Nadari H  
Instruments: Piano, Voice, Ukulele, Music, Keyboard
Styles: Classical, Jazz, Pop, Rock, Blues, Folk, Country, R&B, Gospel, Musical Theater, Opera, Funk, Hip Hop, Showtunes, Spirituals, Reggae, Latin Jazz, Swing, New Age, Samba, Soul

After school I toured internationally with a John  Demain / Houston Opera production of Porgy and  Bess for 1 year. Prior to that, by invitation of  our  President-Elect's First Inaugural Committee I had  the pleasure of  performing at the Inaugural Ball. I was interviewed and performed on Good Morning LA commencing the Inaugural performance. I currently concertizing as solo Neo-Classical Soprano. I have 20 years of concentrated experience as a professional classical and commercial vocal artist and educator. I am just beginning the production of a dynamic solo Neo-Classical Aria compilation project  due to be released by October. I have 20 years of concentrated experience as a professional classical  and commercial vocal artist and educator. My experience as Working/ Teaching Artist has been tremendously rewarding.

Our lessons will have three broad areas of focus: Discovering a unique and personal sound through playful vocal exploration. (Influences: David Jones, Joan Sutherland, Monseratt Caballe and Seth Riggs) Developing concrete skills like range and agility with classic singing exercises. (Influences: bel canto, rythmn & blues, and musical theater singing.) Understanding how thinking and physicality play a necessary role in vocalization. (Influences: the Alexander Technique, Neurodynamics, and acting training.) What is it like in my studio? First, there is no nerve-racking 'audition' to prepare, and no one is turned away because he or she isn't 'good enough'. (In fact, I enjoy working with beginners!) When I first meet a student, I don't ever assume that just because he or she has had years of vocal training with other teachers, he or she has actually learned or acquired good technique. (Most of my students have come to me after they have already studied with other teachers, but were disatisfied with the results.) Nor do I assume that a singer with absolutely no formal instruction in singing in his or her background doesn't already have some good fundamental skills to further build upon. Every new student, regardless of skill level or experience, starts with a clean slate when he or she walks through my door. The success I experience as a teacher encompasses the creation of a safe and welcoming classroom environment, positive rapport with students, individualization of instruction, knowledge and application of the new state standards, and practicing multiple modes of instruction. Technique: Solid technique helps my students learn to sing properly, skillfully and healthily. The fundamentals of breath management (e.g., utilization of the correct 'support' muscles, breath pacing, timing breath renewals, regulating the airflow and air pressure, etc.), tone, resonance balancing (configuring the vocal tract in order to achieve optimal resonance and unforced volume), evenness of scale (so that the voice sounds like one consistent voice from the bottom of the range to the top, without register breaks), appropriate and skillful registration events (shifts between registers), smooth legato lines (fluid transitions between notes), range extension, stamina, versatility (the ability to produce a variety of sound qualities and to sing in a variety of styles), agility and flexibility (the ability to move the voice readily, easily and quickly between pitches, intervals, registers, etc., which is particularly helpful for singing embellishments and mellismatic runs), healthy, 'free' voice production and vocal care are essential to being able to sing well, and they are the focus of my teaching I also incorporate performance coaching, acting coaching and audition preparation when appropriate.