How do you find a good singing teacher? Options

[MKP]

My old singing teacher had a piano diploma (as well as a higher singing diploma, and diploma in teaching singing) and it didn't really register to me at the time how lucky I was in that she could just play the piano on demand. I think being able to accompany would come high on my list were I looking for a singing teacher now.

Qualifications are nice but unnecessary - if I wanted to take exams I'd be asking about past results, particularly at the higher grades (as I've got grade 5), and an ability to accompany to some degree in the lessons - even if it was not good enough for exam purposes (I accompany my own pupils in flute lessons but not exams).

Hi,
I see things quite differently....There are a number of different kinds of professional people who teach singing.
1) A vocal couch- a person who plays with students and knows a certain amount about the voice.
2) A singing teacher- a vocal specialist who may or may not play themselves.

The last thing that I want in a singing teacher is an ok ability to play along with students. I think it is much better to spend 75% of the time dealing with the instrument your learning ( the voice) and then, often through your teachers connections, go to work with a professional pianist, who's playing can inspire you to do better and who can bring out elements of the music an O.K. accompanist can't. I also believe that the last thing I want my singing teacher to do while I am singing, is to be playing themselves. I expect their focus to be on my playing (all singers should consider themselves musicians and the voice their instrument). If you played the violin, you wouldn't want your teacher to be busy playing themselves when you are trying to learn a piece and need their help!!
Also, ALOT of vocal faults and mistakes can be hidden when an accompanist is brought in TOO EARLY.
Also qualifications are essential and are proof that the teacher has an understanding of vocal pedagogy.
SO MUCH DAMAGE has been done (sometimes permanently) and continues to be done by those who dont really understand what them are doing. You must be in command of your instrument BEFORE other musicians are brought in. And that means a ###### of alot of work before backing tracks or professional accompanists are brought in.

[Cyrilla]

A vocal couch

I rather like the sound of one of these.

(IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif)

[Maria]

A vocal couch

I rather like the sound of one of these.

(IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif)

(IMG:style_emoticons/default/laugh.gif) Me too! (IMG:style_emoticons/default/biggrin.gif)

MKP, I agree with you that I'd prefer my teacher not to accompany on the whole - I usually use backing tracks - but I'm interested in your idea that you shouldn't bring any accompaniment in too early. Do you mean they'd be singing without any accompaniment at all in the early stages of lessons? If so, at what point would you bring it in?

[MKP]

A vocal couch

I rather like the sound of one of these.

(IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif) (IMG:style_emoticons/default/smile.gif)

(IMG:style_emoticons/default/laugh.gif) Me too! (IMG:style_emoticons/default/biggrin.gif)

MKP, I agree with you that I'd prefer my teacher not to accompany on the whole - I usually use backing tracks - but I'm interested in your idea that you shouldn't bring any accompaniment in too early. Do you mean they'd be singing without any accompaniment at all in the early stages of lessons? If so, at what point would you bring it in?

Hi,
I think it really depends on the student, but all in all I dont like to see an accompanist or backing track introduced before the aria (or particular section of study) can be sung through (without significant vocal faults). A friend of mine, who is an accomplished advanced singer told me that when she was studying (in the early days), her teacher ust to always accompany, and every wrong note, dynamic marking, tempo was putting her off. It also meant that she was not given the time to study the piano line, literally sit down with a recording of it or just the sheet music), to read through and learn the music and notice any small details that could be incorporated or influence her interpretation.
I guess it really depends on standards. Many people are happy making an ok job of a piece and belting it out with some form of backing as soon as possible......but for anyone interesting in professional singing....details, details, details. Of course, as a singer becomes more advanced things move much quicker as many vocal faults should be ironed out by then, and also the musical ear has grown and can respond much quicker to other instruments, I am mostly speaking about young singers rushing to hear the finished product and those teachers who are not giving students time to breathe in all the musical elements around them......I see more and more of it these days...There are too many singers and too few "Singing musicians" coming through....just my take on it