Private coaching and lessons:

How much does it cost?

Fees range from $45 - $150 per lesson depending on length of lesson (30, 45, or 60 minutes) and method of payment. A detailed price schedule is provided at the first lesson. A full hour is recommended, though not required, for this first meeting.

The fee for the first sixty minute lesson is $80 (let me know if you require a shorter lesson for the first meeting), but you only pay if you are satisfied with the lesson. After that, the lessons can be as little as $45 each with eighteen different fixed price options that allow virtually anyone to tailor a program to their financial and scheduling requirements.

How often are lessons? Are they set at a regular time?

Most working actors require flexibility, so they may call me for a different appointment time for each lesson. Some people have regular schedules and prefer to set a consistent weekly, biweekly, or bimonthly time. There is no requirement for frequency of lessons. While most students prefer weekly lessons, some come in only a few times a year, and I've had some come in three times per week when they're working intensely towards a goal. Lessons are booked on a first-come, first served basis. There is a liberal expiration date with the purchase of each series of lessons (for those who choose a series), but arrangements can be made to extend this date.

What do I bring to a lesson?

Bring a blank cassette tape if you would like to record the lesson as I recommend. I try to keep extras around, and they're available for a dollar each. If you have the option, you might be more comfortable dressed in casual layers than, say a business suit since most people get warm. And speaking of clothing, I prefer that everyone leaves their shoes in the foyer, so be fore-warned that your holey socks will have nowhere to hide!

As for bringing music, if your time is to be used to prepare for an audition and you have selected the material already, bring the music you wish to work on. Otherwise, there is no need to bring music to the first meeting. After that, you can bring whatever materials we're working on. I have an extensive music library available.

How is the time spent?

What can I expect, and what is expected of me at my first lesson?

I won't ask you to perform a song for me or anything like that. I'm working for you, not the other way around. You're not auditioning for me. It's a job interview with you in the hiring position. My goal is providing you with a worthwhile session and enough information for you to decide if I'm right for you at that time. We'll do some vocal exercises, which are not the most beautiful thing in the world so don't even try for that. I'll ask you to be as free as you can comfortably be. This is vocalizing, not singing. Singing comes a few minutes later. I'll explain some technical concepts and ask you about your previous training and experience, if any. We may go through a song you know, or I may suggest one for you to work on depending on your situation and your goals. If you're preparing for an upcoming audition, we may get right to that and save the vocal technique for another time. It's ultimately up to you to decide how you want to use your time.

Students may warm up prior to a lesson, but a warm up is included. For coaching, some singers find it helpful to warm up first so they can spend more time on material. It's a good idea to warm up before each workshop meeting.

What about practicing?

The more you put into this, the more you will get out of it, like anything else. But if you forget your music, forget to bring a tape, didn't have time to practice since your last lesson, and your voice is tired from staying out late, I'll do my very best with whatever you bring to me that day. I'm not the boss of you. If you're a minor and your parents are paying for your lessons, they may have something to say about it, but I make no judgment about it whatsoever (although I'll certainly encourage you to practice since it's more fun for me if you progress quickly). I'm not proud of it, but when I was in high school and studying voice privately, I hardly practiced at all, and I still improved considerably. Of course, when I went away to college and started practicing daily, things really took off. But it's up to you to set your priorities. It's up to me to make the most of the time we have and to give you the tools to work on your own as you choose.

What if I'm paying for my child's lessons?

About twenty percent of my students are between thirteen and eighteen. If you're a parent of one of them, tell me what you would like me to require of them in terms of practicing and homework, and I'll be as strict or as lax as you like. I once worked out a contract with a family where we decided between the daughter and me what she wanted to commit to doing each week. We wrote up a practicing contract and schedule, and it worked well. One week, the sixteen-year-old didn't complete the agreed upon number of practicing minutes. As agreed upon, she had to "pay" for the next lesson herself by helping me paint my living room on her Saturday off instead of going surfing. It was effective. And I have to say, she was a good sport about it. Still, we only do this during the summer when she doesn't have much schoolwork to do. It's really up to each individual family.

If I've never studied singing before, will it be intimidating?

What if I try a lesson and am not sure if I want to continue?

