Available for Stanford 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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Stanford students can keep voice progress steady around homework, rehearsals, activities, homeschool plans, and weekend commitments, while still leaving room for music the student enjoys.
Students work with patient voice teachers who connect healthy technique, favorite songs, and meaningful music goals into steady progress, while practice choices stay organized and realistic.
5 out of 5 average lesson rating
Students can build technique through music they recognize while the teacher keeps breath, pitch, tone, and diction organized, while still leaving room for music the student enjoys.
A useful setup includes standing room, water, clear audio, a visible face and posture, and any song already in progress. When a school or choir piece matters, the teacher can help more quickly if the score, lyrics, or recording is available. For Palo Alto High, the teacher can shape warmups around breath support, pitch accuracy, diction, phrasing, and confident starts. Keeping one small practice list prevents overload and gives the family a clear way to hear progress before the next meeting, while the student builds confidence one assignment at a time.
Students in Stanford, California can prepare for performance moments by connecting repertoire, technique, and expression early. When Palo Alto High is on the horizon, lessons can organize repertoire, tone, rhythm, diction, and memorization into smaller weekly steps. Music connected with A Theatre Near U can give students a reason to study breath support, tone, text, and ensemble listening. A voice teacher can keep the preparation specific through warmups, diction, phrasing, accompaniment cues, and realistic practice notes, so families understand what to listen for during practice, with rhythm, tone, and musical goals staying connected.
For a new Stanford voice student, the most important setup is a quiet place to stand comfortably and sing clearly. A useful lesson space lets the teacher see posture, hear clear tone, and help the singer mark lyrics, breaths, vowels, and practice notes. Sources like Gryphon Stringed Instruments and GypsyCellar work best after the teacher has named the music, supplies, or listening setup the student actually needs. If the student later works on auditions, recording, or amplified styles, the teacher can recommend equipment that fits the voice and room. The goal is a space where the teacher can hear pitch, see posture, and assign focused next steps. For more setup guidance, read our first online music lesson guide.
Materials for Stanford voice lessons should be chosen around the singer's age, range, reading level, style goals, and teacher's current plan. A child may start with short teacher-selected pages and listening tasks, while a teen or adult may use anthology excerpts, theater cuts, classical songs, theory, or recording practice. Students can purchase books directly from our Shop or through other music retailers. When using Peninsula Music and Repair and Stanford book source Cafe, ask which items directly support this week's assignment before adding extra songbooks or supplies, with rhythm, tone, and musical goals staying connected, with enough detail for focused weekly practice.
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 Stanford, 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.
A strong voice plan starts with the person teaching it. In Stanford, the match can support kids with first songs, teens shaping style, adults beginning carefully, and returning singers rebuilding comfort. Lessons can then aim at breath support, song learning, and relaxed audition preparation without turning every student into the same kind of singer, with practical guidance for the student's current level, so technique and songs improve together.
Strong singing progress needs more than running through songs. Teachers in Stanford can sequence posture, breath support, tone, vowel shape, pitch accuracy, diction, sight-singing, theory, and repertoire. That structure helps kids, teens, adults, and returning singers prepare for school music goals near Palo Alto High while still enjoying songs they chose, so progress feels steady between lessons, so technique and songs improve together, so families understand what to listen for during practice.
The musical life around Stanford gives voice students more than one reason to practice. Lessons can use school context tied to Palo Alto High and broader musical ideas tied to A Theatre Near U while keeping both student-centered. A teacher can connect that inspiration to sheet music, lyric work, tone, dynamics, and a reliable practice routine, with enough detail for focused weekly practice, while the student builds confidence one assignment at a time.
Good voice lessons build musical skill and broader learning habits at the same time. For Stanford families, steady lessons can strengthen listening, language, memory, pitch awareness, creativity, and independent practice habits. Families often value that mix because voice practice builds listening, memory, language, focus, and confidence through music the student enjoys, while the student builds confidence one assignment at a time, while keeping the assignment easy to remember.
Families in Stanford can check Peninsula Music and Repair and Stanford book source Cafe for voice lesson books and materials. The safest approach is to confirm the title, edition, key, and supply list before buying books, lyric sheets, sight-singing pages, or practice materials, with practical guidance for the student's current level.
Yes. The teacher can guide breath support, posture, pitch accuracy, tone, diction, repertoire, sight-singing, ear training, and home practice. That can support Stanford students preparing for school concerts, so technique and songs improve together, while still leaving room for music the student enjoys, while still leaving room for music the student enjoys.
The basic setup is reliable internet, a camera device, a quiet standing space, water, printed lyrics or music, 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 technique and songs improve together.
Most beginners and choir-focused students do not need a microphone for voice lessons. A microphone can become useful for pop, jazz, musical theater, worship, recording, or amplified singing goals once the teacher understands the student's setup. If Gryphon Stringed Instruments is convenient, use it for practical audio or stand questions without assuming a microphone is required.
Ages 6 to 8 are common for starting general singing, but the better question is whether the child is ready. Young students usually focus on healthy habits, simple songs, rhythm, listening, and confidence rather than volume or range, with rhythm, tone, and musical goals staying connected.
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 Stanford area.
Yes. Adult beginners are welcome, and lessons can be tailored to personal goals, favorite pieces, and available practice time.
Yes. A teacher can organize pitch accuracy, diction, breath support, repertoire, memorization, and sight-singing for concerts, auditions, choir, or ensemble placement connected to Palo Alto High. The school reference stays a preparation goal, not an affiliation or endorsement, while practice choices stay organized and realistic.
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