offerings & current rates
Voice lessons - $100/hour or $60/half-hour
Coachings (style, dialect, or lyric diction) - $75/hour or $40/half-hour
Repertoire consultation & audition preparation - $50/half-hour
Interested in making an appointment with Benjamin? Use the "BOOKINGS" link in the navigation tabs to contact him.
Coachings (style, dialect, or lyric diction) - $75/hour or $40/half-hour
Repertoire consultation & audition preparation - $50/half-hour
Interested in making an appointment with Benjamin? Use the "BOOKINGS" link in the navigation tabs to contact him.
teaching philosophy
"The art of teaching is the art of assisting discovery.” - Mark Van Doren
My mentor kept a sign on her door that read: “Knock when it is time for our lesson.” This spirit of collaboration has inspired my teaching style. Building on this model, I have developed an approach grounded in three pillars designed to meet the needs of my students and, most importantly, to equip them with the skills they need to tell stories through song.
The first pillar is a science-informed, evidence-based approach. My cross-disciplinary training in crossover performance, pedagogy, and vocology informs nearly every decision I make in the studio. However, lengthy explanations of anatomy, physiology, or acoustics are rarely necessary and can often imped student development. Instead, I use this knowledge to shape practical applications that help students progress.
The second pillar is training vocal function rather than a single “vocal technique.” Today’s performers must be able to sing in a wide range of styles, and teachers must prepare them to do so sustainably and with stylistic accuracy. Teaching one method alone does not meet the needs of students. Swimmers don’t train like rugby players, so why would we train classical and pop-rock singers the same way? My priority is to give students the tools to move flexibly between registers, phonation types, timbres, and more. Strategies may include yodeling, scaling, or experimenting with emotional motivation. Regardless of the method, artistic growth depends on consistent experimentation and informed risk-taking, guided by the teacher.
The third and most important pillar is a holistic approach. As singers, our body is our instrument, so teachers must consider the emotional, physical, and mental factors that shape performance. A student cannot sing consistently if they are unwell. It is my responsibility to connect students with appropriate resources while staying within my scope of practice. Equally important is honoring each student’s individual goals and tailoring lessons to support their personal and artistic development.
In sum, my teaching aims to serve learners from diverse backgrounds by meeting them where they are and fostering a sense of belonging. I strive to create a supportive environment where students feel encouraged to experiment, take risks, and discover their own authentic voice. In this way, I not only prepare them for performance but also contribute to the broader goals of a the human experience: cultivating curiosity, adaptability, and the ability to connect meaningfully with others.
My mentor kept a sign on her door that read: “Knock when it is time for our lesson.” This spirit of collaboration has inspired my teaching style. Building on this model, I have developed an approach grounded in three pillars designed to meet the needs of my students and, most importantly, to equip them with the skills they need to tell stories through song.
The first pillar is a science-informed, evidence-based approach. My cross-disciplinary training in crossover performance, pedagogy, and vocology informs nearly every decision I make in the studio. However, lengthy explanations of anatomy, physiology, or acoustics are rarely necessary and can often imped student development. Instead, I use this knowledge to shape practical applications that help students progress.
The second pillar is training vocal function rather than a single “vocal technique.” Today’s performers must be able to sing in a wide range of styles, and teachers must prepare them to do so sustainably and with stylistic accuracy. Teaching one method alone does not meet the needs of students. Swimmers don’t train like rugby players, so why would we train classical and pop-rock singers the same way? My priority is to give students the tools to move flexibly between registers, phonation types, timbres, and more. Strategies may include yodeling, scaling, or experimenting with emotional motivation. Regardless of the method, artistic growth depends on consistent experimentation and informed risk-taking, guided by the teacher.
The third and most important pillar is a holistic approach. As singers, our body is our instrument, so teachers must consider the emotional, physical, and mental factors that shape performance. A student cannot sing consistently if they are unwell. It is my responsibility to connect students with appropriate resources while staying within my scope of practice. Equally important is honoring each student’s individual goals and tailoring lessons to support their personal and artistic development.
In sum, my teaching aims to serve learners from diverse backgrounds by meeting them where they are and fostering a sense of belonging. I strive to create a supportive environment where students feel encouraged to experiment, take risks, and discover their own authentic voice. In this way, I not only prepare them for performance but also contribute to the broader goals of a the human experience: cultivating curiosity, adaptability, and the ability to connect meaningfully with others.
testimonials
"Ben helped me rediscover my true love for singing. When I felt like I didn't belong in the theater world, he showed me how to believe in myself and my voice. He always shows up to give 110%, always uplifting and giving suggestions to help improve technique without straying from your natural sound. I could not be more thankful for Ben’s impact on me not only as a singer, but as a human." Nina
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“Ben really helped me find a level of confidence in my voice and as a performer I never thought I could reach—every lesson felt so perfectly tailored for my voice that I got to learn so much about singing and learn so much about my own voice." Michael
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“Benjamin encouraged me to sing the songs I wanted to sing. He is uniquely skilled in voice teaching, connecting the mind body and spirit. He helped me develop a more trusting and healthy relationship with my voice. He believes in the importance of connecting to a piece of music emotionally through cultivating one’s own feelings into the practice.” Makenzie