[Guest Teacher]

Yeah I go with the no free trial option as well. Free stuff tends to attract people that want free stuff and that seems to be true in all areas. I’ve noticed that I tend to sell more CDs at ticketed gigs than free ones, for example. Stick with your gut, don’t do it.

[Guest Teacher]

Hey guys,

Thanks Rosie for starting this thread. I’ve had a situation pop up today where someone had referred a friend of his to me. The guy got in touch and asked for an hour session tomorrow to work on his vocals for a gig. This is way beyond the scope of what I do in a free consult so I told him my prices. Immediately I was met with “But my friend said he got his first session free”. Huge red flag for me so I’ve clearly outlined what I do in a 30 minute vocal consult (talk goals, a range test, me listening to a song/songs, discussing what is and isn’t working, a demonstration of a couple of the exercises I use).

I’ll see if he tries to push his luck tomorrow. I having a feeling that my free sessions will be ending soon as this has left me feeling used and like my time isn’t valuable. It’s a shame as these freebies really helped me grow my business in the first year. I guess times have changed for me though.

[Guest Teacher]

I don’t do trial lessons at all.If the student wants to speak on the phone or through e-mail thats no problem at all but in my opinion a lesson is a lesson and has to be paid because is your time what your are giving to the student,and the student has to understand that the teacher’s time is what he/she is paying for. You can explain that to the student so she/he can understand why there is no trial lessons.

Cheers,

Gael

[Guest Teacher]

Hi Rosie

I charge for all my first lessons and in my experience if people aren’t willing to pay for 1st lessons then they are probably going to be tight with money going forward or not go forward at all.

I agree with the phone call approach but again don’t let them drag the phone call on for too long, as they can still get an hour out of you on the phone.

I know that this all sounds negative and they might be fine and extremely serious about singing and doing lessons, but if they are not it will soon show.

[Guest Teacher]

I’m really glad to see that not everyone is doing free trial sessions. I charge for all my first sessions and wondered if this was unreasonable, so it’s very comforting. I also think it’s a good idea to give them a ring and just make it clear how much the first session will cost:)

[Guest Teacher]

Hi Rosie,

I’ve experienced this a few times and have offered a phone call to chat or a 5 minute meeting that would not involve any singing. If they feel that they would like longer, perhaps offer a reduced time and fee – perhaps 15 minutes/30 minutes.

Hope this helps,
L x

[Guest Teacher]

For anyone looking to do advance tickets, I highly recommend checking out Eventbrite.com. Their website is real easy to use, it can link into your own website, promote your event on their website, integrate with your Facebook, take advance payments or reservations, and guests can even check in using a smartphone/tablet app. I use it for all of my theatre shows. They do have a booking fee which you can either take out of your earnings, pass on to the customer, or go halves between you and the customer. Despite the booking fee I find the convenience makes it a great resource for doing ticketed events.

Thought that might be helpful for some of you guys.

[Guest Teacher]

Hi Matt,

I completely agree! I panicked a little when she told me – I’ll definitely discontinue lessons. I don’t feel trained enough should anything go wrong.

Thank you for the advice

L x

[Guest Teacher]

I’m DBS checked because I work as a youth and children’s worker part time and I would definitely recommend having one even if it is just to give parents peace of mind and to protect yourself.

Where the law is concerned, in my understanding in working with youth and children as well as vulnerable adults in the past I believe that as long as you treat everyone in the same manner, so you said you like to make sure your teachers are comfortable with teaching people. So as long as you do this with every student and not just the autistic or weird ones then it is not discriminating and there is nothing they can do.

I might be wrong but as far as I understand it as long as you treat everyone with the same criteria (obviously I know you have to take different approaches with different people) then you are fine.

[Guest Teacher]

You star!!! Thank you so so much. This really makes sense. I’ll send her over some warm-ups and exercises now. I agree about the classical training might be detrimental to her new contemporary way of singing I was just unsure on whether I was sending her in the wrong direction.

