Bristow, VA Classical Voice Lessons

of the National Association of Teachers of Singing, The Voice Workshop, and the Loudoun Fairfax Music Fellowship.

rning style." I use whatever resources are available to reinforce musical concepts. I am patient, and laid back. I want my students to feel comfortable, and know that they can be themselves when they are working with me. Most of all what a student can expect is a teacher who is interested in them, their progress, and making the our time together as enjoyable as possible. I believe that I help students see the joy music brings to their lives.

I have always felt that one of my greatest strengthens is my ability to interact with children and adults, and I hope that I can continue to share my love of music in the coming years.

Experience

During high school I participated in A Cappella Choir, and joined a global performing group, called "Up With People" that traveled locally and statewide. I was active in high school music productions and I studied privately voice and piano.

Since then, I have continued to sing with community based choral groups throughout the Washington, DC region. I have also assisted as an piano accompanist for a small local church.

Education

I graduated from George Mason University, with a Bachelors degree in Liberal Arts. While attending the University, I sang with the university choir and studied classical piano under the tutelage of Jacequeline Schmitt. It was because of her that I developed an interest in piano technique.

During and after college I studied with a private voice instructor from Catholic University, where I learned classical voice.
I am currently working with a Takelessons teacher to maintain my skill.

I am also currently working on being certified as a Music Color teacher through an online course written by Andrew Ingkavet. I also received training and certification as a Music for Young Children, a program designed for early keyboard beginners.

I have continued to broaden my personal education by taking online courses, such as reharmonization of chords. I have also attended workshops, sponsored by the Piedmont music club, on how to incorporate improvisation into my lesson plans.

Lesson Details

I use a variety of methods for teaching piano. I do not restrain my approach to one method, but draw on resources from other methods and approaches.

I include music theory, ear training and piano technique into the lesson. While I am a classically trained pianist, I do not stick to that style of music. I believe that exposing the student to all types or styles of music broadens their education.

I use the computer and any apps that are available to further my students skills on the keyboard.

Within six months I would hope that the student would feel more comfortable at the piano. I would expect him to learn posture at the piano, including hand position. I would expect that his knowledge of the right and left hand notes would become more proficient, and that he would understand what the staff is. I would expect that he understands keyboard geography, distance between notes, the concept of high/low, dynamics, and patterns (both directional and melodic). I would add two-handed playing, at a very basic level. This, of course, would depend upon the student's pace and how much effort is put into the learning of the instrument.

My goal is to create a fun and lively learning environments, that with patience, will result in a life long love of music and the personal benefits it imparts.

Studio Equipment

lessons in dedicated music room in basement; computer with electronic piano and keyboard;

d Opera Studio, President's residence at UMD, etc. He believes that his quality and quantity of performance experiences will benefit his students with proven methods of vocal and performance success!

Cross-Genre Expertise : Sammy has performed many genres of music including Musical Theatre, Opera, Pop, Jazz and most recently R&B.
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Genres: Pop, Classical, Rock, Jazz, Gospel, R&B, Musical Theatre

​An alumnus of The Juilliard School, he has trained with renowned vocal pedagogue Marlena Malas (vocal coach of Luciano Pavarotti). He is an in-demand pedagogue teaching at the university level, private studio in Alexandria and engaging an active performing arts career.

Genres: Pop, Classical, Rock, Jazz, Gospel, R&B, Musical Theatre

Limited Space Available!

issues as well as integrating the body to fully support the voice.

She addresses vocal issues in a very practical and logical order by first identifying the primary source of the vocal issues and starting to work from there.

This is a simple, but crucial difference that is apparent in her approach. The very nature of secondary issues are that they are simply the extensions of the primary issues and therefore primary issues should really become the focus and starting point of the technical work.

It is from Christine’s experience and observation that she has concluded that secondary issues will always be dysfunctional (regardless of time and effort put into correcting them) as long as the primary issues have not been resolved. Oftentimes secondary issues will significantly self-correct on their own or can be approached reasonably once the primary source has been corrected.

This can only happen if the teacher knows this and is aware on how to approach the correct order in which to work and to address issues.

Making sense of primary versus secondary issues is absolutely fundamental to legitimately correcting problems successfully. Unfortunately it is often that the student is ultimately left to the enormous task of discovering this on their own, if ever and if they are lucky after years of study because the teacher is often focused on surface level issues, which are always easy to hear.

This is because most professionals are not versed in hearing such nuanced differences, nor capable to offer to work in such a refined manner.

The voice requires an execution of many things that must function together properly in order for it to work. Considering this makes it is easy to understand why the voice is viewed as the most complicated instrument to diagnose and teach. Therefore, it is absolutely important to invest in teachers who greatly have a handle on the voice and how to go about making sense of it.

She also specializes in teaching students process and development through highly mindful practices. She believes that in order for the voice to function optimally, the body, mind and emotional state of the singer must all be receptive and responsive in a positive way. This is because they are all inherently interconnected.

Christine teaches in a mindful manner to help students become more observant and aware of their own approach. By doing so we can realistically create the opportunity to arrive to better choices.

Christine’s extensive experience and knowledge in various styles and specialties in vocal intonation, along with her continuous education (over twenty years) and dedication to the authentic Italian traditions of bel canto and verismo opera has allowed for her to develop an approach that can extended into all legitimate styles of singing. Her personal approach to the voice is beyond comparison, nor can it be matched.

She has a phenomenal ear and can make rapid and highly accurate assessments of technical issues in a very brief sitting. Christine is exceptional at explaining vocal pedagogy and directing students on how to make corrections for themselves.

