Imagine being able to sing both high notes and low notes
with clarity, and moving between them without a noticeable
break between two very different sounding registers.
Or being able to sing without strain for long periods of
time without getting hoarse and losing the ability to sing
high notes. Imagine taking singing lessons and not
being morphed into an opera sounding singer. Imagine
sounding like you, only better.
TEACHING PHILOSOPHY:
Nearly all the other voice teachers in this valley teach in
a classical style. I teach contemporary. There
is a lot of overlap between classical and contemporary vocal
instruction if both are both taught properly. The
basic principles of singing are the same no matter what is
being sung: proper breathing and support, elimination of
strain and tension, muscle isolation, vowel placement,
intonation, etc.
However, there are significant differences between classical
and contemporary. Classical (i.e. opera) technique was
developed over the last three centuries for one purpose: to
project the sound to the back of the hall, so that the voice
can be heard over the top of an entire orchestra, without
microphones. Contemporary is based on the idea of a
more natural sound that can be amplified with a microphone
and PA system. This is a significant difference with
huge implications. Contemporary is not dependent on
huge amounts of diaphragm support (some support, yes; in
fact, quite a bit -- but not as much as classical).
Nor does it require jaw, tongue, and larynx placement that
is designed to make the entire body into a megaphone.
It does not utilize vowels are wide open to the point where
they all sound so similar that most listeners need subtitles
in order to understand the lyrics (even when the song is
sung in English). To be successful in contemporary,
tone must be mainstream, consonants must be used
differently, vowels must be understandable, and vibrato must
be controlled and much narrower in pitch width modulation
than with classical. In rock, there must also be an
element of distortion or graininess to the tone. In
pop, the mix voice with a smooth transition from chest to
head is critical. In country, vowel placement and
diphthongs become part of the sound.
If you want to sing opera, don't come to me. If you
want to sing pop, rock, country, folk, R&B, big band,
jazz, musical theater, or gospel, I can help you.
METHOD:
I teach using principles and techniques taken from the
"MIX" singing method and the "Speech Level Singing"
method. These amazing techniques have been used by
many famous artists, from Michael Jackson to David
Archuleta.
The MIX and the Speech Level Singing methods are quite
different from classical voice lessons. Instead of
training you to force your voice with enormous diaphragm
support and unnatural open-throat positions, they train you
to release restrictions on your unique instrument, to
unleash your huge untapped singing potential. Freeing
the larynx of tension allows the voice to stay connected and
consistent through passages of low and high notes. I
actually teach you how to sing high notes without going into
falsetto or "head voice", with no strain, and also how to
slip into falsetto gradually, without a noticeable "break"
point.
My methods make practicing fun. My students do not
spend a lot of time singing scales or suffering through
breathing and posture exercises. I won't tell you to
"lift the soft palate", or sing "in the mask", or "smile" on
high notes, and you won't end up with an uncontrollable
vibrato or with jaw problems. You won't have to choose
between a "chest voice" and a "head voice" that sound
different from each other, and being embarrassed by the
break when switching between the two. No more strain,
trying to belt out the sound on high notes to avoid breaking
into falsetto. Getting rid of the break boosts
confidence and helps each student to reach his or her
potential as a singer. Most importantly, I won't teach
you to sound like every other opera-trained singer.
You'll be able to keep your own unique, natural voice.
RESULTS:
You'll develop a wider and smoother range, better pitch
accuracy, and a richer, more natural tone. You will
expand your vocal range and be able to sing high notes with
less effort and without breaking. You'll eliminate
discomfort, physical pain, vocal fatigue, and vocal cord
damage.
You will see improvement whether you're a beginner or even
if you've already had years of voice lessons or professional
singing experience. Often, the improvement is quite
dramatic and rapid. One student told me, "When I went
home last weekend my mother said I have made more progress
in two months with you than I did in two years with my
previous teacher."
