Tuesday, December 25, 2012

Vocal Recital 2012: Love You Didn't Do Right By Me

This song from White Christmas is just a dream to perform. I connect with it and will be singing it for years to come. Rosemary Clooney sings it in the film and it is hands down my favorite part. Who can forget that voice and that amazing black dress and those male dancers all in black with "attitude"? I know I have big shoes to fill, but it is a song that needs to be carried onward. And I will gladly be a part of that movement. Merry Christmas!!



Monday, December 24, 2012

Vocal Recital 2012: Santa Baby

In November I was able to do my yearly recital at the Jubilee of Trees down in St. George, UT. It was a fun experience. I felt like a rock star on the big stage! Here is one of my favorite selections from that afternoon, Santa Baby...Enjoy!!


Saturday, December 1, 2012

Songs I Love to Sing: Belle

'Tis the Season! I did this production of Beauty and the Beast six years ago during the Christmas Holidays. This play is loved by many. I knew in portraying Belle I had some big shoes to fill and that there were high expectations from the audience. Fortunately we had an exceptionally talented cast and crew and we didn't seem to disappoint once the show started and we could feel the audience right there with us. This was hands down one of my favorite numbers in the show. I always stood behind the door waiting with anticipation and delight to come out on stage. Making that entrance was "magical", no question.

This production was significant for me because it was when I had vocal cord damage and learned that I had acid reflux. The director introduced me to Speech Level Singing and I have been a disciple of this method ever since. As I listen to this performance I can hear how much stronger my voice is now. It makes me happy to know that I have improved instead of digressed, or worse, lost my voice all together. This production also was double cast. Usually I am not a fan of double casting, but being cast with Jillian Brown Durham was sheer delight from beginning to end. I was so grateful for her friendship, professionalism and support. It also helped tremendously to have another person in the role at this time of my poor vocal health. I knew that if I wasn't able to do the show she was right there to step in. It helped with my sense of confidence and security.

Click the word "BELLE" below and enjoy the song!

BELLE


Monday, November 12, 2012

Gearing Up for the Recital

I always feel a sense of excitement as I get into the final stretch before a recital. Last minute changes to the song line up, doubting if I can even sing, feeling triumphant as I finally have a break through and know what vowel substitution needs to be made on that word and note to make it sound richer and fuller, butterflies in my stomach and the prayers that the microphone will work well and the sound equipment won't malfunction. It is a busy, crazy, nerve wracking time! 

I perform this coming Friday for my family and friends in St.George at the Jubilee of Trees. Christmas songs, and some Broadway Tunes as well as Pop Songs. It should be fun, it always is. This year I will be singing with my sisters, Franci and Janell. Roger will join me on a song and Ivy will sing a couple tunes. Franci will also accompany me on one of the songs. It is a real family affair! I will post video so don't worry about that. I have been doing these recitals for three years now and they have been such a highlight of my year. It forces me to work up songs to a performance level and expand my vocal technique and repertoire. And, my family loves it...I can't deny them the experience.

There truly is nothing like a family that supports you like mine does. Since I can remember that have supported and loved what I do in the arts. I have never felt from them any jealousy or animosity, just love and support. It sustains me when I doubt myself and I feel so much gratitude for them. I guess that is why these recitals have that extra layer of goodness about them. I am performing to a crowd that has given me so much. There is a lot of love in the room and as a result I usually do some of my best work vocally. I can't wait!! 

Thursday, November 1, 2012

Songs I Love to Sing: Maybe This Time

Maybe This Time is one of my favorite songs to perform. It has such a drive to it and a tangible dramatic quality. I feel it fits perfectly into my repertoire. Some might see it as a depressing song, but I have always seen it as a song of 'hope' and try to sing it with that conviction. I have been told that I sing it too "pretty", and I can agree that it does need a certain amount of grit and I have been toying with that vocally since those critiques have been made. But regardless, I love singing this song and I will keep singing it for years to come. Enjoy!


Friday, October 19, 2012

Songs I Love To Sing: All I Want For Christmas

I am gearing up for a couple of recitals in November and December and Christmas Songs are on my brain! Last year Ivy conveniently lost her two front teeth just in time for our Christmas Party at church and she learned and sang this sweet little song. I love how naturally subtle she is as a performer. And the ukulele skills you hear as her accompaniment is Roger playing. Have fun viewing this one and Happy Friday!!

