished a review of the LHSS image and have updated our logo to reflect the more contemporary and dynamic direction which the Studio is taking. The description of the logo's symbol has been summed up beautifully by its graphic designer, Shane Strudwick from Design Train:
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20 June 2003 Concerned schoolteacher...
Dear Concerned Schoolteacher, This is a common problem with singing groups within schools. Vocal technique can be compromised in attempting to achieve more volume. Merely telling students to 'sing louder' (regardless of the term used) will not get them singing louder correctly. The key is to teach them the correct technique. Singing is a learnt skill and the right skills and techniques are required to achieve good volume and, in the long term, will promote vocal quality, longevity and prevent bad habits and vocal abuse. Some of the skills required for good volume include correct breathing, torso support and breath control. The diaphragm does not actually contribute to volume. It cannot be consciously manipulated to achieve any singing effect. It merely lowers when inhaling and rises when exhaling. Although the lungs, diaphragm and the abdominal region are involved in the breathing process, the abdominal muscles contribute to volume. Regarding the children's volume: at this stage in their development try asking them to sing so the person in the back row can hear them. As the year progresses, if you constantly feel that they're too quiet, try amplifying them with a few well-placed microphones. This would be better than pushing their voices without good technique in place. A good singing teacher will be able to lead you in the right direction and teach you the techniques required to acquire volume in a safe way. For further
reading: Hope this helps! |
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19 June 2003 Leading roles in musical LHSS teacher Allison Bourke is playing the leading role of Elizabeth in the Marie Clark's musical production of "Pride and Prejudice" to be staged this October in Adelaide. New student to the Studio, 24 year old Katherine Ali has landed the role of "Lydia" in the same production. Congratulations... Erin Brundell who received the mark of 81/90 for her 1st practical singing assessment at school as part of her year 12 music subject. Erin has been learning from the Studio since the hearing great results. Good luck... To the LHSS students, including teacher Lisa Simonetti who are auditioning for the MS musical production of "Oliver". |
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17 June 2003 Nasendoscopy Workshop Lisa, Miranda and myself (LHSS teachers) went to the ANATS Nasendoscopy Workshop last Saturday. A nasendoscopy (scope through the nasal passage) allows the singer the opportunity to view, in real time on a TV screen, a full visual of the mechanism of the voicebox (larynx). A group of volunteers underwent this procedure. A spray numbed the area so there was no discomfort. A long tube with a tiny video camera on the end was threaded through the nose until it reached the larynx. Why do this? The larynx is the singers instrument. It is their tool of trade, their livelihood. It is also prone to damage just like any other group of muscles in the body. It is important to know if the larynx is unhealthy due to damage or illness and is functioning correctly. Outcome We saw from the nasendoscopy that some larynxes were inflamed and red. This was due to vocal abuse such as screaming, yelling or bad singing technique when gigging. Others showed signs of being totally healthy and functioned faultlessly. This was due to applying excellent singing technique from good training. In normal circumstances, a nasendoscopy procedure is performed by an Ear Nose and Throat (ENT) Specialist after referral by your GP. see also sore throats see also 8 Steps to Vocal Health |
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15 June 2003 Wedding photo in Messenger A photo of the bridal party from my and John's
wedding appeared in the Messenger Press last Wed (11 June). |
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14 June 2003 To be held at Norwood Concert Hall on Sun 22 June.
