Just as Auguste Gusteau in Ratatouille believed that “everyone can cook,” I believe that everyone can sing (as long as they can make sound with their voice).

I hear so often from people that they do not think that they can sing — my challenge to them is that we, together, can prove them wrong.

My teaching philosophy centers on nurturing the unique potential of each singer, regardless of age or experience level. I believe in a methodical and developmentally appropriate approach that considers the physical, spiritual, emotional, and mental uniqueness of the whole individual. Everything that I stand for as a voice teacher is the culmination of the great mentors that I have worked with combined with my own experience as both a singer and a teacher.

First and foremost, I believe in teaching the person before teaching the voice. By simply being alive, we are all worthy of being treated with dignity and respect, and that approach throughout my studio and life has been invaluable to both myself and my students.

In terms of the voice, regardless of the genre being sung - free flow of air and an undisturbed larynx (throat/voice box) are paramount to the beauty of a sound. I believe that from that foundation, a singer can build a sound with freedom and flexibility that spans languages and genres and will last throughout their entire life.

As singers, our job is to communicate through the creation of musical sound and conveying of words. In this, Steve Smith once told me that world class singing is “a pouring out of ourselves onto the altar for others,” and this has been integral into my journey. In this, there is a constant renewing of inspiration throughout performance, practice, and even outside of singing. My goal is to pass that mission of generosity on to my students.

For students on the younger end of the spectrum, I typically begin lessons once they've developed reading skills, generally around the 2nd grade.

My approach to voice instruction is methodical for students of all ages, and the adolescent voice is no exception. Recognizing that we teach the whole human, I carefully consider physical, emotional, and mental development at every stage. I firmly believe that every facet of learning to sing is equally vital, each presenting its own unique challenges. I often draw a parallel to learning how to speak as a baby: a child progresses from babbling to single words, small phrases, spoken sentences, and eventually reading and writing. Each step demands effort and presents distinct hurdles for the individual, yet none can be skipped. Singing follows a similar developmental path.

I understand that the objectives for voice lessons at this age differ significantly from those for high school/college students or adults. My primary goals with younger students are to introduce them to the various parts of their voice and the corresponding sensations, build upon their existing reading abilities, help them explore a wide range of vowel shapes, introduce them to the aesthetic qualities of sound that are generally considered beautiful, and foster their confidence.

My initial focus is usually on establishing tall vowel shapes and exploring high and low pitches in different vocal registers. We then work on achieving a balance between breath release and vocalization – aiming for the effortless sensation of a lightly-voiced sigh rather than a tight or pinched feeling. I consistently encourage students to pay attention to the physical sensations of singing in different ranges, working towards creating a feeling that both sounds and feels good. This emphasis on sensation is crucial because the voice is an instrument navigated through these physical cues.

Experience or a "mature" voice isn't a prerequisite for grasping these fundamental singing skills, which is why this is my starting point for younger students (and often my adult learners as well!). The other essential component of lessons is building repertoire. I make it a point to avoid assigning overly challenging songs that could lead to discouragement or physical strain. There are numerous excellent resources for age-appropriate music, and I can typically find at least two songs a student enjoys within the first lesson. I often use the analogy of reading: just as you wouldn't give a child still learning picture books a complex novel like The Odyssey or The Lord of the Rings, I wouldn't assign developmentally inappropriate songs. My goal with repertoire is to encourage my students by demonstrating their ability to achieve and perform something well!

In short - we should have fun discovering all these cool things that we can do with our voice!

Lesson prices are listed in the description of each lesson type on the Calendly website.

They are also listed out on this page of my site. Click HERE

I’m glad you asked! Linked HERE is a document of my studio rules.

They are also listed out on this page of my site. Click HERE

In it, we both agree to policies that cover payment, attendance, and other protections for you as a client and me as a teacher/business!

Lessons occur in the Houston area. I primarily teach at my home studio in Houston’s Montrose district, but I occasionally am able to travel for lessons should a client have a space for it to be held.

To schedule a lesson, simply follow this link HERE or click any of the links above on the lessons to access my calendly portal.

I teach almost all genres, however, I specialize in classical, pop, jazz, and musical theatre. Singers with interest in performing music from those genres tend to be the primary demographic of my studio.