What is Your Definition of Success?

What is success to you? We know what setbacks are, we have all had them. They are a part of being human and an important part of any worthwhile process, but why is it so difficult for us to define, or identify success? As musicians, we strive for perfection even with the full knowledge that perfection is not something realistically attainable in this field. There is no right or wrong, for that kind of absolute result, you have to turn to other disciplines. In music, sometimes the beauty is found or created through imperfection and setbacks.

Is success something that defines your happiness? Of course, we need some form of success as a motivator in life, I believe we are wired this way. What does success in your professional life look like? What does success in your personal life look like? Is being “famous” your idea of success, or is it making a good living doing what you love, feeling fulfilled and leading a meaningful life? There are no right or wrong answers to these questions. It is all about self-reflection.

One of the aspects of succeeding is planning for setbacks and learning to identify them as your path to improvement and eventually achieving your idea of success, whatever that may mean to you.

Pitfalls of Perfectionism:

As I mentioned above, I think musicians have a deep desire to play or sing perfectly, without flaws or imperfections. One of the driving forces pushing us towards perfectionism is listening to studio recordings. They almost always sound flawless. Having been involved in recordings myself, I can tell you that there is so much which can be done digitally to fix even the tiniest imperfection. Even if one note is wrong in one bar, this can be spliced and replaced quite easily. This is normal, and it is part of the recording process. These recordings make for an exciting listening experience, but should not be used as the bar against which you measure yourself. This is when perfectionism becomes harmful to your process. I prefer to listen to live recordings made in front of an audience which show a true representation of what it is like to hear something being done in a performance.

This being said, just going for “good enough” does not lead you to reach the full extent of your potential. Striving for excellence can inspire greater achievements as opposed to perfectionism which is untouchable and never good enough. Seeking perfection and never reaching it can destroy your motivation and have psychological effects on your performance.

The following is a list of things I try to focus on to help me through setbacks or to help me reach my goals.

Realistic Goals:

Setting realistic goals is an integral part of any process. I often talk to my students in terms of the “short game” and “long game” Your short game goal should be achievable within weeks. Let’s say you have a very long phrase to sing. Your short term goal would be to try to do it with a few strategic breaths all the while doing it beautifully. The long game goal, which may happen in 2 months, 6 months, or a year, is to do the phrase in question in one breath. Making smarter goals for yourself will help keep you motivated and when you achieve them, they will give you a reason to be proud, and chances to succeed will grow. Many goals we set for ourselves end up as failures because they are unrealistic and we don’t give ourselves enough time to reach them. So, yes, try to get to the ultimate goal, but do it in stages with challenging and attainable goals in the interim.

Setbacks:

There is no such thing as a straight line to success. Setbacks are a huge part of the process. We learn from them, and we become stronger because of them. As you embark on your journey, accept that you will have setbacks -probably many of them. Permit yourself to fail. The only way forward is to work through these setbacks, and to not let them deter you from your ultimate goals. Maybe you sang an audition and you didn’t get the job or you received negative feedback. All you can do is learn from this, ask yourself what is constructive in the experience and what will help you reach your goals. Brush yourself off and get back to work. If you have chosen to be a singer, you have to be aware that you have chosen a highly competitive field where criticism is a big part of your everyday life. Setbacks are guaranteed. What is in your control is how you choose to react to the setback.

Goals attained?

If you have attained your goals, playing the short or long game, evaluate and ask yourself why did you achieve them, what was the formula? Sometimes this is hard to pinpoint but worth analyzing the results. This type of self-assessment can help you in setting more goals in the future. As you would do when you complete any project, write a list of what was successful, and what could be improved on in other projects. Celebrate the successes and learn from the setbacks.

