How much do THEY need to know?

Following on from the 13th September blog ("How much do you need to know") I had an interesting question from one of my readers in Israel.

"Hi Jeremy, your blog is very valuable and enjoyable for me. I often find it hard to teach people that are working already in the theatre or just need some "brush-up" on their technique. They want to come for very few lessons and get some "tips" from me."

This is a really interesting challenge, and one I am familiar with. As a teacher, you have so much to give, and so many options to help clients get the best out of their voice and performance. But what happens when all they want (or feel they can afford) is one or two sessions? How do you deal with the time factor and the overwhelming desire to pass on what you know?

Well firstly, there's an old English saying: you can lead a horse to water but you can't make him drink. Essentially, I can't force people to accept what I have to offer, if they don't want to know! What I think people require and what they think they require don't always coincide.

And since we're on the subject of old English sayings, the other one that comes to mind is "why buy a dog and bark yourself?" If you are coming to a teacher to learn, it makes sense to listen to what they have to say, rather than insisting that you know how to fix any problems. However, if the client is there to seek advice (and to pay for it), and if they choose not to ask, listen or accept it, that is entirely their choice.

I work with clients from completely different backgrounds and professional levels, and it is fascinating to discover certain patterns.

My student clients are still in the process of learning, and will often need fairly firm guidance and regular input. I will often set out a short "plan" at the beginning of the session to clarify what we are going to work on. This will often include technical information, performance information or anything that I feel the young client needs for a successful career. The focus here is on long-term training.

Once you step into the professional market, the requirements of a client are different. I will often get one-off drop-ins, who come for a brush-up before an important audition. These clients want advice, practical tips and above all, security, to know that what they are about to present to an audition panel is appropriate. Much of this session will be spent tweaking what the client already does. The focus here is on short- to mid-term career sustaining.

This is an interesting group, as I often get repeat visits from these clients who feel that I have helped them get further in the audition process, and want more information from me. They can sense that I know a great deal more than I have told them, but that I have focussed on their immediate needs, rather than forcing them to "change their technique".

There is one type of client in this category however who comes for "a singing lesson" the day before their audition, and who doesn't have the technical ability to sustain a song. More about that later.

The third category is the high-level performer, the leading man or lady or the well-known actor/actress. These performers will often be invited to audition for specific roles or shows, and need confidence in their material and ability more than anything else. The focus here is building up what is already there, rather than giving new technical information. The only exception to this is when the singer is working a song that contains a particular technical challenge that really can be solved in 15 minutes (it happens more often than you would think). The focus here is on instant or short-term coaching.

Part of the problem stems from how one is viewed - as a technical teacher, a guru, a coach or a quick-fixer. In order to be of the most value to your clients, you have to listen to and judge what they need. And sometimes your satisfaction is not theirs!

Ultimately, in order to feel comfortable yourself, you have to work with the person in front of you and pay attention to their requirements. The following two statements are odd, but true. If you do what you think is a good job, you may not get a repeat booking. If you do what they think is a good job, not only will you be likely to get a repeat booking from them, but you will probably get a glowing reference and more clients too.

And in the case of the clients who come for one session but who have an unrealistic idea of their singing voices? Find one thing to fix and fix it. Then let them go, and hope that eventually they will realise that they need more lessons.

If they do, you'll be the person they'll come back to.

Visit http://www.vocalprocess.co.uk for the latest downloads:
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86 things you never hear a singer say (free ebook)
Looking at a Voice (endoscopy video download)
Constriction and Release (opening the throat on video - the latest endoscopy video download)

Vocal Process is running a day course on Practical Phonetics in November. Click on the link to find out more.