Red Flags and Green Lights. What should you look for in a voice teacher?

This week in my private CWVS Clubhouse Facebook group, Lucia asked: 

“What would you consider red flags for voice teachers?”

She had been studying with someone who was well aligned with her vocal goals a few years ago. She recently started studying with them again, only now to realize that this teacher was leading her to sing in a rather unhealthy way. She left lessons feeling strained and frustrated that the teacher was encouraging her to use her voice in only one, exhausting way. 

Some voice teachers are excellent fits for only certain types of singers. Some voice teachers have no idea what they’re doing (true story). And thankfully, some voice teachers have a teaching methodology that allow them to help any singer find vocal balance. 

What should you look for in a voice teacher?

Finding a great voice teacher is a lot like dating. You might have to meet a few before you find your perfect fit! Here are my red flags and green lights when you’re on the hunt for a great teacher.

Voice Teacher Red Flags:

  • You feel frustrated, defeated, or confused after your lesson
  • You’re unable to choose repertoire you want to sing
  • You’re made to feel like your singing mistakes are your fault
  • You’re not given practical tips, advice, or exercises to address your specific vocal goals
  • Your voice consistently feels strained, exhausted, or hoarse during or after your lesson
  • You don’t make progress within the first two lessons (yes, that’s how quickly you should feel an improvement!)
  • Your “teacher” is more of a vocal coach- meaning they are great at helping you learn new music and coaching your performance, but they aren’t able or interested in working on your vocal technique
  • Your teacher’s only qualifying experience is their own performance career
  • You spend the majority of your lesson time talking or talking about singing instead of actually singing.
  • Your teacher talks a lot about how the voice works but is unable to demonstrate what they are trying to get you to achieve.
  • Your teacher can’t sing well

Voice Teacher Green Lights:

  • You leave lessons feeling inspired and motivated
  • Your teacher listens to your goals and dreams and supports your pursuit of them
  • Your teacher is able to identify what your vocal tendencies/issues are and gives you exercises specifically to balance your voice. Lessons are tailored to your needs and goals on any given day
  • You make progress within your lessons and at home with the exercises they give you to practice
  • At the end of your lessons, your voice feels like it just had a great workout- a little tired, but getting stronger
  • Your teacher challenges you with repertoire, and allows you to choose songs you love to sing
  • Your teacher has completed or is undergoing training specific to teaching voice- they aren’t relying just on their own vocal training or performance degree. Their teacher training might be a college degree in vocal pedagogy or a private certification, like from www.vocaladvancement.com
  • Lesson time is efficient and effective! You spend the majority of the time vocalizing and singing music
  • Your teacher can sing well and properly demonstrate what they are helping you achieve. (This doesn’t mean they need to be a professional vocalist or have great talent. But every good voice teacher should have a relatively balanced voice)

If you’re looking for a teacher who meets these green light requirements, check out vocaladvancement.com to find a voice teacher in your country/region/city who specializes in teaching vocal balance. Online lessons mean you can study with any of these amazing teachers from around the world!

Anything I missed? What are your red flags and green lights when looking for a private voice teacher?

How do I find my mix voice? And what is mixing anyway?

Have you ever tried to go for a high note and been thwarted by a massive crack in your voice? Have you ever wondered how to eliminate the break between your low notes and high notes?

Learning how to mix should help you with that! But what is mixing and how do I do it?

Oxford Languages defines “mix” as: two or more different qualities, things, or people placed, combined, or considered together.

Two or more things combined together!

In regards to our singing voice, mixing, or developing a “mix,” refers to seamlessly combining our chest voice and our head voice. No matter the styles of music you sing, your voice has two distinct registers: head voice and chest voice.

The transition or area between these two registers is known as one’s “mix” (noun). The process of that coordination is known as “mixing” (verb).

You cannot build a bridge to where there is no shore

If a mix (or mix voice) is a combination of two different registers in our voice, then you first and foremost need access to those registers before you can start blending them!

What is chest voice?  

imagine chest voice as the strong, stable base in the ‘pyramid’ of your voice.

Also known as your lower register — it’s the range of notes in which we comfortably speak. Chest voice is the foundation of your singing voice. Strength and success in the rest of your range depends on the stability of your chest voice! Imagine your voice is shaped like a pyramid: chest voice is the strongest, thickest (literally, in your cords!) part of your voice. The rest of your voice is built on that foundation!