Brilliant! thanks again Kat. All the best xxxxx

[Guest Teacher]

Hi Kat,

Just had another lesson with my crackly student – I did some recordings of her voice through out the lesson. I also reestablished diaphragmatic breathing and core control and weirdly enough, it seemed to relieve a LOT of the ‘white noise’ that she was displaying. However, there was still evidence of the hoarseness at times.

It’s so odd because she has been classically trained in the past so I’m second guessing my training and the way that I am teaching her.

I’ll forward on the recordings via FB
L x

[Guest Teacher]

She never feels the need to clear her throat – it’s more like air bleed sound. I’ve tried getting her to engage the vocal folds a little more using full vocal fold closure exercises (ZZ/JJ/VV sirens etc). It tends to be more problematic in the upper registers of her voice.

Any exercises you’d recommend? I have a lesson with her next week – so I’ll ask her if she minds me recording her voice. I’m just worried I may be focusing on the wrong areas and missing something vital.

Thanks Kat.
L x

[Guest Teacher]

Great tips guys! I find that some of my students just come to me for repertoire, and they can be the worst for practicing! But since they’re using my teaching as a way to get new songs to sing rather than improve their technique, they’re getting what they want out of it…

Still a little frustrating though!

[Guest Teacher]

I love this thread <3

[Guest Teacher]

What are everyone’s preferred ‘ugly’ sounds? I like to stick with “nyah nyah nyah” which is very withcy!!
This was introduced to me by Alice and I’ll never look back! Witches all the way:)

XX

[Guest Teacher]

The snapchat idea is excellent! I also find that getting them used to the idea of making silly noises early on is really helpful, as so often in singing you’re trying to make a “nice” sound, which can actually be quite restricting!

[Guest Teacher]

Yes Monika! Totally agree with physical warm-ups as well as vocal.

One thing that I’ve found works really well with my students is setting them the challenge of performing in front of a family member/house mate at home. Even if it’s through the door! By eliminating the idea of “oooh, what if someones listening, what if someones judging, what if what if what if” and actually performing with the attitude of “I can” gets rid of any of their nerves about singing or even just being loud in someone else’s company. They can perform warm-ups or songs as long as someone other than me (the teacher) hears/sees/knows that they are learning to sing.

I hope that makes sense.
XX

[Guest Teacher]

Eliza! Great Idea about the practice room. I always love going somewhere with soundproofing and really going for it.
It’s a great idea suggesting things like that to students and lots of students especially Uni students don’t want to sing at home because they are worried what their mates and people around them will think.

Might try this tactic myself, however, some of my singing students won’t be able to afford it outside my lesson which does add another debate to “What to do when students won’t practice?”

[Guest Teacher]

Hi Kat

No she isn’t able to sing them at all, I decided to do something a little different with her and discovered that it isn’t just about confidence but also about being so frustrated with herself that she shuts down.

I spoke to her about it at the end of her lesson last week and we had a much better lesson this week. She said she wasn’t as frustrated and that she came in with a more determined attitude. So yes confidence is an issue with her but more than that she just get’s so frustrated with herself that she gives up trying for a while. I have given her the tracks and things that she needs and told her to sing scales at home so hopefully she will practice. However, much like Eliza is finding she has never practiced before as she has never sung in front of her family before. I’ve challenged her to sing for them but no luck yet.

[Guest Teacher]

Thanks for this Eliza! This is great, at the end of the day it all seems to come down to patience.

I really don’t mind as long as she is having fun and enjoys it. I only get frustrated because I see the potential in her and I know that she can really sing and her confidence is the only thing that is getting in the way.

I will experiment with a few different things and see what she responds to best.

[Guest Teacher]

Thank you guys! All this info has helped so so much. Still unsure on whether it is a good idea yet or not. Am currently teaching from a spare room/studio in my home but wanting to expand. Maybe it’s too soon.

