Piano

• a pianist plays music as far as his or her technique allows

• good technique is ergonomically smart piano playing under all musical circumstances

• learning music is like learning a language - first you listen, then speak, then read, and finally write

• beginners →  discover the keyboard, hand-eye coordination, finger independence,  rhythmic imitation, pitch recognition, play from models, perform simple duets, read notes

• intermediate → develop knowledge of musical styles such as blues, jazz, Baroque, Classical, Romantic,  ensemble playing, composers, repertoire, developing technique, sight reading, ear training, composing

• advanced → master longer more structured works (solo or ensemble),  such as sonatas, suites, preludes, fugues, concerto, rhapsodies and variations, complete technique, improvisation, composition

• in addition to lessons → workshops, recitals, festivals, exams - beginners participate in workshops,  recitals and festivals; intermediate and advanced students  take advantage of festivals, and exams to a greater degree.  These activities serve to build a musical community within Angel Music Studios and beyond.

 

 

 

 

Piano Theory

• validates piano grade level for the purpose of high school credits and academic pathways

• helps students to analyze their music and plan for best practice strategies

• promotes sight reading, ear training and improvisation skills

• holds the key for students to not merely consume music, but to understand and write their own

• embedded into lessons up to grade 5 RCM

• special course books required from levels 6-ARCT, beginning with Grade 1  and 2 Theory through to Grade 3 Harmony and History, Grade 4 History and Counterpoint and Grade Five History, Harmony and Analysis.

 

 

 

 

Voice

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• anyone can learn to sing acceptably; most people can learn to sing well

• a few people have the combination of talent, desire and character to achieve greatness.

• based on experience and research in vocal science, pedagogy and performance

• based on models of healthy singing through the centuries and a larger frame of reference than only current vocal models

• the whole vocal system is interrelated; attempts to locally control the vocal organ will take it out of balance

• singing is athletic and requires muscular strength and agility

• confidence comes from being able to characterize a particular musical style or role with ease and comfort

• understanding of self, reality, boundaries, choices, wants and needs is fostered within an  interdependent student and teacher relationship.

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Three Fundamental Concepts of Singing:

1) correct alignment and breath management

2) accurate command of vowel formation or phonation

3) appropriate adjustment of the vowel throughout one’s vocal range

 

 

1) Alignment and Breath

• proper posture and alignment maximizes breathing efficiency; lower abdominal muscles maintain posture for rib expansion, and back muscles expand out and down during inhalation (Roger Fiammetti - Full Breathing Animation)

• breathing not only fills the lungs, but sets the larynx in the proper position for singing; the effect of incoming air on the larynx is called “tracheal pull” (How the Larynx Produces Sound)

• the image of “surprise” allows for  good inhalation and a connection to be made within the singer’s experience between a deep breath and a relaxed jaw, which is essential for good phonation (Shore, J. 2014. Maestro Joseph Shore on Breathing During Singing.)

• vocal coaching trains the mind to conceive of the musical sounds and phrase required;  from this the breath cues the whole vocal neuromuscular system
   

2) Vowel Command and Phonation

• breathing and phonation happen instantaneously as cortically controlled reflexes over respiratory musculature and pre-phonatory tuning of of laryngeal muscles become automatic  (Wyke, 1982, p0. 139-140; in Miller, R. 1996. The Structure of Singing: System and Art in Vocal Technique, p. 200)

• phonation is commanded from the visual cortex to the motor strip in the brain, and then to the articulators

• pure Italian vowels are easiest for singing; these are similar vowels in Latin, Spanish or Japanese

• nasalized vowels, such as in French and Portuguese should be learned later

• English diphthongs and combination vowels need to be treated carefully, as do German umlauts
   

3) Vowel Adjustment

• an integrated voice aims for a well-balanced sound in all vocal registers

• the human voice is capable of making various  sounds, qualities, textures, pitches, volume levels and intensities in a free and healthy manner

• belting is a skill that must be approached with the proper technique (McCoy, S.  2007. A classical pedagogue explores belting. Journal of Singing (63)5, 545-549; Popeil, L. (2007). The multiplicity of belting. Journal of Singing (64) 1, 77-80)

 

 

Music Coaching

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• from a big performance or important audition to simply having the goal of improving your skills, coaching on a lesson-by-lesson basis is available.

• indivualized techniques and exercises applied to specific problem areas

• manage performance anxiety

• practice with visualization techniques