Without utilizing chest voice properly, singers may sound breathy or weak, lack dynamics, and have a less powerful middle and upper range. Whether you sing classical music or classic R&B, using your chest voice is essential to having a strong and balanced voice. 

What is head voice?

Also known as your upper register, and sometimes referred to as falsetto (although they are not one and the same!). Say an excited “Whoo hoo!” like you’re cheering at a game  — you’re using your head voice! A well balanced voice releases into head voice at the proper time to access brilliant high notes. Resisting this transition will lead to strain, poor pitch, and a limited range. Everyone from Whitney Houston to Bruno Mars to Pavarotti use their head voice, so get on board!

What is mixing / mix voice?

Mixing is the coordination process of blending chest voice and head voice together. Sometimes this coordination is referred to as “bridging,” like bridging the gap between chest voice and head voice. You cannot build a bridge to where there is no shore…so chest voice and head voice need to be accessible, if not comfortable, before you can expect to build your mix voice.

mixing involves elements of both chest and head voices.

 While not every singer experience mixing in the same way, I’ll argue that any singer with somewhat decent technique is mixing in one way or another, from classical music to classic rock. Some people feel it as a gradual stretch out of their lower register, some people feel distinct and different “mixes” in their voice, such as a “head dominant mix” and “chest dominant mix,” etc.

If you are singing through one or more passages (transitions spots) in a connected way (ie, not flipping or disconnecting to a breathy, falsetto tone) then you are mixing through your voice!

The ratios of how much chest voice to how much head voice you’re using in different parts of your range may be different depending on what style of music you sing, but some kind of blend must be present in order to sing with ease and full vocal freedom. For example, because their genre requires it, classical sopranos may have more head voice in their recipe but the very best sopranos still access chest voice in some way. 

How do I find my mix?

The term “finding your mix” or “discovering your mix” is rather misleading. You aren’t going to stumble upon your mix voice one day after you find the magic “mixing” exercise. A mix voice is developed over time!

Like I said earlier, learning to mix (or blend) through your registers is a coordination that takes time and practice. It’s quite literally like coordinating any other muscle group in your body.  Just like any high level athlete takes years to perfect their moves, you will need to do the same! Singing is a physical activity that depends on many muscles and systems working together at once in order to deliver a seamless, smooth transition from low notes to high notes and back down again.

Here’s the honest truth: It’s unlikely you’ll be able to teach yourself how to mix, despite the hundreds of YouTube videos available on the topic. Acquiring any new skill requires coaching! How do you think Serena Williams became the world’s greatest tennis player? Or Michael Phelps the most decorated Olympian of all time? Or Mariah Carey one of the most enduring pop singers of the last 30 years? They certainly didn’t do it alone!

My top two tips for learning how to mix:

1. Get a copy of my Warm-Up Series for Mixing.

Click here to check it out.

Want to improve your mix voice but aren’t sure where to start? My guided vocal warm-up recording takes you through a series of exercises designed to help you strengthen your mix.

Your digital download comes with a PDF guide, walking you through how the exercises work and tips for how to get the most out of the warm-up series.

Plus, with any purchase of the Warm-Up Series, you’ll be added to an exclusive Facebook group with hours of additional video content to help you improve your voice, plus direct access to me for all of your questions!

2. Take a voice lesson.

Click here to learn about lessons with me and my associates.

A voice teacher’s job is to point out the things you can’t hear about your own voice and to guide you through exercises specifically designed for your vocal goals. Investing in private lessons is the most efficient and effective way to make progress with your voice. There’s simply nothing else like it!

With proper guidance tailored to your unique voice and singing goals, you will be well on your way to building your mix and finding vocal freedom!

What is Vocal Balance?

Have you ever struggled for a high note, felt out of breath after singing a single phrase, or experienced a break in your voice? Have you ever hoped to train your voice to sing in multiple styles but felt limited by your current abilities? If so, you’ve probably longed for a magic bullet that would solve all your singing problems.

What is it that allows some singers to sing with total freedom? It’s vocal balance.

Think of your voice like a three-legged stool: If one of those three legs is shorter than the others—or, worse yet, is missing!—you will have a difficult time sitting on that stool . . . that is, if it even stands at all!

Singing is made up of three systems: respiration (breath),  phonation  (your vocal folds coming together), and resonation (how your vocal tract is shaped). 

If any one of those three systems is out of whack, you’ll feel that familiar frustration or even discomfort in your voice.

When you are able to bring these three systems of singing into (vocal) balance, you will have access to your full range of notes, with control, ease, power, dynamics, and flexibility. 