Thanks again!
All the best xxx

[Guest Teacher]

Hi Eliza

I only have a couple of ideas with this but again it will be trial and error.
When it comes to the rhythm repetition is sometimes the only way to go. I have sat with a song that the student has picked and got them to count all the way through the song. This gave them an understanding of 1….2….3….4…. and I explained to them that this is a bar etc and they managed to link that to the song itself. I also got them to tap their own different 4/4 beats on the laps as this is slightly more fun. Both of these combined gave slightly better results. I know that it sounds like I’m teaching them drums but it really did help.

When it comes to lyrics would it help if you recorded yourself reading out the lyrics to make sure that she gets the right lyrics. I this may be easier said than done but does she read Brail and is there somewhere you could get lyrics written in brail from? It’s possible that being able to physically touch the lyrics might help her to remember them better as when she gets to that section of the song she will remember what it felt like? The more senses used the better you remember things apparently.

Don’t know if either of these help in any way.

[Guest Teacher]

Hi Eliza,

I think this may help her to keep and feel the rhythm and pulse:

https://itunes.apple.com/gb/app/metrovibe-silent-metronome/id635739577?mt=8

Instead of clapping try her swing her body gently side to side.Is more natural sometimes than clapping.(Stevie Wonder,Ray Charles style).

Learning jus parts of song,label them as verse or chorus and them put them together will help her to give their own personality to each part of the song and make like a puzzle with it. This may help too with the structure issues.

Hope this helps.

Gael

[Guest Teacher]

Hi Beckie

I don’t have any experience teaching SEN students but I do have a little experience having them as part of a youth group I have run in the past.

What I found with SEN students is they only listen to people that they feel are close to them and really care about them.
That’s why they behave when their parents are in the room.

I know that you are there to teach him something but in order for him to let you do that you might have to gain his trust first, either in conversation and talking to him about what he likes and spending time getting to know him or sometimes bribing works. Either way it’s probably going to require a bit of time and a lot of patience.

I’m no expert though:)

[Guest Teacher]

Ooooooh! Definitely going to look into this. I’ve never been so nerdy about anything in my entire life. I feel like a vowel wizard!

[Guest Teacher]

Oh my god Kat! I love Ken Bozeman!

Check out this little page I discovered also –
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=VocalTractShaping&page=3

[Guest Teacher]

Fricatives! I’ve not heard of those – I’m on it B-)

[Guest Teacher]

Ahhhhhhhhh John Henny is a genius. Try those vowel sounds on a skip scale exercise.

C D – D E – E F – F G – G A – A B – BC – C B A G F E D C
I – AH – ER – EH – AY – EE – UH – OHHHHH – OOOOOO

I hope that’s explained it OK:)

[Guest Teacher]

Also, if you get bored of your usual vowel sounds, try out the extended vowel scale:

I – AH – ER – EH – AY – EE – UH – OH – OO

The way the tongue moves on each sound is quite drastic so I’ve found helping students stabilise this movement creates a cleaner, more stable sound.

[Guest Teacher]

Do you use harsh consonant pressure when singing staccato? Check out some crazy and amazing science about Vowels and harmonics. It’s changed my life!

One Secret of Vowel Modification

[Guest Teacher]

To ask them to do both ways,the old and new is a really good one I agree.It’s very important for the students to actually experience the benefits of the new way of doing things and understand and feel that this way will make them improve their performance.
I find useful,as well,to really make them see that mistakes are an essential part of the learning process but as well remind them that those mistakes can be learned from others so you don’t spend the time making the mistake and them re-learning.That their is a way of saving that time going strait to the most effective practice.So showing them where each kind of practice leads you help as well.

[Guest Teacher]

I love Kat’s observations here. I’m very much an advocate for allowing students to make mistakes. I find students get frustrated when they try something new and the body doesn’t quite know how to handle it yet. Often I find that they try something and the voice will break and that break then drives them back into doing things in their habitual way.

