Sterling, VA Classical Voice Lessons

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

ofessionally now for over twenty years. Some students want to take a few lessons to see if it is something they will enjoy, others have worked with me for over a decade. I have mentored several students who have gone on to professional careers. I have experienced a lot of success teaching young children and those with special needs. I have been blessed with a tremendous amount of patience and truly enjoy teaching anyone who wants to learn.

Whatever your goals or abilities, I look forward to working with you!

*** Lesson Details ***
Experience fun based lessons as my teaching approach is relaxed and inspirational. I enjoy working with all ages, adjusting my teaching methods to accommodate your learning style and abilities. Learn to play the music you love! You learn best when you enjoy what you are playing, I can help you play along with your favorites or even write your own songs. I always ask my students at the beginning of a lesson "What would you like to do today?" Then structure the lesson accordingly into a routine that the student can practice on their own. Generally the time is divided into warm ups, learning new material, then picking a fun song the student choses. Whether your interest is Classical, Jazz, Rock, Pop music, etc... I'm here help you reach your goals so let's make your dreams come true with music together!

*** Travel Equipment ***
Books, Guitar, music stand, metronome, picks, tuner, page clips, capo, media player, laptop, Keyboard (on request), and recording equipment (on request)

*** Specialties ***
With Voice I specialize in helping people prepare for auditions such as American Idol. I have students who simply want to be karaoke stars. I have several professional singers that hire me as a voice coach and producer for recording sessions. I have taught children as young as 2 and those that retired with a lifelong dream to sing. Though my training is classical, I can teach Jazz, Pop, Rock, Rap, R&B, etc...whatever is fun for the student. I highly recommend learning to read music but I do not push it unless parents want their child to.

With Piano I can teach traditionally from Alfred and Bastien Piano Courses depending if they are auditory or visual learners. For Kinesthetic learners I use Hanon scale exercises and Rothman Rhythm Exercises. For those that want to learn notation I introduce classical and Jazz composers unless there is a popular artist/band/movie theme etc...that they would like to learn. However I do not push students to read music unless their parents would prefer it. I tend to keep more students that want to learn to play by ear especially adults by using rhythm training and music theory exercises and then applying them to songs they love. For piano I haven't had much success with children younger than 3. I also have a lot experience working with special needs children.

For Guitar I teach Classical, Acoustic, and Electric all styles and genres. I encourage sight reading but don't mind using tabs. I use more exercises with these students, since the first month students have a hard time making a sound. I try to make the lessons fun by having students strum chords along with songs they chose. I teach lead and rhythm even songwriting and composition. Job satisfaction for me is seeing my students leave a lesson with a smile on their face so I make sure to be a fun based teacher that doesn't give the student a hard time about not practicing.

For Recording and Performance I use the knowledge I gained doing Pro Audio Sales for Guitar Center from 2000-2002 to help clients build their own home studio. I have lots of producers and engineers I work with on a regular basis to produce broadcast quality audio and video recordings and help my students use their lessons and pre-production for those opportunities. I can teach Garage Band or Pro Tools classes on navigating the software and utilizing all the commands. I can also teach room acoustics and using the right microphone and how to position them with the right equipment and the right acoustics to get the best possible tone that they are looking for. I can also teach editing, mixing, looping, sampling, midi, and mastering so that the student can eventually work on their own writing, performing, and recording their music.

Town n Gown Choir with a local University in December 2012 and 2013 and she attends church where she sings in the Choir.

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 more realistically 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 easier to hear. Fundamental will be the focus regardless.

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 and in relation and respect of one another 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 and work towards finding a balance.

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 coloratura 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 to continue to move the air efficiently. These are the basics 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, creating a natural lifted and open internal space for better mix using the head voice and easier support, 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 and not from using the larynx inappropriately, 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 free from the jaw and using tongue and other articulators as well as using breath direction to assist, 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. She has learned the Italian bel canto traditions as well as the Russian approach to the style. 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 seriously applying:

Those who are very hard working and prepared to work on what they NEED, not what they want. Those that are 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.

The most important thing necessary to finding real progress I have found is if a student is fully prepared to work HONESTLY. We must always strive to work honestly with our technique. Issues cannot be corrected when we chose to continue to avoid them.

I strongly believe that music is a discipline and this is the manner in which it will be approached during lessons. This is a teacher-STUDENT effort. Taking responsibility for your part is a must. This includes 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 experience, learning needs or proficiency. It will not work long term if a student is not making the time or effort commitment to apply the work from our lessons at home.

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

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

u will also need to purchase a few music books (about $5 each). Voice students will need to purchase song books ($15-20) after we meet and I get a feel for the student’s range and what type of repertoire we should work on.

Note: for VOICE LESSONS ONLY I only teach female students.

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

Each singer's instrument is unique, and I take joy in helping my students find the easiest, healthiest, and most beautiful sounds that they can produce.

of The Red Queen from Jason Mulligan's Opera Through the Looking Glass at a New American Voices Concert hosted at Sam Houston State in Texas. In June, she planned and performed A Homecoming Recital with collaborative artist Rhonda Kwiecien in Waukesha, WI. She was seen in the chorus of South Pacific and Madame Butterfly with Annapolis Opera

In the 2014-2015 Season Lauren was seen as Dorothèe in Cendrillon, Julia Bertram(cover) in the U.S. Premiere of Mansfield Park, and Idamante in Peabody Opera Scenes. She was also seen Jennie in Street Scene and Dido in Opera Scenes. Lauren also represented Peabody for the Conservatory Project Concert at the Kennedy Center. There, she performed selections from Jake Heggie's Camille Claudel: Into the Fire with string quartet. This past summer she made her debut with Young Victorian Theatre Company as Leila in Gilbert and Sullivan's Iolanthe.

Lauren has been Teaching Voice and Piano lessons for 5 years.

TEACHING PHILOSOPHY AND APPROACH
"I love teaching all ages of singers 13 and older. I focus on developing a strong foundation of technique that can be applied to all genres of music. I also help students prepare for performances helping them to communicate their creativity and musicality."