These three systems of singing are the only things we singers are in direct control of. 

We can choose how much air to inhale and then how quickly or forcefully to expel it (respiration). 

We can choose (with GREAT amounts of practice!) how thick or thin our vocal folds are when we go to speak or sing, therefore affecting how heavy or light of a tone we create, as well as on what pitch (phonation). 

And we can shape our vocal tract in a variety of ways to achieve brighter or darker sounds, namely by shaping and modifying our vowels and adjusting our larynx position (resonation).

Vocal balance means that in our neutral, relaxed state, no part of the voice feels more squeezed OR more breathy than any other area. We have access to our lowest and highest notes, and they sound and feel connected, meaning there aren’t any flips or breaks between our chest and head voice. 

There are certainly transitions that occur that we may be able to feel and hear, but for the most part, we enjoy a smooth singing experience from the bottom to the top of our range.

When these systems are in balance, your voice is free to make the widest possible variety of sounds! 

But how do I find vocal balance? 

There are four key steps to finding what “vocal balance” means for you:

  1. Finding basic intonation. This means coordinating your brain and your voice to match pitch and follow melodies.
  2. Finding what is known as chest voice and head voice.
  3. Finding what we call a “connection.” You’ll need to learn how to blend head voice and chest voice and find what is often referred to as “mix.” The effect is singing with one continuous voice instead of disjointed registers that don’t meet in the middle. This is really where you’ll make great strides towards vocal freedom!
  4. Eliminating unnecessary extrinsic muscular tension. The extrinsic muscles are the muscles around your larynx (voice box) in your neck, jaw, and tongue. We don’t want them to get in the way of our larynx from functioning how it’s supposed to.

The feelings you discover when working towards vocal balance may be different from other singers, and that’s ok! While certain vocal technique principles guide us all, each voice will be, feel, and sound unique. That’s the beauty of the human voice, each instrument is unique.

Think of training your voice like a gymnast might train for the balance beam.

When the gymnast is first starting out, she may only be able to very carefully, and with a lot of effort and thought, walk from one end of the beam to the other. No fancy turns, jumps, or leaning off one side or the other. 

But imagine that as the gymnast increases her strength, muscle memory, and coordination, she is able to add in a turn, then a leap, and one day somersaults, backflips, and then finally that crazy helicopter leg thing that Simone Biles does at the Olympics! 

How is this possible? 

Well, this gymnast first found balance on that narrow beam. She knew where the exact middle was. She memorized the feeling of her whole body in perfect alignment over those few inches of beam and knew how to always come back to that placement. 

Only then could she start to lean off one direction or the other. She probably fell plenty of times along the way, pushing herself too far from “balance,” but that just taught her to come back to “center” each time.

The same is true for us vocalists!

Once we find balance and are comfortable there, we can lean toward that powerful belt-y Adele song that we long to nail at karaoke night. 

Or we can lean in the other direction and commit to a legato, legit classical piece for an upcoming music school audition.

Whatever your vocal goals are, I am thrilled to guide you to finding YOUR balanced voice. Because from there, anything is possible!

2020 Gift Guide for Singers

It’s that time of year! Do you still need a gift for the singer in your life? No judgement if that singer in your life… is you.

Here are my top three gifts for vocalists. Shop away!!

Chelsea Wilson’s Warm-Up Series

Have you ever felt…

  • Like you want to improve your voice, but aren’t sure where to start?
  • Unsure of what to do to warm-up your voice?

Chelsea Wilson’s Warm-Up Series is the perfect, on-the-go solution for warming up your voice.

Whether you need to strengthen your mix, build your belt, or ready your legit sound, Chelsea has devised three totally efficient warm-up routines that will prepare you to sing at your very best.

Each series: $34.99

Best value: Purchase all three for $72.99

Get 10% off all purchases now through Dec 25th with code: jingle10

Singing / Straw

The Singing / Straw™ is a metal straw phonation tool that singers, vocalists, and speakers can use to promote more efficient vocal fold closure and release extra tension.

In other words, magic.

Get your set of three, 3mm sized stainless steel straws for $39.00

Get 15% off your order now through the end of 2020 with my code: CHELSEA10

Throat Coat Herbal Tea

A favorite of singers around the world, Throat Coat just feels good! Keep in mind, tea (or any drink) does NOT touch your vocal cords or directly affect your singing voice. But a warm cup of soothing tea does wonders to ease any itchy or scratchy feeling in your throat, especially on cold winter days!

Did I mention, the flavor is delicious?!

