Introduction

This portfolio outlines my development as a vocal teacher, sharing my ability when planning, delivering and evaluating individual vocal teaching for my student Zach. This portfolio will highlight my communication and reflective skills within my teaching methods through written commentary, alongside video evidence, sharing my delivery, and demonstrating my adaptable approach to suit Zach’s goals and learning style. My vocal pedagogy includes student-centred learning, multi-sensory teaching and a kinesthetic approach.

Setting myself up for Success as a Teacher

Prior to teaching my first student, I gained the professional requirements such as my DBS certificate, registering as self-employed with HMRC and ensuring a professional, efficient teaching space aligning with the Health and Safety Act.

Within efficient preparation, I carefully considered decoration and atmosphere through my colour schemes and acoustic treatment (heavy curtains and rugs), minimising sound leak to neighbours. Alongside warm lighting and greenery, optimising the purification of air for singing and creating a soothing, calming environment. (Emma (2019) I also have essential resources such as a laptop, diary, pen, keyboard, speakers and a Printer, aiding my organisation and preparation of lesson material. With vocal health and student well-being being at the forefront of my teaching, I included a hydration station, accessible toilet and quiet room.

Student Environment

Some of my Resources:

Lesson Plan

Practice Log

My Contract

Building the teacher/student Relationship

Prior to creating individual lesson plans, I initially focused on building a healthy and positive teacher-student relationship with Zach, focused on reducing anxiety and ensuring a safe, welcoming environment. Marshall and Striling state, ‘First impressions can lay the foundation for a productive musical partnership’. (Bloomsbury Publishing Plc (2016)) I strongly agree with this statement, as I understand that first interactions can determine the students’ engagement and comfort level within lessons. Therefore, my first session with Zach focused on open communication, honesty and active listening as I shared my own musical experience. Demonstrating my passion and dedication to the voice, whilst reassuring Zach of my qualifications and establishing trust.

Sharing credentials

Getting to know Zach

Alongside sharing my passion for music, I shared an interest in understanding Zach’s musical interests in genre, artists and his singing goals. I engaged with Zach in a calm and encouraging tone, creating emotional safety when understanding his previous musical experience and current level of confidence.

This discussion allowed me to assess Zach’s current ability, establishing specific aims and objectives catered to Zach’s goals in singing. Through my Student-centred approach, this allowed me to tailor Zach’s lesson plan to song choices aligned with his preferred style. ‘When time is taken to understand individual goals and interests, students feel valued and motivated to engage in the learning process.’ (Adamson, J. (2024)) Furthermore, understanding Zach’s voice is extremely valuable to high engagement and enjoyment for Zach throughout his vocal journey and progression.

Finding Vocal range

As shown above, I first identified Zach’s vocal range and tessitura, alongside identifying his vocal strengths and struggles, to further consider my choice of future warm-ups and song choices. I initially led by demonstration, guiding Zach through ascending and descending scales, accompanied by the piano, and developing Zach’s confidence by encouraging him to proceed independently. As well as assessing Zach’s voice within his pitch accuracy, vocal confidence, register transition, and areas of struggle.

Warm-ups

When previously understanding Zach’s specific interest in rock music, I selected warm-ups focused on forward resonance, twang, belting and controlled breathing, techniques extremely useful within this genre’s vocal approach. Through my Student- centred approach, I selected the song choice ‘Creep’ by Radiohead, putting technique and exercises into a practical song and improving motivation, engagement, and progression through this exploration of rock.

When developing Zach’s vocal control for rock singing, I initially focused on posture, breath control, and gentle warm-up supporting healthy vocal technique and prevention of Vocal injury. An understanding supported by McCoys, stating, ‘effective vocal pedagogy begins with bodily alignment and breath management, as the voice functions as a full-body instrument’. (Scott Jeffrey McCoy, Halstead and Heldind, 2019)

Posture

As shown above, when creating a replicable routine for Zach to take into independent practice, I used multi-sensory teaching as shown:

• Auditory – verbal instructions
• Visual – visual demonstration, observation and using a mirror
• Tactile – physical awareness (hands on ribcage, observing how the body feels, central alignment)
• Kinaesthetic – Repeating the routine/movements

In supporting Zach through this learning, I demonstrated correct posture, asked Zach to observe his alignment in the mirror and asked Zach questions to create awareness of how his body feels. In order to allow this routine to be replicable in independent practice, we repeated the steps until Zach could independently create this alignment without verbal reminders.