At these times I remind the student that they’ve been locked into their habit for a long time, so it might take us a long time to retrain or remove that habit. We just have to give the body time to work it out and trust the exercise and our bodies.

However, sometimes that frustration also creates an opportunity to try a new tactic. Change the conditions of the exercise (or trying a new exercise entirely) whilst still striving for the same result. I did this just yesterday with a pupil and the lesson ending in such a positive way compared to our previous lesson.

One other issue I find is that frustration often comes when someone is doing an exercise for the sake of doing an exercise. If you clarify what the exercise is doing, slow the student down and get them to really think about what they are doing, then they are much more likely to do better with the exercise and make a positive change that is then reflected in their attitude.

[Guest Teacher]

I’m in Matt’s camp as I have tried vehemently not to teach “mix” just because of this very confusion in terminology. it means so many things to so many different people, and it seems to me that even current research hasn’t really answered the question of what it is. When I work with my pupils on this kind of sound, I get them to brighten up the sound a little bit and I call it a baby cry, contrasting it to a calling out, which would be more of a pushed chest voice without the extra head resonance that comes with the “mix”.

PS extra Brucie bonus point to Matt for referencing Arthur Lessac!

[Guest Teacher]

Hi everyone, if you are interested in reading more information about cancellation policies just read this thread – https://musicteacher.kinsta.cloud/community/groups/music-teachers/forum/topic/cancellation-policy-all-teachers/

[Guest Teacher]

Great tips! It’s always nice to share ideas. I always ask for 4 week advance payments and explain this even before we have a trial lesson. This normally gives a VERY clear indication of who is serious. Sometimes it gets a bit tricky where people claim they forget. I do send out a text message the day before the payment is due and remind them the week before the money is due as well. I also write in their notebooks ( I insist that they have a notebook) how many lessons they’ve had: from 1 – 4. That is a very clear way for both parties to know by keeping a record for the student to see. Occasionally, you will have those who disappear without advance payment, never to return. Those are rare. As any business, there are risks. I do provide a slightly longer lesson (without charge as I get carried away with music) every now and again as an incentive, which does keep my students happy.

[Guest Teacher]

Hi Steph

It’s up to you what you do with the students from this week. If it was me though I would just send a follow up message and say something along the lines of “Hi blank, If forgot to say that you can either pay for the lesson you cancelled on a bank transfer or with cash the next lesson. I really don’t mind which just wanted to remind you that you had the option of either.” or a few days before their next lesson say something like, “Hi blank, this is just a friendly reminded that I require the amount of blank from the lesson you cancelled to be paid at your next lesson on blank or via a bank transfer/Paypal. See you on blank”

This way it’s not making it seem like you have changed your mind on your policies but making it seem like you expect them to know what your policy is. Then if they reply with any resistance you can just remind them of your policy and they can either accept that or move on.

I’m also with you, if something comes up and I can rearrange for another day when I am free in the same week then I will but only if they let me know before I am there waiting for them.

[Guest Teacher]

Thank you both!

Eliza – Thanks – the guy that rearranging did so within the same week so I don’t mind as long as I don’t then miss out on next weeks lesson money.

What would you do about the students earlier this week? Have I already blown my chances by not replying instantly about the cancellation fee? All I said at the time (each one was less than 2 hours notice, not even beginning of the day!) was ‘Thanks for letting me know, feel better soon’.

That was now 3 days ago, so would you leave it for this time and learn the lesson, or go back to them and say ‘on further thought…/btw my terms and conditions state…’

Steph x

[Guest Teacher]

Hi Steph

I had the same problem a little while ago, I too have a 48 hour cancellation policy and have also battled with the illness and situations that are out of their control thing.

Two things have come to my attention when dealing with this:

The first thing is that whenever a student cancelled it became because they were ill even if they weren’t just because they knew thought that would get them out of paying.

