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  • TMV World Team

    Voice and Power
    The Voice that Moves the Masses
    by
    Nwebo Niermann
    Defining what role, Applied Psychosynthesis can take towards the evolution and revolution of vocal communication and its effects on society.
    The voice is omnipresent, even though sometimes not audible, we still hear it in our heads. It is there.
    The human voice can be seen as an amazing paradox, as an invisible omnipotent matter that one can at will, convincingly manipulate through the appliance of various laws/theories, known and unknown to persuade and direct a listeners rainbow of emotions to connect with the intent of the delivery. Studies have also shown that an ability to generally communicate effectively vocally is a prerequisite for success in almost all careers as well as social situations.
    Psychosynthesis, developed by Roberto Assagioli, M.D is an approach to psychology, that embraces science and spirituality. It is concerned with the wholeness of being human but most dominantly the will, which according to Assagioli is considered as an essential function of the self and as the necessary source of all choices, decisions and engagements.
    In history there have been speakers and singers, who seem to successfully sermon the masses. They are and have, all been as diverse as one can imagine, neither are all equally gifted in rhetoric and public address skills, or similarly physiologically and psychologically advantaged, nor do they have similar ethnic or socio-economic backgrounds.
    The only similarity, is that, they all have a voice and possibly a well developed will that conducts the voice.
    The human being has a voice energy range generally between 10Hz and 15.000 Hz. The hypothesis could also be that they share a common X factor in this voice energy spectrum. This voice energy excluding similarities in pitch, timbre or quality. All of these traits being subjective, because of cultural diversity and are so not necessarily universal but people have broken these barriers.
    The will and not necessarily as in just will power, the way we know it, plays a role in successful communication. It means in psychosynthesis to have goals with valuation and motivation, Deliberation, Decision, Affirmation, Planning and Direction of the execution. Good news is that each of these aspects of the will can be developed, learnt and used through appropriate techniques.
    The advantage of Psychosynthesis, is the deliberately large variety of techniques and methods that can be used within its context.
    These techniques aid in the transformation, sublimation and direction of psychological energies, the strengthening and maturing of weak and underdeveloped functions, the activation of the latent potentials, the super-conscious and the arousing of latent potentialities, hence taking communication for and by the individual successfully to a new level. The words of Roberto Assagioli.
    The exploration here is on, what effects future human oral communications through psychosynthesis techniques training, will have on society.
    It will definitely mean embracing both the scientific and the holistic and then the making of an art of this fusion.
    Can it be trained? Does talent play a roll on its effective execution? Will it change our perspective on media, performing arts, politics, government, education, business, technology and cross cultural communication, human relations on the whole?
    For sure is, the person who is ultimately skilled in this art, has power.
    Nwebo Niermann
    Multi-Creative Psycho-Emotive Voice Coach
    http://www.creativeenergyunleashed.co.uk.

  • TMV World Team
    Ask any vocalist what one of the keys to staying fresh vocally is and undoubtedly hydration with be on the short list. While each has their own opinion as to what might work best IN said liquid generally water remains one of the key ingredients. As for the guy in the corner with the jug of petrol well there are of course exceptions to every rule. No today's subject is a liquid typically served warm. This beverage has been around since the 10th Century BC.
    From its humble origins in early Tang Dynasty China later gaining popularity and finally fanning out to Western civilization around the 19th-century tea was and still is one of the most widely consumed drinks in the world. While there is no direct proven relationship between the consumption of tea and positive health effects tea leaves contain somewhere around 700 different compounds some of which are in fact related to positive health effects including flavonoids, amino acids and vitamins. It then seems reasonable to say that drinking tea in moderation certainly isn't damaging to your health and may even be a good thing.
    With that in mind on the chopping block are a duo of herbal tea's from Vishudda Singer's Tea. Vishudda loose-leaf teas feature a proprietary blend of ingredients geared towards singers which aim to sooth and coat the vocal chords. One thing to keep in mind with the Vishudda teas is they are loose leaf teas so you will need to equip yourself with some kind of infuser which can be purchased at most kitchen or tea stores. It's also important to note that to avoid bitterness each type of tea has a specific steep time that will result in the most flavor and least amount of bitterness. Vishudda teas do not come with directions on the package but since they are green teas they are generally best when steeped for approximately 1-2 minutes with water that is slightly cooler than boiling ( 175 F ). Of the Vishudda lineup I had the pleasure to sample both the Chop-Chee-Rann and Chee-Nassau-Rann teas.
    Starting with 2 minutes steep on the Chop-Chee-Rann green tea I was fairly impressed with the overall taste and smoothness. The Chop-Chee is quite a nice double mint tea with wild peppermint, eucalyptus and essential mint oils that did in fact have a subtle soothing effect in my throat that seemed to last. In a rehearsal setting I felt the net effect of the tea over plain water did seem to contribute to my vocal chords feeling a bit more lubricated over the course of the session.
    The Chee-Nassah-Rann tea on the other hand had just a bit more bite to it but overall was just as pleasant. I can only attribute this mainly to the ginseng and gota kola not present in the Chop-Chee-Rann tea. Again I felt a nice minty soothing coat against my throat which in addition seemed to ease a bit of mild congestion I was experiencing.
    While there is no magic solution for fighting vocal fatigue or bringing back a hoarse voice there are things in addition proper technique and rest that certainly won't make things worse. One of those is keeping things lubricated. If you choose to do so with tea then Vishudda Singers Tea is a fine option. It doesn't hurt they are tasty to boot.
     