Thursday, October 11, 2012

Songs I Love To Sing: You Can't Get a Man With a Gun

This song is a blast from the past! I did this production of Annie Get Your Gun the summer of 2009. The challenge with songs from this show are the amount of verses that are meant to be sung over and over. Our director cut some verses to ease the monotony, but most of the songs were left in tact. I am always one for finding levels and variety in a performance so I took the song apart and with each verse I endowed it with its' own theme or mini vinette. The song had to progress as a whole however so I made sure that the song in its' entirety had an overall arc. If I kept it honest I had the audience in the palm of my hand. At this point of my vocal journey I was still struggling with the "crackle" in my voice. You will hear it now and again. It made me pretty insecure on stage and I had to fight tremendous nerves. Luckily my co-star was (is) my vocal coach so I could consult with him backstage if I needed. He set up a specific vocal warm up that I would do each night before the show that best suited this role. How convenient is that?! This song was one of my favorites to perform in the show.

Tuesday, October 2, 2012

Songs I Love to Sing: You and I

As part of my "Songs I Love to Sing" series I decided to post this gem. My family and I learned Ingrid Michaelson's, 'You and I'. Roger learned the ukulele chords and we got to practice together. It was quite the bonding experience for us. It made us want to start a family band! That would be cool. At any rate, I loved singing this with Roger and having the kids chime in with their voices and 'percussion'. Chester really gets into it! haha Enjoy!

Monday, September 24, 2012

Using Your Voice For A Good Cause

When I am given the opportunity to share my voice on behalf of a good cause that I believe in it makes having the talent to sing extra special. I just posted this song on YouTube that I hope will help a family in need. Enjoy!!


 

Saturday, September 8, 2012

Staying Vocally True to the Character

This summer I had the privilege of playing Amanda in Private Lives. Here I am pictured above with Nicholas Dunn as Elyot. The play is not a musical but the characters sing. Noel Coward was not only a playwright but a composer and lyricist as well. When I hear one of his songs it embodies the feel of the 1930's. He wrote in a time right along side, Porter, Berlin, Gershwin and Rodgers & Hart. Lyrics from this time period were unbelievable especially compared to what pop stars belt out today. 

The main theme in Private Lives is a song called "Someday I'll Find You". The Lyrics go like this:

Someday I'll find you
Moonlight behind you
True to the dream I am dreaming
As I draw near you
You'll smile a little smile;
For a little while
We shall stand
Hand in hand
I'll leave you never
Love you forever
All our past sorrow redeeming
Try to make it true
Say you love me too
Someday I'll find you again


It is a beautiful little song and was written by Coward for this play in which he knew he would be playing opposite Gertrude Lawrence. So, in a way, he wrote this song for her. She was one of his dearest and closest friends. They were the original Elyot and Amanda.  With this knowledge I wanted to make the song special and at first I was going all out and singing it like I would a vocal performance for a recital or musical theater play. But, before we started rehearsals it hit me, I shouldn't be singing this as "Tamari", I need to be singing this song as "Amanda".

I had to give way to the character and honor the fact that she probably wouldn't be as trained as I am. I felt it would be more interesting and cohesive to have her sing lovely, but not "full out" or in any way that would be perceived that I was hanging up Amanda for a moment while Tamari belted out this tune...and now back to Amanda. It was a bit hard for me to not show off vocally. Would I be able to find a balance that would work? Would my ego be able to take it?

I remembered a good friend of mine, who is a musical theater actress on Broadway now, who had to make this choice for a character in a play we did together years ago. We heard after one of the performances that a lady made the comment while leaving the theater, "She was great, but they should have gotten someone who could sing!" The fact was though, this character was not supposed to be an accomplished singer. In real life my friend has one of the best voices I have ever heard, but she chose to sing as the character. I thought her work was brilliant and her choice to stay true to the character inspired me. 

In the end I feel that I did find that balance with Amanda. The transitions from dialogue to song back to dialogue were seamless. AND I have to mention the dialect...a heightened Standard British that also had to be consistent when I sang. I think the dialect helped though because it reminded me that I was playing a character. (no surprise there) So, when you are approaching a role in a play where the character sings here is my advice: Keep the voice consistent with how the character would sing it and not how you would sing it. Give up the urge to "show off" and stay true to the material. 

