What Four Years of Vocal Training at Top Music School Leaves Out

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A singer came to me after four years at a top music school. A voice degree, tens of thousands of dollars, and a resume most singers would envy.

Forty-five minutes into her first session, she sank down onto my studio floor and burst into tears.

Of course, I could not blame her. I saw myself in her. I could not find what I was looking for inside those walls either.

What she had, and what she did not

In fact, she was not undertrained. She could read, she could hear, she had repertoire and stage time and four years of consistent instruction.

What she did not have was a mechanical explanation for her own instrument. Nobody had told her what her larynx was doing when she reached for a high note. Nobody had explained why the support she was taught was leaving her at the top. Finally, nobody had given her a cooldown, so she had spend four years accumulating swelling she could not feel.

She had been taught to sing. She had never been taught what she was made of.

Why the gap exists

Back in the nineties I was interviewing voice teachers who came from the most notable music schools in the country.

At one of the top schools, several told me plainly that they were not allowed to teach anything outside the vocal curriculum. That meant no techniques, no tangents, and not even a conversation that went past it.

I have been a guest teacher at Columbia and NYU, so I say this with respect. Those are gifted people doing serious work. After all, a syllabus exists to hold a standard steady, which is a reasonable way to run a school and a slow way to move a science forward. Outside the opera and jazz conservatories, most music programs center on musicians and fold the voice in along the way.

What that means for you is that your training was not deficient and neither were you. The information had not arrived.

Where the science survived instead

By contrast, a private studio moves faster than an institution can Instead, this science stayed alive in rooms almost nobody could get into. One teacher, one singer, permission to ask why and follow the answer as far as it goes.

That is where this science stayed alive, in rooms almost nobody could get into. Even the great institutions knew it. That is why the teachers who changed singing usually came in from the outside, running their own work.

The five things a vocal education tends to miss

1. The mechanism

Not what to do, but what is physically happening when you do it. Without it you are following instructions you cannot troubleshoot, which is why a technique works in the lesson and disappears by Thursday.

2. Conditioning

Your voice is muscular tissue, so it responds to progressive training. Most programs rehearse the voice without ever building it.

3. Recovery

Warmups are standard. Cooldowns are almost nonexistent, and the swelling from performance does not reliably clear on its own.

4. The instrument as a whole system

Your tongue, jaw, larynx, ribs, and nervous system are one connected mechanism. Training that addresses them separately leaves you with parts that do not talk to each other.

5. The whole artist

Technique carries you a long way and then stops. However, musicianship, arrangement, stage presence, and identity are what separate a good voice from one people remember. Yet most programs treat those as separate subjects with separate teachers, if they teach them at all.

That last one is the biggest gap, and it is the one I have spent this year building an answer to.

What I did with all of it

I took decades of teaching privately and built the home I always wished I had. I call it the Voice YOUniversity, and it is that private studio with the door open. Same science, same questions, same permission to follow an answer as far as it goes. I hold nothing back, because the syllabus keeps evolving.

The doors are open now.

And today the full curriculum opens with it. The Vocal Mastery Program, the Intensives, the complete path from where your voice is to where it has never been able to go. If you have been waiting for the whole picture instead of another piece of it, this is the day.

See the Voice YOUniversity

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Hi, I’m Cari Cole.

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Cari Cole is the CEO / Founder of caricole.com and CCVM: Label Without Walls. She is a Holistic Vocal Coach, Artist Development Expert, A&R Director, and Songwriter based in New York City helping artists for the past 38 years. She is a mentor for Women in Music and The Association of Independent Music Publishers.

Her latest venture, CCVM a label services company, provides artists with a seamless path from creation to completion. After 30+ years of observing the overwhelm and challenges that artists face, Cari pulled together the best top creative professionals and designed a new approach to supporting our artists.

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