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Revolutionize Your Studio: Teach Your Singers to Sightread

June 6, 2016

I am lucky to teach in an area where music education is highly valued and most of the area schools have robust music, and even more specifically choral, programs. The students in these programs are often required to take private voice lessons to be in the top choirs at their schools. Rhythm-clapping, tonal memory, solfege sightreading, a cappella major/minor/chromatic scales, and one repertoire selection are standard audition expectations for these top curricular choirs. This is an excellent musical environment for my voice students, but it also means that it can get quite competitive come audition time. That also means there is a thirst and desire for these skills in particular.

Revolutionize Your Studio: Sightreading

Why It’s Important to Teach Voice Students to Sightread

To get better at sightreading you actually have to do it regularly. I always joke with other singer friends that the best aural skills class I ever took were my church jobs. And, I got paid to be there! But truthfully, sightreading through solfege was a skill that I learned much earlier and served me well by helping me land many gigs simply because I could pick music up quickly. Excellent sightreading skills mean that you do not have to be taught the music by someone else. You are able to be an independent learner.

Identifying Patterns & Intervals

Solfege is a system that helps us identify musical patterns particularly through familiarity with intervalic singing. By attaching labels to each tone in the scale (i.e. do, re, mi, fa, sol, la, ti, do and the variations for chromatics) singers are able to gain some of the same connection to pitches that instrumentalists gain by attaching fingerings to their figures. Instead of feeling lost in a sea of unrelated pitches, singers can use this knowledge to understand common phrase shapes. I often tell my singers to look for goal posts, such as “do, mi, sol, mi, do,” to aid them through a section. I also find that this has the added benefit of helping my students do better during vocal jazz improvisation. Because they are more familiar with common motifs, they are able to call on them during an improv solo.

Theory During Voice Lessons

Sightreading is my voice teacher equivalent to “hiding vegetables in their food.” When teaching sightreading, my students and I always follow a pattern because I want them to internalize this method before they start singing a piece of music. We begin with, “what key are we in?” Since we sightread each week, this means they are practicing key signatures and recalling the key signature rules each week. The books I use work through key signatures systematically starting with C major then going on to G major and F major and so on and so forth.

The second question, “Do we start on Do?”, gives us a chance to identify letter names on the staff and talk about tonic and dominant relationships. I teach my students moveable do solfege first. Then, we work on la-based minor which is what they tend to use in the area schools. Once my students are comfortable with the various chromatic solfege labels, we’ll use those for minor keys. Finally, I teach them fixed do to work on thorny atonal works or just for another way to think through a phrase.

The third point before we begin singing is to “look for steps and skips.” The entire first book we work through in the studio is simply step-wise motion but this embeds the idea of quickly looking through the musical phrase before singing it.

Finally, I ask them, “What is the time signature?” and after they answer they are required to explain what that time signature means. So, in the span of a few short minutes during voice lessons we cover: key signatures, identifying letter names on the staff, tonic and dominant relationships, conjunct and disjunct motion, and time signatures.

Default Vocal Tone

We jump into solfege sightreading right after technique exercises as a way to drive home technical concepts. In my studio, we talk a lot about letting our ‘default vocal tone’ be our best tone quality. It is important to me that my students demonstrate their best vocal tone throughout an audition experience and not develop a ‘sightreading sound’ versus a ‘real sound’ or other nonsense. It is also my intention that they retain some of the sensations and feelings of our technical exercises while I’m challenging their thought process during solfege. This provides measurable improvements to all areas of solo vocal singing.

Resources

In my studio, we begin by working our way through the Samuel W. Cole and Leo R. Lewis Melodia – A Course in Sight-Singing Solfeggio. The First Series in Book I works through “One-part diatonic exercises in step-wise melody – G and F clefs – All major keys to B and to D-flat inclusive. All representations of notes and rests of whole-beat length and multiples thereof – Elementary presentations of the divided beat.” Even if I have more skilled singers, this is a great place for us to start because of the common initial trepidation to sigthreading.

After that, it’s, “Hello Ottman!” You thought you got away from these books once you left school, but now it’s time to put these crazy expensive sight singing books back to good use — on your students! When we’re ready to start practice larger interval jumps during sightreading, I use the Robert W. Ottman and Nancy Rogers Music for Sight Singing.

Skill Building is Confidence Building

Sightreading is such a beneficial skill that is often overlooked in voice lessons in this manner. I truly believe that building confidence is all about building skill. Part of my pedagogy for young singers is to pack as much skill building into a lesson as possible while still making it fun and positive. The students notice a difference, their parents notice a difference, and their school teachers notice a difference. That just makes my day.