The second thing is all my students have been happy to pay it. I had one student who kicked up a fuss because she said it was out of her control but after I explained that it is also out of my control and I had turned down other students because she had booked my time she understood and paid. Also what Eliza says about us losing out when we are ill is true. If we are ill and cancel then we lose money, if they are ill and cancel then they lose money. Simple as that.

Once people understood this they also stopped cancelling for feeling a bit tired or under the weather and only cancelled when they were really ill. Don’t be tempted to put in a half fee either because you will have the same problem, every time someone needs to cancel it will be because they are ill and you will lose money.

I always try to have sympathy and tell them that I hope they get better soon etc. but i don’t wave the fee.

Hope that helps

[Guest Teacher]

Adding to this, I had considered making the lesson fully chargeable if they have missed it without notice/forgotten/not told me they cant make it more than 48 hours in advance.

For illnesses and situations out of their control, what about implementing a “half fee” policy where they pay half the lesson price as compensation, understanding that we also have to make a living, but not putting the student off by paying having to pay for being ill?

Just a thought!

[Guest Teacher]

So I’ve had one of those days this week with 5 out of 6 students cancel all because they were ill. I had turned down other lessons on this day because I was fully booked.

I have a 48 hour cancellation policy, that doesn’t apply in exceptional circumstances (but illness is still a grey area), and as of yet I haven’t had to deal with it. But 5 people in one day was certainly a shock to the system – I will definitely implement some of the brilliant above suggestions from the beginning of the new term, but looking for some advise what to do this week because I’m a bit stuck.

Nearly all my students pay up front, and the majority know about the cancellation policy.
Out of the 5 that cancelled:
I managed to rearrange 2 this week, but the second cancelled again (as this time his son was ill)
One of which offered to still pay for the lesson which I accepted
One (parent) refused to pay the cancellation fee, and asked me to ‘add the fee to the next lesson’ because it wasn’t fair to expect her to still pay for a lesson if her child was ill.
The fifth is a new, and very nice student, who I hadn’t got round to emailing my policies to yet, so I kind of feel that this one is my fault, and I should let it slide.

Just looking for some advise from other teachers as I’m quite a lot of money down this week and not great with confrontation so not sure where to start!

Any advise would be appreciated.

[Guest Teacher]

Hi Guys

Sorry for the late feedback. I decided to charge her anyway but thankfully after explaining things from my point of view she saw my point and agreed that I wasn’t being unfair.

Thanks for the input

[Guest Teacher]

Hi guys

Another thing I have run into with cancellations that I just want to check out.

A lady who has a lesson with me tonight cancelled this morning because she has the flu.

I have a policy of if you cancel less than 48 hours in advance then I still charge for the lesson, which I see is pretty standard.

However, she is kicking up a fuss because it is the flu and out of her control, which I understand, but i’ve always been in the view that it is not in my control either but I’m committed so turn down other lessons and things that people ask me to do.

I have had this issue before and almost even lost a student because of it.

So I just want to know if you guys charge for cancellations even if it is because of illness or if I am being unfair?

Thanks,

[Guest Teacher]

Great advices and ideas here guys.The matter of cancellation is always a difficult one and every student seems to have their own ideas but 48 cancellation I find is a must and always give me a good result Thank you all.:)

[Guest Teacher]

I know this is a hot topic. I am thinking of implementing a ONE WEEK cancellation policy. This is about valuing my self worth. Realistically slots that have been cancelled can never normally be filled even 72 hours in advance. Hotels have a one week cancellation policy and so do business coaches. This is our livelihood and our clients must respect that. Also the one week cancellation policy encourages commitment. I am puturbed by flakey clients that put work or other things before their commitment our agreement. If they have to cancel, fine but they have to pay. Since most of us work from home clients think that we can just get on with something else or that it won’t matter because we don’t have any overheads… well the room that we are working in is an overhead. If I didn’t work from home, I’d be living in a 1 bed flat, not a two bed flat.