If you are looking for a voice teacher, I encourage you to try as many as you can afford to until you are satisfied that, not only does a particular teacher know what they're talking about, but they communicate in a way that is successful for you. Choosing a voice teacher is a personal and important decision, and you deserve your first choice. And if you want to study with me but it's not the right time, that's okay too. I'm plenty busy and I'm not planning on going anywhere. Sometimes when students come back to me after a long absence, they tell me that they waited so long because they were embarrassed that they hadn't called sooner. There's no need to worry about that on my account. I expect an ebb and flow of people.

Professional boundaries:

Payment for lessons is due at the time the service is rendered. If you're purchasing a series, payment for the full series is due up front. Occasionally a student will purchase a series and then decide to take a break before they've used it up. For example, sometimes a student will book a show out of town. If a student asks for a refund for unused lessons for any reason, it will certainly be given. The refunded amount will be based on the total paid minus the single lesson price for each lesson taken.

As is standard for my profession, I have a twenty-four hour cancellation policy. I do my best to avoid charging for canceled lessons since I understand actors often have last minute auditions; I will try to fill the time, and if I'm able to do so, the canceling student won't be charged.

I ask that students wait to ring the doorbell until a minute or two before their appointment time. I may be wrapping up someone else's lesson, and I like to avoid distractions wherever possible. A park bench in my front yard, depending on the weather, provides an alternative to your car as a place to decompress before a lesson. With very few exceptions, I won't answer the phone during your lesson. You can have your cell on if you like, but it' easier to concentrate if you turn the ringer off for your time here. During workshops, I request that all phones be turned off, and I unplug my phones so we can focus on what we're doing

Although punctuality is important for the workshop, no apology is necessary if you arrive late for individual lessons. It's easy for me to be here. I'm already here. If you're delayed and it's safe to call and let me know you're on your way, I do appreciate the call since it keeps me from wondering if you're okay and if we've had a scheduling snafu. If it's not convenient to call, then just drive safely and get here when you get here. I'll try to throw the missed minutes back your way when I can.

Can I talk to someone who studies with you?

I'd be delighted. References for both private study and the workshops are available upon request. To protect my students' privacy, I do not post their information here.

I have other questions.

Please don't hesitate to contact me () if you have further questions about lessons, workshops, or the breathing and meditation circle.

Workshops:

The eight-week Techniques class includes weekly meetings of approximately three hours each. Classes are small to allow maximum time "up" for each actor-singer; although my official limit is fifteen students per group, I usually close the class at eight or ten depending on the individuals involved. You will work each week in front of the group.

What do we do?

The Techniques class is designed to provide actor-singers with specific information on choosing audition material, phrasing, understanding the parts of a song and categories of lyrics, learning to deal effectively with an accompanist, managing performance anxiety and many other essential and often neglected areas. But the most important topic is the "air" of a song as defined by David Craig in On Singing Onstage. This is the essence of making each song you sing your own. It is the part of the song in which you will define your acting beats and create a natural physical life. This is first explored in exercises in class and then applied to audition material. The quality of one's singing voice is truly irrelevant in this class. A familiarity with acting is certainly helpful, and the ability to hear pitch and rhythm is required. I have to say, the classes I took with David Craig did more for my "straight" acting than any acting class I've ever taken.

Do we get audition material?

Each student will receive two contrasting audition songs chosen specifically for them, and each student will have both the opportunity and guidance to work and polish the songs in class. It's essential to work on the material between meetings.

The Performance Workshop is the second class. It is only available to actor-singers who have completed the Techniques class at least one time and have some level of mastery of those techniques. The Performance Workshop is also eight weeks long, and consists only of working on audition material. The number of songs given depends on how quickly each student gets their songs up, and that depends on how much time they spend working outside of class. It's certainly possible to get three or four songs up in the eight weeks.

How much does it cost?

The fee for each of the workshops is $500 for eight meetings including the accompanist and assigned songs. A deposit of $200 holds a spot and is refundable up to one week before the starting date. A payment plan is available in some cases. Actor-singers may work on material of their own choosing by approval only, or they may make a request as to the type of song they are seeking, and this will, of course, be considered in song selection (i.e. contemporary musical theater or a particular composer).

Can I talk to someone who's taken the workshop?

Absolutely. References for both private study and the workshops are available upon request. To protect my students' privacy, I do not post their information here.

In addition to actor-singers who have taken the class two and three times, the workshop references include accompanists who have played for the class and, having played for thousands of singers at auditions during their careers, can speak to the value of the workshops for actor-singers.

I have other questions.