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Not being able to find the information she needed, the organized concepts of the SingSmart Method were first conceived out of personal necessity, kind of a mental check list as things began to go wrong. For DeBandi, who began training on the violin at age four, hearing a certain sound filled with musical nuances in your head and the sound coming out of your mouth not equalling that sound, was quite frustrating. The organized concepts of the SingSMART Method are the same ones used personally by DeBandi. They help you to kick-start the machine as a beginning singer and fine-tune the machine as an experienced singer.
I do not believe that learning and improvement happen best by accident or by coincidence. In some rare cases, improvement is indeed stumbled upon. Oftentimes, though, these kinds of successes are short lived because the student has difficulties repeating the correct way of singing with consistency because he or she doesn't know what he or she did to fix the problem and create the desired sound or sensation that first time. It's a little too much like guesswork. Students and teachers must be intentional and systematic in how they approach vocal training if they hope to produce results. Knowledge, explanation, intentionality and clear, direct guidance benefit the student.
I’ve had the chance this year to observe both through social media and face-to-face observation such a relationship between UVA Teaching Associate Claire Cantrell and her supervising clinical instructor, Ann Straume. Claire is fortunate to not just be working with an outstanding career educator but also is learning to teach in a U.S. Blue Ribbon School, Meriwether Lewis Elementary, where she is surrounded by extraordinary educators who offer a school-wide environment of creativity as well as ongoing critical analysis of best practice learning. I also see this quality of experience offered to student teachers as the norm across Albemarle schools, regardless of where a student teacher is placed.
When a boy’s voice first changes, there may be a region just above C4 where notes don’t speak at all. Working on expanding chest a little higher, but most importantly for quicker progress, expanding falsetto down , will get you toward your goal. Most teachers give up too quickly when the hole goes away, and then are frustrated that the singer sings in full chest up to E and then has to flip into falsetto for F and beyond. That is because you have to continue to bring pure falsetto down much lower, so that there is a big overlap between chest and falsetto ability.
My daughter is 6 and she loves to sing. She is notnaturally musical but she loves it, and I believe she hasthe capacity to learn and improve and hopefully achieve somedegree of competence. I am interested in recommendationsfor lessons or teachers who focus on kids like this. I'd belooking for someone Chelmsford singing lessons who knows how to encourage kids todevelop some of the musical awareness and voice control thatcome naturally to others, and who could understand whysomeone might want to work on a skill set that is not amongtheir natural strengths. She goes for the joy of singing while teaching how to find the notes.
I will often stop the student during an exercise or have the student repeat the exercise a few times in the same key in order to address technical or tonal issues or to solidify the technique in that range of pitches. It is also not uncommon for me to have the student switch to another singing teachers in Essex exercise altogether midway through the ascent up the scale if I feel as though the first exercise is not helping the student make the necessary improvements or if the student would benefit more from a change in approach. Sometimes we will return to the original exercise afterwards.