Friday, September 7, 2012

Songs I Love to Sing: Happy Working Song

I want to start a little series on this blog called "Songs I Love to Sing". It will include songs from past recitals, or that I record on the spot in my own studio, that bring me pure joy when I sing them. The first one to kick off this series is Happy Working Song, from the movie Enchanted. My vocal coach, Brodie Perry, introduced this song to me and it was (and still is) such a blast to sing! It was a break through song for me because I was able to learn how to manipulate my voice through my first bridge with it sounding seamless. This song is a bit like doing vocal acrobatics for me as I go from chest up into my mix and back down again very quickly. The placement helps. I chose to go with a more forward sound. I wanted the essence of a traditional Disney Princess, but I like to think I bring an edge and a touch of sarcasm to the performance as well. Not taking the Disney Princess thing too seriously, but having fun with it. This was recorded in the fall of 2010. It is great to revisit some older recordings and see how far I have come. Most performers don't like to see/hear themselves in a recording but I like to think of it as not only archive material, but a chance to learn from what I hear and see. Like an athlete, I will watch and see what I did well and what I can improve upon. Enjoy!!

Sunday, July 29, 2012

Vocal Variety

This summer I have been working as a company member of  the Old Lyric Repertory Theater in Logan, UT. I am in three of their four main stage productions. The season includes, Steel Magnolias, Private Lives, Big River and Lend Me A Tenor. Big River is my show off and is the only musical out of the four. Initially I thought since I wasn't doing the musical that vocally this season would be a breeze! Boy was I wrong.

The first show, Steel Magnolias proved to be a challenge because I am using a dialect that is specific to a region in Louisiana. It is similar to a Texan accent but has more variety in pitch. I am playing M'Lynn who is typically cast as a woman who is in her 50's. Barely turning 40 this year I got it in my head that I had to lower the pitch in my speaking range for this character. (I probably had my mother's own tenor pitch ringing in my subconscious.) Then to top it off I have a very emotional scene at the end where I yell and cry.

Early on in rehearsals I found that my voice was taking a beating. After one particularly grueling rehearsal where we worked and worked the emotional scene, the dialect coach came up to me and sincerely expressed his concern about my vocal health. He challenged me to find alternatives to what I was presently doing or I would most likely lose my voice. I knew he was right and had my own concerns before he even spoke to me.

I realized that most of my issues stemmed from having a lot of muscular tension as I went through this last scene. I was portraying anger, hurt and loss. Tears and guttural crying where all part of this very complex scene and naturally my body was reverting to muscle memory from when I actually had felt these emotions in my "real life". My challenge was to be able to get to that place emotionally without using as much muscle tension in my body.

It is amazing that once I was aware of that tension I could start to find variety in the scene where I could relax. And because of my vocal training I started to work with placement. Instead of staying in that lower register of my voice all the time (which sounded more Texan anyway) I played with pitches. This seemed to ease things up and helped with the true color of the dialect that the director wanted. I also worked with volume in terms of how I projected my voice to the audience. Luckily the Lyric Theater has good acoustics and I was able to back off and have some quiet, introspective moments as well.

Now when I perform that scene I feel like I have control. I am grateful for my vocal training and for the kind words of a concerned dialect coach. The key indeed was realizing I had too much muscular tension and ultimately finding appropriate vocal variety.

Tuesday, March 20, 2012

Singing with the Spirit

Tonight I sang at our Relief Society Birthday Dinner. The song was Something Extraordinary (music by Lex de Azevedo, Lyrics Carol Lynn Pearson) and it defines that those small and simple things we do everyday add up over time into something extraordinary. That our daily acts of service and kindness really do matter in the overall scheme of things. I believe that.

It is always a challenge for me to sing as "Tamari" in front of an audience or congregation than it is to be a character in a play and sing. I feel so vulnerable, my singing voice is an intimate part of me. I am bearing my soul for all to hear and perhaps judge, there is no mask or fourth wall to hide behind. But the real kicker is that when I sing for a church program of any kind where there is a message more spiritual in nature there is the added element of me feeling the Holy Ghost as I sing. For me, my heart pounds, my chest has a burning sensation, at times I feel like I am choking back tears and my body shakes ever so slightly as I testify through music. It is not far from what I experience when I bear testimony. But the difference is, a testimony is given through the spoken word and a Hymn or a song with a sacred message has the power and majesty of musical accompaniment. Nothing brings the Spirit of the Holy Ghost more immediately than sacred music.

I find that I never perform technically as well singing these types of songs. I mean, it is slight, but I notice a difference. Not sure if listening ears (except maybe Roger) could hear a difference. But it is obvious to me. I love that I am able to testify through music, but there is this small part of me that wonders if I will ever reach a point when I will sing the song technically perfect as well as feel the Spirit. I have noticed that songs I have sung for years I seem to do better technically. Probably because the muscle memory kicks in. Interesting...