Up until now I’ve been flexible with my clients, but with the cost of living rising and the fact that there is so much competition for singing teachers in Brighton, I feel I need to up my game, value myself and get serious with them. The one week cancellation policy is standard practice throughout the hotel industry, I think something needs to be done within the music teaching profession to make the one week cancellation policy standard practice too. Musicians are generally too nice. Let’s get serious. Matthew can you help?

[Guest Teacher]

I would really appreciate some feedback from the MGR gang on my recently updated Terms and Conditions. http://lewisleemingmusic.co.uk/wp-content/uploads/2016/03/Terms-and-Conditions-Lewis-Leeming-Music.pdf

The general template is from the Incorporated Society of Musicians’ private tuition agreement document, and thus it looks very formal and perhaps even somewhat imposing/scary to new clients. Having had a couple of recently referred students discontinue lessons after the initial consult (due to not being able to pay 4 weeks ahead, or not willing to commit to a no cancellation policy) I am contemplating adding some clauses to soften it up a bit, or perhaps just simplify it altogether to make it more readable and friendly.

I would appreciate the input of those of you more experienced in this aspect of it. I know Matt has some great suggestions, which would be nice to hear in this thread…

Just some background…

When I was teaching in Kent my rules were very bendy (I didn’t have any T&Cs). I accepted payment by the lesson, on the day, usually after the lesson had taken place, and usually in cash. I had no cancellation policy whatsoever but instead would wing it and negotiate/compromise on any cancellations or re-arrangements. This ensured a great deal of flexibility for my students/parents, but it also meant that they could cancel lessons at short notice and I had no recourse for this contingency.

Whilst a handful of the parents were very disciplined (many times offering to pay for lessons they cancelled) there were also many who were not. It got worse over time to the point where lack of pupil’s attendance was so rife that it was not only adversely affecting their progress but also pushing my finances down to the very bottom line.

So, when I moved to York, I saw it as an opportunity to start afresh with some ground rules that would encourage a healthy attitude and commitment from my students and make my business viable. Which is why I came up with this!

[Guest Teacher]

More information on this topic can be found here – https://musicteacher.kinsta.cloud/community/groups/music-teachers/forum/topic/tone-deaf/

[Guest Teacher]

I have someone with an even worse case of this as he tends not to hear it even when we do scales (he’ll sometimes be as much as a third out without hearing it!).
Firstly, reassure him it’ll come with time and work, its something to be developed rather than a piece of head knowledge, secondly, get him to critique himself after singing (even if he doesn’t hear it yet, the act of critiquing helps open up the awareness), then I’d frequently get him to sing a cappella or preferably with yourself or someone else accompanying him so he can concentrate solely on the voice.
I’ve been working with this student for over a year now and although the issues are still there, I’m getting a lot of positive reports from friends and family about how much better he is. Keep at it, he’ll get there!

[Guest Teacher]

I’m a support worker 25 hours a week although I’d love to take the leap to do this full time! The day will come soon though now that my client base is building.

[Guest Teacher]

I had this exact comment this week. I think partly because I look a lot younger than I am. People keep thinking I’m a student and doing this on the side….perhaps need to think a little more about my dress code!

[Guest Teacher]

I’ve been trying to figure this one out for ages. I have a student at the moment who struggles with Pitch and I’ve been doing a little experiment with him.

I got him to download a Chromatic tuner, the one we have been using is DaTuner Lite which is free on Google Play. I asked him to sing any note and then try and make that note a C. Once he found C I made him hold it and then find D, E, F, G until he was able to sing the simple scale.

He said the fact that he could actually see what his voice was doing made it so much easier for him as he is a visual person. Even though he isn’t completely there yet, we are already starting to see improvements!

[Guest Teacher]

I don’t have set excersizes for breathing but try and teach them to breathe from their diaphragm while they are actually singing. I have found that it gives their voices more support especially while trying to hit those long high notes. I have also found that breathing properly gives students more confidence and belief in their abilities.