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in performance: Kettle Corn New Music featuring Cantata Profana

June 1, 2016

In a program that spans the course of 110 years, Kettle Corn New Music and Cantata Profana also spanned the gamut from grief to reverie and humor to playfulness in their May 27th performance at the DiMenna Center for Classical Music in New York. Featuring a roster of stand-out performers, their Alice in Wunderbar program was clearly devoted to exquisite music-making.

New York: Kettle Corn New Music presents: Cantata Profana

New York: Kettle Corn New Music presents: Cantata Profana

Alice in Wunderbar

Three Epitaphs and Három Weöres-dal

A highlight of the evening was the world première of Alex Weiser’s Three Epitaphs. Weiser commented to the audience that, “each of the songs is a lyrical oasis in the middle of a larger work.” The players were scattered around the room: flute, oboe, and clarinet to the right; voice, piano, and percussion at the front; and strings in the back of the hall. Oscillating bird call sounds in the winds commingled with the rising string lines providing a compelling realm of sound on which the voice could provide moments of warmth, glow, and nostalgia. Kate Maroney‘s round, complex voice suited these texts and the composition elegantly. Maroney, joined by pianist Lee Dionne, also gave a fully expressive performance of György Ligeti’s Három Weöres-dal (Three Weöres Songs). Each of the three pieces had unique character whether it was from managing the flux between bright and darker sounds or matching the percussive quality between voice and piano excellently.

Akrostichen-Wortspiel

The final piece of the evening, Unsuk Chin’s Akrostichen-Wortspiel (Acrostic Wordplay), was a pleasantly surprising vehicle for sensitive ensemble work. Jessica Petrus’s vocal work in this performance was impressive. She demonstrated a gorgeous sotto voce sound, at times, that she used to effortlessly float and hang a tone on the air before diving headlong into a crush of syllables. She continued to use that effortless tone to match stratospheric pitches timbre to timbre with her ensemble colleagues.

Schoenberg Chamber Symphony, Op. 9

The first piece of the program also deserves special mention here. Arnold Schoenberg’s Kammersymphonie No. 1, Op. 9 arranged by Anton Webern was a dream in legato playing offered by Jesse Han (flute), Bixby Kennedy (clarinet), Jacob Ashworth (violin), Hannah Collins (cello), and Lee Dionne (piano). There was an understated maturity inherent in the opening accented lines of the Chamber Symphony without being heavy-handed. This attention to musical detail is a welcomed indication of graceful playing and ultimate care for the repertoire that they have programmed as an ensemble. However, nothing gives an auditory signal that “you’ve lost my attention” like a room full of crinkly, cellophane popcorn bags which unfortunately coincided with some beautiful musical moments. The gesture of the popcorn is wonderful and audience experience-driven, but it would be ideal if it didn’t also detract from the performance.

The devotion of the musicians to the honest and nuanced performance of the repertoire, well-chosen by the leadership, makes the partnership between Cantata Profana and Kettle Corn New Music a vital addition to one’s concert calendar. It seems that both will be announcing upcoming season information soon. For more, click through to CantataProfana.com or KettleCornNewMusic.com.

Revolutionize Your Studio: How to Release a Student

May 17, 2016

Did you know that there is Sybaritic Singer content that is exclusive to the email list I affectionately call, “The Sybaritic Faithful”? Well, there is. If you are on the list, then you would have already received today’s post in your inbox. If not, you may want to take a moment to sign up or update your settings now! Click on the image below to go to the sign-up form. After you enter your information, make sure to select “Sybaritic Singer” under the “Pick Your News!” heading.

How to Release a Student from Your Studio

Revolutionize Your Studio: Ritualizing Your Lessons

May 16, 2016

Twyla Tharp has an excellent section of her book, The Creative Habit, in which she describes her morning ritual and how important rituals can be to living one’s most creative life. The famous choreographer and creator writes that she originally thought that her morning ritual was going to the gym and the workout that she completed there. Then, she gave it another thought. It wasn’t so much the gym and what she finished there but the simple act of her getting in the cab each morning. Once she did that, she was ready to take on the world.  That simple ritual of getting in the cab to go to the gym signified that she was starting her day. We can take something from this concept and begin to ritualize lessons for our students to maximize their musical knowledge retention and application.