     
  • TMV World Team
    Techniques for singing can be improved substantially by scheduling a vocal lesson with a reputable voice coach.
    How do you know if you need help and when? It's a good idea to start out your performing career by laying a foundation of good techniques for singing. Starting with an empty slate is a whole lot easier than finding out later in your career that you have to correct long-standing bad habits.
    Watch for these symptoms of a voice in trouble:
    Sore throat during or after singing Pitch problems, sharp or flat Feeling that you need to sing louder to maintain the tone Feeling that you need to whisper to get the words out Finding it difficult to pronounce the words Lack of emotional communication with audience If you are experiencing any of these symptoms, you might want to start asking around for that vocal coach we talked about and begin to develop some valid singing techniques for yourself.
    I once asked country singer (first singer to record "Wind Beneath My Wings") and Broadway star (Les Miserables) Gary Morris why he thought he needed to take a vocal lesson. He replied by saying, "You might be a big, tough guy, but you wouldn't get in the ring with Mike Tyson without an expert trainer in your corner." Good analogy, Gary!
    How can you know what to expect from the singing coaches you may interview? Look first at their resume, client list, and fees -- as is true in many fields, you tend to get what you pay for. Are any of the students known to you? Ask the coach to supply you with a way to contact present and/or former students. Encourage the coach to explain their personal philosophy of techniques for singing. What is most important to them? Vocal safety? Emotional impact? Perfect singing techniques? A five octave range? (And you need five octaves for what?)
    At some point you have to quit looking and start trusting. Once you have the information you need to make a carefully considered decision, it's time to hand yourself over to the strange things this individual will ask you to do in a vocal lesson. I, for one, admit my warm-up exercises sound a little dorky, but they work! And that's what counts.
    You have to trust your singing teacher, but keep an open mind. Regularly check your progress by taping yourself and listening to the results. Ask for progress evaluations from trusted friends and family. If your progress seems to be stalled or you are plagued by the serious voice problems listed above -- well, it might be time to move on to a better fit. I always give my students a %100 guarantee that if my techniques for singing better don't work for them, they can always go back to what wasn't working for them before.
    With the right vocal coach you can learn how to sharpen your techniques for singing freely and how to craft a song to move an audience from tears to joy and back again. But when it comes to making career moves you need to be a self-starter.
    You can ask for feedback from your singing teacher when opportunities come your way. They should be able to help you make informed decisions, but don't expect your vocal coach to manage your career, or get you a record deal -- that is, unless they offer that service and have a track record of success.
    Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera...
    Click Here to receive her free weekly video NewsLessons and PDF of "Answers to Singers' 7 Most Important Questions."
    Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons at cybervoicestudio.com.

