So, what constitutes a good teacher? First and foremost, a teachershould be able to demonstrate in the first lesson, to a student who has not yetmastered its fundamentals, the basics of breathing properly and breath support.Any teacher who does not make mastery of breath support a priority, orwho is incapable of demonstrating and imparting the information in a variety ofeasily comprehensible terminologies and exercises (and no, calling outrepeatedly, “Just keep it spinning” doesn’t qualify), is merely rearrangingdeck furniture on the titanic.
Second, the student should have an inkling of “rightness” about theteacher’s method fairly early: ideally, at the very first lesson, and shouldbegin to notice improvements in the ease with which he or she sings almostimmediately. Any teacher who says—unless the student is in dire vocal crisismode—that it will take at least six months to a year for improvement to emergeis a complete waste of time and money.
Third, the teacher should be able to impart to a student what thephysical sensations should feel like when a desired goal has been achievedwhile vocalizing his or her way through any given exercise. In other words, theteacher should pass on information in such a fashion as to ultimately renderthe student independent from the teacher’s ministrations for several weeks at atime. If the teacher is unable to foster adequate self-sufficiency in a studentthat will guarantee vocal health and stability throughout rehearsals andperformances of an engagement out-of-town, something is wrong.
Fourth, the teacher should possess enough objectivity that, if a studentis clearly not making any progress, or, worse yet, is regressing, he or shedoes not hesitate to suggest that another teacher might be a better match ingiving the student new information in language that would resonate moreclearly. I’ve even seen one teacher inform a student after a first lesson thatshe sensed they’d be poorly matched: she didn’t charge the student, andhelpfully recommended three other possibilities she felt would be worthvisiting for trial lessons. That lack of ego is rare: we have a saying that, inthe “Top Ten List of Statements You’ll Never Hear a Voice TeacherMake,” the one at the top of the list every time would be, “Thank goodness thatstudent left my studio to go study with so-and-so. I’m so happy he’s finallymaking progress, because I sure couldn’t do a damned thing to reach him/her.”
Fifth, It is not just about the Voice Teacher. Too often, the voice teacher waves away—or, shockinglyenough, doesn’t comprehend—idiomatic, clear vowels and diction, and will modifyall vowels “for a warmer, richer sound.” Voice teachers are likewise famous forinsisting that “acting doesn’t matter”(it does), or that Pilates/Alexander Technique isuseless (if properly taught, it’s as beneficial to singers at removing harmfultensions as it is to actors).
Sixth, given the often extortionary cost of voice lessons these days, chit-chat and gossip have no place in the voice studio.More than just the basic pleasantries upon greeting the student are a waste ofthe latter’s time and money. Voice teachers will often justify the schmoozingby saying that, “They have to take the entire person into account, includingmood swings,” or that they’re “naturally very nurturing.” A voice teacher isnot a psychologist, psychiatrist, or parent. If the student needs counselling,he or she should seek professional help, but not from a voice teacher, andcertainly not during a scheduled lesson.
Finally, the teacher should acquiesce readily to requests to allow othermentor figures in the student’s life to audit a lesson. While the guest ispresent, he or she should be invisible to the teacher, who should remaintunnel-visioned on the student. This is not a performance for the benefit ofthe guest, whom the teacher should not address frequently with questions suchas, “Can’t you hear how much better it sounded that time?,” etc.
What are some other observations that apply as much to the students asthey do to the teacher? Bear in mind that no one teacher, no matter how“famous,” is a panacea . Maybe it’s the teacher, and maybe it’s you, but ifthings are clearly not working out between the two of you, go elsewhere. Don’tfear that the teacher’s powerful reputation will harm you in the long run ifyou find another road to success through another pedagogue’s instruction.
Taken from the National Association of Teachers of Singing, New York.
