Pasadena, TX Singing Lessons

voice lesson we might spend the entire time on technique exercises to strengthen the voice. We might also work on several songs with an emphasis on interpretation.
In regards my piano lessons, I generally stick to the curriculum, but will take the time to focus on the individual needs of the student.
I expect my students to practice at least 30 minutes a day for 5 days a week. Everyone learns at a different rate, but if the student practices regularly, he/she will see progress within a few months.

*** Studio Equipment ***
I have an upright piano in my studio as well as several music books. I expect my students to bring their music as well as their assignment book to every lesson.

*** Specialties ***
I specialize in a classical technique when it comes to teaching voice. I focus on proper breath support and a relaxed open larynx to produce a free, beautiful sound. I believe a classical foundation can be applied to any musical genre, with the result that you are singing in a healthy manner that will not damage your vocal chords, thus allowing for a longer singing career.

rs to professional musicians.

ut as needed with SA Opera and local production companies. Mrs. K performs on a regular basis at local churches and with different community groups. She also is hired on a regular basis as a wedding singer and funeral cantor.
Mrs. K. loves teaching and specializes in personal one on one attention with her students, making each of them aware of how important music is for their everyday lives. Elizabeth teaches all age groups, from beginner level to advanced for vocal instruction, beginner to advanced level for piano instruction, and beginner level for guitar instruction.

*** Lesson Details ***
Beginner = 30 minute lessons

Intermediate = 45 minute lessons

Advanced = 1 hour lessons

*** Studio Equipment ***
Upright Piano
Electric Keyboard
Smart phone voice memo app for Voice Lessons
Ipod and Ipod Player
CD Player
Copies of Various Music for Students

*** Travel Equipment ***
For voice lessons - I have my ipod and speakers for the music we will be singing with - and I make copies of music for my students if they need it
For guitar lesson - copies of music if they need it - they must have their own guitar.
For piano - copies of music if needed - they must have their own piano or keyboard.

*** Specialties ***
Classical Training and current Broadway style

years. Students who have studied with him come from a wide range of backgrounds with different goals. Those who have continued with musical studies in college have consistently placed out of at least the first two semesters of music theory and achieved advanced placement in their chosen fields of study. Those who chose a different path continue to benefit from the education and training they received from taking music lessons.

*** Lesson Details ***
There is no "standard formula" to lessons. Each student has their own unique background, needs, and goals. Lessons tend to be somewhat casual but are structured in such a way as to meet the unique requirements of the student.

To accomplish your goals, there are a few requirements and basic expectations that the student and parent must meet.
The first is practice. Students are expected to practice daily for at least the length of their lesson time. This, above all else, is essential to progress. It is also expected that a parent will attend lessons for students who are too young to drive themselves here. It's important for a parent to guide the student's practice time (particularly for younger students) to ensure that the most is gained from it. This is why I ask that a parent observe lessons.
Each student or parent should bring to each lesson a notebook, pencils (with erasers). The notebook will be used to record notes about each lesson, homework, practice advice, etc. Pencils (not pens...nobody's perfect!) are used by composers to record their creations and performers to mark their music. Both of these essential practices are subject to changing thought and must be open to change. So no ink, please!

Performers: It is not necessary to know how to read music at the first lesson for beginners. However, learning to read is required for subsequent lessons and will be a large focus for all non-readers. Lessons are not learned "by ear." A certain amount of theory will be a part of every lesson just as technique and repertoire. Concerning repertoire, it will be selected based on the student's learning needs but also with their input. The main emphasis on performance lessons, however, will be technique and reading. Students should come to the first lesson prepared to discuss their background & goals and the plan of their course of study.
Note: Voice students must be at least 16 years of age.

Composers: Just as with performers, it is not necessary to know how to read music at the first lesson. However, learning to read is required for subsequent lessons. Many young composers have great ideas but can only hear them in their heads or play them on an instrument. Lessons will allow you to obtain the skills to write them down with greater speed, accuracy, and clarity. More advance students will also include exploring a wider range of harmonic languages, advanced notation, instrumentation, orchestration, and aural skills. Students should come to the first lesson with examples of their work, either written, notated, or recorded in a digital format. They should be prepared to discuss their background & goals and the plan of their course of study.

IMPORTANT NOTES:
• To reschedule a lesson, more than one day notice is required.

• Make up lessons must be scheduled before the next regular lesson.

• A make up lesson cannot be scheduled in place of a regular lesson.