You are your own success story:

Success is a personal choice and looking at it as such instead of measuring it against other’s successes, or an unrealistic idea of what success should be will help you find your path. Learn what success means to you. Does it mean a Fest contract in an opera house? Does it mean singing in a professional chorus? Giving voice lessons? Working in an academic function? A change in perspective about your idea of success can lead to greater opportunities for you, and more importantly happiness and a meaningful life. Be willing to evolve, adapt, and change your goals and your ideas of success as you go. As we evolve as people, so do our goals and our idea of what makes us happy. You may have a five-year plan set up for yourself, but many things can happen between year one and year five!

As the saying goes: “Success isn’t final and failure isn’t fatal”. It is how you choose to move forward that counts. The important thing in life is to be happy and fulfilled. As a musician, the peer pressure of being “the best” and getting a lot of work and attention can skew our perception of what success means to us. Remember that failure and setbacks are keys to your success.

Gambling With Your Repertoire Choices: Is it worth the risk?

One of the biggest dilemmas a young singer faces is the dreaded aria list! What should you be keeping in mind when preparing to audition? Is there a strategy? When deciding what repertoire to bring to an audition, you must always be realistic: sing what you sing well! If you are not certain that a specific piece suits your voice, or that you can sing it well under ANY circumstances (i.e. not having the time or a place to warm up; you’re feeling a little under the weather; having a pianist who doesn’t know the piece; etc) then leave it off of your list. The most important thing is to show yourself in the best possible light.


When you sing/work on your aria list with your coach and voice teacher you can trust their opinion on what suits your voice best. They can certainly advise you on your fach (your specific voice type) and keeping the chosen repertoire within the guidelines of the fach. More importantly, however, you should propose repertoire for your list on the basis that you can sing it well. You may have an ideal list for your fach, and it may look great on paper – however, make sure that you can also sing every single aria that you present extremely well. Also, sing through the roles to know that if a panel casts you based on a certain aria, to be sure that the role is well within your capabilities.

Depending on where you are auditioning, you may be asked to present a list of between 3 – 5 arias in different languages and styles. The arias should also be diversified in terms of showing everything your voice can do at that particular time in your development. I would advise against including any “work-in-progress” arias as these tend to always sound unfinished and depending on a panel’s imagination (or lack of imagination in many cases) may not always work in your favor. Remember, you are applying for a job, show your potential employer what you can do at this moment.

Normally, in an audition situation, the panel allows you to choose which aria you would like to sing first – however, that is not always the case. In my experiences both playing for auditions and sitting on audition panels, I have seen instances in which the singer announced at the start of his/her audition: “I would like to begin with [enter aria title]”, only to have the audition jury say: “Actually, could you please start with this other aria instead?”

There are various reasons for an audition panel to do this: you could be the 20th soprano of the day who wants to start her audition with “Adieu, notre petite table” from Massenet’s Manon and the audition panel just can’t bear to hear one more performance of it; or, they might prefer to hear you sing something else from your list because they will be producing/casting the opera from which that specific aria comes and they would like to know if you could be a contender for a role in their production; or, the aria you chose to start with is exceedingly long and the audition panel is simply pressed for time. And, the list of reasons goes on…

Fortunately, this does not occur that frequently, and, audition panels usually let you sing through your first-choice aria out of courtesy. Generally, audition panels know quite quickly-sometimes within the first few bars of your first selection- if they are interested in you or not so don’t be alarmed if you are only asked to sing one aria. Sometimes, if time permits, they will ask to hear a second aria. If you sing only one aria, this does not mean that you did not sing well, so don’t despair! I know many singers who have gotten a job by singing only one aria in their audition. It is not a good idea to try and over-analyze their choices, doing this will just give you far too much anxiety. Just as I have seen singers get the role from one aria, I have seen singers not get the role after singing two or more.

If you did not necessarily sing well in your first aria, and the panel decides to hear a second aria, it is certainly possible to turn your audition around – so, always do your best and leave your mistakes in the past! If you get the opportunity to sing three arias, this is generally a good sign: they liked you and were intrigued by what you had on your list and what you could do vocally and artistically. However, this does not necessarily mean you have landed a job – it can simply mean that they wanted to hear your voice in different musical settings, or to see if you would become a bit more comfortable the more you sang.