Christine is a dramatic soprano and is very confident and experienced with large instruments (that are more difficult to train for various reasons and require more specialized training). Having an extremely rare and large voice herself has given her invaluable insight toward fully understanding all other voice types and the discipline necessary to achieve efficient technique.

Many teachers can be limited in their view and teach "their technique" as opposed to helping the student develop their own technique and what works best for them. Christine has a great talent for figuring out what a students needs to do in their approach in order to achieve the results and keep the lessons progressive.

Developing proficient technique in a complete and effective way leads toward discovering the full capacity and beauty of our instrument without compromise. We need to find our voice to find ourselves as artist.

Her methods in vocal intonation translate directly and indirectly into all styles of legitimate singing, which she coaches many varying styles and will direct student toward appropriate repertoire. Students will learn the full potential of their instrument under her guidance. It is her belief that technique should always lead toward one sounding natural, no matter the style and that one fully learns their instrument’s capability to access endless artistic choices as a performer.

Christine offers very traditional based vocal lessons with a focus on improving technique through practical exercises and song repertoire designed for each student's unique vocal needs. She will offer necessary guidance and adjustments to ensure the student's continuous development.

Her goal is for her vocal students to discover their authentic voice and to find freedom in their technique and most importantly their expression as artists.

What you can expect to learn:

Vocal pedagogy and how the voice functions properly; how to effectively think about your voice to get the body to cooperate (aurally, physically, mentally, emotionally, etc.);

Integrating the body to fully support the voice Rebounding the body, which is at the core of support, but often times very apparently neglected because most trained singers/teachers from even the highest institutions do not understand how it works or do it effectively themselves. It is sadly becoming a lost art. This is the most advanced concept of singing and yet is absolutely necessary to master in order to access genuine support. Christine clearly demonstrates and explains how this concept functions and her refinement of it is by far not common knowledge.

Other concepts include sustaining an open throat, internal space for optimal resonances, legitimate dynamics directed from the body and compressed air, anchoring the body to maintain the larynx low;

Various placement techniques, air that can rebound using breath direction, centering the voice/cut internally by aligning the horizontal (mask) and vertical planes (chest, back of head, top of head and spine) support and placement that function together, developing a mixed middle sound that passes easily into low and high registers and broadens range; articulation that is aligned with vertical planes and naturally hooks up chest and top of head (releases in head) without forcing or placing, tongue, jaw and neck release, body posture that is conducive for support and keeps the body open and functional;

Various artistic and performance techniques, musical interpretation appropriate to context, time period and style, aligning the voice and body/acting to come across accurately in our portrayals and the process behind this, memorization techniques, execution of timing for expressive reasons and ways to think about timing that doesn’t conflict with the natural structure of a song, but allows for flexibility in phrasing, phrasal development and song development.

Piano:
Christine is also a highly sought out piano instructor for her ability to establish an exceptional foundation in beginning piano students and those who wish to continue their studies and build upon the fundamentals. She specializes in reading skills and excellent technique.

It is her belief that having a solid foundation sets the tone for determining if a student will continue with their studies and therefore this is the most vital part of a student's development and future progress.

She teaches Russian technique, which allows for flexibility, strength and tonal beauty of musical lines. This technique can be applied to all styles of playing piano such as pop, jazz and is not limited to just the classical repertoire.

Her goal is for all of her music students to become increasingly independent as musicians to where they feel confident to teach themselves and others and to ultimately find enjoyment in the process of learning music.

Her approach helps students advance their technique, reading proficiency, including music theory and expand their artistic capabilities.

Education and continuation of voice:

She received her music education in classical vocal performance from George Mason University and has vigiourously continued her studies in opera with Mrs. Fabiana Bravo, who studied with Luciano Pavarotti and Renata Scotto and has had a fabulous career singing at the Met. Christine specializes in Italian for classical rep.

General styles I coach:
Opera (bel canto and verismo) classical, sacred, hymnal, traditional, jazz, r&b, folk, and other variations of these popular styles.

Christine also has an international recording career as an adult contemporary artist.

Voice lessons begin at age 14-55 and piano at age 6-any age. Please no inquires about exceptions on age or travel, I will not respond. I teach from my home only, regardless of distance. I am worth waiting for and traveling to:)

What do I expect from students who are applying:

Those who are very hard working, motivated, passionate, dedicated, responsible, considerate, humble and serious about lessons and greatly improving as musicians should apply only regardless of aspirations as a hobby or professionally.

I strongly believe that music is a discipline and this is how it will be approached during lessons. This is a teacher-student effort. Taking responsibility for your part is a must. That means trying to the best of your abilities to put my advice and guidance into practice away from lessons is necessary to your improvement.

I am looking for potential long-term students who are willing and ready to work hard in a practical and realistic manner, regardless of age, learning needs or proficiency.

Singing is a long-term sustained process to develop that can absolutely not be rushed and I want students who understand this. I have very limited availability and I am only seeking serious students who have a positive, professional attitude and will value me as a teacher. You need not know anything about voice, just have a good work ethic and attitude :)

Thank you and looking forward to working together!

Warmly,
Christine Padua

ons beginning in early May, and my schedule at the moment is very flexible.

to suggest songs that they care about. Good technique(s) can be applied to any repertoire!

student.

My personal passion is Jazz music but I firmly believe that great technique is essential to any and every style. I look forward to meeting you and helping you to become a better musician! Currently, I sing for two different Big Bands that gig around Winchester, VA. gigging regularly & produce artists for their own projects. I spent much of the past 7 years performing and touring Colorado, Alaska, and now Virginia.

Senobia W

i’s production of Orphée aux enfers (Juno).