The bottom line though is that the whole purpose of these songs are for the congregation to feel the Spirit. To know what is being sung is truth. So, I have to turn off my ego, experience emotional and physical discomfort and allow the Spirit to do it's job.
I know it may sound a bit crazy, why put myself through that? But I feel that if a loving Heavenly Father gave me this talent then I need to share it regardless. And I do. I love it. I jump at the chance when I am asked to sing in church. It truly is my honor and I am humbled every time by the experience.

Saturday, March 17, 2012

Accentuate the Positive


Day 4 and 5 of the SLS Event have come to a close. This educational event turned out to be a wonderful week. I am so excited to get back to my students equipped with a fresh outlook and more "tools" in my teaching bag.

A couple things I want to point out about being a Speech Level Singing teacher is that we are held accountable. Every year a teacher is not only educated but we are tested according to our level so the leaders of the organization can make sure we are keeping everything pure and not straying from the structure and language. They also want to make sure we are progressing in our ability to assess a student's needs and that we maintain our competence to demonstrate the vocal exercises for the student in the correct and incorrect way. It is intensive but it is also a process.

The voice is a complex thing and I can't expect to learn everything overnight. I have to take it one layer at a time and stay positive as I gradually gain more experience and knowledge. In turn I can't expect a student to learn everything they need to learn in a half hour lesson. We set a goal and focus on that. The next lesson we continue to work on that goal or if it gets achieved we move on to the next goal. Even teachers in SLS who have been doing this for years and years say that they are still learning and growing. When I hear them say that and see the humble way in which they approach everything I think, "I can do this!!"

I think the key is to stay positive. Not only will it help me to grow but hopefully it will rub off on my students. A student today was psyching themselves out as they saw the scale they were singing ascend up and up. The teacher jokingly said, "Don't look at the keys!" Greg Enriquez said, "No, have her look at the keys. Have her face it. But instead of thinking, 'Aw man, this is my trouble spot,' look right at those keys and say, 'I am going to get you!" The truth is, if we put in the work and have the right tools we will be able to conquer those areas in our voice that are "trouble spots". Every singer's goal is to get to the bottom of their voice to the top and back down again with a balanced sound. And what I mean by balanced is that one's voice (when heard by a listening ear) has accurate pitch, a pure vowel, free floating vibrato, all bridges are available and in tact, and that there is an ease and presence to the voice from top to bottom. Once we can achieve all that, the real fun begins!

This week was an eye opener to me of what I have to work on and focus on, but it was also a great reminder of the strengths I already hold. In staying positive, focused and working hard, I cannot help but achieve my goal as a teacher of SLS. I look at all of the information and skills I have to digest and become proficient at and say, "I am going to get you!"

Thursday, March 15, 2012

Structure and Adaptability

Day 2 and 3 of the SLS Event I have been attending have been amazing...overwhelming, but amazing. I have so much in my head right now I feel like I am going to burst! It will take some time to process everything, but I have learned so much and have enjoyed getting to know fellow teachers and students. What I love about this process is that it is interactive. We aren't just sitting through a bunch of lectures we are taking part in hands on demonstrations. Very affective.

There is a lot of material that we have covered but the main one I want to point out is that the Speech Level Singing Method itself is very structured. (even more now than it was two years ago) In recent years SLS has gone global and the top teachers in the program have broken it down and are actually branding it so that no matter where you go in the world to take a lesson the structure and language will be the same. It will be a short hand for teachers and students so that when we say a term it will automatically be understood.

The greatest part though is that within that structure there is a tremendous amount of give & take and adaptability. It is like watching a tennis match as a student and teacher work together. There are all these tools at our fingertips that address any issue(s) a voice may have. It is wonderful as a teacher to have the freedom within the structure to use these tools and allow the student to experience again and again what it is they need to achieve balance and maintain balance in their voice.

Tuesday, March 13, 2012

Acting Technique Geared Towards Performers

Today I attended the first of five workshops that will be hosted by Greg Enriquez, a level 5 SLS Vocal Coach who is based out of Las Vegas. All the workshops will be held here in Salt Lake and I have been looking forward to this for weeks! Today did not disappoint. Greg brought his friend, Rhonda Carlson, with him to teach this first workshop. Rhonda is an acting coach for performers and she and Greg share many of the same students. He focuses mainly on vocal technique and she helps them with the "acting" side of performing a song. Many people come to see her before an audition and it seems like she works primarily with musical theater performers. She is an actress/singer herself and a very good one from what I could tell in the workshop. Some of the main points that stood out to me were: Making specific choices in a song, the contrast in one's approach to different genres and styles of music, and a reminder that performing is supposed to be FUN!