It’s different for every student though and it’s also difficult because naturally while walking or running or doing any sport we don’t breathe from our diaphragms. I found out the only sport where you do breathe from your diaphragm is swimming

[Guest Teacher]

One that always tickles me:

“I feel like I’m singing from my throat”

My response:

“That’s probably because that’s where your voice box is”

(*I know they are talking about a genuine problem, but that way of wording it makes me giggle every time)

[Guest Teacher]

The only thing I can think of is looking at some of the Community Youth Events that are going on. Some of them do open mics and they re typically for people between the ages of 13 and 18. I know we did them in Leicester 2 or 3 times a year. I’m sure there must be someone in Nottingham that does the same kind of thing.

[Guest Teacher]

I’d love to be in on a conversation with you on that Kat. I do teach breathing very minimally as I think there’s a lot of misleading ideas out there on it but I’d love to know why you barely teach it at all.

[Guest Teacher]

Sounds great, I’d be up for that! Xx

[Guest Teacher]

I’d totally stand your ground, but just be wary that if she starts going down the legal route that could be a crap day for you. Technically she’s paid for a service that you haven’t provided yet so I could see that not being good for you. I’m no legal expert though! Maybe seek out some legal advice if it starts going that way.

[Guest Teacher]

Lol I didn’t watch the video before replying

[Guest Teacher]

The first one

[Guest Teacher]

That’s the one worth reading the idea behind the exercise. How funny you found that video, that’s a friend of mine leading

[Guest Teacher]

Check out Kristen Linklater’s vowel tree exercise I love it for spoken voice resonance work

[Guest Teacher]

Very helpful, cheers x

[Guest Teacher]

I currently have an arrangement where I trade some handy work in exchange for a barely used space in a conference centre. I’ll be moving lessons to my house when I finally own one though! Way too complicated right now!

[Guest Teacher]

Oooooh that’s an option I haven’t thought of before! Thanks Kat

[Guest Teacher]

I was debating getting the sennheiser. I’ve been looking into the whole cardioid vs. hypercardioid thing and just started confusing myself!

[Guest Teacher]

Just after something with a bit more clarity. I will never get rid of my 58 (it’s like my baby) but just fancied something a little more pro:)

[Guest Teacher]

ooooh – the stakes are high! Janice Chapman is a good one to refer to:) she is a wise one

[Guest Teacher]

I get terrible acid reflux whilst performing if I eat anything within a 2 hour gap before going on stage. But I think that’s just because I throw myself around a bit too much! Ha. In terms of the difference between chest and head voice – I have always been taught and understood that it is where the sound is resonating in the body. Could I be wrong? :S

[Guest Teacher]

Brilliant!

[Guest Teacher]

Agree with both Kat and Eliza here. Something I do as part of the warm up is to take unvoiced, semi-voiced and fully voiced consonants and sustain them so the student gets a feel for each kind of sound. They then work on it at home, then we open each sound onto a clean vowel. It seems boring but if the student really works with it, the results are great.

[Guest Teacher]

Thanks for the lightning fast replies, both! Her speaking voice is a little wispy, but not as much as her singing and she has successfully sung a clear, strong, breathless note before now with a little persuasion. I just want to start getting her to the point where she can do that herself as I can’t coax her into it every time she needs to sing! I’ll give those a go, thanks.

[Guest Teacher]

Has anyone used Music Teacher’s Helper? I’m considering giving it a trial, though I am quite happy with the systems I’ve got and am wondering if learning new software would just add another thing to my long to do list!

[Guest Teacher]

sounds interesting, just wondering 1. do your students actually make use of it and 2. what value has it added to your bottom line? (look at me using a business term) I’d love something like that but I don’t want to spend £180 or so a year on something that my pupils won’t use.

[Guest Teacher]

Ha! This is true! I need to be more of a hard nut

[Guest Teacher]

Thank you Ruth. Lesson learned for the future me thinks. He’s never responded which is a shame.

[Guest Teacher]

OOOH that’s a good point. So new students pay in advance for first session – or atleast a deposit. Thanks!