“It wasn’t the gym itself; it was simply getting in the cab.”Tweet:

Creating Lesson Rituals | Sybaritic Singer

Creating Music Lesson Rituals

I have a few lesson rituals that I want to outline as a catalyst for thinking about the best rituals for your particular studio. Just like the anchor statements in the Free Fifteen Minute Meet & Greet, practicing these rituals in every lesson, with every student, helps to solidify some key points without having to explicitly explain them each time.

Rituals solidify key points without explicitly explaining them each time.Tweet:

Ask About Them

This is an overly simplistic point but I have to include it here. I start every single lesson by asking my student, “Miss Violet, how the heck are ya? What is new in your life?” They usually look at me and respond, “Good. Nothing.” To which I say, “Ah, well, I don’t believe that. Who did you talk to today? What did you read? Anything fun happen today?” Then, they usually laugh and provide incredible responses about science fairs or gossiping friends and even first jobs. Because our lesson times are short, I try to keep this section brief but it is important for me to make my students understand that I care about them as whole people and that I don’t assume this is the only thing going on in their lives. I am an adult that they can trust and who listens to them. This quick confab helps open my students to the next ritual — setting intentions.

Why I always ask, “how the heck are ya? What is new in your life?”Tweet: Why I always ask,

Set Intentions

To be honest, there are quite a few “practice” concepts and conventions that I’ve openly stolen from yoga and used in my own studio. Setting intentions is by far my favorite. Promptly after our catch-up, I ask for two intentions. Setting two intentions is quite deliberate. Students usually know exactly what the first one is. Then, they stretch themselves a bit to figure out what the second thing is that they really want out of lessons that day.

I always explain to my students, “Now, these can be anything from working on specific technical issues to personal things like ‘feeling happy’ to repertoire requests. These are your intentions for our time together today. I know what I want to work on with you. This is your chance to tell me what you want to accomplish.” After too many lessons in which students drop an I-have-an-audition-on-Thursday bomb five minutes from the end of the lesson, you make sure you specifically ask at the beginning.

Setting intentions allows you to build loops into your lessons.Tweet: Setting intentions allows you to build loops into your lessons. | #SybariticSinger | http://ctt.ec/0uof0+

Also, this gives me a chance to provide loops during the lesson. “You told me that ‘building confidence’ was one of your intentions,” I say, “This technical exercise is specifically designed to make your vocal tone sound more confident.” It reinforces that you are helping them work toward their specific goals, while building on your overall pedagogical goals.

Ritualizing Technique Exercises

Finally, I always start voice lessons with technical exercises and I always start with the same technical exercise. I ritualize our descending, five pitch hum so that students are able to jump into the frame of mind of voice lessons right away. We do the exact same thing so that we let it become our chance to take an inventory of what’s going on that day. Students get used to checking in with their breathing and resonance from the get-go.

I encourage them during this exercise to think back on the ideas that they remember from our last few lessons. Furthermore, I prompt them to turn their attention inward and really focus on the sensations. Especially for younger or beginning voice students, building an awareness of singing sensations is an important principle and often brand new to them.

Demonstrating Habits of Success

Which rituals help streamline your objectives in the studio?Tweet: Which rituals help streamline your objectives in the studio? | #SybariticSinger | http://ctt.ec/Z06ef+

My students may not realize that I am building rituals with them or teaching them how to set their own goals for lessons. But, it is a habit that I would like to pass on to them even if it is totally subconscious. Before you begin anything, you will accomplish more if you give yourself one or two objectives. What types of rituals do you enjoy passing on to your students? Which rituals help streamline your objectives in the studio? Which rituals do you have for teaching that go beyond the actual in-studio time? I would love to know your thoughts. Please comment below or share on your favorite social media platform. You can always tag me @mezzoihnen. Or, use #SybariticSinger.

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guest post: How to Hire a Music Teacher…Like a Pro

May 14, 2016

My best friend Jessica writes a new blog called “It’s Jess Right” which is specifically geared toward the Military Spouse and Homeschooling communities but basically just covers everything that Jess finds interesting in the world. Want to know which gray paint color is the best? It’s Jess Right. Want to know why textile art is a fantastic representation of feminist art? It’s Jess Right. So when she turned her savvy to writing about how to hire a music teacher, I thought it would be a great opportunity to feature her writing here on the Sybaritic Singer. Reading about the process from the other side can help tremendously as we seek to Revolutionize Our Studios.


On Hiring a Music Teacher

Even in a homeschooling family, the education of your child still takes a village. But when it’s time to call in the cavalry, you can’t rely on a school board or rating agency to vet those tutors for you – and since there’s really no one to complain to if you choose poorly, it’s important to get it right!