When one begins the journey of learning a new song it is like a puzzle anxiously waiting to be put together. All songs should include some acting technique in order for them to truly engage an audience. As a performer we need to have the song make sense to us internally and as a result what we convey to an audience externally will be honest and true. And the great thing about art is that there is no wrong answer. Each of us will have our own personal response to the basic acting questions of: What do I want?, What obstacles do I face?, Who am I talking to?, What is my environment?, What happened to me five minutes ago? a week ago? a year ago?...etc. The more specific the choices, the more honest the song will be. And the brilliance of making these choices so specific is that the external stuff happens organically. We won't need to worry about: What should I do with my hands?, What should my face be doing on this phrase?, When will I move or walk?...if we can make specific choices throughout the song, phrase by phrase, all the other stuff, even vocal technique, will fall into place.

What if we are asked to do specific movement during a song by a director or choreographer? We still can make choices to have these external moves put upon us ring true. If we are working from the inside out or outside in, the result can and should still be the same.

On a broad spectrum we have the genres of Musical Theater, Popular Music, and Classical. Within each of these genres there are different styles or mini genres. Each one was touched on today in the workshop.

The Musical Theater approach is the idea that when there are no longer words to express how the character is feeling they burst into song. Singing in musical theater is a heightened expression of communication. In most cases there is a Fourth Wall. The performer is "hiding" behind a character and is not portraying themselves. The more the performer is behind that fourth wall the better the performance. But, the performer is still very aware of the audience, they just don't show it.

With Popular Music we have everything from pop to country, r&b to rock, rap to alternative. There are still choices to be made but this genre of music is more visceral. Meaning, the song comes from the gut rather than the intellect. The fourth wall in most cases is not present. The performer connects directly with the audience and the song is more about mood than interpretation.

Classical music is no exception nowadays. In the past a performer planted themselves on stage and SANG!!! With modern demands the classically trained singer is still expected to internalize their aria or art song. There is less external emoting in our time and more genuine expression that comes from within. It is still indeed heightened, probably more heightned (in general) than any other genre but it is still coming from within the performer. Even when there is a language barrier, as long as the performer is conveying the specific choices they have made, some audience members may not even need subtitles.

Lastly, today was a reminder that what I do as a performer is fun! I think in the past I have had a tendency to take myself too seriously and beat myself up when I wasn't "perfect" on stage. I was so caught up in my head and psyching myself out that I wasn't enjoying the experience. Even auditions should be fun. Once in New York while auditioning for a Broadway show, I got to chatting with the girl next to me. She said that she looked at each audition as a performance. She said something like, "I'm not getting cast in anything so this is my opportunity to perform and shine!" As I stood there, an absolute blob of nerves, I couldn't wrap my head around what she was saying. But, over the years I am getting it. It is a blessing to perform for an audience and grow as a performer no matter what the environment. If something doesn't work or feel right, try something else. Play improv games or make a choice that is completely the opposite of your first choice. Whatever means we use for our end result, find joy in the process...and delight in the final performance.

Friday, February 17, 2012

Playing the Fairy Godmother

Slipper and the Rose closed this past Tuesday. It was an honor to be a part of a Music Theatre West production. I LOVE community theater and this one in particular has such a sweet feeling to it. From the Creative/Production Team to the Cast to the Stage Crew, there is just a overwhelming feeling of respect and support. Everyone is a team player and everyone involved takes pride in what they are doing. I know that this is due in large part to the leadership of Jay Richards, Debbie Ditton and Stephanie White. Leaders really do set the tone and these three are salt of the earth folks. Jay jokes that the three of them together make the perfect director of a show. They each have their strengths and when it is time for them to shine individually the other two step aside. It was pretty incredible to watch.

