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In-studio voice lessons
Lehigh Valley | Easton, Pennsylvania

Phillipsburg, NJ, Easton, Nazareth, Bethlehem, Allentown, Emmaus, Hellertown, Quakertown, and the nearby area.
WHEREVER YOU ARE: IF YOU COME TO US, WE WILL TEACH YOU.

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Monday - Friday 4 - 8 pm
By Appointment only. PLEASE CHECK AVAILABILITY

"One needs a voice teacher to learn singing technique, to solidify his singing foundation, and to add more delicate techniques as he continues his progress. Strengthening, training, and stamina-building are taught and drilled in the voice lessons. A voice teacher suggests and assigns repertoire; first, as a learning tool, later as a showcase to be added to the student's own portfolio."

If you are a choir singer

Pradichaya Poonyarit Voice Studio | Lehigh Valley, Easton, PA

If you are a choir singer it is important to take voice lessons. Here is why.

When you are in a choir, you are one voice that serves as a part of a group. You work as a team, and there is no ONE person whose voice will shine more than others. You sing everything together as a whole group. The purpose is to be together as one. Under the conductor's baton, you sing loudly and softly together, move the tempo together, end phrases together, and so on. There is no one moment when you should be heard as one individual voice.

That being said, it is very difficult to sing in a choir. Singing choir music demands a lot of body work and proper approximation of the throat. A lot of singers experience vocal fatigue, dryness, and sore throats during rehearsal periods due to the nature of rehearsals, which often call for repetition in order to achieve the goal of blending and sounding good as a whole; all the while singing in unusual areas in the singers' voice ranges.

Choir parts are usually written lower than solo pieces. Experienced solo singers can tell you that singing soprano, alto, bass, and even tenor parts in a choir put their voices (at least) a 2nd or a 3rd lower than where they sing in their normal ranges. This makes it difficult when, every once in a while, one has to take a leap to sing a higher note- which is a not-so high note in standard repertoire, but seems high in a choir part because of the general low range of the music.

Untrained- and somewhat trained- singers may experience a feeling of comfort when singing their parts earlier in a rehearsal; however, the longer they sing- and especially when their written parts call for them to sing higher or lower- is when trouble begins. Since their voices are not "lined-up" the same way as trained voices, they find it difficult to recognize there has to be a connection between the body and the throat, and therefore they struggle. This makes phrasing inconsistent and creates rough sounds. Voices may stick out, and may sound flat, because pressure has been applied to the throat where the support from the body should have been.

Add to this the Western standard of “4-measures, one breath,” and one can have real intonation problems- especially in a slow piece.

Even trained voices can have troubles producing what is needed for the sound of the choir as a group. For the most part, this is a tessitura- or the voicing-in-the-wrong-place- kind of trouble. When the range is not natural to the singer, it is very important to stay firm with both the support and the throat. However, one has to be mindful of the dynamic markings. A singer should not be a martyr and sing through the whole phrase (or, the 4-measure one breath rule -in some cases). Trained singers hate breath staggering, but when singing choir music find it difficult to avoid it. Instead of staggering the breaths, a good singer should drop one note and use that moment to get in a really good healthy breath under her so that she will sing consistently from pianissimo to fortissimo- and with strength and good sound- without sacrificing intonation due to the lack of breath support.

"Good sound" blends better than "bad sound." If good sound comes from the breath under the body which directly goes to firm the throat, then singers should go for it. "Bad sound," on the opposite end, is a result of making a sound without a plan: no good breath, because the point of the breath is not decisive, and no breath-no support-no firm throat resulting in "no line." That's bad sound.

Singing in choir can be a lot of fun, and it can be amazing when it is done right. However, this requires more than just a single, weekly rehearsal. A good rehearsal is where "prepared" singers go and put the work in together, but it is not a place where the singers go and have the conductor teach them notes and rhythm, or to learn how to sing along. I strongly encourage singers to find a good voice teacher and to take voice lessons and build strength in their bodies and the throats. They need training just as much as anyone who trains when they take on any sport. If one does this, he will maximize the benefits of singing in choir, including the social aspect of it. I can promise you that.

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