Voice Lessons with Sarah
A typical singing lesson begins with vocal warmups to focus on technique ("healthy habits" for 12 and younger). We then spend five minutes onsight-singing, an invaluable skill for singers.. Competence in sight-reading allows singers to define themselves as a musicians, no longer dependent on hearing the music first before singing it. The majority of lesson time is spent learning repertoire (songs). Most often my students learn a variety of music genres, including some of their own selections. Though my own vocal training is in Classical music and Bel Canto technique, I am aware that each of my students has their own musical preferences and goals. It is of greatest importance that my students love the music they sing; there is no substitute for heartfelt musical
expression. Though I am open to my students choosing their own music, I also am not shy about steering a student toward music I feel can benefit them or suit their voice and personality. Here is a sampling of repertoire I have taught to voice students over the years: arias and art songs to a 16-year-old, nursery rhymes with a 4-year-old, Broadway songs for a college theater-major, pop songs with a 12-year-old, and religious music with a 9-year-old. The variety keeps my work fascinating. As long as my students learn to sing healthfully and makesteady musical progress, I am a happy teacher.I approach training of the "human instrument" with due sensitivity. Our singing voice can be a beautifully direct channel of emotional communication, but requires certain vulnerability to do so. As a voice teacher, I recognize that whether the student is a beginner, intermediate or advanced singer, their journey will be unique. Some will need emotional support, and others may need a motivational push.
Kid's Voice Lessons
Piano Lessons with Sarah
As with young singers, my primary goal as a piano teacher is that my young students have a positive experience in music. I like to lay a foundation for life-long music-making and appreciation. Children should feel proud of their musical skills and capable of continued growth. In order for strong progress to occur I expect piano students to practice their assigned music at least five days each week. The more regular and spread out the practice, the better. For instance, ten-minute practice segments for six days is far more beneficial than a single hour-long segment during the