Broadway Singing Lessons

in Great Neck.

Amazing Teachers.

eatre Factory, Coastal Carolina University, CAP 21, and The PiTCH. Concerts of his music were produced by Lincoln Center, Vitello's, and The Cutting Room.

He also is an accomplished musical theatre composer. He has composed music for Webster University, Encores! (NYC), the St. Louis Gateway Men's Chorus, Stephens College, the Cockeyed Optimists, Prospect Theater Company, St. Louis Repertory Theater of Saint Louis and Masterworks' Off Broadway production of The Glass Menagerie. Brett wrote the music for the musicals: FISHING THE MOON, THE LAVATORY, BENEATH THE SURFACE, and TUESDAY. TUESDAY was a finalist in the 2010 New York Musical Theatre Festival and was presented at the 2014 New Horizons music festival at Truman State University, and in 2016 was workshopped at the Musical Theater Factory and Coastal Carolina University. He and Caroline Murphy were featured in American Theater Magazine as a writing team to watch. A concert of his music was performed a t Lincoln Center in 2012, Vitello's in Los Angeles in 2014 and The Cutting Room in 2016. In Development: NOT A HERO'S JOURNEY (all by Brett Macias). GUMBO (words by Christina Quintana) was selected by the 2017 Yale Institute for Musical Theater, the 2017 Mainstreet Musicals Festival season, the 2017 ASCAP/Grow a Show festival, the 2014 New York Musical Festival Next Link Project, and was developed at the Musical Theater Factory and The PiTCH at Fingerlakes Musical Theater Festival.

Brett was an actor for 15 years and has taught private voice lessons for 20 years.

*** Lesson Details ***
The thing that makes me different from most voice teachers is that I approach everything from an acting stand point.

I believe singing is an extension of the voice when speaking is not enough. The student will explore the breathing process, impulse and intention, and a work out for the body (including some simple Yoga, Pilates, and voice and speech work).

I also believe in text, melodic, and accompaniment interpretation. By the time you are done with a song you will understand every secret of it so that you can act the heck out of it.

All this is to make the process of singing as alive, natural, and easy as possible.

I will also teach you warm-up exercises that are go while you are waiting to go into an audition.

I have an extensive library of musical theatre to build your book for any occasion or style you may need.

So come on over and look at music and your voice in a whole new light.
*** Specialties ***
Building an actor's book to help them with auditions. Will then teach the song and work with the singer on interpretation of music and lyrics.

Specialize in Musical Theatre, Jazz, Pop/Rock

Have an extensive knowledge of the business

Very large Musical Theatre library

work with many schedules and work loads, but I expect my students to put at least half the effort into their lessons that I do!

ntanti Project NYC.
She joined DiCapo Opera Theater covering the role of Abigail Williams and performing the role of Sarah Good in Robert Ward’s The Crucible and repeated her performance for the award-winning European Premiere of the work in Szeged, Hungary in November, 2008. Other engagements have included Rosina in Il Barbiere di Siviglia with Metro Lyric Opera New Jersey, and 2nd Lady in The Magic Flute with the Harrisburg Opera Association.

Active on the concert stage as well as in opera, Ms. Schneiderman has been a regular soloist with her home orchestras, the Burbank Philharmonic and the New West Symphony, performing works by Mahler, Stravinsky, Orff and Mozart. She has also performed at Carnegie Hall as soprano soloist in the world premiere of Ed Lojeski’s Missa Americana. Later, she premiered the soprano solos of Mike Garson’s Symphonic Suite for Healing at the new Segerstrom Hall in Costa Mesa, CA.
Ms. Schneiderman made her operatic debut with Festival Opera Walnut Creek as Cherubino in Le Nozze di Figaro to much critical acclaim and went on with the company to perform Rosina in Il Barbiere di Siviglia and Sophie in Werther. Ms. Schneiderman attended the San Francisco Opera Merola Program, and immediately followed this with a year as a Resident Young Artist with Seattle Opera, where she specialized in the music of Mozart and Rossini. She is is also a recipient of many awards and recognitions, including 3rd place in the Metropolitan Opera National Council Auditions - Southwest Region, 5th Place in the Loren L. Zachary Society competition, Gari Foundation Encouragement Award winner, and Violetta DuPont Competition finalist.
In addition to her passion for classical music, Ms. Schneiderman has performed extensively in crossover music, having performed regularly with pop legend, David Foster, at various events. During this time, she shared the stage with Michael Crawford and spent several years as duet partner to Josh Groban.
Her first full-length album, Unlimited; is available for purchase on iTunes and CDBaby.com."

Whether you are just beginning your training, if you want to sing for fun, or if you're an established professional, I can help by giving you the tools that will have you singing well for years to come.

*** Lesson Details ***
A lesson with me will include a warm-up, where we discuss basic concepts of technique, vocal physiology and sound. You will learn the fundamentals of healthy singing and increase your vocal stamina. Next, we will work on the music of your choice and apply those technical concepts to the piece you're working. I will also advise you on elements of style and performance at this point as well.

*** Studio Equipment ***
I use studio space that always includes a piano.

*** Travel Equipment ***
Student must have piano or keyboard in home if I am traveling.

*** Specialties ***
Voice, Musical Theater, Opera, Jazz, Pop Music, Style, Presentation

ty over your instrument to really grow into an individual artist and communicator.

Always honoring the instrument that a person has by guiding them to really learn the fullness of their abilities.

There is nothing more compelling than a voice that is natural and confident in their ability and accessing technique consistently is vital to creating this assurance and peace.