Breathing exercises- Video

Following posture work, I introduced Zach to breath control, outlining its importance and purpose. Prior to taking this into practice, I explained the physical feelings of the exercise, creating a metacognitive awareness for Zach to replicate the technique efficiently and “more productively redirect his effort” with his known understanding of what he should and shouldn’t be feeling. (Teaching + Learning Lab. (n.d.))

I first asked Zach to place his hands on his ribcage, inhaling to 4 counts to then sustain and control his exhale, aiming to keep his rib cage expanded. Repeating this until Zach could confidently sustain control and consistency through his exhale of breath, allowing him to replicate this through solo practice.

Gesture-Based Learning- Sound before symbol

Following this exercise, we moved the exercise to a ‘shh’ vowel and progressed to a ‘vv’ vowel. When noticing Zach struggling with an inconsistent air flow, I adapted the exercise to use a visual hand gesture, resembling the ‘vv’ sound as a hand drill. This sound-before-symbol motion encouraged the airflow to be controlled and sustained through its ease of vocal tension and focus on keeping a stable and consistent tone throughout. Improving Zach’s coordination and supporting his kinaesthetic learning style with this gesture-based focus.

Exercise into Practical – The 30th

Following these breathing exercises, we took controlled breathing into practice with the song ‘The 30th’ by Billie Eilish. Initially leading by demonstration, one line at a time, and eventually putting the whole bridge together with sustained, controlled airflow. Transferring technique into practice creates an element of performance, not only creating a sense of achievement and satisfaction for the learner, but also creating a sense of purpose and understanding of the exercise.

Hands- on approach

When understanding Zach’s logical learning style, I incorporated a hands-on approach when problem-solving within the song. For example, in order to engage Zach’s lower abdominal engagement, I asked Zach to hold a chair, pushing into it to enable core support whilst easing any tension in the throat and forcing a distraction to help control his breath. I also introduced achievable challenges, such as gradually adding additional lines to the bridge, building Zach’s cognitive resilience and growth mindset, and encouraging additional practice.

Warm ups –Physical Awareness

Shoulder Circles

The understanding that the voice is a full-body instrument is vital in order to set the body up for singing. Marshall and Stirling reiterates it’s importance, stating “Singing is like marathon running in miniature!” (Bloomsbury Publishing Plc (2016)) As shown above, I included shoulder circles in our warm-up, supporting Zach’s body awareness and releasing any tension, creating the looseness to sing freely. This teaching is inspired by Emile Jaques Dalcroze’s philosophy, highlighting the importance of the relationship between movement and musicality.

SOVT

Warm-ups also included necessary semi-occluded vocal tract exercises shown above as lip trills. I chose this exercise due to it being a gentle and beginner-friendly effective vocal exercise, working through creating airflow resistance that encourages consistent breath support and removes tension of the facial and vocal muscles. This is extremely useful for beginner vocalists such as Zach due to its safe and replicable nature for Zach to practice through his independent warm-up routine.

Suzuki Method and Rhythmic Learning

“Dance to the rhythm”

“I don’t wanna sing today”

Above are two call and response exercises, inspired by the Suzuki method of demonstration- based learning. The exercises are based on “copycat” melodic exercises, developing Zach’s pitch accuracy and rhythmic awareness through their repetitive form, improving Zach’s ear training.

Through both exercises, movement and hand gestures are included, encouraging Zach’s engagement, whilst also supporting Zach’s mnemonic learning of lyrics and increasing energy and enjoyment within the lesson. Varied alterations to the exercises, such as using a metronome in “Dance to the rhythm,” can engage further musicality, such as tempo awareness and engaging breath control when articulating the phrases to a higher tempo.

Diction & Articulation

When first introducing Zach to articulation and diction, I introduced a kinesthetic approach within a “Yawn” exercise, described to reinforce awareness of the soft palate and tongue whilst relaxing the pharynx, allowing flexibility within the vocal folds. (Orhon, E.Ş. and Malkoç, T. (2022)) We followed this with tongue rolls, an exercise assisting Zach’s logical learning style through its concrete, physical approach, engaging the tactile awareness of the jaw and tongue.

Following the easing of any jaw/tongue tension, I audibly demonstrated four tongue twisters alongside a visual lyric sheet, developing Zach’s agility and flexibility within his voice and catering to multiple learning styles. Following demonstrating these phrases, I transformed this exercise into an engaging game format, engaging Zach’s quick thinking, rhythmic awareness, and engagement.

