John Fluker has played with Beyoncé and John Legend and was co- director for ONE VOICE, the GRAMMY award winning gospel choir.
John Fluker has coached Jennifer Lopez and worked extensively with Gladys Knight as her musical director and accompanist.
Craig Antony Lees' vocal group has moved onto the finals of the BBC's Pitch Battle TV competition.
Trey McLaughlin is choir director of The Sounds of Zamar, and a music leader who has hosted masterclasses at L’Opéra de Massy and 7X Festival in Poland.
If you don’t have the time or money to have regular singing lessons, where do you start in structuring your vocal regime? - says Jenn Clempner.
Be authentic to your art and be healthy in what you do -says Wendy LeBorgne.
Singer-keyboardists face some unique challenges in performance - Chris Kennedy offers solutions.
It's often said that one should warm down their voice after an intense singing rehearsal or workout. Speech-Language Pathologist Kristie Knickerbocker explains why.
How can I stop myself from throat-clearing obsessively right before I go on stage?
So what is there to be done? How does a performer build their self esteem? This is only my opinion of course, but here is a list of practical things which can be done and which, I have come to believe through experience, work.
Knowledge sticks better if learning is underpinned by random variation –says Daniel Zangger Borch.
Great teachers across the world rely on the scientific understanding of the voice that researchers like Jo Estill and others forged -says Joan Lader.
One of the most challenging vocal skills is the ability to take chest voice high and make it look easy -says Lisa Popeil.
Should you always use chest voice on low notes and head voice on high notes? Lisa Popeil points to some intriguing possibilities.
Never think that your entire vocal instrument starts above the collar bone -says vocal rehabilitation specialist Dane Chalfin
Singing loud and bright at the top of your register can add an impressive edge to your performance. Make sure you have these rules in place –says David Combes.
It’s time to understand your Larynx a little better to release your desired sounds – says Dane Chalfin
Adding a vocal “edge” to your voice can be exciting – and taking this into your higher range can be dramatic – says David Combes.
If you want to be heard, sing loud. But if you want people to listen, sing quietly. David Combes explores the aspirate onset – as an effect and a way into singing with a breathy tone.
Britney Spears, Enrique Iglesias and many other artists sometimes use creak to achieve heightened vocal emotion and intimacy -says David Combes.
The performers that last are motivated by one thing: they want their audience to have the greatest time ever -says Noreen Smith
Eric, I spend a lot of time focusing on the terrible things I am doing - how I can turn things around?
Whether your song is a party song or a worship song or anything in between, the story behind it is the framework for all your musical decisions –says Tom Burke
“Instead of asking yourself, ‘What will sound good?’ ask yourself, ‘What serves the story?’” says Burke.
Ever felt bewildered by all of those buttons and knobs? Recording-Mix-Mastering & FOH Engineer Wes Maebe charts a way through the confusion.
Here is your “emergency kit” to tackle performance anxiety - the very best wisdom from top performance coaches.
What does it take to sing, sing again – and never stop singing? Judith Owen reveals her singing DNA.
What is happening in the morning with my cool, raspy sound , and is there a way to sustain this voice for performances?
Hundreds of thousands of singers are learning to riff with Natalie Weiss’s YouTube series, Breaking Down the Riffs (BDTR).
89-year-old performing singer Frank Holder shares the insights behind is vocal power.