Get a 16 count box of Throat Coat for $7 with Amazon Prime.

How do I find the right vocal placement? And what does “placement” even mean?

“Placement.” It’s a word singers love to use. I’d say it’s right up there with “breath control” as one of the terms singers use most often!

But what is placement? And how do we actually find the “placement” we’re looking for?

Shooting hoops—what leads to good placement?

Let’s compare vocal placement to shooting a basketball. (Go with me on this!)

When an athlete is shooting hoops, you know they’ve made a decent shot if the ball goes into the basket. If the ball misses the hoop, the athlete needs to figure out what they did wrong so they can adjust their next shot for a better result.

The result of a good shot is that it lands in the hoop. But the ball landing in the hoop is just that, a result! The specific act of the ball landing in the hoop is not the work of the athlete. The athlete’s actual work happens right before the ball goes through the hoop—it’s when the player is coordinating their wrists, legs, and core to ensure the ball leaves their fingers and goes where they want it.

You can throw the ball and affect whether or not it goes in the basket, but you don’t actually put it (or place it) in the basket! (Unless you’re dunking the ball, but let’s leave that out for the sake of this analogy, since we’re talking about shooting it from a distance.)

Placement is a helpful tool of perception

For us singers, the idea of placement is similar. Talking about placement can be a useful way for singers to remember a feeling or sensation, but it’s even more important to remember the process that led you there.

Chances are, something related to the three systems of singing (breathing, phonation, and resonance) is what’s leading you to feel that a sound is “placed” in a particular spot. This may include certain exercise flows, phrasing choices, vowel shapes, or dynamics that may have resulted in that awesome feeling you experienced on a particular note.

To be clear, it’s the choices you make that affect placement; you don’t just choose placement itself. Placement is an effect of the choices you make within your airflow, phonation (how heavy or light), and vowel shapes.

So the next time you feel like a sound is “placed” somewhere that you really like or that feels awesome, remember what the process was that led you there!

Pinpointing this process is a much more effective way to increase the accuracy of your singing rather than crossing your fingers and hoping that you can place your sound in your mask—or your forehead—or your toes!

Spending and Saving: a Vocalist’s Guide to Thrifty Singing

You’ve arrived at the climax of the song- this is it! Here come the big, exciting notes everyone is waiting for! And…! You completely run out of steam, breath, or vocal stamina and you crack, gasp for air, or pass out (ok, hopefully not that last one).

Here’s a three-step process to give your best performance without blowing out your voice.

You have to learn the concept of saving and spending. This is an idea I teach to my professional (and aspiring professional!) singers, particularly those that are singing an athletic, acrobatic song.

You know, like “Chandelier” by SIA, “Defying Gravity” from WICKED, or anything sung by Brendon Urie, ever.

These kinds of songs require a singer to decide when to spend and when to save. Their voices, I mean.

Imagine that you are singing “Waving Through A Window” from DEAR EVAN HANSEN. You only have $1 of vocal energy to spend on that song, and once you’ve spent it- you’re done! You cannot keep singing!

First off, identify which notes are the “big spender” notes or phrases.

Probably that final “Waving! Waving! Whoa-oah!!” section is a 25 cent phrase, and that’s just the last 10 seconds of the song. What other notes or passages throughout the song require an extra dose of energy, power, stamina, or stylistic effort? Identify those passages right off the bat.

Second, be judicious on where you can save.

What are the penny notes or phrases? Not every word, phrase, or melody is equally important in your storytelling or your technical effort. So, find the places in the song where you can hold back a bit.

Lastly, sing through the whole piece and adjust your budget as necessary.

You may find that once you put the whole song together, your interpretation of the song requires certain phrases to be highlighted with more (or less) volume, power, or effort than you initially planned.

This concept also applies to entire roles you might play in a show, or your band set or concert tour.

If you are playing Evan in DEAR EVAN HANSEN, tell yourself you only have $10 to spend on the entire show! Which songs and scenes get allotted what amount of your total vocal energy?

As singers, there will always be songs, roles, or performances that require a LOT of our energy, and even for us to leave “vocal balance” for a time in order for our interpretation and stylistic choices to come through how we want. That’s ok! By allotting a vocal ‘budget’ to each song you perform, you can save your voice and stay stylistically true to the music.

Q&A: What’s up with these crackly high notes?

Question:

I’ve been practicing the trills and “MUMs” and don’t think there is necessarily anything wrong (hopefully) but sometimes when I get past like an A [5], it gets crackly and I’ve noticed my voice sometimes will ever overshoot to whistle tones (which I don’t even know how that’s possible).

