|
"It's not who you are that holds you back, it's who you think you're not." Hi! My name is Vikki Flawith
and I am the Shy Singer. |
|
SINGING LESSONS (Victoria, BC) Long to Sing, but Too Shy to Try?
I am accepting as students those who over the age of 18 years old, who are
serious about developing their vocal abilities, and who are committed to
exploring the creative process through singing. I particularly enjoy working with
beginners and/or mature students. **Scroll down on this page for current fee schedule.
PLEASE NOTE: Unfortunately, as of Oct 3rd, all available spots are currently filled for the fall semester and I have a waiting list for intake if a space should become available. Please feel free to email me for information and/or to be placed on the waiting list. I may be travelling intermittantly, it may take me some time to contact you. I very much appreciate your interest & hope that we can meet soon! :)
I believe in helping my students to
release/accept their own voices and sing with a healthy technique
which can then be applied to a wide variety of styles. |
|
MY PHILOSOPHY In my studio it is my aim to combine these ideas: -that to be whole singers we must be willing to look at the self-beliefs, inhibitions and habits that effect our growth... students often find this journey mirrors their life journey; -that the voice only grows and develops when you water it with positive thinking and conscious practice; -that a good understanding and usage of technique will help all voices to blossom; -that anyone who is willing to do the work can be helped to sing. I firmly believe that a knowledge of vocal technique is essential to all vocalists, no matter what kind of music they sing, be it pop, rock, jazz, country, Broadway, classical or opera. I myself enjoy singing a variety of music in all kinds of genres. "But I don't want to be an opera singer, or even sound like one," many aspiring pop/country/jazz vocalists say, "and why should I have to learn technique? Why should I sing scales and exercises?" Quite simply, because the trained voice is immediately recognizable. Because the trained voice is healthier, more robust, has a well-developed range, and can sing a variety of music easily. Vocal health is critical for the professionally-aspiring singer. Incorrect singing -- ineffective breathing, unsteady tones, forcing high notes, pushing to project -- can cause irreparable damage to your irreplaceable vocal chords. Good technique is essential for continued success and longevity. |
|
Why I teach what I teach the way I teach it :) My maestro used to tell me that folks would graduate from the vocal department from the local university... and then come to him to really learn how to sing. At that time I met several 2nd & 3rd year university students who were taking a voice major at school - and they were already teaching lessons to other singers even though they hadn't even finished their degree yet! Just think, a student, with no professional performing experience, passing on... their second year knowledge. Maestro also used to say that there are many many vocal coaches around, but only a few really know what they're doing. I hope he's up there somewhere, looking down on me with approval, lol. I personally studied privately for 6 years before I even started thinking about teaching -- two lessons a week, plus working with a pianist, plus coaching with a woman who had worked with some of the top line singers in the world (Pavorotti, Domingo, Bartoli), had been an assistant conductor at places like the Met, & who had herself studied with Callas's teacher (by the way, she was one of the most humble people you would ever meet - and only charged $40 an hour for her services - unreal). All of this training was 'bel canto' or 'the Italian method'. I continue to train now -- so it's been 18 years of training, and 12 years of teaching. The reason I teach the technique I teach is not just because it's what I was taught, but because it worked for me. It helped me unblock myself, get away from pushing & belting, grow my range, helped me understand that good, healthy singing is effortless. But more than that. I've seen it work with every single person who has walked into my studio.
I've seen it work with a gentleman who only had one functioning vocal chord, and who was told by his doctor to take singing lessons. I've seen it work with someone who only spoke with a rasp - no tone - her voice was so damaged - and within 3 months, she was singing, and speaking, with tone in her voice. I've seen it work with people you would write off as being tonedeaf and totally, absolutely, beyond help. I've seen it work with folks who are so shy they can barely croak a note... and it works, every single time. I believe it works because it is based on the idea that the body already knows how to sing, and you have to learn how to get out of the way. It's based on the idea that we sing with breath, vowel, and 'right-thinking' rather than manipulation, muscle, driving. Along with the technical principles - which are, of course, important - I also discuss the psychological aspects of singing and performance. I think any method that deals with mechanics only and doesn't address the fact that the voice is part of our human identity, or the fact that our self-image is reflected in the sounds we create, is leaving out a very important aspect of singing. In other words, I belive that 'technique' and 'method' must also embrace, support, encourage, and reveal the artistry & spirit of the student. One of the things that I think is really cool about the technique that I know, teach & believe in.... is that it comes to my students through an "oral tradition", passed on from teacher to student from the time when some of our most beloved composers were still alive. Maestro Luigi Wood, my teacher, who was vocal coach to Vancouver Opera, studied with the Italian baritone Mario Basiola, in Italy. Basiola studied with the great baritone Antonio Cotogni, who grew up in Rome during the golden age of bel canto. Cotogni sang for Rossini and Donizetti, but was also considered to be the greatest baritone of the Verdi repertoire. In his later years he became one of Italy’s most famous singing teachers; tenore Beniamino Gigli was also one of Cotogni’s many well-known pupils. That being said, if you are really passionate about beginning an operatic career, I would suggest perhaps studying with me for a few months only, and then moving on to the Conservatory or university voice departments. You will need training in diction, repertoire, movement, etc., that they are best equipped to provide. |
|
LESSON FEES All lessons are one-on-one in a private studio.
ADVANCED:
It's 30-35 minutes of breathing & very gentle vocalizing, and
about 5-10 minutes of discussion.
Note: all prospective students will be asked to attend a |
|
Embracing the Creative Process of Living In our society, we seem to deny that there is a ‘process’ to ‘becoming’… we seem to think a) folks are born with it, and b) they just arrive. But the truth is, for most people, artistry is a journey. I’m afraid that the Idol shows and the emphasis on youth in the music industry is in direct opposition to the truth of how a human being becomes a real artist --- it takes time, experience, perseverance. You love it, that’s why you do it—not for fame or fortune—but because you can’t imagine doing anything else. Because it touches something deep in your soul. Because it challenges you to change and grow... and let your light shine. |
|
CHECK OUT MY MUSIC WEB SITE: ARE YOU ON MYSPACE? READ MY CREATIVE JOURNAL: |
|
A GREAT OBSERVATION: "Outstanding performers are not trying to win. Those people are allowing the action to flow, totally in the moment. Their competition is more like a meditation than a contest. They are in harmony with their body and mind." (Dr Wayne Dyer, "You'll See It When you Believe It") |
|
(c) 2008 V.L. Flawith (Socan, Ascap) |