IS THERE A STRATEGY?

No, there isn’t. You can always try to guess what the audition panel will want to hear, and many singers try to do this but don’t count on your guessing to be 100% accurate. Strategizing your audition will not help you feel more comfortable, it will just add to this already stressful and unnatural situation. Your best plan is to be excellent in all aspects of your singing and preparation.


1. The Gamble

So, you have your arias (in the following scenario, three) picked out, and you think to yourself: “Well, if I start with this aria which is fast and in Italian, they will most likely want to hear that other one as a second selection because it is slow and in French. My third aria is also Italian and fast, they will most definitely not want to hear it.” This is a dangerous approach. It is like gambling: You place your bet, sometimes you win, but most often, you lose!

Storytime:

I was once in an audition in which a singer put an aria on their list that they did not know from memory. I think we would all agree that this was not a good plan; however, the singer assumed that the audition panel would never ask for that aria, since it was similar in style and tempo to the aria the singer had chosen to sing first. Well, the audition panel asked for the unprepared aria and the singer was caught redhanded. This is not a position you want to be in. Needless to say, the singer did not get the job.

2.Playing the “long aria” card:


If you decide to put an aria on your list that is extremely long, for example, Zerbinetta’s aria; Anne Trulove’s aria “No Word from Tom”, or Tatyana’s Letter Scene, please be prepared to sing it ALL. It is not wise to put long arias on your list and assume that the audition panel won’t ask for the entire piece simply because it is long. They can ask for a part of the aria, or indeed, the full aria.

Storytime:

I was playing for auditions and as I was rehearsing with one of the singers I noticed that she had Zerbinetta’s full aria (which is at least 13 minutes) on her list. I suggested that we just start each section to briefly set tempi, to which she replied that she did not think they would ask for it all. Surprised by this, I said: “Well…you never know, so be prepared!”. We then just started each section of the aria. Sure enough, much to her surprise, the panel asked for the full aria. Luckily, she did an amazing job with it; however, it could have gone the other way.

Sometimes, auditions are running on time – or, the audition panel has extra time because of cancellations and they would enjoy hearing these longer arias. These arias are wonderful and show a great deal.

If you only want to sing one part of the aria, you should make note of that on
the handed in repertoire list by writing down the text of exactly from which point in the aria you would like to start.

For example:
Zerbinetta’s Aria “So war es mit pagliazzo” Ariadne auf Naxos R. Strauss

This way the panel knows that you would like to perform from this point in the aria until the end, and not the full aria.


3. Sing as if you have all the time in the world!

If the full title of the aria is on your list and the audition panel asks for it, my advice is just to sing it and let them decide if/when to stop you. If they ask to hear your very long Händel aria, I would not advise you to say the following: “It is quite long, do you want to hear all of it or should I just start at the B section?” Of course, you are trying to be helpful by doing this, but trust me, if you are auditioning in reputable houses, the chances are very good that the audition panel knows the length of your repertoire, so, please let them make that decision themselves. Assume that they want to hear you sing the full aria and sing like you have all the time in the world. If they decide to stop you, you will know it. I have seen singers start an aria, and just wondering after every phrase: “Is this where they will stop me?” At times, even if the panel says that they will stop you, they often don’t, take it as a compliment, they are enjoying your performance!

What about video auditions?

We all have to do video auditions, but especially now during the current global pandemic. When making pre-recorded video auditions or live auditions via Zoom, I would advise that the same advice applies as above. However, with a recording, there is a bit more control. You can re-take if things don’t go so well, you can fix your hair if it looks strange, or you can just scrap it all and do it on another day if you are having a bad singing day!

