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The Private Voice Studio Handbook,9780634047381

The Private Voice Studio Handbook

by
Format: Paperback
Pub. Date: 12/1/2002
Publisher(s): Hal Leonard Corp

Summary

No voice teacher can afford to be without The Private Voice Studio Handbook, a comprehensive and practical guide for beginning or improving the work of the independent instructor.

Author Biography

Joan Frey Boytim has spent forty-five years teaching in her private voice studio. She is a nationally recognized and widely published expert in the training of young singers

Table of Contents

Introduction ix
Getting Started
1(3)
The Transition from Singer to Professional Voice Teacher
1(1)
The Mission Statement
2(1)
New Teaching Location
3(1)
Finding My Space and Who Am I, Anyway?
4(3)
The Teaching Space
4(1)
The Next Step: Teaching in Your Home
5(1)
Letter of Introduction
6(1)
What Do I Need in My Studio?
7(6)
Equipment
7(2)
Reference Books
9(1)
Other Concerns
10(1)
Business Area
10(1)
Personal Touches
11(2)
Just a Few Things Before We Start...
13(4)
The Policy Statement
13(1)
Musical Expectations
14(1)
Benefits of Vocal Study
14(1)
Visitors and Make-Up Lessons
15(1)
Music Purchases
16(1)
Payments and Other Topics
16(1)
Getting Organized
17(5)
Lesson Cards
17(2)
Revenue Records
19(1)
Schedules and Telephone Lists
20(1)
Repertoire Cards
20(1)
Repertoire Lists
20(1)
Clothing Chart
21(1)
Other Lists
21(1)
New Students
22(4)
The Initial Contact
22(1)
The Audition
23(1)
Decision Time
24(1)
After Acceptance
24(2)
Let's Start at the Very Beginning
26(3)
Starting the First Lesson
26(1)
And Now We Sing
27(1)
Important Discoveries
28(1)
Practice, Practice, Practice
29(4)
How Often Should I Practice?
29(1)
Warm-Up Exercises
30(1)
Learning a Song
30(2)
Other Thoughts on Practice
32(1)
Musical and Vocal Fitness
33(4)
Music Reading Techniques
33(1)
Exercise Books and Vocalises
34(1)
The Importance of Vocalises
35(2)
The Songs We Sing
37(4)
Choosing Repertoire for Beginners
37(1)
Repertoire Readiness
38(1)
Appropriateness of Repertoire
38(1)
Beginning Song Literature
39(1)
Sacred Songs
40(1)
The Teacher's Continuing Search
40(1)
What's an Octavo?
41(3)
The Octavo Format
41(1)
Sacred Solos and Octavos
42(1)
Obtaining Octavos
43(1)
Anthologies for Adolescent and Novice Singers
44(7)
Middle School and Junior High School Students
44(2)
Older Publications
44(1)
Recent Publications
45(1)
Freshman and Sophomore High School Students
46(1)
High School Juniors and Seniors
46(2)
Christmas Anthologies
48(1)
Sacred Anthologies
48(1)
Thoughts About Contest Solos
49(1)
Songs for Novice Adult Singers
49(1)
The Quest Goes On
50(1)
Going Public
51(5)
Scheduling Student Recitals
51(1)
Where to Perform?
52(1)
Publicity and Programs
52(1)
Choosing Recital Songs
53(1)
Recital Preparation
53(1)
The Big Day Arrives
54(1)
Lasting Benefits of Recitals
55(1)
Vocal Techniques: A Few Tricks of My Trade
56(7)
Learning Technique
56(1)
Breathing
57(1)
Resonance
58(2)
Diction
60(1)
Artistry
61(1)
Belting
62(1)
Conclusions
62(1)
Express Yourself: Teaching Styles and Procedures
63(11)
Song Teachers vs. Voice Teachers
64(1)
The Delicate Balance
65(1)
Fairness and Honesty
65(1)
The Incompatible Teacher/Student Agenda
66(1)
Choosing to Teach
67(1)
The Independent Student
67(1)
22 (Plus) Questions About Voice Teaching
68(2)
Personal Thoughts and Observations
70(2)
More on Individual Teaching Style
72(2)
Should I Major In Music?
74(5)
Tracking Level of Interest in a College-Bound High School Student
74(1)
Narrowing the Choices
75(1)
College Visits and Auditions
76(1)
Preparing for Transition to College
76(2)
Mary Melody's Vocal Repertoire
78(1)
Will You Recommend Me?
79(6)
Student Background
79(1)
Introductory Paragraph
80(1)
Voice and Musicianship
80(2)
Musical Honors and Special Accomplishments
82(1)
Related Information
82(1)
Some General Guidelines
83(2)
How Did I Do? Winning and Losing in Vocal Competitions and Auditions
85(5)
A Perspective on Competitions
85(2)
Auditions for Musicals
87(1)
Selective Competitions and Auditions
87(1)
Dealing with Judging Results
88(1)
Learning to Lose Gracefully
88(2)
When Your Student Is Your Age or Older
90(8)
Short-Term Adult Customers
91(2)
Long-Term Adult Students
93(5)
I Don't Teach Children... But Some of My Friends Do
98(4)
Children As Solo Singers
98(1)
The Voice of Experience
99(2)
Robert Edwin
99(1)
Marcia McCarry
100(1)
Novie Greene
100(1)
Further Thoughts on Teaching Voice to Children
101(1)
Business 101
102(6)
Raising Lesson Fees
102(2)
Summer Lessons
104(1)
Other Income Producers
105(1)
Insurance
105(1)
Retirement
106(2)
The Inevitable Uncle Sam
108(5)
U.S. Federal Income Taxes
108(1)
Schedule C
109(2)
Form 8829
111(1)
Schedule SE
112(1)
A Tax Hint for All
112(1)
Nuts About Nats
113(7)
Workshops
114(2)
Conventions
116(1)
NATS Chapters
117(1)
Other Professional Organizations and Community Involvement
118(2)
Thou Shalt Not Photocopy! And Other Ethical Issues
120(7)
Illegal Photocopying Practices
120(2)
The Value of Building a Music Collection
122(1)
Out of Print Does Not Mean Out of Copyright
123(1)
Cost and Value
123(1)
Ignorance of the Law Is No Excuse
124(1)
Code of Ethics
124(1)
Other Ethical Concerns
125(2)
Pick-Me-Ups and Parting Thoughts
127
That Is Why We Teach Music
129
A Successful Teacher Needs...
129
APPENDICES
Appendix I: Solfeggio Syllable Sheets Introduction to Music Reading
133
Set 1
137
Set 2
139
Set 3
141
Set 4
143
Set 5
145
Accompaniments for Set 1
147
Accompaniments for Set 2
151
Accompaniments for Set 3
154
Accompaniments for Set 4
157
Accompaniments for Set 5
160
Appendix II: The Warm-Up Exercises
163
Appendix III: Copying Under Copyright, A Practical Guide
165
Appendix IV: Form of Inquiry on Out of Print Copyrighted Material
171
Appendix V: NATS Code of Ethics
173

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