  • TMV World Team

    I have had some voice feminization cases in the past. Not wanting to pass up a challenge or a learning experience, these clients with me to learn how to speak more feminine. Here are some techniques and ideas I have used to assist this kind of client.
    1). We phonate in semi-occluded phonations as I would with any singing student in an effort to lift the larynx and get out of a "bottom-up", throaty phonation.
    2). We have identify the optimal pitch range for a woman to speak in vs a man. I believe we settle on pitches slightly below middle C. We focus around 180-220Hz.
    Place your fingers on your throat lightly, feel where the Adam's Apple is. Swallow, feel how it goes far up, then down. Learning how to shift it upwards and backwards while talking is the key to successful voice feminization.
    3). I have encourage clients to read while phoning a slightly higher pitch around the optimal feminine speaking pitch range.
    4). I have address the prosodic issues of feminine inflections, (speaking rate, inflection, pauses), which can be a bit unsettling for me to demonstrate, but thats what I have to do. Essentially, trying speak like a woman.
    Things that help make a voice feminine:
    Pitch - Feminine voices are higher; this may be the most important concern. Pitch Range Men tend to be more monotone, varying the pitch helps feminize the voice.
    Speech Rate - Men typically speak at a steady rate, while women tend to speak in shorter bursts followed by pauses.
    Tag Questions - Example: "It's a beautiful day, isn't it?" A man, on the other hand, would be more likely to simply declare, "It is a beautiful day."
    Supportive environment - As with any skill, speaking with a feminine voice may be easier without the stress of extreme consequences for failure (for example, being identified as a transsexual by someone to whom one is not out.) Additionally, opportunities to use the feminine voice in conversational situations (as opposed to speech-therapeutic ones) may be helpful in polishing the skill.

    For more information about The Vocalist Studio, click HERE >>>

     
  • TMV World Team
    Free singing online lessons initially sound like a perfectly sane concept. And indeed, they could be just the thing for those singers who don't have easy access to an urban center teeming with singing coaches. These singers are forced to reach out beyond their home base in order to find good vocal teachers.
    On the singer's side of the equation, we know the price for free singing online lessons is right. Free is free, after all. Voice lessons are expensive and not all aspiring singers are living on a trust fund. So maybe free singing online lessons could be a solution to the problem of finding inexpensive voice training?
    Maybe...
    Let's start with the discipline issue. Not everyone is a totally motivated self-starter. Learning in a vacuum via a one-way communication may not be the most realistic approach for many of us. When you have little accountability and no pressure to demonstrate progress, it's easy to lose focus and commitment. However, you could probably use online singing lessons to good advantage if your obsession with music is sufficient.
    There is also the question of which system to use. Concepts of technique and training vary widely (and wildly) from voice teacher to voice teacher. And you can bet there are about as many types of free singing online lessons as there are people to teach them. How do you know which is right for you? Yes, they are free, but you are the one who will be making a personal investment of your time -- something many of us value more than money.
    As you search for a free singing online vocal guru, find out the following:
    What formal musical education they have had
    What professional experience they have had
    Whether they are used to working with beginners or professionals
    If they can describe their philosophy of learning with clarity
    If they can point to successful clients they have trained
    Whether they have endorsers who are available to speak to you
    And from your personal perspective, try to define your level of commitment:
    Will you truly make time to give the lessons a chance
    How you will avoid simply collecting a mish-mash of conflicting ideas
    How you will evaluate your progress
    How you will find and build a relationship with a musical mentor
    Whether you will actually value and use something that is free
    Because I travel a lot, I often find myself in the company of strangers who come to learn through conversation that I do vocal teaching. Inevitably they have questions they want to ask. I used to answer their questions freely. But, you know what? They would invariably argue with me.
    So I took a new stance. Now I tell them that I would be happy to answer their question, but that first, could they give me 50 cents? Or a quarter. Or a dollar. Something -- anything -- that would put me in the professional position of "teacher." Once money changes hands, people rarely argue with what I have to say.
    You will need to evaluate your level of commitment. There are few totally free lunches to be had. Free singing online lessons may be the perfect plan for highly-motivated individuals, but the rest of us should look out for the slippery slope on the down-side. Good learning cries out for a balanced synergy of student and vocal coach.
    Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera...
    Click Here to receive her free weekly video NewsLessons and PDF of "Answers to Singers' 7 Most Important Questions."
    Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons at cybervoicestudio.com.

