About

The Method

"You Have To Be Born With It " - The Fallacy!

Typically when you are asked what you do for a living, you may get a follow up question like "Is that fun, do you enjoy what you do?"

For myself, after I've responded to the same question, it is almost always followed up with the question "Oh wow!  You do what??  Tell me, can anyone learn how to sing?"

Once I inform them that yes, absolutely everyone without exception can learn how to sing, I get some interesting responses.  Some people ask for my number to arrange a lesson, but some will continue to try and convince me that they are "the exception to the rule, and truly cannot sing."

And I believe that the second response is the primary symptom of both traditional singing lessons, and an unfortunate 'Education-System Failure.'

Let's Look At How Music is Taught...

What is true of singing is also true of music.

For example, we are born with an innate ability to develop complex rhythm and melody.  Take the phrase “I haven’t got a musical bone in my body.”

I’ve heard this phrase mentioned by people from many different walks of life, and typically it is said with the exact same rhythm, time and time again.

Rhythm and musicality are built into our language, yet we teach it by learning to read notes FIRST, a completely un-natural way of learning music for the majority of people, yet it is the most widely accepted format for learning the musical language - and (in my opinion) also the greatest cause of people dropping out from music lessons at a young age.

I mean, let's take the above example and apply it to language.  What we're saying is that  -   "From now on, kids need to learn to read and spell before they're allowed to speak"...

which is really preposterous.

So What Does This Have To Do With Learning How To Sing?

Typically, learning how to sing is even more convoluted and outdated than learning how to play an instrument.  The majority of singing teachers are either performers whose careers have not taken off and they're looking to make some cash on the side (without pursuing any significant training in How to Teach, or, What to Teach), or teachers who come from the 'old school' and teach diaphragm-breathing, placing sounds 'forward in the mask' and visualisation methods.  I'm not trying to say that these approaches are bad in any way, the complete opposite actually.  I'm saying that there is a far better way that quickly identifies the flaws in a voice and gets results quickly from the very first lesson.

The Traditional Singing-Lesson Methods mentioned above - 'diaphragm breathing', 'sounds in the mask' etc., are results of specific exercises vs. the cause of good vocal technique.   For example, imagine if you came to me for a lesson and I asked you to sing your favourite song.  Perhaps you're not happy with the way it sounds, so I ask you to sing it again by placing the sound 'forward in the mask.' 

So now you have to interpret what I mean, and the whole lesson could be consumed with understanding the principle - 'place the sound forward in the mask' with no clear result after all is said and done.

In other words, your ability to interpret what I'm asking you to do, directly impacts your ability to sing.

SPEECH LEVEL SINGING, the Breakthrough we've all been waiting for!

The complete opposite is true for what is widely known as the Speech Level Singing Method. This is a method that increases your range quickly, significantly strengthens the voice, removes the 'cracks' and 'bumps' and, gives you complete control of your vocal dynamics (soft to loud) whether you're singing the lowest notes in your voice or the highest notes.

How Does This Happen?

We take what you understand already such as speech, basic melodies (tunes) and patterns, and ask you to repeat back a specific instruction i.e. "Can you please say the word 'Mum'?  Now can you sing the word Mum using the melody of Happy Birthday?" (Try it now)

The very design of the word 'Mum' activates the muscles in your vocal cords a certain way.  There are hundreds of vowel and consonant (letter) combinations that all trick the voice in a certain way, depending on what the goal is i.e. to develop power you need to use certain vowels; to increase your range we would need to use some different vowels. 

Can anyone learn to sing?

The best way to answer this question is by explaining a small part of my own journey.  I didn’t start out with a well-developed voice.  So everything I teach is a direct result of the success these exercises have had on my own voice.  However, not everything that works in my voice has the exact same effect on another’s voice.  Therefore, I’ve undertaken years of study with the world's best voice coaches to understand how this method applies to each individual voice considering an array of factors. 

For example : -

• How Old Are You?
• What is your sex? 
• What is your voice’s natural physical capability? 
• Based on the specific tone and personality of your voice - what would be a good arena for you to sing in. 
• The list goes on………..

More on Speech Level Singing!

I do that by using exercises that cause a particular effect.  For example, if you’re having particular issues with locating your head register then I get you to produce sounds that can locate that area quickly.  As singing is an extension of speaking, then naturally we need to address the same muscles that are housed inside our voice-box (called the ‘larynx’).  You can change the way those muscles work by using vowels and consonants - basically what we use to form words.  So, if you can speak and know how to say words - then, you can pretty much learn how to sing.

What Results Can I Expect To Achieve?

You can expect to get a voice far-superior to the one you currently have.  Some voices are more genetically set-up than others to do specific things e.g. some voices are thick and heavy, which makes for a particular sound.  Other voices are tall and thin, which allows a different type of tone to develop.  Just so you know, most pop songs do not require the most genetically gifted voices in order to succeed.  You may argue that singers from this genre are amazing - and I would agree.  However, they’re amazing at their craft as pop artists, not necessarily as singers and that’s good news for you.

Typical results can be expected in the following ways :-

• Complete Registration vs. Reaching/Flipping
• Improved Tone Quality
• Ease of Sound Production
• The Freedom that comes knowing your voice is in good shape
• Power
• Flexibility
• Range
• Control

How Does This Method Differ To Other Methods Out There?

In a nutshell.