PROBLEMS WITH CLASSICAL VOCAL INSTRUCTION:
I am not trying to "pick a fight" with classical vocal
teachers. I have no problem with classical vocal
instruction... IF you want to sound like an opera
singer. However, classical training can cause problems
for contemporary singers. For example, on Season 8 of
The Voice, there was a contestant named India Carney, who
arguably had the best singing instrument of any contestant
that season. But she sounded too classical to most
ears to win. With Christina Aguilara's coaching, she
became better as the season went on, but she was constantly
fighting with her classical training, and she ended up in
5th place in the competition.
A young woman of my acquaintance has the most beautiful
voice I've ever heard in my life. Her tone is like
velvet, and her inflections and musical interpretations are
reminiscent of the very best singers of the 1940s.
Upon graduation from high school, she went to the university
and majored in vocal performance. She was so good that
in her first semester as a freshman, she was invited to be a
member of the most exclusive choral group, the Chamber
Singers. (Normally, only upper classmen and masters'
students are allowed into that group.) But she soon
found that she didn't fit into the vocal performance major
culture. After four years of frustration caused by the
opera-only philosophy being forced down her throat and
refusing to change her voice to please her instructors, she
changed her major to economics. She later told me, "I
didn't want to be an opera singer."
Several decades ago, I met a young man who was in the cast
of the annual Glenn Miller Show at Utah State
University. This was a fantastic production that
surpassed in quality anything BYU did, and was almost Las
Vegas level. It was a feather in the cap of USU.
People came from all over the western United States each
year to attend it. And some of the most talented
vocalists and dancers in Utah were attracted to USU because
of the show and got generous scholarships to be in the
cast. It was a cash cow for USU, as many wealthy
donors gave a lot of money to USU because they loved the
show so much. But some of the vocal music performance
professors in the Department of Music didn't like the
show. They made life very hard for the young man I
met, and told him he was singing "wrong" and gave him bad
grades because of it. When I attended the show and saw
this young man perform, he was fantastic!!! He sounded
like a cross between Michael Bublé and Frank Sinatra.
Those professors hated the Glenn Miller show (probably
because they were jealous that 10 times more people went to
it than to any of their boring concerts!) and after years of
complaining and lobbying, they finally succeeded in talking
the president of the university into the worst decision in
the history of USU: he shut the Glenn Miller show
down. Those egotistical professors thought that
contemporary singing wasn't just a difference in style, it
was heresy.
Sometimes, classical vocal instruction can cause physical
damage. Some years ago, I knew another young woman
with a beautiful voice. When she was in high school,
whenever I heard her sing in church, it was a delight to
hear her. When she graduated, she also went to the
university and majored in vocal performance. Unlike
the other young woman, she did what her vocal teachers told
her to do. The next time I heard her sing a couple of
years later, I didn't recognize her voice. Her vowels
were not understandable. Her vibrato was a mile
wide. Her voice was louder, but it was no longer her
voice. The sweet and beautiful tone was gone. I
also did not recognize her face. Her mouth was open so
wide when she was singing that a truck could have driven
through. A year later, I heard from her mother that
she had developed jaw problems and could barely open her
mouth enough to speak and eat. Needless to say, she
did not end up with a successful career in singing, nor did
she even end up with a voice that people wanted to
hear. Her voice teacher had destroyed not only her
voice, but also her jaw joints.
Obviously, not all classically trained singers end up with
jaw problems. But most of them do end up with a strong
vibrato, hard to understand vowels, and a stiff musical
demeanor that fails to entertain because it does not connect
emotionally to today's audiences. With a few obvious
and notable exceptions, very few people who are classically
trained successfully make the transition to
contemporary. Too many classical teachers who have
been trained by classical teachers who have been trained by
other classical teachers do not possess the skill set and
knowledge; worse, they don't even know that they don't have
it; and worst of all, they don't care.
STUDENT QUALIFICATIONS:
I accept students of all levels of singing experience,
and all ages from high school to senior citizens. I
generally don't teach girls younger than 14 or boys younger
than 16, but I do make exceptions. (For example, I
started teaching Kenadi Dodds when she was only 11 years
old. As you may know, Kenadi became nationally known
as a finalist on America's Got Talent at age 15.)