Belt access

Through my previous understanding of Zach’s rock interest, I incorporated specific exercises targeting Zach’s projection and belt through an open “Hey” vowel as shown above. The forward placement of this exercise encourages a strong, forward resonating tone, commonly used within rock vocals. Once again, kinesthetic hand gestures were used, demonstrating airflow and projection with a smooth downwards motion replicating a controlled, consistent airflow when ascending and descending in scales, contrasting to a pushing gesture representing the projection needed within the intervals.

Advice/Clear Communication

When considering Zach’s logical learning style, I created clear communication and understanding through providing clear explanations, demonstrating the purpose and reasoning for exercises and warm-up routines. Prompting Zach’s engagement with the lessons and motivation of individual and rehearsal, aiding the progression of his voice.

Applying technique to Rock Repertiore

Introduction of “Creep”

Using a student-centred approach, I chose the song “Creep” by Radiohead, a song aligned with Zach’s musical interest, whilst still interacting with previously rehearsed technique such as controlled breathing and projection. Before Zach’s first performance of the song, I reassured Zach that there was no pressure within his initial run through, easing anxiety and reminding him of the performance’s purpose, being to simply identify areas for future development.

Development of “Creep”

Following on from Zach’s initial performance, we applied a range of techniques such as vowel modification, shaping, cry/whine effect, vocal slides and jaw release throughout the chorus of the song. I also decided to lower the key of the song, considering Zach’s current comfort level in range.

When dissecting the song, I incorporated exercises into the song, alternating between lyrics and specific vowel shaping (such as using a “gag vowel, cry/whine and vocal slides), aiming to alter timbre within certain lines and words Zach was struggling with. When noticing Zach’s shift in confidence throughout riffing, specifically on the descending phrase on “weirdo”, I placed hand movements visually representing the melodic direction. A technique often referred to as “drawing the run”, this physical mapping allowed Zach to visualise the pitch movement, improving the smoothness of the riff. Following placing exercises into song (as shown by the lyric sheet) Zach could confidently decide how he wanted to convey and deliver the song through choices of dynamic variation, style and emotion.

Throughout lessons, I maintained a positive and charismatic teaching style. When offering constructive criticism, I consistently delivered praise and motivation for Zach’s progression and achievements. Throughout lessons, I found dramatic improvements in Zach’s confidence and willingness to try new techniques and develop new skills, displaying Zach’s development of artistic voice.

Cool Down

Student Feedback

Sessions concluded with a vocal cool-down, highlighting the importance of vocal health and stability, whilst relaxing and easing the voice. Before the end of the lesson, we reflected on the lesson, discussing Zach’s progression, future goals and repertoire interests. Further allowing me to develop the following lesson plan to include Zach’s expressed interest in songs from ACDC and prepare material – lyric sheets, backing tracks and vocal warm-ups, preparing Zach to replicate those gritty rock vocal techniques used by ACDC singer Brian Johnson.

Preparation as such creates productive, efficient time management when lesson planning, aiming to fulfil criteria directly aligned with Zach’s interests and long-term goals whilst reinforcing my student-centred teaching approach to support Zach’s progression.

Bibliography :

Adamson, J. (2024) ‘The benefits of embracing student-centred learning’, OxfordAQA International Qualifications. Available at: OxfordAQA International Qualifications (Accessed: 17 May 2026).

Bloomsbury Publishing Plc (2016) 100 Ideas for Music. London: Bloomsbury Children’s Books.

Emma (2019) ‘Plant Power | 5 Benefits of Plants in the Classroom’, Teach Starter. Available at: Teach Starter (Accessed: 17 May 2026).

McCoy, S.J., Halstead, L. and Helding, L. (2019) Your Voice: An Inside View. Gahanna, Ohio: Inside View Press.

Orhon, E.Ş. and Malkoç, T. (2022) ‘The effects of yawn-sigh, lip trill and tongue relaxation exercises on frequency and amplitude perturbation of voice in vocal training’, Cypriot Journal of Educational Sciences, 17(1), pp. 1–17. Available at: DOI link (Accessed: 17 May 2026).

Radiohead (2008) Radiohead – Creep. YouTube video. Available at: YouTube (Accessed: 17 May 2026).

Teaching + Learning Lab (n.d.) ‘Metacognition’, Teaching + Learning Lab. Available at: Teaching + Learning Lab (Accessed: 17 May 2026).