VOCAL COACH

I am a singer and vocal coach with a BMus (hons) in jazz performance from Trinity Laban Conservatoire of Music and Dance. I did additional modules in creative education, vocal health and insturmental and vocal teaching. As well as vocal coaching I also teach piano and composition.

The majority of my students go on to study music professionally. I have had students awarded unconditional offers and scholarships to study music and musical theatre, as well as placing in singing and dance competitions and perform in professional stage shows.

My students include West End performers, musical directors, songwriters and music producers.

“Music washes away from the soul the dust of everyday life.”  –  Berthold Auerbach

This quote encapsulates my teaching philosophy as I believe music should enhance student’s lives.  Music should be personal to the student’s emotional and social development, building their confidence and creativity. My pupil centred approach stems from Elliot’s Praxial philosophy and Suzuki.

“Music has a power of forming the character and should therefore be introduced into the education of the young.”

 

As a teacher I give my students the musical tools (music theory and technique) to become confident musicians, yet also encourage them to construct their own stylistic identity. As a teacher and musician I value the opinions of others and treat my student as equals.

 

“By accentuating music as play, rather than as a cognitive challenge, teachers relieve psychological pressure on children.”

 

This approach has influenced my teaching as I want my pupils to have enjoy music with no pressure for their music making. I use warm up games and allow student’s autonomy. My students learn music by ear, including music theory as I want music to be as natural as possible: stimulating memory. My constructivist approach encourages the pupil’s own development and discovery.

 

I achieve this by a varied sensory teaching approach and problem solving rather than giving the pupils the answers all the time. For kinaesthetic learners, Dalcroze Eurhythmics’ physical responses to tempo and atmosphere. For visual learners, colour coding, music and lyrics. For aural learners a wide variety of listening and discussion. This creates a holistic teaching environment.

 

Every student is unique and can present interesting points in their playing, practice and performing. This is why discussion and questions are key in my pupil’s learning.  They should feel comfortable with challenging and accepting concepts and repertoire, and have ample time for self-reflection.

 

The therapeutic impact of music positively affects the mind and personality of the participants. Therefore my philosophy focuses on the wellbeing of the student and how music can enhance all aspects of their lives; helping people from varied backgrounds.

 

“While music touches the lives of all young people, the disadvantaged can benefit most.”

 

Everyone’s response to music is unique. For some it can help rectify emotional and social issues. It can help those who may struggle communicating. For others it unlocks aspects of their personality enabling them to express themselves. “Music can name the unnameable and communicate the unknowable.”  I believe my role is to support my students through an empathetic approach to learning and a good teaching relationship is essential.

 

Music is for everyone, an inclusive art form which can be tailored to the individual’s needs and desires. As a visually impaired musician I found music provided me with confidence, opportunity and has had an impact socially, on life decisions, taking risks and has to introduce me to different people and cultures.  It has shaped the person I am today.

STUDENT PROFILES

CHANCÉ QUAYE

Annie UK Tour 2018-19 (July the orphan)

Scholarship to Sylvia Young Theatre School

CARMA QUAYE

School Of Rock The Musical, London West End 2019-20 (Marcy)