[Guest Teacher]

Well that’s the thing, it was his first and only lesson. He emailed 15 minutes into the lesson time saying ‘I’m so sorry I can’t make it etc I’ll still pay the lesson fee if you send over your bank details’. So I emailed them over and 6 reminders later and still no sign:(

[Guest Teacher]

Nope, just Excel.

[Guest Teacher]

Similar situation. Although there’s no physical damage to her vocal folds. She had mouth cancel and now holds a lot of anxiety and anger in her throat! which is such a shame as she has recordings of what her voice used to sound like. Now it’s so gravelly. Any advice guys?

[Guest Teacher]

Is she in a similar situation or just trying to prevent it?

[Guest Teacher]

I have a new student who has come to me because she has seen this TV show!

[Guest Teacher]

Yes, I wondered about that as well, but I guess it could’ve been hurting from the physical damage rather than the method applied. Definitely didn’t notice the wine lol!

[Guest Teacher]

I’ll look into all those avenues!:) thank you guys

[Guest Teacher]

I was reading into this stuff! I think at university I was taught in estill style…but never told it was a technique ha!

[Guest Teacher]

Matt Pocock is a big advocate of taking an Estill course, which I’m looking into.

[Guest Teacher]

Yay! And I love sobby singing.

[Guest Teacher]

Another great trick is to stick the tongue out as far as possible. It’ll encourage a nice open throat if the pupil tends to have a lot of constriction.

[Guest Teacher]

Yea that twangy sound in particular.

[Guest Teacher]

Lol. In answer to your question, I teach belt by getting people to tap into the sound of calling out (I believe it’s anatomically nearly identical in terms of the coordination of everything – unless Matt disagrees with me…). I’ll start with a really low and comfortable “hey”, which we then build up in volume and pitch till we’re really calling out. The key thing is to make sure that the vocal fold closure is nice and consistent throughout, no unintentional growling. Then I formalise the pitch into an 8 note scale alternating between “hey” and “ha”. Then if we’re applying belt to a particular song, I get them to call out the song lyrics on pitch then get them to make the jump to making the sound more “musical”. I often use elements of Alexander Technique to help release any unnecessary neck tension. Hope that helps.

[Guest Teacher]

I’m just going to persevere. Maybe I’m being too impatient

[Guest Teacher]

I did a bit of research into the cricothyroid but wasn’t sure if this was the issue! Fab to know I was moving in the right direction. Where there any particular practices you used? I’ve tried sirens, whispering ‘oohs’, using in song examples and trying to mimick. This is great! Thank you everyone for all your help!

[Guest Teacher]

Good shout! It’s quite a sensual, sexy song we’re doing as well! Which I’ve told him makes it totally MANLY! Hahaha

[Guest Teacher]

:)**** no sad face! All smiles ha

[Guest Teacher]

I’m finding a lot of it is also a confidence thing of they don’t want to sound ‘unmanly’! So like you said, just trying to find the right trigger is key. I’ll try the Monty Python one! That sounds like it may work as I know he loves them. Thank you!

[Guest Teacher]

You guys are all so helpful! Thank you so much:)

[Guest Teacher]

No problem. This group is really great for those kind of questions so feel free to ask away.

[Guest Teacher]

Thank you! You’ve been a great help:)

[Guest Teacher]

I engage them all. So I’m charging more for the extra demand on me. I usually have to take a break after a group (not that I’ve done a group in a while) so I wan’t to be compensated for that, plus they are effectively getting multiple lessons at a discount. I actually tend to advise people not to have group sessions, as singing is such a personal thing. Whereas if someone wants family sitting in on a session, then great so long as they aren’t disruptive.

[Guest Teacher]

Ahh, so you charge more for more participants:) Do you engage them all in the same practice? Or split the time in two?:)

[Guest Teacher]

For an hour I charge £35 for 2 and £45 for 3 I won’t do more than that

[Guest Teacher]

Good to know thanks mate!