It's Jess Right | Hiring a Music Teacher... Like a Pro

DON’T BE AFRAID TO ASK

Word of mouth is the best way to find a lead on outside help. It can be tough to find someone if you’re new to an area or looking for a difficult instrument, but you shouldn’t be shy when asking around. Nobody will ever be offended that you valued their opinion.

If your neighbor’s kid is taking trumpet lessons, don’t be afraid ask the trumpet teacher for an oboe recommendation. Most musicians have worked with a lot of other musicians and they know who has a good reputation.  

DON’T BE AFRAID TO JUDGE SOCIAL MEDIA

Once you get a lead the first thing you should do is the obvious – Google them. You’re bringing a stranger into your children’s lives – and it’s very, very important you surround your kids with adults that show good judgment. Learning an instrument is difficult! I expect a music teacher to teach my children discipline and how to deal with frustration. So judgment matters.

When I Google a tutor, the search tells me that the teacher cares enough about their professional reputation to take down their Cabo photos off Facebook and keep cussing at politicians out of their Twitter feeds. I want to see a reasonable social media presence, a professional website and I want to see a LinkedIn page. These things might not scream “free-thinking artist” but I’m not hiring for extras in my beatnik play and I’m not looking for drinking buddies.

FIRST CONTACT

First contact sets the tone for the relationship. A teacher’s email address should be appropriate – not 420bongripper69@yahoo.com. A teacher should respond to your emails promptly, and ask questions about your aims and schedule. They should describe their rates and studio policies, including cancellation deadlines and rescheduling system. The more thorough they are, the more you know they have experience working with difficult situations which is important – because eventually a difficult will situation happen.

DISCUSS RATES & DISCOUNTS EARLY

A lot of homeschooling families don’t consider that their scheduling flexibility can be a bargaining chip. If you can schedule lessons during off-peak hours (weekday mornings and afternoons), you might reasonably be able to receive a 5-15% discount.

This is not something I insist on, but there is no harm in politely asking – if I am politely declined, then I accept that and move on.

KNOW YOUR PRIORITIES

Families have different priorities aside from quality of teaching and it’s important to know what yours are and express them clearly. One of the disadvantages to homeschooling is that outsiders know we don’t have a hard-and-fast schedule, and some homeschooling families are laissez-faire when it comes to scheduling. We are not.

I let teachers know right away that in our family, punctuality is a priority. I don’t cancel appointments last-minute or ask favors that inconvenience teachers. I also expect that teachers respect my time. If teachers show up late, especially in the first few lessons, I can expect that we will have more problems as time goes on and the relationship becomes more comfortable. Lateness also sets a bad example for children as they learn to associate creativity with sloppiness.

UNDERSTAND THEIR PHILOSOPHY

Find out their teacher’s general teaching philosophy. For example, our recent guitar teacher explained his focus was on classical technique but with an emphasis on learning songs. He asked what music genres the boys liked, and used those suggestions as the basis for lessons.

The boys didn’t even realize that their love of Greenday was being used to teach them how to shift the same three chords over and over again. But man, can they play G, C, and D!

OUTSOURCE YOUR CURRICULUM

I’m not a music professional, but I have access to one and I want them to design my curriculum to meet the goals they set. We asked our guitar teacher to spend the last 5 minutes of every lesson creating a daily practice schedule. Since music is a 45-minute subject at our house, the schedule he left was usually 10 minutes scales, 20 minutes new or favorite songs, and 15 minutes composition and notation. Not only did it ensure the boys were ready for the lessons, there was no arguing about it later.

“Can’t help you kiddo. Teacher said so…” I would say sadly as I hid in my bedroom, watching Kimmie Schmidt.

YOUR TEACHER’S CONNECTIONS ARE IMPORTANT

Playing an instrument is a lot like playing tennis. You can practice your technique by yourself, but it’s in performance with others that you develop your skills. Always ask what studios, organizations, and youth bands your teachers are involved in. It’s possible that your child could eventually act as a sub in at a church performance, or play “4th guitar” at an open mic night. Your teacher should be tuned into the local music community and be able to turn those relationships into an advantage for your student.  

PROFESSIONAL USUALLY MEANS WORKING

Finally, securing the best possible teacher often also means willing to be flexible. The best music teachers are usually working musicians as well: respect that! Ask your music teacher what their set engagements are – do they have religious services on Sundays? A regular jazz night on Mondays? Do they record on Saturday mornings? Is there a summer touring schedule you need to be aware of? Let your teacher know that you expect them to notify you as soon as possible and then try and be flexible yourself.

