Examples of Teachers using Sing & See

"We have found Sing&See to be a useful teaching tool which we have implemented in each of our Studios. The visual feedback it offers gets really quick results, especially with the more cerebral students who initially struggle to achieve correct pitch with a purely aural approach. All students relate to Sing & See immediately and quickly realise that the sound they think they're hearing in their inner ear is often not accurate - the look on their faces when they first receive feedback S&S often confirms this. The pitch recognition function speeds up the process tremendously as does the volume meter and identifying a breathy tone in the spectrogram. The students find the whole approach novel and fun, giving them the impression that we are a progressive Studio - which is what we're aiming for. We are delighted with Sing&See's impact on our business and consider it a valuable teaching tool when we need an alternative i.e. visual approach to identifying correct pitch, vibrato, breathy tone and volume"

"We've been using Sing & See with great success in the Djarts Studios for over two years. Sing and See really comes into its own when working with clients who are having trouble with intonation (pitch recognition). The visual representation on screen enables a client to make a better connection of the BodyMind. This in turn increases confidence which ultimately leads to better intonation. Some of our clients who begin with poor intonation develop, through the use of Sing and See, to hold consistent pitch. Of course pitch recognition is not the only support that Sing and See provides our clients...but even if it were it would be worth every penny
(Daniel Kay - Djarts Principal Voice Coach)"

"Most of us have a strong visual component in our learning style, yet hitherto singing teachers have been confined to working on development of the tonal concept in our students with few if any visual aids.

Tonal descriptors, individual sensation and use of analogy were the main teacher resources employed in working towards an acceptable vocal sound. Sometimes in the past this has led to the development of overly imagery-based and excessively teacher-dependent learning processes.

Singing teachers in the twenty-first century have the benefit of access to extremely good research literature, have a wide range of pedagogical books available and have the opportunity of membership in excellent professional associations. We are also fortunate to be living in an age where technology is developing at a pace that gives us an increasing range of tools and options to go about our normal business and lives. Sing & See is one such tool... (read more)"

"At the moment, I am using Sing & See in two related ways, both under the umbrella of 'increasing the interest in voice of young males through technology'. I have created an audio-visual road show for use in primary schools where there is no tradition of boys' singing. ... We use Sing and See to explain that singing a note as opposed to speaking really means producing a trace that stays steady along the bars. Many boys (aged about 8) are keen to try this and lose their inhibitions in the excitement. ...

The second use to which we put Sing & See is with experienced boy singers who are about to undergo voice change. We draw heavily on John Cooksey's work on voice change and are using Sing & See to educate the boys themselves about their changing voices.... (read more)"