Fabrice Yde
I use a method which is based on3 main principles:
-FUN : singing should above all be a pleasure
-AUDACITY : being bold means expanding your comfort zone
-BENEVOLENCE: everything that is experienced must help one grow
These three principles constitute the framework within which the courses that I offer take place. Whether individual, group, face-to-face or online lessons, for children or adults, you will always be sure to leave with enjoyed singing, having learned something and being valued.
How to get there ?
Free your Voice, free your Life
Lara B.
When you explain things to me, I understand them.
Harmonizing singing teaching with learning styles: an innovative method
In teaching singing as I practice it, it is essential for me to ensure that the guidelines and instructions relating to vocal techniques are applied correctly and accurately. Indeed, poor understanding or incorrect application can lead to unwanted “constrictions” in the throat, swelling in the vocal cords and therefore discomfort which can cause vocal problems. I indicate further: singing should not hurt. However, we all have different learning profiles with certain styles more dominant than others. So how can we ensure that each singer, with their distinct style, can master essential vocal techniques?
Learning styles: a range of possibilities
Traditionally, learning styles are classified into several categories : visual, auditory, logical, kinesthetic and creative. Each category represents a unique world of perception and interaction with the learning material.
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Visuals: These students learn better through images, diagrams and visual representations. In singing lessons, this can result in the use of annotated scores, diagrams illustrating vocal technique, or even videos.
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Hearing : Auditory learners absorb information effectively by listening. In this context, emphasis is placed on the active listening to pieces, working on tonal recognition and vocal repetition exercises.
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Logics: Those who are logically inclined prefer structured explanations and reasoning. Teaching for these students often involves break down a piece into its fundamental elements and explain music theory or vocal techniques in a systematic way.
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Kinesthetics: Kinesthetic learners benefit from a hands-on approach. This may include physical exercises to understand posture and breathing, as well as interactive methods to physically feel the flow and modulation of the voice.
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Creatives: Finally, creative students thrive when they can explore and experiment. For them, lessons can include activities like vocal improvisation, composing small pieces or experimenting with different musical styles, as well as the use of images, metaphors or stories.
Adaptation: the key to success
Teaching singing is not limited to transmitting knowledge; It's about a dynamic interaction between coach and singer. Recognizing and adapting to individual learning styles not only allows for a better understanding of vocal techniques, but also a more enriching and personalized learning experience. Ultimately, this approach leads to holistic development of vocal skills, where each learner finds their voice in the deepest sense of the word.
Denis B.
I found a craftsman of music a goldsmith of learning
My toolbox: the “Complete Vocal Technique”
I had the chance to receive training based on Complete Vocal Technique developed by Cathrine Sadolin.
This technique is based on a scientific observation of the different physical parameters that make it possible to emit a sound with your voice. Whatever the musical style (pop, rock, R'n'B, ethnic, etc.) or sound produced by the voice (spoken voice), the way of producing it is broken down and explained in detail by this method.
Consequently, it gives a set of very precise instructions which allows you to sing whatever you want by following a fundamental principle: singing shouldn't hurt!
Whether in classical singing, rock or otherwise, the singer who performs a piece must be able to do it without creating unnecessary stress and tension on the throat and vocal cords.
I therefore apply this fundamental principle in each of my teachings, whatever the experience of the singer I accompany.
