Vocal Pedagogy for Choral Directors
with Dr. Dana Lynne Varga
Music educators in the US: Receive a Certificate of Completion & 15 hours/points towards professional development (12 hours instruction plus a 3-hour final portfolio)! Note: NOT graduate credit.
Six class meetings, 2 hours in duration each
Wednesdays June 10, 17 and 24 from 4:30-6:30pm EST
Saturdays June 13, 20 and 27 from 1-3pm EST
All sessions will be recorded and you will have access to the videos for one year.
Course Fee:
$465 USD
Click HERE to access a PDF of all course information to present to your institution/church/board for fee coverage/reimbursement.
This course is designed for choral directors of all levels. Our primary focus will be on what, specifically, is most important for choral directors to know about vocal pedagogy. Participants will leave armed with a fresh pedagogy update, increased confidence and dozens of exercises.Together we will de-bunk ‘old school’ concepts and double down on modern, evidence-based pedagogy information and application. Your singers will thank you!
For music educators using the course for professional development points: you will be assigned a three-hour portfolio assignment to receive a certificate of completion (15 hours/points).
The classes will be recorded and yes, you can do this course fully asynchronously if you desire!
Be sure to check out the curriculum and Dr. Varga's bio below. Many testimonials of her work can be found at www.theempoweredmusician.com.
The Vocal Pedagogy for choral Singers curriculum includes:
GETTING THE SOUND YOU WANT WHILE DOING NO HARM
*why your singers are flat and what to do about it
*teaching healthy straight tone singing
*understanding vibrato and vibrato blend
*teaching dynamics holistically
*emphasizing the importance of technique and training
VOWEL SHAPING AND COLORS
*why “bright” and “dark” cues stress out your choir
*how to properly model healthy vowel positioning
*Best vowel modification based on vocal acoustics
*Creating blend through clearer vowel instruction
WHAT IS ‘SUPPORT’, ANYWAY?
*teaching sceince-backed ‘support’ concepts
*efficient inhalation
*tools for building appoggio, preventing collapse and squeeze during exhalation
*understanding vocal fold closure
*mapping the muscles of the torso and their role in singing
*language that helps, language that doesn’t.
ARTICULATION
*why we can’t just say “give me more diction”.
*tongue and jaw boot camp
*separation of tongue, jaw and lips
*how the soft palate works (and why we don’t encourage “yawn”)
DR. VARGA’S EIGHT CATEGORIES OF EXERCISES FOR CHORUS
*SOVTs (semi-occluded vocal tract exercises)
*Sigh glides
*Syllables and phrases
*Laryngeal Rocking
*Onset/Offset
*Agility Patterns
*Legato/sustained
*Scales
RESONANCE
*why “sing into the mask” and “sing more forward” don’t deliver
*intro to vocal acoustics: formants, harmonics
*healthy approaches to the balance of ring and roundness
*real resonant body cavities vs. “imaginary” resonance visuals, sensations and perceptions
VOCAL HEALTH
*preparing the body to sing
*how much singing is safe right before a performance, importance of not over-rehearsing
*vocal health tools (nebulizers, singing masks, straws, etc.)
*educating your singers about vocal health
*things to watch out for, attuning your ears to unsafe singing
*injury prevention, when to refer singers to a care team
BODY MECHANICS
*considerations while sitting vs. standing
*overall posture and alignment information
*holding music without causing body tension and pain
*hypermobility, disability and accommodations
MATTERS OF THE LARYNX
*why we don’t force a “low larynx”
*separation of the tongue and larynx
*laryngeal stability and the laryngeal “tilt”
REGISTRATION
*review of registration basics
*navigating passaggi
*how to talk to all voice types and gender identities about registration
*terminology that unites vs. divides
WORKING WITH ADOLESCENT / CHANGING VOICES
*review of voice change basics
*educating your choir to normalize voice change and cracking
*changing sections through voice changes
*hormone replacement therapy and the voice
*resources for working with trans voices
*aging voices
*inclusive language for the choir room
WORKING WITH MALE (AMAB bass/tenor) VOICES
*removing the word “cover” from our language
*navigating the male singer “turn” (zona di passaggio)
*taking the “false” out of falsetto
*discouraging high note obsession
*practicing and teaching patience as the voice coordinates
JUST FOR KIDDOS
*favorite exercises for kids
*making head voice fun
*”sneaking in” good technique through play
*building confidence and presence
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You will receive a packet of exercises organized by category
We will cover how to choose the best exercises for your choir and your repertoire
There will be ample time for Q & A.
All sessions will be recorded and you will have access to the videos for one year.
If you are brand new to vocal pedagogy, I recommend reading one of the below books as a helpful pre-req to this course:
Basics of Vocal Pedagogy by Clifton Ware
Basics of Voice Science and Pedagogy by Scott McCoy (2020 version)
ABOUT DR. VARGA
Dr. Dana Lynne Varga holds the Doctor of Musical Arts degree (DMA) in Vocal Performance from Boston University and the Master of Music degree in Voice Performance from the New England Conservatory. A highly sought-after teacher, Dana runs a thriving private voice studio of over sixty professional singers across the US, UK and China. She has served on the faculties of the Longy School of Music of Bard College, the University of Massachusetts Amherst, the Boston University Tanglewood Institute, Framingham State University and the New England Conservatory Preparatory School. Committed to staying completely up-to-date as a pedagogue, Dana has attended the Naked Voice institute (levels 1 and 2) with mentor W. Stephen Smith, the Acoustic Vocal Pedagogy seminar with Ian Howell and Ken Bozeman, the vocal pedagogy summit at the Aspen Music Festival and the Foundations in Manual Therapy training course with Walt Fritz, PT.
As a classical soprano, Dana regularly performs a wide variety of repertoire on the opera and concert stages. She has recently appeared as the soloist in the Brahms, Mozart and Fauré Requiems as well as Haydn's Lord Nelson Mass at Carnegie Hall. She sang the role of Clorinda in Rossini's La Cenerentola with Boston Lyric Opera in 2023 and created the role of Magistra in new opera The Onion at the Huntington Theatre Maso Studio in 2025. The Boston Globe praised both of her 2019 appearances: as the soprano soloist in Beethoven’s Missa Solemnis with the prestigious Cantata Singers and in the role of Pallas Athene in Paride ed Elena with Odyssey Opera. Dana was the first place winner of the 2016 Classical Singer National Vocal Competition.
Also an accomplished career coach and lecturer, Dana is a fierce advocate for musicians, devoted to progressive change in the classical music industry. She helps musicians forge their own unique path and thrive financially.