Thomas Potter Voice Studio Page

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- Potter Voice Studio [PVS] PAGE -

Teaching classical voice is an interesting profession [Those of you who teach will recognize this as a gross understatement.]. It requires a thorough knowledge of the vocal instrument (and by that I do not mean solely the larynx - more later...), but also a basic understanding of the physics of sound [What physical properties of sound aid in a singer being heard over a 100 piece orchestra in a 2500+ seat theater without amplification - and how does one achieve those properties in a human voice?], a keen sense of musicality, and accomplished communication skills which allow one to teach a variety of students, each with their own unique vocal instruments, learning styles, maturity/commitment levels, and previous history of musical and vocal study...

Having experienced (and continuing to experience) a first hand perspective of the life of a professional opera singer, I am confident in my understanding of what it takes for one to "make it" in the world of classical voice performance [and of course this means different things to different individuals]. You may read about my experiences elsewhere in this website, but having come to teaching only after a substantial career on the operatic stage, it is very important to me that students "see the big picture", that they understand some of the complexities of the profession, and that they "learn how to learn" [that they become self-teachers and self-motivators]. While voice study is divisible into two principal components - technique [the craft] and musicianship [the art] - there are other aspects of preparation for the profession that must be addressed: professional behavior/responsibility, making good repertoire choices, and being confident yet patient with one's vocal and career development, to name but a few.

The study of vocal technique can be divided into three critical facets - a proper understanding of a silent and efficient breathing technique, a properly functional manner of vocal fold phonation, and the study of resonance factors (both in terms of correct language articulation and of vocal tract filtering with the intention of achieving register unification).

The study of musicianship for a singer begins with a solid understanding of the text one wishes to express [Who am I in this musical selection and what has happened/is happening around me? What is it that I desire as this character, both in this moment and overall? Why does the text repeat here? What are the implications of that idiomatic phrase?, etc.] and music theory [Why does the composer use this rhythm, that ornamentation, this dynamic marking, those tempo, phrasing and articulation markings? etc.]

In the end, singers must possess an unquenchable thirst to discover, to the best of their ability, the composer's and author/poet/librettist's intent, and to develop the technical, linguistic, and musical skills to express that intent.

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Required Music/Book Purchases by curriculum: