"The only reason for mastering technique is to make sure the body does not prevent the soul from expressing itself."
I came to singing almost by chance when I was still in High School and did not begin formal training until I attended college. Since then, I have been fortunate to have worked with only three teachers in my entire singing career. That in itself is a rarity in this day and age. Each teacher gave me something that now, as the sum of its parts, makes up what I now pass on to my students.
What I have come to learn over time is that singing should always feel effortless and be simple in its production. I teach a practical vocal method or "coordination," as I call it, based on the functional unity of respiration, phonation and resonance to improve the tone quality, vocal range, intonation and flexibility of the voice.
My students develop a conceptual framework that promotes vocal proficiency and synergistically integrates mind and body, technique and artistry. In turn, this frees up the student to not so heavily rely on the teacher, but rather learn to teach themselves - by being in tune with their bodies.
I am forever grateful to my formative teachers and mentors: Helene Joseph Weill - professor emerita at California State University, Fresno, Dr. Robert C. White - voice faculty at the Juilliard School and the MET's Lindemann Program, W. Stephen Smith, during our work at The Naked Voice Institute and most importantly, Janet Parlova - professor emerita at the San Francisco Conservatory of Music, whose direct work with Martial Singher has profoundly influenced my philosophy of singing.