  • TMV World Team
    Last week was one of the highest and lowest in the music business all within 48 hours. Starting with the death of our beloved Whitney Houston and ending with our praise for one of our new greatest voices ever the unlikely pop-star that swept the Grammy's, ADELE (Yay Adele!!). Yet, the odds of that?
    This article, about the difficulty of being the world's greatest singer of all time and the irony of being a star on the decline I hope it enlightens us all and reminds us of how fragile we are.
    Many blame Whitney and I can see how easy that is to do. She's a poster child for the irresponsible star indulging in drugs who loses sight of her gift and throws it away. But perhaps there is another side to the story, one that is hidden away, one that few would understand unless they had been in her shoes.
    First and foremost, I am an artist. Second, I am a mentor to thousands of artists it's what I do in the world. I have been privy to behind the curtain, when times are good and bad. I am sympathetic to the enormous pressure that stardom demands and to the extremely difficult fall from fame (that no one is built to survive). I have sensitive sensors towards pain, and a laser that points me to that frequency in others, even when they can't see it in themselves. That's part of what makes me good at my job.
    I would say that the world agrees that some of Whitney's choices i.e., tying the knot with Bobby Brown, was the beginning of her demise and Whitney would agree. However, after the plateau of her 2009 come-back record, it was plain to all that she just wasn't returning to the golden spotlight that once revealed perhaps the greatest voice of all time; she was failing once again. Maybe that was too painful to endure this time. You know, some people are weaker than others. Some people have thinner skin around their hearts.
    Now you can criticize her for her weakness for alcohol and drugs (she truly was an addict, like several other stars it's an emotional roller coaster ride), and recently for the prescription meds that most likely were the cause of her death. But if you look behind the curtain, and you imagine what went on with her, maybe you'd be surprised to find the devastating heartbreak she was struggling with. She couldn't hit rewind, and she couldn't get her voice back. For someone who was perhaps the greatest singer of all time, this must have been excruciating. Perhaps this year's Grammy's was the final straw (another singer stepping up to the world's spotlight.) Apparently, her behavior in the days before the awards may have been a sign that she was freaking out on the inside, more than anyone around her, or even she, realized.
    Here's what I wrote in my Sunday blog post: I guess the biggest thing that I want to say out of this shocking news, is what Lionel Ritchie talked about yesterday. He was talking about the pressure that artists of this magnitude feel to uphold their superstar status and continue to top themselves. It's a brutal expectation placed upon them and I often wonder if it isn't this pressure that kills them. I wonder if we can send a message, especially on the night of the Grammy's, and in the aftermath of legend Amy Winehouse's tragic passing this year (and Michael in 2009), a plea that we lighten up on the huge expectations we have of our stars (the media mainly) and be more mindful of the huge responsibility placed on their shoulders.
    So yes, I think the tragedy that befell Whitney is absolutely from the pressure of once being the greatest singer of all time one that was failing. She had crossed the line of no return. It was no longer under her control for WHATEVER reason that was. Maybe she was just not strong enough to live life in the public eye, and that made her make some very bad choices. Or maybe, like a lot of people in the world, she just made bad choices out of insecurity but under the brutal scrutiny of the public eye. Either way it was a perfect storm. Some people blame those around her, or the music industry it's all part of it, but the real point here is, there is no one person to blame. We are all part of it. That's why we need to re-examine stardom and what fame is. We need to lighten up on our expectations and understand when someone is struggling and pour out our love instead of our criticism.
    The truth is is that an artist should NEVER believe their own hype. Especially because it's really all just smoke and mirrors (the marketing and media stuff.) Truth be told, I know a lot of stars. Most of them are not good in dealing with big fame and they struggle with it. It feeds the ego, the narcissism in everyone and that is tricky business. Most people in that position screw it up in more ways than one there is a lot of self-sabotage that goes on including drug use. I also coach artists on the benefits of mini-fame� instead of mega. Thank goodness there are many ways to have a successful career without your name on the world's stage.
    Imagine if you were a famous singer the best in the world and then failed even if it was your fault (perhaps more of a reason), it would tear you up too. It would probably be more humiliating than you could bear too. More than money or fame would ever make up for.
    Thoughts about the Grammy's this year? There should be a rule that if you are lip synching you can't wear a mic, and if you beat someone up you don't get to perform on music night (sorry Chris but really?). How happy are we for Adele? So beautiful to see how real she is (and hilarious!). Bon Iver so happy to see him win Best New Artist how cool is that! Loved his thoughtful words to worthy artists who would never grace the Grammy stage; so big of him to send that message.
    But before we all move on and Whitney's death is in the distance let's share some of our beautiful memories of her here post your love and respect for the brave one who sang the soundtrack of our lives for us. 