I am able to rapidly diagnosis a full range of vocal issues and begin to work towards strengthening deficient elements in relation and respect to the singer’s entire technique.

This will take time, but I make it clear exactly why this is the focus so we can work efficiently and cooperatively together.

It is important to reveal issues in a highly apparent manner, yet to be supportive and respectful of the student’s voice while motivating change to take place. I try to make it extremely clear through the exercises and rep I personally select to highlight a capability that is lacking by giving a student the right challenges where they can see they are not fully demonstrating a vocal element.

It often times is things they have been told in the past, but aren’t able to identify the problem due to lack of clarity clouded by other elements from past instruction or not provided the right tools to overcome their vocal issues in a realistic way that leads to continue success in their process. Meaning I really isolate and get to the heart of issues.

I have a signature method of highlighting issues and making corrections. I am very particular about explaining the process so that it makes sense to each student and can be accessible for them.

Another strength I have is I am able to identify the student’s learning style and am resourceful in the way I teach.

Together we will learn to develop a practical process and routine that works consistently for you based on your own personal needs as an artist.

The goal is that you will be able to instruct yourself successfully every time by thoroughly learning your instrument’s capabilities through care and guidance provided in our lessons.

I expect this from each student in their time, so that they can become confident in the choices they make to direct themselves. It is important to become independent since you are the one in control of your voice alone, and I intend to get you closer to that goal every lesson by making your voice more relatable to you by providing the proper understanding and resources to achieve this.

This is how world class musicians think, that they will be able to lead themselves in their process and trust their choices without too much worry after because the foundation and thoughtfulness to their decisions have already been made over time to where it is now intuitively inspired while performing. You can only access what you have trained (technical) or allowed (emotional).

Not only trust, but enjoy the freedom to do so. It might be a freighting concept to many, it was for me to think I must take full control, but you must eventually be assured about who you are and that you have more than enough to manage.

Something we will discuss a lot from the emotional standpoint, not allowing our fears or need/expectation to be perfect stand in our way of the bigger picture. We will develop a healthy relationship with our voice.

Every necessary element required for excellent singing will be explained. It is not possible in one or two lessons however.

It is real time and work. I do require you trust the process to a reasonable degree and know that I will always have your best intentions at heart. I have worked with many issues and types of people and have a lot of insight to pull from. Mostly people think their issues are unique, when in reality they are common. Nor do I get easily confused. So rest assure that your voice is always inspiring to me and I love to help people find more meaning in their art.

I can confidently say, almost more than any other instructor you have had we will thoroughly go over every element.

It is necessary that a student knows what is already amazing about their technique so they do not expel or replace it while working on their challenges. I cannot emphasis this enough. I have found this to be the biggest issue with passing on good instruction in the last 40 years from all institutes of voice.

Every voice comes in with something to build upon. There is not one voice, even the most challenging that doesn’t have an element right, it just might not be used appropriately while lacking all the other supportive elements, however it is there and that’s where we will start if that’s the case.

That’s why so many students, particularly very talented ones get lost in their training, because they do not realize that this has happened, so their natural abilities they cannot explain if they become teachers or professionals, which you must be able to explain everything or worst, they lose their natural ability and do not understand why.

This is also another fear of people who have natural ability, but if you have an instructor who understands you and these factors, you will be in good hands to find greater success vocally.

We need to identify our technique simply and readily every time in a way that we can articulate to ourselves.

This is a process and hard work (particularly emotional/reasonable expectation) is required on your end. More importantly developing trust for the process because what you do with your voice is up to you in the end alone and to displace that is neither helpful or honest. It is your voice! Always.

We will be doing honest work, look forward to it:D
💗💗💗

I am extremely generous as a teacher, you will come to find this is true. I promise to do my end of the deal and give you everything I have got in terms of my knowledge and insight, you just have to give yourself the opportunity to really commit to trying full heartedly. The lesson is for you. If I do not know something I say it.

I am a dramatic soprano and I have continued my vocal studies vigorously with Mrs. Fabian Bravo, a long term principal singer at The Met, who was taught formerly by Mr. Luciano Pavarotti.

I am very confident in the Italian Bel Canto technique and extensively in all popular genres, including jazz, ballads, R&B, Broadway, traditional, etc.

Technique I cover is creating legitimate support via fully integrating the body, while from the body’s relative support, applying highly efficient/directed air that is responsible for the quality of the voice’s capabilities and range of elements. Everything is created from these two fundamental elements.

We will also cover muscle release (throat, spine, tongue, facial, soft palate and accessing resonators directly, releasing the larynx and closing the vocal folds genuinely and appropriate air and relative use to the other elements, accessing legitimate chest and head voice, mixing/centering the voice appropriately with highly disciplined air and body support) legitimate dynamics with muscles released/throat open, accessing internal naturally covered space that can thoroughly release the voice through the skull and centered in which the air pressure/direction determines the dynamics, while not improperly closing the muscles or inappropriately moving the larynx/overly directing and dropping into one register, proper articulation that enhances/does not interrupt or cut off breath support/the body inappropriately/use of compressed air and direction that directly effects head voice, chest, middle mix access that most professionals do not have disciplined and create through other secondary means. This is more all equates to flexibility, strength and freedom to be endlessly expressive. Everything in balance and relation to become competent and proficient. The best part is really being able to enjoy your singing in the moment.

Looking forward to working together!

Very warmly,
Christine Padua

some of the most competitive college programs in the nation are just a few of her clients’ many accomplishments.