Was just wondering if you had any recommendations for practicing…I really have never had a voice teacher that vocalized me this high consistently so maybe its just uncharted territory and discovering how to sing up there, but thought I’d reach out! Maybe its something I’m eating or doing? I rarely drink or smoke so I know that isn’t the problem. Do you recommend that I get scoped just for safety?

Answer:

First off, I think what you’re experiencing sounds pretty normal, especially because you are new to using this part of your voice on a regular basis. That A5 is your third passage- it’s a very common spot for things to “fall apart” for a time while you work on connecting your chest and middle voice to your true soprano head voice. I’ve worked with many women who break into their Mariah Carey notes before they get it put together. So for now, don’t fear!

There’s a few things I’d recommend trying out over the next few days. First- have you tried vocalizing through a straw? I love this because it really does require very little air flow and keeps your cords together (adducted) as you vocalize. Try blowing through a straw into a cup of water. See here, and here.

I’d also try vocalizing on an NG (like the word SINGGGG), have we done this together?

Give it another week and see how you feel. I’m a huge fan of going to get scoped, so if you have the time and $$ to do it, please do. It’s always a good idea. Here’s who I recommend:

Lucian Sulica, may be difficult to get into see on short notice:
https://voice.weill.cornell.edu/about-us/lucian-sulica-md

Paul Kwak, Laryngologist at NYU:
http://nyulangone.org/doctors/1184937914/paul-e-kwak

Keep me posted, and see you soon!

Q&A: Singing With A Cold

Welcome to my new Q&A series, featuring real questions I receive from students via email

QUESTION

Hi Chelsea!
A couple of the “Annie” cast members and I came down with a nasty chest cold last week, and doing the show has been a struggle. I lost my voice last Friday, due to all the coughing on top of singing, and went on vocal rest for a few days. My voice has since come back, but it still just does not quite feel strong enough to sing Star to Be. I have been flipping into my head voice to sing the song, and mouthing the words to the ensemble songs so that I don’t blow my voice back out. I’m still coughing a lot, which I think is putting a lot of stress on my cords. My voice does feel almost 100% normal, but I still want to take it easy. I was wondering if you have any tips as to how I can ease my way back into singing the song full out without hurting myself.
Best,
Isabella

 

ANSWER

Yuck! I’m so sorry, I hate how those things end up going around an entire cast. Good for you for being careful and cautious, that is so important when trying to recover while still having to perform.

The first thing I’d suggest is to do a vocal check-in every morning and see how the swelling is before warming up. This is a great video that talks about that: https://youtu.be/zit6I7EPMto

Then I’d spent lots of time warming up with semi-occluded sounds like the lip buzz, or even better, vocalizing through a straw into a cup of water: https://youtu.be/0xYDvwvmBIM

I’d then sing the song on some of the exercises we use like NAY or NUH/MUM, substituting those for the words. That will be easier on your voice then just blasting into the actual lyrics and hopefully set you up for good vocal balance once you do end up singing the lyrics.

Hydrate, hydrate, sleep lots, and cool down after your show with the straw again.

Good luck! Keep me posted. If you want to do a little lesson/check in via FaceTime soon, lmk! Otherwise, you got this! I hope you’re through the worst of it 👍🏻

What to sing at your next Musical Theatre Audition

Follow the directions

Find out what you are being asked to prepare, and stick to it! 16 or 32 bar requests should be observed as closely as possible. If they ask for a ‘short song,’ that usually means a verse and a chorus of something. There’s no reason to sing all 7 minutes of “Meadowlark”, in fact I guarantee you will get cut off before getting through most of it. Find a cut of a song that shows your voice, tells a story, and adheres to the audition posting.

Do your research

Are you auditioning for a 1970s pop musical? A contemporary folk show? Choose a song that is similar to the show you are auditioning for. It’s always a good idea to familiarize yourself with the other work of the composer/lyricist and often a safe bet to choose an audition piece by them or their contemporaries. Unless expressly asked, don’t sing from the show you are auditioning for. Also, when possible find out who will be attending the audition- will it be the director, musical director, producer? What projects have they recently worked on? Maybe avoid material from those shows to avoid a direct comparison.