100 youth required between 8-16 yrs. |
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11 June 2003 Balaklava Eisteddfod Entrants... We wish the 15 LHSS Balak Entrants all the very best in their preparations for the Balaklava Eisteddfod in August. Singing In public I (Leanne Hoad) believe there comes a point in the training (singing) process where the singer will (and needs to) benefit from the experience of singing in public, regardless of whether they are learning to sing for professional reasons or simply self-development. As soon as the student is technically (vocally) secure, we encourage them to start performing. Whether it's in a group or singing solo depends on the student's abilities and readiness. "Naturally, performing in public is a major milestone, especially for most first-timers who are often (understandably) consumed by various fears such as stage-fright, embarrassment and so on. Singing is such a (often confronting) reflection of the inner self that performing in public can be a challenge, even traumatic for some, in the early stages of training. So, it's vitally important not to press students into performing too early. But this does not mean that I refrain from regularly assessing, in my mind, their readiness for public performance. I believe that part of the role of an effective singing teacher is to encourage students to challenge and stretch themselves, technically and personally, and to support and encourage them all the way. My experience is that performing in public is one of the pinnacles of this journey for singers." The personal benefits they experience from singing in public stay with them for life. One of the opportunities our students have to perform is at our Showcase Concerts. Check out Showcase 2002 Concert. |
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ANATS Internship Half a dozen singing teachers across Australia (two from South Australia, including myself) have just been selected to be involved in the ANATS (Australian National Association of Teachers of Singing) inaugural Singing Teacher Internships in Sydney this July. It is a programme of practical learning by teaching, observation and feedback from Master teachers, backed by foundation knowledge in vocal function. It aims to extend the skills of experienced teachers, and to supply a solid foundation for early career teachers. We (the Interns) will teach two students, a male and a female for forty minutes each, observed by the Masterteacher. The Masterteacher will then provide feedback. I will be working with Master teacher Diana Hunter on the Contemporary Voice. Each day we will also include a class of either vocal function and health, repertoire and performance presentation. This is an exciting opportunity which I am looking forward to tremendously. Preparations are underway including obtaining the suggested text books (from Amazon.Com), booking flights and accommodation and so on. The knowledge gained from this will not only help me as a teacher, but will be passed onto our teachers and students. |
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7 June 2003 Copyright & Licencing for Singing Teachers: AMCOS The following information has been verified by AMCOS. As part of our Copyright & Licencing for Singing Teachers series, today we look at the second of the four licencing bodies a singing teacher may need to be aware of: the Australasian Mechanical Copyright Owners Society (AMCOS) AMCOS on behalf of music publishers grants licence's for the reproduction (copying) of musical works (usually songs or instrumental tracks). This includes the burning of CD's and making your own backing tracks from an original recording. It also includes the copying of print music. Note:
Who do they represent? The Australasian Mechanical Copyright Owners Society (AMCOS) represents virtually all music publishers in Australia and New Zealand and the vast majority of the world's composers, writers and music publishers. Who needs an AMCOS licence? As a singing teacher
what licence(s) do I need from AMCOS?
The majority of songs ("works") are licenced on a pay-per-use basis so the payment is for the work actually reproduced and this money will eventually find its way back to the original composer/author. At our Studio we pay a fee per track for each CD we burn (pay-per-use licence). We have agreed a fee with AMCOS per song burned (up to 20 CD's). We complete an "Audio Manufacture Licence Application" form each time we burn a CD (or multiple copies of the same CD). AMCOS then forward us a Tax Invoice. NOTE: AMCOS can only licence the Musical Work (or composition) aspect of a reproduction. If you are making a reproduction of a commercially released sound recording (i.e. you are not recording your own version of the song yourself) you will have to licence that sound recording reproduction through ARIA as well. More later. What about the cost?
A typical CD of 15 tracks costs us in the order of $75.00 in AMCOS licence fees for two copies. Add to this the ARIA and PPCA annual 'Blanket Fees'. This provides us with 2 copies of a compilation CD of popular tracks which we can use at concerts and in lessons throughout the year. What
about the copying of print music? In conjunction with AMCOS Publishers, AMCOS has prepared A Practical Copyright Guide to the Use of Print Music in Australia which explains AMCOS Publishers' views in relation to the most frequently asked questions from print music users. Our Studio has found this guide extremely useful and it has answered all our questions on this subject to date. In Part C, the Guide includes licences from AMCOS Publishers to print music users allowing them to copy print music in limited circumstances such as key changes for performance purposes, difficult page turns and copying music to supply to an exam body or music examiner prior to or during an exam. Note: the licences mentioned above require that an original copy of the music has already been purchased. Please refer to A Practical Copyright Guide to the Use of Print Music in Australia (click link to download a PDF copy) or AMCOS for full details. A free copy of the guide can also be obtained by contacting AMCOS ph. (02) 9935 7700. Obviously, the needs of singing teachers and studios vary greatly and the licence we hold may not apply to you. We recommend that you contact AMCOS to establish exactly what licence (if any) you may require on:
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6 June 2003 Leanne Hoad Singing Studio Teaching Philosophy... I (Leanne Hoad) believe singing is a building block process and that teachers need to know what those building blocks are, and how to teach them. For this process to be consistent and of a high standard, eight years ago I started writing an inhouse Teachers Manual as a guide for our teachers. Our Manual opens with our philosophy:
This weekend... I will fill you in with the details of an Internship I was fortunate to receive today from ANATS (Australian National Association of Teachers of Singing). Based on a very successful model first developed by NATS (National American Teachers of Singing) in the USA. In short, it is a program of practical learning by teaching, observation and feedback from Master teachers. I will also look at the second licensing body AMCOS in our Copyright & Licensing for Singing Teachers series. See the following: Copyright & Licensing for Singing Teachers: Intro Copyright & Licensing for Singing Teachers: APRA Stay tuned... |
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4 June 2003 The Dixie Chicks cancelled their Concert last Sunday in Cleveland, Ohio, 15 minutes before they were due to go on stage. Click here to see Dixie Chicks article from Billboard.com. Click here to see Dickie Chicks article from CNN.com./Entertainment Band member Natalie was not feeling well and her throat was damaged. The doctor said, 'If she sung, she was just going to make it worse" This news prompted me to give a brief outline on the very common sore throat. As a singer, this is our 'tool of the trade' and it can be alarming and annoying when it is not in optimum condition. What causes sore throats? There are many causes to sore throats. The most common is the sore throat associated with the common cold or flu. Consequently, the vocal folds are tender, perhaps swollen and red, and therefore more susceptible to damage. Heyfever, reflux, medications, any form of chemicals e.g. smoking, drugs, alcohol, or in my case passive smoking can also cause the vocal folds to swell through being irritated. The vocal folds which are situated in the voice box (larynx), open when we breathe in allowing the air to go to the lungs. They close in a wavy motion when we do the reverse and make any sort of sound. This may be singing, speaking, coughing, clearing the throat, yelling (not recommended!) and so on. If we do any of these things beyond our capacity, the sore and 'raw' muscles of the vocal folds will be irritated even further. This could lead to damage and affect the quality of the singing voice. How to manage a sore throat? If we had a sprained ankle we know the best way to recovery would be to rest it. If we did not look after it accordingly, walked on it too soon, didn't seek the necessary treatment etc., it would not get better. It may prolong the repairing process, or at worse, long term damage could occur. The same is true for the muscles of the larynx and vocal folds. It is suggested that you totally avoid making noises beyond your volume limits e.g. yelling, screaming and loud talking. If you have a sore throat due to a cold or flu, simply rest the voice and do over exert it. Never be afraid to seek expert medical advice. The following tips on 8 Steps to Vocal Health may also help. |
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Quotes from the Group Singing Lesson Course... LHSS teacher Lisa Simonetti is in the process of holding 6 Group Singing Lessons which have been tailor-made for the singers at the Good Shepherd Lutheran Church, Para Vista in Adelaide. Two people involved have said:
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Singing lessons as a business: are you a 'professional'? Should singing teachers, even the casual "lounge-room" variety, take their singing practice seriously in terms of managing it in a business-like manner? What might we find inside
the mind of a singing teacher? "I am coming to terms with the GST, issuing Tax Invoices, my bookkeeping; now I'm being asked to know about Licensing & Copyright, do everything on computer, keep up with technology, get enough music to accommodate my students..." Then there are the practical issues: is there anything wrong with answering the phone/door while teaching? having the cat/dog/my child/lunch/cup of tea sit on my lap throughout the lesson? If a student cancels, can I just reschedule their lesson and waive their fee because I didn't give them a lesson? after all, they told me that the traffic was bad/they had another appointment/they forgot to turn up. Does this ring a bell?
The question remains: is there anything wrong with it? My view is, yes and it needs to change if we want the public to take our industry (i.e. the teaching of singing) seriously, especially as a business venture. When I go to my GP, accountant, chiropractor, local shops, supermarket, or engage the services of tradespeople, I expect the service to be good. Not only do I expect they be technically competent, but also provide me with a full business service, including being punctual, issuing a correctly completed receipt or Tax Invoice (without being asked), being prompt, honest, courteous and efficient. This is fundamental to being a provider of professional services. In my view, as singing teachers, by providing a service in a less than professional manner, we are saying to the broader public just that; we are not professionals. I, for one, am less than comfortable with this approach. I believe the reason most singing teachers don't provide a good all-round service is that we are in a position where we don't have to and complacency prevails. In other words, things may appear to be going well, the bills are getting paid, the comfort zone is not challenged and the students don't seem to want any more (perhaps they don't realise that there is more). There is a huge market out there which is waiting to be tapped. Students deserve quality teaching and a professional, business-like, disciplined approach. Those singing teachers who recognise this, and adapt their practices where necessary, will have the most impact on the public and the next generation of singing teachers. Got a comment? Anything you'd like us to cover here? We'd love to hear from you |
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