Available for Dublin students
A multivariate artist always pushing against the simple definition of a singer and pianist, Cristin Colvin has: stage directed and performed in a new opera Locust in the US, Morocco, and Scotland; produced immersive arts salons at Denver’s Redline Contemporary Arts Center; worked as an improvisatory… read more
Hannah Martin is a music educator, vocalist, and multi-instrumentalist specializing in contemporary and jazz styles. She brings experience in singing and songwriting, arranging, music directing, and interdisciplinary curriculum design for youth and senior arts programs. With a passion for accessible… read more
hicago native, mezzo-soprano Olivia Gronenthal, combines her career in opera performance with a passion for new cross-disciplinary works that resonate with contemporary life. She recently made her Indiana University Opera Theater debut portraying Suzy in La Rondine. Her other roles include Hansel in… read more
Marcus Peterson, a bass and baritone from West Bloomfield, MI, is completing a double Master's in Voice and Choral Conducting at IU's Jacobs School of Music. Marcus holds a Bachelor of Music in Vocal Performance with a Teaching Certification from the University of Michigan. He has performed througho… read more
Praised for his “clarion tone” (Ludwig van Toronto) and “impressive vocal colour” (Opera Canada), Canadian-American baritone Geoffrey Schellenberg is a professional opera singer and voice instructor. On professional stages, he has been recognized for the roles of Figaro (Il barbiere di Siviglia), Ma… read more
Originally from Maryland, Jessa earned her Bachelor’s in Film, Theatre, and Video from Stevenson University. At Maryland’s prestigious Toby’s Theatre, Jessa performed as a singer, dancer, and actress in a variety of shows, including The Buddy Holly Story (Apollo Singer), Ragtime (Sarah), Hairspray (… read more
Mexican-American soprano Catherine Thornsley is a two-time National Semifinalist in the Metropolitan Opera Laffont Competition. Based in Vancouver, Catherine is an Artist-in-Residence with Nebula Performances, where she regularly performs and collaborates on impactful programming.
Catherine believe… read more
Taylor Deneen is a professional singer-songwriter whose career has taken her from the stage of NBC’s The Voice—where John Legend praised her as the “best soul singer” of the blind auditions—to classrooms and studios where she inspires the next generation of musicians. With nearly seven years of teac… read more
Liz holds a Master’s Degree in Vocal Performance from San Jose State University. She continues her education by attending seminars and conferences in vocal pedagogy and Contemporary Commercial Music (CCM) workshops, keeping up with the latest in teaching techniques and nerding out on voice science. … read more
Spotify verified artist and Nashville-based musician Jess Kerber first picked up a guitar at the age of 12, and her precocious drive to experiment with different tunings and picking styles – influenced by kindred spirits like Joni Mitchell and Susan Tedeschi – led to the development of a unique soni… read more
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Flexible scheduling No contracts Start or pause lessons anytime
All Major Payment Methods Accepted
Flexible scheduling helps Dublin singers keep practice moving through school concerts, rehearsals, projects, and family plans, so the teacher can keep the next goal specific.
Each teacher brings calm feedback, clear assignments, and voice-specific experience for students preparing songs, recitals, choir, or theater, with rhythm, tone, and musical goals staying connected.
5 out of 5 average lesson rating
Each assignment can connect the student's musical taste with stronger breathing, vowel shape, listening, phrasing, and tone control, so technique and songs improve together.
Students should begin with the lesson space cleared and current songs, lyrics, sheet music, or questions close enough to use. Students with school music goals should bring the song, choir part, lyric sheet, sight-singing excerpt, or audition cut they want help organizing. For Dublin High, the teacher can shape warmups around breath support, pitch accuracy, diction, phrasing, and confident starts. Between lessons, the goal is simple: warm up, sing slowly, isolate the hard spot, and repeat the best version, so progress feels steady between lessons, with enough detail for focused weekly practice.
For Dublin voice students, local performance ideas work best when they become specific practice targets. When Dublin High is on the horizon, lessons can organize repertoire, tone, rhythm, diction, and memorization into smaller weekly steps. The music surrounding Team Theatre can help students choose repertoire that makes technique feel connected to real sound. Lessons then turn the goal into breath support, pitch accuracy, diction, memorization, and a practical performance plan, while the student builds confidence one assignment at a time, with a clear next practice step, with rhythm, tone, and musical goals staying connected.
In Dublin, a practical voice setup is more about consistency than gear: space, water, music, and reliable audio. A quiet space with clear camera framing helps the teacher check alignment, breathing, diction, pitch, and practice habits without adding unnecessary equipment. With Guitar Center and Runzo's Music World, the safest approach is to match each item to a specific voice lesson task instead of guessing from general singing advice. If the student later works on auditions, recording, or amplified styles, the teacher can recommend equipment that fits the voice and room. The best starting setup supports healthy singing, clear feedback, and easy follow-through on the teacher's weekly notes. For more setup guidance, read our first online music lesson guide.
