Just as Auguste Gusteau in Ratatouille believed that “Anyone can cook,” I believe that anyone can sing.

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.

Consistency is crucial for progress in any kind of lesson, especially when it comes to singing. That's why I strongly suggest weekly voice lessons—they provide the high consistency and accountability needed for real improvement.

I also offer voice consultations, where I provide vocal exercises and suggest songs to work on if you don't have repertoire already. However, truly grasping some vocal concepts often requires consistent, external feedback from a teacher or another trained ear. Learning a skill like singing takes significant time and discernment to achieve noticeable results, so I strongly encourage students to commit to regular lessons.

My teaching philosophy centers on nurturing the unique potential within every singer, regardless of age or experience. I use a methodical and developmentally appropriate approach that considers the physical, emotional, and mental well-being of the whole individual. Everything I stand for as a voice teacher is the culmination of working with incredible mentors and my own extensive experience as both a singer and an educator.

Teaching the Whole Person

First and foremost, I teach the person before teaching the voice. I believe everyone deserves dignity and respect, simply by being alive. This approach has been invaluable in my studio and in my life, benefiting both my students and me.

The Foundation of a Free Voice

When it comes to vocal technique, regardless of genre, the free flow of air and an undisturbed larynx (throat/voice box) are paramount to beautiful sound. From this foundation, a singer can build a sound with freedom and flexibility that spans languages and genres, lasting a lifetime.

Of course, no two people are exactly alike, so obstacles will vary from student to student. These might include issues with chord closure, nasality, registration trouble (unevenness in different parts of the voice), inaccurate vowel choice or placement, unnecessary weightiness in the voice, and much more. My goal as a teacher is to help each student achieve ease in sound production. We'll explore methods to train the voice to function optimally without relying on intrusive or obstructive habits.

The Art of Communication

As singers, our role is to communicate through the creation of musical sound and the conveying of words. As my mentor Steve Smith once told me, world-class singing is "a pouring out of ourselves onto the altar for others." This idea has been integral to my journey. Through performance, practice, and even outside of singing, there's a constant renewal of inspiration. My goal is to pass on this mission of generosity to my students.

Discipline and Discernment

I never claim to have a magic solution for completely “fixing” a student's singing overnight (I am wary of anybody who does). However, there wonderfully researched tools and methods that, when combined with consistency, significantly improve vocal production. We are creatures of habit, and new information takes time and practice to integrate into our bodies. Many factors contribute to how quickly and well new information becomes part of a singer's habitual function, but perhaps the primary factor is disciplined practice. This means striving for optimal function and improvement with ease every step of the way. It takes an incredible amount of discipline to accomplish this mindful and careful method of practice, but I emphasize how critical it is for true improvement.

Ultimately, my job as a voice teacher is to teach students how to eventually self-diagnose and prescribe solutions to their own singing. I do my best to be straightforward, explaining the reasoning behind the changes we make and how to leverage that information to create consistent improvement.

Voice Lessons for Younger Students

For our younger singers, I typically begin lessons once they've developed reading skills, generally around 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, 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 generally considered beautiful.

• 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 the cool things we can do with our voice!

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.

Note: Starting July 21st 2025, lessons will be held at my new studio in Upper Kirby.

Please see rates and studio policies to see travel fee.

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