This position paper is to prepare you for the study of voice in my studio. You have permission to share it, as necessary.

The study of singing is a process and it takes time. The process begins with a person's desire to improve upon nature. Nature provides the instrument: the body. A "natural" singer possesses a certain physical coordination and strength exactly like a "natural" athlete. The similarities between a professional athlete's training and a world-class singer's training are astounding.

My teaching approach is physiologically based, followed by artistic decisions when the instrument is built. It is very much, process-oriented. I know the sound steps to anticipate and I know where each will lead. There are many "building-tone" exercises which are not true "singing tones". They are designed to lengthen or widen the vocal tract. There are various mouth positions, tongue exercises, isometrics, and stretches to help position the larynx and stretch muscles within the larynx.

Unfortunately, many people do not understand or know the process of building a voice. It is common for and to be expected that your voice will grow, open, have ring, be loud, and sometimes, be unstable for a while. It will not "blend" with other voices that are singing a weak support basis. Your body physiology will change. Rib cages will expand, bra sizes will change, necks will grow, waistlines will indent. Your backs will hurt because of the dramatic isometric singing you'll do.

Choir singing is wonderful for ear work, team work, phrasing work, some diction learning, and interpretive learning. However, no great voice has ever attributed his/her learning of HOW to sing from choir singing. Jerome Hines who has had a fabulous world-wide career with over 50 years at the Met joined school choir at 12 years of age. He already "had" a voice. The day after his first concert, the teacher complimented the class. She said, "The concert last night was very good except for you" and pointed directly at him. "You stuck out". He quit singing until he was 18 and a chemistry major in college.

Developed voices may cause problems for a choir director, but most directors simply bring the rest of the choir up to the level of the strong singers. Those problems cannot be your problems and you must not let them impede your progress. You must be strong and let your throat be your guide. You'll know what feels "light in the throat" and not be light, thin singing. Remember that correct singing has very little feel to it. I have taught many of the area's school choir directors who did not get this information in college. I currently have 4 in my studio. They now understand what I do and have observed my teaching of others. They are very excited by what they are hearing! They no longer shut off voices in effort to blend. My teacher says, "It's like giving a singer the keys to a brand-new, red Ferrari and saying, 'Now, you may only drive it 30 miles per hour'."