Materials for Dublin voice lessons should be chosen around the singer's age, range, reading level, style goals, and teacher's current plan. A younger beginner may need teacher-selected sight-singing, lyric sheets, solfege, or ear-training pages, while an older student may use The Singer's Musical Theatre Anthology, 24 Italian Songs and Arias, Vaccai, audition cuts, theory, or accompaniment tracks. Students can purchase books directly from our Shop or through other music retailers. If families compare ABC Music with Danville Music, the teacher's assignment should decide the title, format, level, key, and supplies, while still leaving room for music the student enjoys.
Families and adult learners use Lesson With You for patient voice instruction, clear weekly practice goals, and steady support.
Lesson With You keeps singing lesson pricing simple for Dublin, California: $35 for 30 minutes, $50 for 45 minutes, and $65 for 60 minutes. The first trial lesson is free, and there are no long-term contracts.
Many beginners start with 30 minutes, while older or more advanced students may choose 45 or 60 minutes for breath support, pitch accuracy, diction, sight-singing, repertoire, and performance preparation. For broader context, see the main singing lessons page.
The best voice lessons start with a teacher who understands the student. For Dublin students, teacher fit can shape how quickly lessons move, which songs appear, and how practice is explained. Lessons can then aim at breath support, song learning, and relaxed audition preparation without turning every student into the same kind of singer, while the student builds confidence one assignment at a time, so families understand what to listen for during practice.
A good voice lesson should make practice clearer, not just longer. For Dublin singers, weekly structure can connect breath management, pitch accuracy, tone, diction, theory, ear training, and practice habits. That structure helps kids, teens, adults, and returning singers prepare for school music goals near Dublin High while still enjoying songs they chose, so technique and songs improve together, so technique and songs improve together.
Singing study in Dublin can connect personal songs with the music students hear around them. One student might connect lessons to Dublin High, while another uses Team Theatre as inspiration for text, tone, and repertoire. That outside music becomes lesson material through phrasing, tone control, pitch accuracy, memorized starts, and clean run-throughs, with rhythm, tone, and musical goals staying connected, while the student builds confidence one assignment at a time.
Voice practice can train attention, language, coordination, listening, and follow-through. Families in Dublin can see growth in reading, listening, memory, pattern recognition, creativity, and independent practice habits. For school, homeschool, and family learning, the benefit is a student who can plan practice, notice patterns, and keep improving independently, while still leaving room for music the student enjoys, so families understand what to listen for during practice.
Families in Dublin can check ABC Music and Danville Music for voice lesson books and materials. Students should know the required title, edition, key, and accompaniment plan before choosing books, sheet music, lyric pages, or sight-singing materials, while still leaving room for music the student enjoys.
Yes. A live lesson can address breath support, posture, pitch accuracy, tone, diction, repertoire, sight-singing, ear training, and weekly practice habits. That can support Dublin students preparing for recitals, so families understand what to listen for during practice, while practice choices stay organized and realistic.
Students need reliable internet, a device with a camera, a quiet space to stand, water, sheet music or lyrics, and a pencil. Most beginners can start simply, though a speaker, headphones, or second device may help when assigned accompaniment tracks are part of practice, so families understand what to listen for during practice.
A microphone is not required for most beginner, choir, recital, or school-music voice lessons. It may help later for pop, jazz, musical theater, worship, recording, or amplified goals, especially when playback and headphones are part of practice. If Guitar Center is convenient, use it for practical audio or stand questions without assuming a microphone is required.
Children often start singing around ages 6 to 8, but teens and adults can begin successfully too. Young students usually focus on healthy habits, simple songs, rhythm, listening, and confidence rather than volume or range, while keeping the assignment easy to remember, while still leaving room for music the student enjoys.
Lesson With You rates are $35 for 30 minutes, $50 for 45 minutes, and $65 for 60 minutes. The first 30-minute trial lesson is free.
Expect a weekly lesson plan built around warmups, breath support, pitch accuracy, diction, repertoire, listening, and practice habits. The teacher will adjust assignments as the student grows.
Start with the free trial form, choose a teacher or request a match, and we will help confirm a lesson time that works for your schedule.
New singing students are eligible for a free 30-minute trial lesson with no credit card required.
Lessons are billed one week at a time with no long-term contracts. Contact support if you are planning lessons for multiple students or a higher weekly frequency.
Sight-singing is useful, but voice lessons can also include breath support, ear training, diction, repertoire, rhythm, theory, and listening skills.
Exercises and method books help students connect warmups, breath, pitch, diction, reading, and musical phrasing. Teachers tie that work directly to the songs students are learning.
No. Lessons are live online, so students can keep a consistent lesson time anywhere in the Dublin area.
Yes. Adult beginners are welcome, and lessons can be tailored to personal goals, favorite pieces, and available practice time.
Yes. Students can work on school concerts, choir, auditions, recitals, musical theater cuts, sight-singing, pitch accuracy, and diction connected to Dublin High. The school reference stays a preparation goal, not an affiliation or endorsement, with practical guidance for the student's current level, with enough detail for focused weekly practice.
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