Aria choices for your video recordings

When recording, I don’t recommend choosing excessively long arias. Singing on a recording requires very different energy and mind-set than doing a live audition. When singing live, we know that once it is out, there is no going back, but the knowledge that we can go back on a recording makes it very difficult to be happy with what we have done. Not to mention, the more takes you have to do, the less fresh your voice will feel and sound. Choose arias that show all of your voice, but that are shorter.

For example:

Mimì’s act III aria “Donde lieta uscì” From Puccini’s La bohème

This aria is short and has a lot of “bang for your buck”, as they say. It has legato lines, a great opportunity to be expressive, and some beautiful high notes. Best of all, it is short, clocking at approximately a little over 3 minutes, so even if you have to do several takes during a recording session, it is not going to exhaust you too much.

Another important point to remember is that a panel listening to your video audition is probably not listening to the full arias. When you are auditioning live, you have a captive audience. Sure, they can be writing down comments or looking in their files while you are singing, but they are in the room and you will finish at least one aria. With video submissions, panels are at times left on their own to listen to hundreds of video recordings, or sometimes they do it as a group, either way, in all my experiences doing this, it is common practice to listen to big sections, but not necessarily the full aria. They know the spots they want to hear, and they generally click around the take to get to the good stuff.

5.Aria order

Just as in a live audition, order your selections on your video audition file in the order of what was the best take of the best aria. Always put your best foot forward. The first notes a panel hears will determine a lot. Even if all your takes were amazing, you know there is always one that you like better than the others. If you are not sure, or if you are the type of singer who just cannot listen to themselves, ask your team. Your voice teacher and your coach will be honest with you and you trust them not to let you send something out which does not show you at your best.

In Conclusion

Auditioning is almost an art form, the more you do it, the better you become, or at the very least, the better you learn to cope with it. The people on the other side of the table, or at their screens, all want the same thing: to be moved by your singing. Don’t try to strategize and cut corners, do your best, trust yourself and your team to help you along! Remember that you are selling yourself as a product – believe in your product, and they will too!

Make Haste Slowly

Make haste slowly

“Make haste slowly”

This is what my mentor and teacher, the late Dixie Ross Neill used to repeat to me when I was studying with her, but Caesar Augustus is said to have first adopted the motto: Festina Lente. Make haste, slowly. It took me a while to understand what it meant. I think that when I was a student, I was impatient and maybe a little result-driven. Imagine, back in those days, no social media or profiling trends were pushing me to show my results to the world. Fast forward to 2020, we are the age of social media, instant fame, and being discovered on big platform talent hunts. How does a young aspiring singer get to their desired result while fighting the temptation to skip steps?

I work with singers, and a big part of my work is training young singers who are more than aware of their online content. Knowing how to brand yourself, is an important skill, but the question is, are we skipping important voice building steps in the rush to get “there” faster? Some go into the process, they lay down the base for a great technique, let the voice develop, work on their languages, musicianship skills, bodywork, all of which make someone into a complete artist. Then, there are some who lack patience and are always running after results. They put in the work, but they always try to skip steps because they want to get there faster. With the latter, you can feel an actual sense of panic, which some may confuse with ambition. Skipping steps can make them feel like they are getting there faster, but the truth is, they will inevitably have to turn back and redo the steps they have skipped.

What does it mean to make haste slowly? Let me use the following metaphor: A pianist, while learning a difficult musical passage which is at a high level of technical difficulty is tempted to just play it at tempo, just do it, get it on the first try. There may be a slight chance that they get it right on the first try, but what about every time after that? What will happen to the consistency of their playing? How will they know if it was just a fluke (which it absolutely was)? They now go back, dissect the passage, play it slowly, practice with different rhythms, build up tempo, work on the fingering, and put in the necessary amount of time to learn it from start to finish. Instead of doing it instantaneously and risking that it is just a fluke, the goal now becomes not only to do it right but most importantly, to learn it so that you never do it wrong.