  • TMV World Team
    These kinds of workouts are officially referred to as, semi-occluded phonations. They are popular with singing techniques and with voice therapists. Their purpose are three-fold:
    1). They balance the sub-glottal and supra-glottal air pressure (above and below) the vocal folds and thus help the singer to create more efficient phonation and balance with the increased velocity of air required for singing. Inherently, speech vocal mode is not efficient compared to phonations used in singing, so the semi-occluded vocal tract exercises increase the efficiency of the relationship between the singer's respiration and vocal folds.
    2). Semi-occluded vocal tract exercises establish a resonant track. They help the singer to get into a seamless passage through the vocal bridges (breaks), thus preparing the voice for good bridging from the lower vocal registers to the higher registers, namely, (chest to head voice).
    3). Semi-occluded phonations create cricoid tilt, which is one of the main characteristics of the most important vocal mode and physiological configuration for singing, vocal twang. Vocal twang first and foremost, insures that the vocal folds achieve excellent compression/closure and vocal twang amplifies the voice in the 2000-3800 Khz frequency range, thus making the voice more projected and louder.
    To call these semi-occluded vocal tract postures warm-ups do not give them justice. They do far more than just warm up the voice and are the first part of the three part, "Foundation Building Routine" taught in the beginning to all TVS students.
     

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  • TMV World Team
    While working with my voice students once in a while I come out with some new ideas for practicing and I wanted to share some of them with you! For today this is my tip:
    * When you work on a hard song/music piece and you feel things are just aren't moving right. You feel for example your voice is dull, doesn't vibrate much, have some difficulty going up to high notes etc. Try to work on your body by moving it. If you sit down, than get up. Start to sing while walking in the room. Sing while going up on a chair while singing and going down and repeat it while singing. You can try sing while opening your arms aside and doing circles.
    See what happen. You will notice that more you let your body sustain your singing less you feel the effort in your throat and on your vocal chords.

  • TMV World Team
    First , I believe that everyone has the right to choose a suitable teacher for him/her that charges according to his/hers economic possibility. There is no use to start and taking one or two lesson and then stop because we can't afford it anymore. Therefor I will advise you to look for someone that his charges suit your pocket. This way you won't have to stop and change voice teacher in the middle of your voice learning process.
    I would suggest you also to try and find someone who can prove his professional abilities as a singer and as a teacher by videos or audio files. I won't just trust his/her word for it. I would also get an idea of what are the results I might obtain from studying with him/her.
    I would look for someone who has years of background and teaching experience, and not a fresh one. Usually an experienced teacher can offers you more. No always, as a rule, but often.
    I would try to find a teacher that gives you a nice and comfort feeling while study with. Singing can be sometimes like open your heart to a "stranger" and tell about "all your problems. Your teacher should be a person you can communicate with and feel free to be able to give feedback during the process. You should feel relaxed during the lessons for the process to be effective.
    Don't obligate yourself for a long period for lessons before you know the teacher and you have decided that this is what you want/need.
    You shouldn't feel any strange feelings on your throat at the end of a voice lesson. If you do feel uncomfortable (and you don't have a cold) afterwards that means you may need to change your teacher.
    After a while with a good teacher you should feel you can sing much easier, singing higher notes with less effort (than before) and have a clear sound. If none of it happens that means that may indicate on the fact that this method might be not working for you.
    Above all: Listen to your body/voice and what it tells you. If you feel that the teacher IS helping you that is great. If not you can stop your lessons , and look for another one. Don't forget , now you have much more knowledge than before to know if things are good for you.

