Denise Williams facilitates a non-biased equitable approach to her work with students, whether in a learning institution or in the general community.
Equally at home on the concert, opera, to the theatre and cabaret stages, I am best described as a self-produced, crossover soprano.
Reflecting on over 30 years of teaching and singing experience, scholarship and lived experience, I feel it is highly important, and I strive to practice a pedagogy that fosters a balanced technique, allows for singing ease, stylistic flexibility, and voice longevity, and desired artistic expression. As no two people have the same voice/instrument or presentation, I practice an individualized, tailored approach to teaching with the desire to meet people where they are at. This implies working with them not just from their level of learning or education but also considering their needs and desires. I believe that taking time to understand and connect with students gives them a sense of comfort and trust which aids them in reaching their potential goals.
It is with this premise that I branded my private studio as ‘Voices of Colour Music’. Honing a student’s own natural and unique vocal colour, void of manipulative impositions to sound or be like anyone else, promotes singing with more ease, freedom and identity. Whether in my studio or in a college setting, I encourage students to understand who they are and work from a state of inner knowledge, security, and uniqueness.
Over the years, I have been privileged to work with diverse students of spoken word/rap, gospel, contemporary, music theatre to the classics of crossover, art song, and opera styles.
My desire is to foster a safe and equitable student- teacher space for learning and cooperation that encourages participation, mutual respect, trust and artistic collaboration. Today's singers face the challenge of acquiring a secure technique that is able to meet the high demands of a global music industry that is growing ever more diverse.
Due to modern day fluidity in voice characterization and range of vocal styles from classical to CCM, as students progress, they also face challenges of achieving balanced registrations and of understanding their optimal vocal ranges. I coach them to understand and practice the ‘cause’ rather than the ‘effect’ in vocal technical practice. I also encourage them to understand how the psyche can get in the way and to strive in channeling a positive psycho-emotional path to successful performance. Most importantly, I believe that training of right brain ‘singing artistry’ holds as much importance as training left brain technical vocal skills.
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