Choose a real pop song

More and more shows are Jukebox musicals (meaning the score pulls directly from certain artists’ catalogues like ABBA’s MAMMA MIA and The Four Seasons’ JERSEY BOYS) or are written by pop/rock artists (like Cindy Lauper’s KINKY BOOTS, and Sara Bareilles’ WAITRESS). These shows almost always will ask that you bring in a real pop/rock/country/folk/disco song, in which case- do! Don’t choose a pop song or arrangement that is found in another musical (like the various 80’s classics arranged in the musical ROCK OF AGES). Choose something by a favorite artist of yours that is authentic to the period the show you are auditioning for is set in. Check out my friend Sheri Sanders’ site for everything you need to succeed at a pop audition. http://www.rock-the-audition.com

Avoid signature songs

These are songs associated with a particular famous artist. For example, “Over the Rainbow” is Judy Garland’s signature song. “People” and “Don’t Rain on my Parade” are Barbra Streisand’s. It is best to steer clear of songs where you will be directly compared to legends. I’d also avoid anything that is currently on, or has been on Broadway in the last 3 years, as well as the huge juggernauts WICKED, LES MISERABLES, THE PHANTOM OF THE OPERA, and whatever the new hot show is. At the moment in New York, those are HAMILTON and DEAR EVAN HANSEN. Do yourself a favor, and sing something that ten other people won’t also be bringing in.

Prepare your sheet music!

We’ll go into this in more detail in a later blog post, but suffice it to say- have a clean and clearly marked copy of your sheet music three-hole punched and in a binder. Give your accompanist all the information they need to make it a successful audition for you.

There are exceptions to the rules-

Like if the audition call clearly asks for any of the above pieces, or if you are preparing music from the show at the request of the creative team. Also, the ‘rules’ are more loose or strict depending on whether you are auditioning for your grade school play, community theatre, or a Broadway production. No matter what, it will only help to be as prepared and professional as possible!

Do Online Lessons Really Work?

Don’t take my word for it!

I was worried starting Skype lessons. Are they as good as in-person lessons? And the answer is YES! The sound quality is a lot better than you would think and Chelsea is more than capable of hearing what’s going on in my voice. And as someone who lives across the country from Chelsea, it’s totally worth it. AND I can do it in my pajamas! Total win.  – Hannah Bayles. Singer & Voice Teacher in Provo, UT

I would highly recommend taking Skype lessons with Chelsea. When you’re on the road singing the same material eight times a week, it is very easy to become complacent with your technique. I find Skype lessons incredibly useful because they reinforce my work ethic, and keep me striving to improve my voice in areas I may not sing in every day. Even through the computer, Chelsea’s ear is stellar in recognizing tension in my voice and diagnosing the cause of it, and giving me exercises to free up my cords.  It doesn’t feel like we’re in different time zones at all! – Isabelle McCalla. Currently traveling the country as Jasmine in the National Tour of Aladdin the Musical. 

My 12 year old daughter has loved taking voice lessons via Skype from Chelsea. Not only has my daughter’s singing range and tone improved, but her confidence in herself and her voice have increased dramatically in just a few months of lessons. As a busy mom I appreciate the convenience of not having to travel and drive to yet another one of my children’s many activities, and my daughter actually prefers singing from the comfort of her own bedroom. It has been a great experience all around for us. – Amanda Neilson. Westchester County, NY

Normally, there’s a slight delay so she won’t play the notes of the scale as I sing- she’ll just give a chord to indicate when and where to start. One word of caution- If you are an absolute beginner like I was many years ago and have trouble singing a scale without somebody playing the notes along with you, then Skype lessons will be difficult.  However, right now I have no problem singing a scale or an arpeggio after given a chord so I have no trouble using Skype. -Zev Aber. Singer, guitarist, and tutor in New York, NY.

Tips for a successful Online lesson: 

Find a quiet place with minimal distractions. A keyboard nearby may be helpful but is not necessary! Check that you have a strong and fast internet connection BEFORE your first lesson. Make a test call to a friend beforehand to check that everything will go smoothly the day of your lesson.

It is a good idea to play any backing tracks you want to use during your lesson on a different device than the device you are using for your Skype/FaceTime/Zoom connection. If not, whatever audio you play on that device may cancel out all sound for your teacher on the other end!

In which case, you will need:

  1. A device to connect to your online lesson platform on
  2. External speakers to play backing tracks through
  3. An additional device to record your lesson on OR if you choose to meet via Skype, Skype can video record your lesson. 

Skype is Chelsea’s platform of choice, while Brooke and Erin often use Zoom.

You may also want to listen to this scale, and this scale beforehand- we’ll use them in our lesson!