Part of teaching your kids to respect the life of music is to respect that most musicians are freelance entrepreneurs. Missing an opportunity can affect their career far more than it inconveniences you to delay your schedule.

Educating a child takes a village, so make sure you fill your village with the right villagers. And then, be nice to them.


It's Jess RightJessica Atkins worked in the fashion industry for over a decade before devoting her life to homeschooling. She now writes a homeschooling and lifestyle blog, It’s Jess Right, where she blogs about education issues, family life, cooking and travel.

Follow her blog at www.ItsJessRight.com or on Facebook.

Revolutionize Your Studio: The Meet & Greet

May 13, 2016

The Free Fifteen Minute Meet & Greet (M&G) session can be a huge boon to bringing in new students to your studio. This is especially true if your teacher charisma shines in person. A fifteen minute meeting is short enough that your potential clients can definitely make time in their schedule sooner rather than later. You want to get them in the door and started! It’s also long enough that everyone in the room can get a good sense of whether or not this relationship would be the right fit. Or, if the student is ready to take on the commitment of lessons. As a teacher, the more M&Gs you do, the quicker you will be at assessing the type of student you are meeting.

Why You Should Offer a Free Fifteen Minute Meet and Greet Lesson

The DNA of the Free 15 Minute Meet & Greet

Many teachers are on one side or the other about initial lessons. They either provide a full initial lesson for free or they don’t offer one at all. I like the free fifteen minute option for the simple fact that you can set a lot of the groundwork without giving away all of your valuable information for free while students are teacher-hopping before getting started.

Learning the importance of the Free 15 Minute Meet & Greet Lesson!Tweet: Learning the importance of the Free 15 Minute Meet & Greet Lesson on #SybariticSinger | http://ctt.ec/24rIb+

The Introduction

I always warmly greet new students and their parents at the door. When we’ve set up the Meet & Greet via email, I make sure to let them know what they should expect. “Parking on the street by the driveway is perfect. Feel free to come on in right at your time. I may be finishing a lesson with a student in the minutes before  I meet with your daughter. The studio is right inside the front door to the right. You can have a seat.” Don’t you like having more information about where to go and what to expect before a new situation? So do most people.

That extends to the introduction as well. I am slightly more formal with my students and studio families than others. I always refer to my students as “Miss Violet” and their parents as “Mr. Smith” and so on. When I introduce myself to my students, I make sure to do it in the way that I want them to refer to me. I even do this with my college students. This can be more difficult for students than some teachers realize. Do I refer to you like my teachers or professors at school? Do I call you by your first name? Take the guess-work out of it by making it clear up front.

The Information Gathering Stage

I always welcome new students to come into the studio and have a seat. This is the part where you can put parents at ease: “Feel free to come in and talk with us. For lessons, you’re always welcome to stay or not. It’s totally up to you and your child.” The Meet & Greet is as much for the parents as it is for the students if you’re working with students younger than college age.

Hit the perfect stride with new students with a “Meet & Greet!”Tweet: Hit the perfect stride with new students with a

The first half of the Meet & Greet is about gathering information. First, I set my timer (I use a timer for every lesson and meeting) and say something to the effect of, “I always set my timer otherwise I’ll just want to keep going and going!” I grab my notebook and sit down with the parent and the student and say, “Miss Violet, tell me about yourself. Where do you go to school? What grade are you in? What do you like to do? What do you like to read?” I pepper a bunch of questions like that up front so you can get to their basic information as well as their major interest areas really quickly and they don’t feel uncomfortable or unsure about where to start. I usually follow-up with, “Do you play any other instruments? Have you taken lessons before?” You want to ascertain their musical knowledge and understanding before you jump into lesson material so you can hit the perfect stride without over/under-whelming them.

Always ask your students, “Will you tell me about your musical goals?”Tweet: Ask your new students,

My final question for them is always, “Will you tell me about your musical goals? What makes you want to take lessons?” What is the problem that you can solve for this student? They are telling you, with their answer to this question, how you can change their world. I never take that lightly. I may have my own goals regarding technique and musicianship, but if their main goals is “I want to get into show choir” I better be addressing that and using that as the frame for my teaching to get them truly invested in lessons.

How Do Lessons Work?