I won’t teach you how to breathe from the Diaphragm!  (Not initially anyway)

This is probably the most well-know phrase you’ve heard as it relates to singing. 

Breath support is important - before we speak we breathe and before we sing we speak, however, good breath-support is a result of a good technique - something achieved inside the voice box. 

Not below our rib-cage!!

But didn't famous singers like Pavarotti advocate Diaphragmatic Breathing?

Yes, but only after he had been a world famous singer for many years and with his voice fully ‘registrated’ - the very process that I teach you to do - first. 

About Simon

I am an enthusiastic ,and, optimistic voice coach, teacher and performer. I have stayed true to my early calling in life, and now teach the culmination of my life's work to all kinds of people, from beginners to professionals, introverts to extroverts, and, anyone who who has a real desire to become a better singer, and, artist.

My vast experience is drawn from all round the world including : stage and film experience in both Australia and the UK, the famed Speech Level Singing Method out of Los Angeles - United States, mentorship from one of the world's moth empathetic acting coaches in the world in Rhonda Carlsson, and, one of the best foundations in music education(Advanced Diploma of Contemporary Music) that money can buy from Western Australia's very own Western Australian Academy of Performing Arts.

I've found that my driving interest is for teaching other people. I am a bit of a nerd (a cool one), and am known to read books on coaching, teaching philosophy, personality ,and, coaching success, in my down-time.

As of 2017, I will be adding to my qualification, studying Secondary Teaching in Music (minor in Drama) at Edith Cowan University, Western Australia.

What is Simon's experience in learning singing ?

I didn't start out being able to sing.

All I had was an abnormal amount of optimism, coupled with a love of music. My voice lacked any great power, and, I found that I was unable to sing like artists on the radio or, on stage. It didn't occur to me to try singing lessons until I was studying music at WAAPA. All I knew is that I had a dream to be on stage, and in order to do that, I would need to be really good at singing. 

Fortunately, I struck Gold first time round! When approaching a fellow student, and, probably the strongest singer at University during my time there, he suggested two names and thank God I picked the correct one. The results from the very first lesson were astounding and I was starting to draw a line between how the exercises were working, and, what I was hearing great singers do. My weak and breathy voice was becoming a thing of the past and, I had a new found hope.

I learned quickly that the voice is simple and, like any other instrument. There is a vibratory source of sound (the vocal cords,) the vibration from that source and a resonator, the space above your voice box, a.k.a the inside of your throat and head!

I also learned that it was very common not to be able to sing the way you want to. Just like learning the guitar is slow and clumsy at first, so is learning the voice. Through the wise guidance of some of the world's greatest voice coaches, I was able to slowly unpack my voice, learning to sing from the bottom of my range to the top with greater clarity, power and flexibility. 

What is Simon's experience in learning teaching ?

I had such a great experience in learning how to sing, that I felt called to teach this method. There is a strange phenomenon that occurs when you are pursuing a skill, and, the teaching of that skill at the same time. It's kind of like two muscle groups working together, with one being a protagonist whilst the other is the antagonist, and then changing roles again. My study informs my singing, which informs my teaching which produces results in the student. Those results in turn inform my singing, which informs my study. It's completely wild and an awesome experience. Each part is dependent on the other.

The Student

I have learned the most, through teaching hundreds of students over the past 10 years. If a student doesn't succeed then the teaching process has to change, and it is through myself and a student solving the problem together, that propels our results forward. My favourite analogy is that of a game of tennis (credit to Rhonda Carlson.) We hit the ball back to each other in order to make the game move forward vs. just hitting the ball over the other's head, which cannot be hit back again. What I mean is, if I hit a shot that you can't hit back (ie. give you an exercise that is too hard or doesn't make sense,) then how can I expect you to hit the ball back again?!

As I teach all kinds of voices from  : male to female, young to old, loud voices to quiet voices, and, tall voices to short voices, I find that although we all have a larynx (voice-box) and vocal cords, they all have specific requirements due to each voice's unique physiology. The specific needs of each individual voice usually inform me of how a completely different voice-type works. Again, each discovery informs my ability to sing, teach and study. 

Ultimately, my philosophy has been guided by some of the worlds great teachers including Seth Riggs, Greg Enriquez, Jeffrey Skouson and Spencer Welch, being rooted in what is the Speech Level Singing Method and, my ability to teach singing has been greatly enhanced by my acting coach Rhonda Carlsson, who, engages a different part of the mind and body altogether.

Simon's Credentials

Western Australian Academy of Performing Arts

Advanced Diploma of Contemporary Music

Speech Level Singing 

Level 2 Certified Instructor

Institute for Vocal Advancement

Level 3 Certified Instructor

Stage and Film

Made In Dagenham

Worthing Musical Theatre Company, Worthing - United Kingdom

Regional production of the West End show.

Played 7 x roles, including Mr Buckton

Paid In Full

Written, Directed and Produced by Lincoln Fenner

Creation Box Films, London - United Kingdom.

Lead Role - Jarrad.

Co-Producer

Rope - written by Patrick Hamilton

The Wick Theatre Company, Brighton - United Kingdom

Lead Role - Granillo

Keane For A Crownie -

Written and Directed by Monique Wilson,

Black Sheep Theatre CO, Australia

Lead Role - Bluey

Children's Production of Dr Paws - Lead Role, Dr Paws

Subiaco Church