Building your career as a singer is a lot like that pianist working on the difficult passage. Just because you are talented, have a beautiful voice, and sometimes you get it right on the first try, does not mean that you are ready to hit the ground running. Like the pianist working on the passage above, you will want to take the time to establish the foundation on which you build your voice, and that will, in turn help you achieve your artistic and professional goals in the long run. Even if it seems that everyone around you is posting concert photos or doing exciting things; stick to your lane, keep your eyes on your ultimate goal, and eventually you will pass them.

The thing to remember is that we are all learning a craft. Whether you are a pianist, a singer, or any other kind of professional. Knowing everything you can know about what you do is very important. As a young singer I suggest studying where your art comes from, listen to all the great recordings available, examine how the technique and the esthetic have developed over the years. It is a good idea to take note of different styles and conventions of the repertoire so that you can implement them in your singing, or respond to a coach or a conductor when they request them. As you are absorbing all this, also explore listening to all vocal repertoire, not just your voice type, but every voice type, other instruments, and orchestral works. Educate yourself on what you need to know so that once you get out there, you don’t have a lack of knowledge. All this information will most definitely influence your singing and artistry.

As you are doing all of this, be curious and insatiable when it comes to your vocal technique. Whether you are a singer, a pianist, a violinist, or any other musician, technique is the absolute foundation of artistry. Without technique, it is not possible to achieve your musical goals. Imagine doing something incredibly musical: a long phrase, a triple piano on a high note, a lightning-fast coloratura passage, and making it look effortless. Now, imagine that you had the technical knowledge to do this, every-time, without fail. That is what technique means; it is a vehicle for artistic choices. How long does it take to get the technique of a high-level singer? You will probably be working on your technique for the duration of your career, as long as your voice changes with your body. Many of my friends and colleagues with elite careers, still seak help from their voice teachers regularly. When you are a young singer, you lay down the foundation of your technique which hopefully will take you throughout your career. The foundation is the most important part, of course, just think of what happens to a house when the foundation starts failing: it crumbles.

During the spring semester, we were pushed into a different situation in all training programs and education due to Covid-19. We had to go online. It was not ideal, and nobody wanted this, however, I do feel there were good lessons to be learned if you were willing to look for them. The singers that I have heard or seen since have made remarkable vocal progress which in turn has made them much better artists. The focused and meticulous work they did during this time has given them more vocal freedom. They were also free from deadlines and pressures of getting to the result which became somewhat less important for a while. Consequently, they improved quicker than they thought they would. It has been a dreadful time for everyone, but what we can draw from these positive points is that process means progress. In the age of “get there fast”, the part where we slow down to figure things out, is something that most of us have forgotten how to do in this age of “high-speed”. It may take time to get your result, and that is OK. In the words of Caesar Augustus or the great coach and pianist Dixie Ross Neill, “Make haste slowly” and you will get to your result better, stronger, and yes, faster! The quickest way to accomplish something is to proceed deliberately.

How to Sing the French Mixed Vowels

The French language has fifteen vowel-sounds. I say this every year at the start of my French Lyric Diction class as the students’ eyes widen. I can almost hear them thinking “Fifteen? How is that possible? How can I sing fifteen different vowel sounds?” That seems like a lot and it can be quite daunting if you are a singer starting out singing in this language. The three vowel-sounds that I would like to focus on in this little French Lyric Diction post, are the three mixed vowel-sounds [œ] [ø] and [y].

When I say “vowel-sound” I don’t mean a pure vowel. The vowels we all know from when we first learn how to read are a, e, i, o, and u. Think of all the french vowel-sounds as derivatives of these. Some vowel sounds are even based on the derivatives of the derivatives. A mixed vowel is when you take two characteristics of two different vowels and as you combine them you create a whole new vowel. They are called “mixed” because their formation is dependent on the simultaneous positioning of the tongue and the lips.

In the chart above, we see the vowels in the tongue position, and the vowels in the lip position, in the middle are the mixed vowels.