The Meet & Greet is all about getting a sense for how lessons work. Before we jump into making sound, I always give the outline for both parents and students. For my voice lessons, I say, “I run lessons in three parts. We always start with technique exercises. Then, we will move into sight-reading and rhythm clapping. Finally, we’ll round things out with repertoire.” Depending on the non-verbal communication I perceive from the student or parent based on any of the aforementioned parts, I’ll dive into giving a bit more information about the reasons behind why that’s part of my pedagogy.

Before we jump into making sound, I always give a lesson outline.Tweet: Before we jump into making sound, I always give a lesson outline. #SybariticSinger | http://ctt.ec/ro14a+

I always finish this section for voice lessons with the phrase, “there are a million ways to talk about the voice. I want to make sure that I’m always explaining it in the way that works best for you, Miss Violet, and your learning style. If I’m ever saying anything that makes you feel confused, please stop me and say, ‘Miss Megan, I’m not sure I know what you mean. Can we talk about it in a different way?'” This reinforces that I’m here to help them toward their goals, dialed into their learning styles, I know their name, they know how to refer to me, they know they’re allowed to “not get it”, and how to ask for clarification. It’s one short sentence but provides the student a lot of information even if subconsciously.

Let’s Get Started!

Whew! That seems like a lot already. But, we’re talking about economy of presentation. It is my goal to get those concepts into as few sentences as possible as much as I can about this potential student. The student may not realize what I’m doing, the parents often do, but they get the feeling that I am interested in them, their progress, and achieving their goals.

With the remaining time during the Meet & Greet we jump into technique exercises. I always start with the same exercise ritual, more on that later. But, this tells me one of the handful of introductory concepts I would like to address with a potential new student during the M&G. I pick the one that will make the biggest impact and have the most take-aways for the student in the short time together. That way, they get in the car with their parents after the meeting and they are so excited about what they just learned that they cannot wait to start regular lessons. The Free 15 Minute & Greet is the “trailer” for your studio. What will make them say, “I need more of this in my life?”

The Free 15 Minute & Greet is the “trailer” for your studio.Tweet: The Free 15 Minute & Greet is the

Any Questions?

If I have written my studio policies effectively and had a good M&G, then the response to “Do you have any questions?” is most often “When can we start?” That is the ideal situation. However, sometimes parents and students will have other questions. You’ll want to leave a little time at the end for any of those questions. Since I set my timer for the 15 minute duration of the M&G, that usually allows for some talking time after it goes off before my next lesson is walking in the door. Even if their questions are explicitly written out in the policies, do not mention that. Just respond positively and demonstrate that you are always open to their questions.

Fifteen minutes from “Hello” to “When can we start?”Tweet: Fifteen minutes from

The Departure

It’s surprising, really, how terrible people can be at the termination of communications like telephone calls or meetings. No one wants to look like they’re rushing out the door but they don’t know how to leave either. Be the leader in this situation. After your meeting is over and you’ve answered questions, take the initiative by saying, “This has been wonderful. Let me walk you to the door.” You have two goals: leave them feeling positively about your meeting and tell them the next step of the process. Try, “Thank you so much for taking time out of your family schedule to meet today. I’m looking forward to seeing Miss Violet in the studio more often. I’ll send you the open lesson times.” You’re not forcing them to sign up on the spot but you’re leading them to get started as soon as possible.

How Do You Meet & Greet?

I’m sure by now you realize how passionate I am about the importance of the 15 Minute Meet & Greet. I hope that this little tip will help you revolutionize your studio and help you get more students on your roster. Have any good initial lesson tips to share? I always love hearing your thoughts. I learn so much from our exchange of ideas. It’s one of my favorite aspects of writing these types of series. Please feel free to comment below or share on your preferred social media platform. You know I’m on all of them!


Looking to Revolutionize Your Teaching Studio?

There will be more exclusive content sent via email list only all month long covering things like:

  • What to charge? (Just sent this one yesterday! Want access? Sign up and get archive access!)
  • How to release a student from your studio.
  • Asking for feedback.
  • Planners for voice teachers and for students.

Sign up now and make sure to select the Sybaritic Singer news option!

Revolutionize Your Studio: How to Set Your Lesson Rates

May 12, 2016

Did you know that there is Sybaritic Singer content that is exclusive to the email list I affectionately call, “The Sybaritic Faithful”? Well, there is. If you are on the list, then you would have already received today’s post in your inbox. If not, you may want to take a moment to sign up or update your settings now! Click on the image below to go to the sign-up form. After you enter your information, make sure to select “Sybaritic Singer” under the “Pick Your News!” heading.

How to Set Your Lesson Rates

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