THOMAS - Singing tutor - New York
1st lesson free
THOMAS - Singing tutor - New York

The email address and phone number of THOMAS have been verified.

THOMAS

  • Rate UGX 239,373
  • Response 9h
  • Students

    Number of students THOMAS has accompanied since arriving at Superprof

    5

    Number of students THOMAS has accompanied since arriving at Superprof

THOMAS - Singing tutor - New York
  • 5 (5 reviews)

UGX 239,373/hr

1st lesson free

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1st lesson free

1st lesson free

  • Singing
  • Opera Singing
  • Choral Singing

Thomas Helps Every Voice Sing With Confidence, Whatever Your Age or Level

  • Singing
  • Opera Singing
  • Choral Singing

Lesson location

Recommended

THOMAS is a respected member of our tutor community. He is highly recommended for his commitment and the quality of his lessons. An excellent choice to progress with confidence.

About THOMAS

I start with the sound, not the body. Most singers arrive with a clear picture of the sound they want and only a vague, anxious sense of what their throat is doing to get there. So we agree on the target first and then look for the physical adjustments that produce it. I rarely explain anatomy for its own sake. If you tell me your high notes go thin and shrill, I'll ask you to sing that same pitch on a slow siren, then on a hum, then on a bright "ng," and we compare what changes in the sound each time. That comparison usually does more than any instruction from me. It is often what makes you notice that you have been pushing from the jaw. With a seven-year-old, the same idea becomes a game: make the cat sound, now make the owl sound, which one is easier to keep going? With an adult who has not sung seriously for twenty years, it is a way to rediscover a voice without being told it was wrong.

I listen for the exact moment a phrase starts to go wrong, rather than letting you sing it through to the end. In a long sustained line the voice often holds steady for two bars and then loosens. I stop you at that note and look only at that note: the vowel you chose for it, whether the breath came in a fraction too late, whether the jaw dropped an eighth of an inch when the pitch climbed. Singing the whole song three more times usually just rehearses the mistake. Instead I might change the vowel for that single note toward something more forward, or sing the phrase on "nay" so the consonant keeps the airflow moving, and then return to the words. Many singers find the trouble was never the high note itself but the vowel they had been forcing through it. Beginners get the same treatment at a gentler scale: one note, one sound, one thing to notice.

When an explanation does not land, I change the route rather than repeating myself more loudly. If "support the breath" means nothing to you yet, I might have you blow steadily through a straw into a glass of water so you can feel how much air a held note really needs, or put your hand flat on your ribs and sing a short phrase while you feel them stay open instead of sinking. If you are nervous about your range, we may sing the melody a fourth lower, where it feels easy, and then move the same shape up a step at a time, so your ear builds the path before your voice has to be brave. Sometimes I simply sing a line for you and ask which version you would keep. Your ear often knows the answer before you can explain it. When a song feels impossible because the words and the tune are fighting each other, I split the two: I speak the lyric in its rhythm first, so the timing is settled before the pitch asks anything of you.

Over time I want you to leave each lesson able to work without me. At the start and end of a lesson I often ask students to record a short take on their phone, and we listen back together, usually to one phrase. You learn to hear the difference between a tight sound and a free one, which is the skill that matters most when you are practicing alone. Advanced singers use the same approach to shape interpretation: I set a limit, such as singing a chorus on only five notes or only at one dynamic, so that every choice has to be deliberate instead of habitual. Teenagers who have been told their voice is "not really a singing voice" tend to respond well to this, because the judgment moves from a verdict to evidence they can hear for themselves. I am not interested in becoming the person who has to tell you whether something sounded right. My aim is for you to hear it yourself.

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About the lesson

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  • Intermediate
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  • +2

    • levels :

    Beginner

    Intermediate

    Advanced

    Professional/Expert

    Children

  • English

All languages in which the lesson is available :

English

I hear the voice in singing first, and I try to make the body do the work it's supposed to do before I ask anything more of the sound. Most singing trouble I meet comes from the same two places: the breath runs out too early, or the throat tries to do what the breath should be doing. So in my lessons we start with the simplest thing: lying on the floor or sitting back in a chair, you notice where the air goes when you breathe in without forcing it. Then we move to standing, and I ask you to hiss on a long, steady "sss" and count how far you can take it. That count becomes a number we both watch over the weeks, not a score. Beginners often find this surprisingly calming, because it gives them something concrete to do before a single note is sung. Returning singers usually recognise the feeling of having been told to "support more" without anyone explaining what that meant, and this is where that vague instruction starts to become a real sensation you can repeat on purpose.

Pitch is where I get specific, and where a lot of people quietly give up on themselves. You may be someone who hears a note clearly in your head and then watches it slide off or land a little flat when you actually sing it. I don't think that means your ear is broken. Usually the voice has not yet learned to connect the sound you imagine with the small adjustments that produce it. So I often separate the two jobs completely. First we sing a single, slow interval, say from one note to the one above it, and I have you hold only the top note while I play the bottom one on the piano, so you can hear whether the second note is settling. Then we sing just the transition, sliding carefully from one note to the next and back, without rushing for the pitch target. When the transition is clean, we put the words back in. You'll find that a student who is struggling with an entire chorus is often only failing at one jump, maybe the moment the melody climbs an octave, and once we isolate that jump the rest of the phrase starts to behave.

Songs are where everything comes together, and I never want the material to feel like a sequence of drills that you tolerate until you get to the real thing. Early on we might use a song you already love and find its musical landmarks: the line where the melody first goes higher, the word that always lands on a long note, the breath you always need before the chorus. Rather than memorising the lyrics blindly and hoping they hold together under pressure, you learn to navigate by these landmarks, so that if you lose a word you still know where you are and what the phrase is doing. For more advanced singers, I often reduce a demanding piece to its skeleton, just the melody's shape and the places where the harmony changes, then rebuild it with the ornaments and the lyric added back in. That process usually reveals why a passage keeps falling apart, because the difficulty was never the whole song but one high entry that comes right after a fast breath. I'm equally happy to help a teenager sing the first verse of a pop song at a comfortable range or to help an adult prepare a more demanding aria, because the method is the same: find the one place where the voice is strained, make it smaller, and make it real.

I also want you to leave each lesson able to work without me. I'll give you a short routine you can do in five or ten minutes at home, and I'll explain exactly what to listen for while you do it. Often I ask you to record one short phrase on your phone at the start of the week and again at the end, because your own ears are much more honest than my memory of what you sounded like. If you notice that a note tightens every time you approach it, you'll learn to ask whether the problem is breath, placement, or simply the fear of reaching for it, and to test each one separately. My goal is that after a few months you can hear your own singing with more clarity, adjust without panicking, and know which small change to try next. If that sounds like the kind of lessons you want, I'd be glad to hear what you already sing and what frustrates you about it.

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Rates

Rate

  • UGX 239,373

Pack prices

  • 5h: UGX 1195
  • 10h: UGX 2390

free lessons

The first free lesson with THOMAS will allow you to get to know each other and clearly specify your needs for your next lessons.

  • 1hr

online

  • UGX 239,373/hr

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levels

Beginner

Intermediate

Advanced

Professional/Expert

Children

All languages in which the lesson is available

English

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free lessons

The first free lesson with THOMAS will allow you to get to know each other and clearly specify your needs for your next lessons.

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