However, in my experience, most pre-teen and early teen
children are better served by developing their musical
knowledge and skills on other instruments. I
especially recommend piano, but guitar is also a good
pre-vocal instrument. Orchestra and band instruments
are also good. Any instrument except percussion and
drums will help the child to learn the basics of melody and
harmony, and how to hear pitch. Children who love to
sing should sing to their hearts' content at every
opportunity. Singing along with songs on the radio in
your home is good for them. Singing in school choirs
is excellent. Joining the church choir is also
good. The Cache Children's Choir is a fun organization
that provides valuable opportunities to sing in
public. But IMHO, for most kids, formal private vocal
lessons are better put off until they have their adult
voices.
RECOMMENDED APP:
I
recommend that all students purchase a music player
app for their phones that allows them to slow down
and/or to change the pitch of recorded music. Slowing
down the music is very helpful to guitar and piano
students who are learning to play by ear, and changing
the pitch is very helpful to vocal students.
There are many apps that do this, but there are only
two that I recommend. Both of them have the
limitation that they cannot play music off of
Youtube. Both of them can change speed, change
pitch, and loop a certain section of the song over
and over. Both were
originally $20 and more recently have been priced at
$10-15.
Transcribe + Slow Down Music by Dynamic App Design LLC
This one only works on iPhone, not Android. It
is harder to set up but easier to use than the other
app. It has a great user interface. I had
trouble getting my songs into the app but young people
are better at that stuff than I am. I don’t know
if it works with Apple Music cloud downloads.
The sound quality when slowed down is not quite as
high as the other app, but most students like this app
better. There is no free trial version.
The Amazing Slow Downer by Roni Music
This app has a version for both iPhone and
Android. It is easier to set up but the user
interface is not as nice. It works well with
Apple Music. The sound quality when slowed down
is very high. If you get this app, beware that
if you get the free trial version, you can’t just
simply click a button and pay to turn on the full
version. The trial version (green icon) is a
completely separate app from the full version (blue
icon), so you have to delete the trial app and
download the full app, and all your setup and all the
songs you imported are lost and you have to start over
from scratch.
RECOMMENDED
EQUIPMENT:
Smartphone
speakers are not suitable for music. They do not provide
sufficient volume nor frequency
response to hear what vocal students
need to hear. They need
high fidelity open ear headphones, or high
quality ear buds, or a big bluetooth speaker. If
you go for a bluetooth speaker, make sure it is one
with a full spectrum frequency response, including
plenty of bass. If you go for headphones, avoid
the closed ear variety that blocks out other sounds
(they need to hear their own voice in addition to the
recorded music.)
INSTRUCTOR:
Dr. Irv
Nelson has 40 years of vocal performance experience,
ranging from choral to stage musicals to folk to pop to
rock & roll... you name it; I have sung it. I
am a tenor vocalist who has performed in many
choirs, as well as on stage as an actor. I
am also a choral conductor. I have sung in
bands for decades, and am currently a member of The Fender
Benders classic rock band, Relic
Acoustic Band, and Cristina & Irv
vocal/piano duo. I also fill in with many
other artists and groups on occasion. I am a
composer and arranger, whose pieces have received
widespread acclaim and have been performed by
elite choirs ranging from the Utah State
University's Chamber Singers in Logan, Utah to
Real Colegio Escuelas Pias' Coral Veles E Vents in
Gandia, Spain to a chamber choir named Duodecimo
in Manchester, UK, as well as many other groups
all over the world (Indonesia, New York City,
India, Canada, etc.) My hymn compositions
and arrangements have received widespread acclaim
and are available for free download at IrvNelsonMusic.com.
I have studied music theory, vocal pedagogy, and
choral conducting, as well as educational
psychology, at the university level. I hold
a Ph.D. and have many years of teaching experience
in a variety of settings. I have published
peer-reviewed, academic articles on how students
learn and how to structure the learning
environment to help them learn better. I
love music and I love teaching, and I couldn't
tell you which of the two is my greatest talent or
which I love more.
VOCAL Q & A
SELECTING A MICROPHONE
SELECTING A PA SYSTEM
UNDERSTANDING GUITAR AMPLIFIERS AND PA SYSTEMS:
Watts, Volts, Ohms, Amps, &
Volume made easy
CONTACT ME
IRV NELSON MUSIC
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