Vocally this show was a breeze! I had only one song (Suddenly) and it was in a comfortable range for me. I loved singing with a live orchestra again. It has been many years since that experience. I did find that breath control became an obstacle on some nights if I wasn't careful. During dress rehearsals they realized that Cinderella would need more time to change into her ball gown. They added more music for the orchestra and had me dance around with the glass slippers and dance off the dress form that had held her ball gown. My costume was corseted for the period so I found that all that activity, plus me talking A LOT before my final part of the song left be a bit breathless. I had to be conscious of this during the dancing and talking so I could pace my breathing so that I wouldn't be so winded when I sang my last verse. Breathing is a good thing to have control over when you sing! haha Breath control helps with phrasing but as I am learning through speech level singing it also aides in volume control. Volume is the vocal chords ability to withstand air pressure. When I didn't have breath control and couldn't get that chord closure in my upper register my voice didn't have as much power and volume.

I also had to commute an hour and a half each way to get to the show up in Logan. So, the bad side was that I had to be in a car for sometimes 3 hours total in a night, but the up side was that I could use a good portion of that time to vocalize and work on songs. I got to listen to old vocal lessons on CD and hear what my vocal coach, Brodie, taught and what I sounded like. Some of the CDs were in the earlier days of my lessons and it was neat to hear how far I have come and to re-listen to what Brodie had to say about technique and the verbiage he used. This method is so straight forward and works at telling a student what is actually happening with the voice physiologically. I love it too because the teachers are required to be able to show a student what concept they are explaining. So they have to be on top of the technique vocally as well. And then this method does the best thing ever, it focuses mainly on encouraging the student to feel it for themselves.

So, now that the show is over I can focus on teaching for a while. I am always sad when a show ends. I will miss my friends in Logan, old and new. But, I am excited to really sink my teeth into teaching for a while.

Monday, January 30, 2012

Working in the "Real World" While Teaching

Now that I am teaching, I often think of that old saying by H.L. Mencken, "Those who can - do. Those who can't - teach." And in the pit of my gut I resent this quote...at least for myself. I want to continue to perform even though I have started to teach. I refuse to retire from the stage just yet and when I do it will be when I decide to do so and not determined by public opinion. (I still have my sights on playing one of the leads in Arsenic and Old Lace, so ya, I won't be hanging up my 'toe shoes' just yet.)

I feel it is important for me as a vocal teacher to stay current and know what it is like to be a working actor. The environment of performing on stage or in a recording studio is much more charged and heightened than when one is singing in a relaxed environment of their own living room, shower, or studio of their vocal coach. Nerves, adrenaline, heavy costumes, outdoor theaters, indoor theaters....the list goes on as to the situations and stresses the body, mind and voice must go through during a performance.

I want to be an example to my students. I want to inspire them. On a business side, being in shows can be good for the business and give a teacher exposure. Many seeing the show might like the performance and want to take lessons. I also love to perform and as I get older I realize more and more how precious that time on stage is to me. It will always be one of the great loves of my life.

One of the downsides to being in a show is scheduling lessons. Most young students take lessons after school and that is a tough time for a mother let alone if I am in a show. Things may get a bit complicated but I will do the best I can to accommodate my schedule and theirs. I believe in keeping my toes wet as a performer. I want to be the teacher who "can" for as long as I am able.

Monday, January 23, 2012

Introducing: Sounds Great Studio

Sounds Great Studio is up and ready for business! This picture is the back ground to to my new business cards.

Roger and I also worked hard over the past couple weeks on the website. Please check it out and sign up for lessons if you feel inclined. Or refer a friend. I am so happy and truly excited about getting this all started.

Wednesday, January 11, 2012

First Day of Teaching

This evening I had the privilege of coaching my first vocal student! It was amazing! Afterward, I had visions of grandeur as I imagined being this young girl's vocal mentor for the rest of her life. Someone she could look up to and admire and as she went through life she would always look back with fondness. I was the one who taught her the basics and as she graciously steps onto the stage to accept her Tony Award I am the first person she thanks! haha I am not sure if it will go that far BUT it WAS the first step towards my goal of becoming a true, blue vocal coach.

I was so anxious before her arrival. I wanted everything to be perfect. I had a plan! When she arrived I was poised and ready to show her my brilliance and I noticed it was a bit hot in the studio. I walked over and turned on the ceiling fans and WHOOSH! All the music on the piano came crashing down. We giggled as we picked it up and I was humbled. I turned down the fan and instead of trying to impress, I relaxed and just had fun!

Time flew by and the next thing I knew her lesson was over...yeah, I think I am going to like this job...

I am in the process of setting up my small business and it has been a blast! Roger and I have been working side by side to figure everything out and I have enjoyed spending time with him in this capacity. My next post will go into more detail about all that, but in the meantime...I taught my first lesson!! YAY!