Everyone Has A Voice

My training and experience as a performer have given me a deep understanding of the life of the singing actor. Preparing for a performance, approaching a new piece of music, navigating an audition, or simply managing the very real nervous system of a singer all inform the way I teach. These experiences have become invaluable not only in my vocal teaching, but also in my work as a Music Director.

At its most basic level, singing is coordination. The goal of vocal technique isn't to force the voice into working a certain way, but to develop the coordination, awareness, and freedom that allow it to work efficiently. Whether we're navigating registration, developing breath coordination, exploring belt, or finding a particular timbre, we can train these systems through conscious practice, experimentation, and repetition.

I believe there is no single methodology that works for every singer. Every voice is different, and the way one singer understands a concept may be completely different from the way another does. My teaching draws from a variety of approaches to vocal pedagogy, including the work of Barbara Doscher, Richard Miller, Jeannette LoVetri, Scott McCoy, and others. I incorporate demonstrations, imagery, vocabulary, anatomy and science, physical exercises, and sometimes a little bit of vocal "mind games" to help each student discover what works for their individual instrument.

Vocal technique is never something we simply "finish." Even as experienced singers, we are continually refining coordination, building awareness, and discovering new possibilities within the instrument. My goal is to give singers the understanding and tools to recognize what their voice is doing, make intentional adjustments, and continue developing independently. There isn't one "correct" sound for every singer or every style. A Mozart aria, a Sondheim ballad, and a contemporary musical theatre belt demand different choices from the singer. I believe healthy technique should give you the freedom to make those choices intentionally while maintaining a strong, adaptable, and expressive instrument.

Whether you're an experienced performer, a student just beginning to explore your voice, or somewhere in between, you already have an instrument worth developing. My job is to help you understand it, strengthen it, and discover what it can do.

See what my students are saying!