     
  • TMV World Team
    Managers may think of their touring singers as instrumentalists without the extra cartage and tech costs, but the fact is that singers carry the most fragile equipment of all: their vocal folds. The average size of the human vocal folds is only about the size of a penny and the entire tour's existence can rest of the health of those penny-sized pieces of tissue.
    Here are some tips on keeping your lead singer on the road and off the operating table:
    1) Make sure the singer gets some vocal training and health preservation strategies from an experienced voice coach before the tour starts.
    2) Singers are greatly helped by dual, custom in-ear monitors. They can make the difference between a solid tour or voice loss after one week. They're expensive but worth it.
    3) Don't over-load your singer with an intensive interview schedule and keep the meet-and-greets to a minimum. The more the singer talks, the less rested the singing voice will be. Singers need a ton of vocal rest to sound fresh.
    4) During rehearsals, if the singer asks the band to turn down, make sure the band turns down. Instrumentalists often don't understand how difficult and destructive it is when a singer feels forced to sing over the music.
    5) No one sings well first thing in the morning, but the same goes for speaking. Allow for a schedule where the singer has a chance to wake-up before having to use their voice.
    6) Arrange for a vocal exam prior to the tour with a local laryngologist. Get a photo and/or video on record of the singer's vocal folds before there are problems. It's called getting a baseline. If the singer experiences voice loss or voice pain during the tour and needs additional exams, the baseline image can be used for comparison.
    7) Get a list of laryngologists in each of the cities in which the act is appearing. A laryngologist is an Ear, Nose and Throat doctor with additional training in the larynx. Especially desirable is a laryngologist who specializes in professional voice.
    8) Treat your singer as the fragile and important leader of the band. Cater to them, baby them, keep them warm when it's cold and cool when it's hot. Singers face sickness hourly and unlike most players, risk permanent damage to their instrument.
    Lisa Popeil, MFA in Voice, is a top LA voice coach and vocal health consultant. She is available for Skype consultations on vocal technique and health preservation strategies for the touring singer.

  • TMV World Team
    Let's be honest- voice lessons can be expensive!! In this tough economic climate, it becomes an even larger sacrifice to spend money on vocal training. For that reason, if you are making the investment, the vocal instructor you choose should be worth your hard-earned dollars. There are waaaaaay too many charlatans out there who are, in essence, ripping you off!! They are not leading you into vocal freedom and are nothing more than vocal cheerleaders. You should be making your teacher really work for the pay. I want to share with you some things to consider in terms of teacher accountability.
    First of all, let's be clear: If your vocal coach can't explain clearly and simply how the voice works, RUN IN THE OTHER DIRECTION!! A REAL teacher should be able to lead you into a working knowledge of your instrument. It is only when that happens that you will truly master your voice. He should be able to give you a purpose for any and every exercise that is given. I tell my students that if I don't give you the reason behind the vocalese, they can smack me. When the client is away from me, he will need to become self-sufficient and fend for himself on the road, in rehearsal, or in the studio. Knowing what exercises serve what purpose will keep you able to function on a daily basis. For too long, singers have been allowed to be the 'dumb' musicians, lagging behind their instrumentalist cohorts in knowing the nuts and bolts of their axe. A solid coach won't allow that.
    Beware of voice teachers who throw around trite directions like "sing from the diaphragm" and "place the tone forward", for example. This is often a sign that they have no clue as to what is pedagogically sound. Famed vocal coach Seth Riggs warns against such teaching by result instead of by cause and effect. They should be able to give specific exercises to bring the voice into balance. Teaching voice is an artful science and a scientific art. The scientific knowledge must be there. If not. move on to another teacher.
    A good voice teacher doesn't need to be the best singer you ever encounter, but if he can't sing, MOVE ON!!!! The coach should be able to demonstrate the concepts and exercises for their students. You should put the teacher on the spot. Ask her to sing through her passaggi or bridges. If she can't make easy transitions, she shouldn't be teaching you how to do it. The trainer should possess the technique that they claim to teach.
    By the way, a degree in voice doesn't guarantee that the voice teacher is truly qualified to be training other singers. There are a number of wonderful teachers may have degrees in music education, musical theater, or speech pathology. Also, don't be overly concerned with the piano skills of the coach. They need to able to play the exercises and chords, for sure. But their principal job isn't to be the accompanist. The main focus should be on your watching and listening to you as you vocalize and then move into song work.
    Set the bar high, folks. Don't throw your money away. Do your homework. Ask good questions. Audition the teacher. You will not regret the effort you put into the search when you find your voice growing into the instrument you've dreamed of having.
    SING OUT LOUD!!!!



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