The Phonetic [y] vowel-sound:

  • Phonate the [i] sound, as in the French word “midi” [miˈdi] (noon) or if you wish to come from the English language the [i] in the word “we”.
  • Now, sustain this [i] sound, as you do so, form your lips to the shape of a closed [o] as in the word “rose” [rozə] in French (or English) all the while not changing your [i] tongue position.
  • You now magically have the phonetic [y] vowel as in the French word “lune” [lynə] (moon).

The o-slash vowel:

  • Phonate an open [ɛ] as in the French word “tête” [tɛtə] (head) or from the English language, the word “feather”
  • Again, sustain this [ɛ] and as you do so, form your lips to the shape of a closed [o] while not changing your tongue position.
  • You now are making the sound of [ø] as in the word “feu” [fø] (fire).

The o-e vowel is a little different:

  • Start out in the same way you did with the o-slash: phonate on an open [ɛ].
  • While sustaining this vowel, you will form your lips into an open [ɔ] as in the French word “homme” [ɔmə] (man) or from the English you can think of the word “on”. So this is less of a closed [o] formation than we used above. (If it starts sounding like [ø], turn back you have gone to far towards a closed vowel with your lips!)
  • You now have a perfect o-e vowel, and you can now perfectly sing the word “coeur” [kœr] (heart)
  • Nota bene: the Schwa [ə] sound is equivalent to the [œ]. They have the same sound, the difference is that the schwa can never be stressed while the [œ] can be stressed. Example: émeute [eˈmøtə] (riot) while singing this word, the stress is on the o-slash and you would sing the schwa unstressed if it has a note value.

As you sing, if you think about the vowel that you are making with your tongue and just adjust your lips, you can avoid going too far between sounds, and your singing and legato will feel easier, especially depending on the tessitura in which you are singing.

Example:

Intonate these words, all the while keeping your tongue in the [i] position while forming your lips into a closed [o] when reading words with [i] or [y] sounds.

Tu dis qu’il a une fille unique. (You say that he has an only daughter.)

[ty di kil a ynə fij ynikə]

Looking at the phonetic transcription, you have only 2 vowels ([a] and [i]) and two vowel-sounds ([y] and [ə]). The [y] and [i] are the ones you want to practice here. Glide to and from these vowels, see how it feels to not change the tongue position. Try it on different pitches to practice. Do the same with the other mixed-vowels until you master singing them, it will feel easier and your voice will most definitely respond!

Singing in French can be a very scary thing. I am not going to lie to you and tell you that it is easy. But with a few tools, it can definitely be more singer-friendly and as you practice, you will really learn to enjoy singing in this beautiful language.

A Voice Teacher and a Vocal Coach- Why You Need Both!

Because singers hear themselves differently than the outside world, they need a team of experts around them to be their extra ears. Singers depend on others to let them know if what they are doing sounds right, if their diction is correct, and if they are actually doing what they are trying to do. Depending on others means that everyone will have an opinion about how you are singing and how you should be doing things. So, how do you know who you can trust? How do you assemble a trustworthy team to help weed through all the noise?

First, and in my opinion, most important, is a voice teacher. As a singer, you need someone who will go on your technical journey with you. This means someone with an in-depth knowledge of vocal technique and who knows how to communicate it in a way that you can understand. Vocal teaching is expressed through a language unique to each teacher and it can take time to understand what they are asking from you. Sometimes the technical work is excellent, but your personalities do not click. Can you work like this? Should you stay in this studio? Sometimes you get along on a personal level, but the technical gains are not happening-same questions apply. These are soul-searching questions and hard decisions, but the most important reasons to be with a teacher are making healthy vocal improvements, problem-solving, and maintaining a beneficial vocal technique. The outcome of your work is more important than just having a great time with someone during a lesson.