• If, for any reason, two 30-minute lessons are scheduled one right after the other, they will be charged as two 30-minute lessons, not one 60 minute lesson which is a different rate.

• If, for any reason, two 45-minute lessons are scheduled one right after the other, they will be charged as two 45-minute lessons, not one 90 minute lesson which is a different rate.

• the studio space is also inhabited by two lovely cats. Do consider this when signing up for lessons.

*** Studio Equipment ***
Yamaha DGX-650 weighted 88 keys full sized keyboard
area for parents to sit and observe lessons.

*** Specialties ***
Main area is in classical music and media scoring with secondary focus on musical theatre vocal performance and composing/arranging.

ns, and Pony Up.

When I have free time I volunteer with the Houston Chapter of Girls Rock Camp to help teach girls empowerment through songwriting and music.

*** Lesson Details ***
I began teaching as an afterschool job when I was 16. I was homeschooled, so I feel that the experience taught me that everyone learns differently and that there is not just one standardized method to playing music.

My teaching style varies with each student, but the one constant is my ability to make each and every client I encounter completely fall in LOVE with music. It's my super power.

Lesson plans are tailored for your specific needs and to help you achieve your musical goals and aspirations at your desired pace. I enjoy my students and making music with them.

Here is an overview of the lessons that I provide.

Guitar:
Finger Picking, Song Writing, Rhythm, Lead, Scales,Modes & Ear Training.

Songwriting and composition: Learn techniques, how to brain storm and plot your musical story line. This class pairs great with vocal lessons or guitar lessons.

Bass:
Scales, Rhythm, Beginner and Advanced song structure, Ear Training

Ukulele :
Technique, Intro to Chords, Ear Training, Strumming patterns - Ukulele is one of my favorite classes to teach. You simply can not help but smile when playing this instrument!

Vocals :
Breathing techniques, Scales, Harmonizing

ter, and school chorus auditions. As a successful soloist and vocal instructor, I pride myself in teaching proper technique, nurturing each student's vocal development, helping singers develop a true love of music, and gaining an appreciation of their unique vocal gifts. Many of my vocalists learn the skills of reading music by learning keyboard and basic theory through piano lessons, which I am also able to teach.

With a creative and personable teaching style, I am able to connect with each student where they need to be met. My students of all ages see an immediate improvement when applying the techniques that I share with them. Focusing on healthy vocal production, good breath support, and proper techniques of support and vowel placement, I am able to help students reach their musical goals through vocal exercises and drills, direct application to selected music, and assigned home practice between lessons. After learning the basics of vocal production, we can further focus on interpretive elements of the songs and students will feel the rewards of making beautiful music with their own free and unique sound.

nts desiring to pursue a further knowledge in music.

Everyone has unique needs and desires regarding an education in music. That is why I teach each student individually to help them achieve their goals. Just because I don't have a set methodology, however, doesn't mean that I teach chaotically. I balance the need for order and discipline with freedom of musical expression.

stro Robert Spano, Timur in Turandot with the Des Moines Metro Opera and Mr. Flint in Billy Budd with the same company, both conducted by Maestro David Neely.

In previous seasons, Federico performed the role of Thomas Betterton in the world premiere of Carlisle Floyd’s Prince of Players conducted by Patrick Summers, Angelotti in Tosca, Zaretsky in Eugene Onegin, the King in The Little Prince, the cover of the title role and Antonio in The Marriage of Figaro, and selected scenes as Tiridate in Radamisto and Figaro, all at Houston Grand Opera. At the Auditorio Sony Madrid, the artist performed the roles of Leporello in Don Giovanni, the title role in Don Pasquale and Don Magnifico in La Cenerentola. While at the Opera Studio of Teatro Argentino de La Plata, Federico performed Don Alfonso in Così fan tutte, Antonio in Il viaggio a Reims, El Hombre Mayor in Gandini’s contemporary opera La ciudad ausente, Johann in Werther, Narrator in Rota’s I due timidi, Plutone in Il ballo dell’ingrate, and Tempo in Il ritorno d’Ulisse in patria.

On the concert and recital stage, Federico has performed in a concert tour of Spain, organized by the Fundación Albéniz, a Christmas concert for the Royal Family of Spain at the Palacio Real de Madrid, as well as concerts with the Nürnberger Symphoniker in Nürnberg and Zindorf. Born in Buenos Aires, Federico received 3rd prize in the Eleanor McCollum Competition at the Houston Grand Opera, and was named “Outstanding Student” by Her Majesty Queen Sofía of Spain.