My Teaching Philosophy & 2010 – 2011 Studio Policies

If you enjoy reading my blog and would like to learn more about the practical application of all these ideas, I encourage you to schedule a lesson. I have posted a link to Appointment Quest, my online lesson scheduling site, as well as my 2010-2011 Studio Policies in the right column of the blog. Please note that lesson times will become available through Appointment Quest beginning September 1. Email me if you would like to schedule a lesson during the month of August. 

The columns I've posted so far give a pretty good overview of my teaching philosophy. Here are some additional details of the experience you can expect to have in my studio. 

I teach a process-oriented vocal technique, as opposed to what I would call an outcome-oriented technique. In other words, I focus on and train the actual activities and movements of singing rather than aim at producing a particular sound. It's a means of coordinating the voice to respond in real time to your communicative impulses, so that in performance you feel fully present, free to express yourself musically and dramatically, without having to think about your technique. 

The technique I teach is also highly diagnostic. It reliably exposes areas of tension and poor coordination so they can be dealt with effectively. This is crucial, as most singers are very skilled at compensating for their flaws whether they are performing vocal exercises or repertoire. These exercises don't let you cheat.

You will make realistically swift and measurable progress. I'm looking for certain benchmarks to be met, and I know how to lead you to them. I agree with George Leonard that progress in any discipline means spending most of your time on a plateau, but it's my job to make sure that you're actually still moving steadily towards the next breakthrough, not stagnating. There's no joy in my work if you aren't getting results, so on the rare occasions that this happens I need to either change my approach or refer you elsewhere. I will not hesitate to do either. 

I am both extremely supportive and extremely demanding. I do my utmost to maintain an environment where students feel safe taking risks and allowing themselves to become more vulnerable. I also give as candid and compassionate a perspective as I can regarding what you have achieved and where you are in relation to your goals. It should go without saying, but you will never encounter any hostility, possessiveness, or empty flattery in my studio. 

I prefer to meet with students on a weekly basis. If this is not possible for logistical or financial reasons, our work together can still be successful provided that you record your lessons and practice regularly. Ideally, you should still arrange to meet with me weekly for the first 3 or 4 sessions so that we are both confident that you will be able to continue making progress on your own in the weeks when you are not able to see me.

As should be clear from my posts, I work with professional and amateur singers at all levels of experience, in any style of singing. I value commitment and open-mindedness in my students above all else. If you're ambitious and talented, all the better! 

But I have seen commitment kick talent's butt many times over the years.

 

If you are interested in working with me but are not able to visit my New York studio, I offer long-distance lessons over Skype.

Comments

[David Wilken]

I enjoyed reading through your teaching philosophy and found it to be very similar to my approach to teaching brass music. How do you respond to criticisms that teaching a process-oriented approach will lead to "paralysis by analysis" and that musical technique is best done through imitation, as we learn to speak purely by imitation and not through the details?

Thanks,

Dave

[Claudia Friedlander]

Dave,

There's actually very little conceptual analysis in the way I teach technique. The important distinction is between training the voice to respond directly to expressive impulses vs. manipulating the voice to produce certain sounds.

Some imitation is a necessary component of any technique, vocal or instrumental - surely your students need to see and hear you demonstrate things. But for imitation to be an effective pedagogical tool, it needs to be clear that what your students are supposed to imitate are the movements & processes you're executing and not the resulting sounds.

Infants learn speech primarily through imitation, and this is also how most of us learn to walk. But if you later decide to train and strengthen your legs so you can execute the highly specific and skilled movements needed to play soccer brilliantly, imitating other soccer players will only get you so far!

The same is true for singing. Of course I find it necessary at times to ask students to observe and imitate what I'm doing, but it's crucial to make sure they are imitating my process and not trying to mimic my results.

In my opinion, imitation is a very poor foundation for vocal pedagogy. Every voice is unique. Every singer has their own reasons for singing and their own highly personal things to express.

[Outi Kähkönen]

Hi Claudia!
Thank you for a very interesting blog. I truly enjoyed reading your postings and do agree with your thoughts in many aspects.

I´m a singing teacher from Finland and I also have a blog about singing in which I´ve covered mostly technical aspects. You gave me lots of inspiration regarding the philosophical and spiritual level of singing.
If you are interested, go to www.wonderofvoice.wordpress.com.

It would be nice to exchange thoughts!
Best wishes,
Outi Kähkönen from Helsinki

[Claudia Friedlander]

Hello Outi! Thank you so much for reading and commenting! I will read your blog and we should certainly keep in touch. I dream of visiting your beautiful country some day.

best, Claudia