Robert Wendell offers the Charlotte area music training services that range from teaching beginning singers to coaching accomplished professionals in multiple styles. Expert guidance in Italian, French, and German repertoire, style, expression and diction! Improve vocal agility for baroque ornamentation, fast, clean, complex runs, melismas. Top quality vocal instruction for healthy, natural, efficient use of the voice resulting in maximum freedom, tone quality, range, power, flexibility, musical expression, and ease.\n
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Top quality vocal instruction for healthy, natural, efficient use
of the voice resulting in maximum freedom, tone quality,
range, power, flexibility, musical expression, and ease.
Expert instruction in multiple styles.
Robert Wendell offers the Charlotte area music training
services that range from teaching beginning singers to
coaching accomplished professionals in multiple styles:
Welcome to my Website and thank you for your visit. I hope you find what you learn here interesting
and informative. One visitor asked me whether I have had students who started off with a bad
sounding voice and improved enough to sound really good. This visitor stated that her voice was not
bad, but she just wanted to have some idea of how much improvement was possible with my
approach. The short answer to her question is "yes", but that doesn't really tell you much, does it?
I've had many students who came to me with a very strained way of producing a tone that sounded as
strained as it was, a somewhat unpleasant, rasping quality, with some hint of pinching the voice to get
a sound out of it. This typically comes from lacking vitality in their breathing and trying to make up
for it with the vocal mechanism, which cannot work...ever. Most singers, even experienced ones who
have had producers and regular recording dates, come to me with some sort of unnecessary strain or
effort in their voices.
Most also have at least minor pitch problems with a few students for whom this was pretty severe.
Some of them came to me after trying online vocal training that simply did not work for them. Others
came to me with the hope that I could help them, since the university professors they had been
studying voice with had not.
We should let the voice ride easily on the power in the breath the way a surfer finely adjusts the board
to guide the power in a wave. The surfer just finely balances and subtly tweaks positions while all the
power comes from the wave. The voice is the surfer and the respiratory system is the wave. All the
power comes from the breath and its coordination with the voice. The voice must just relax and finely
adjust to use that power efficiently.
Although the articles presented here represent principles of basic vocal function applicable to any
style, these principles are historically the product of vocal pedagogy (voice teaching) as applied to
singing as a classical art. It is important to understand, however, that efficient, beautiful, natural vocal
function is universally applicable to any genre, including all the popular genres. No one has to sound
like a classical singer to use the voice well.
These articles are likely more interesting for voice teachers than for voice students, but are offered
here for those students or potential students interested in the technical aspects of good vocal
function. For some it may seem highly technical while for others it will seem easily accessible to
anyone with an analytical mind and a good grasp of basic science. It is not necessary to understand all
these technical details, however, to acquire practical skill in good vocal function.
It is important to honor the sources of valuable knowledge we have had
the good fortune to acquire. The vocal tradition and source of Robert
Wendell’s deepest knowledge and personal experience of ideal vocal
technique was passed to him through his studies with the late Lav
Vrbanic. As you can read in the image of the brochure below, for twenty-
six years Professor Vrbanic had been chair of the vocal department at
the Zagreb Academy of Music in the former Yugoslavia, widely known as
one of the premier music schools in the world. Later he served for five
years on the faculty of the New England Conservatory (NEC).
Robert studied privately several times a week for three years under Professor Vrbanic at NEC. Mr.
Vrbanic had an incredibly profound knowledge of the traditional Italian school, the German approach
known as Stimmbildung and modern voice science. He understood each in the light of the other, and
so integrated them effectively into his teaching. In Europe, Vrbanic was widely considered one of the
four or five greatest vocal instructors in the world.
Vrbanic often invited students interested in teaching to sit in on lessons of his other students. The
depth of understanding and experience acquired from his study with Mr. Vrbanic has enabled Robert
to use unusually well informed judgment in expanding his teaching approach to include tools that he
has since acquired from other sources. This understanding has also served to inform a number of very
effective proprietary tools he has structured to creatively solve problems encountered in teaching his
own students over the years.