In addtion to a voice teacher, an excellent vocal coach who understands where you are coming from and where you are going is essential to any singer trying to have a career. It is important to note that a vocal coach is not a voice teacher. Though they may have the same goals for you, a vocal coach is usually a pianist which means there are no grounds for them to give you a full-blown voice lesson. I have been coaching singers for many years, and I have been in thousands (not exaggerating!) of voice lessons. As a vocal coach, I know many technical concepts, and I can identify what a singer is doing to produce a sound or if the sound is right or not, but that does not mean that I want to go in-depth with these technical concepts. My job is to support the technical work both singer and teacher are doing by understanding it and making musical and language adjustments that do not get in the way and often my adjustments may help technically, but this is just a by-product of my coaching. I may have some technical comments to make, and I do make them, but I am always careful not to steer the singer down the wrong path, and most importantly, I always try not to go against the technical road the singer is on with their voice teacher.

Voice teacher vs. Vocal coach

While both help you to improve your singing, there is a difference between each of the professions. Learning what they do will help you decide how to go about choosing the right people to be in your team.

• Voice Teacher

– Individually helps you to make the correct sounds, with proper pitch and tone

– Works on voice building and vocal registration

– Helps you develop your vocal skills, builds up your vocal production and chooses appropriate repertoire and roles.

– Lays the foundation to build your voice into its full potential and helps you to maintain your voice.

• Vocal Coach

– From the piano, they individually help (to coach) you on singing particular repertoire

– Focuses on style and diction – proper pronunciation of words, especially foreign languages

– Helps you interpret and perform your repertoire (works on character, meaning, sub-text – what does the song mean?)

– Along with your voice teacher helps you build your singing repertoire.

A vocal coach is a usually pianist who works almost exclusively with singers and who knows the repertoire. An excellent vocal coach won’t interfere with vocal technique, and if they notice any issues, they’ll explain to the singer what they think the problems are and recommend that the singer discuss it with their voice teacher.

More than one of each?

As you can see, the two functions at times cross over each other, but this should only be in support of each other. As you advance in your career, you may see your voice teacher less because you are traveling, and a weekly lesson is not possible anymore, and you end up checking in once or twice a month or when you start working on a new role. We are realizing, however, in this time of Covid-19 that voice lessons can really be productive in an online format if need be. But as you are working and travelling, an excellent vocal coach is vital component to your success. They will be your ears and let you know if something is not working. They can take you through your role and advise you on a multitude of issues. The best part is that you can have several trusted vocal coaches around the world. You don’t have to have just one, but with voice teachers, it can lead to confusion to have more than one-the equivalent to “too many cooks in the kitchen”- and in my years of experience, when I have seen singers try to have more than one voice teacher, it has rarely worked out if ever.

Can a Vocal coach be a Voice Teacher?

Some vocal coaches are neither voice teachers nor pianists. They are people with excellent knowledge of repertoire , style, convention, and integrating some technical concepts. They may call themselves voice teachers, but what they do is more like coaching. When you have a session with such a coach, you would normally have to bring a pianist and almost exclusively work on repertoire and not necessarily on voice building concepts.

Though singers can be coaches, I firmly believe that a pianist cannot be a voice teacher. If a singer or violinist offered me a piano lesson, I would be a little perplexed as they don’t have an in-depth knowledge of playing the instrument. Since most pianists have no real idea of what it is like to sing on stage or even sing at all (some of us can’t even produce a healthy sound), they should refrain from teaching someone how to sing even if they have some technical knowledge. There are pianists out there who have studied voice extensively, and they have sung in their life, and then if a singer chooses to work with a singing pianist and follow their technical advice, that is their choice to make, but these pianists are rare. Most pianists who work with singers have had some minimal voice training, but they are not voice builders, which is why my advice is to get your technique from the technical experts!

The bottom line is to know what you need and where to find it. Work with people who support you and each other because you don’t want your voice teacher and your vocal coach bickering all the time-Who needs that? Your number one priority is keeping your voice healthy and acheiving your musical goals!

As they say, “it takes a village” to develop great performers and artists and a great team is crucial to your development, so choose wisely!