soho vocal tuition

Learn the vocal technique used by Michael Jackson, Stevie Wonder, Madonna, Barbra Streisand, Prince and over 135 Grammy Award winners.

Soho Vocal Tuition is home to some of the UK’s most experienced vocal coaches, working with singers at every stage – from complete beginners to professional artists.

Our clients include:

• Grammy-winning recording artists

• Platinum-selling artists and songwriters

• #1 selling artists

• BRIT nominees

• Mercury Prize nominated artists

• Glastonbury artists

• X-Factor finalists

• West End theatre stars

• Actors, rappers, and countless beginners
  

We work with...

• Professional recording artists and performers: Preparing for recording sessions, tours, auditions or demanding performance schedules

• Intermediate and semi-professional singers: Refining technique, control and expression

• Beginners: Building strong foundations and developing confidence

• Transgender and intersex singers: Developing control, extending range and smoothing register transitions

• Actors: Developing vocal skills for performance

• Rappers: Improving projection, pitch and control across speech, rap and melody

• Music and drama students: Developing technique and preparing for exams or auditions

For enquiries about working with children, please contact your chosen teacher.

WOULD YOU LIKE TO...

our expertise

We specialise in private singing lessons for all levels, applying the same clear, practical approach to every voice.

Our teaching is informed by Speech Level Singing, alongside ongoing work in modern vocal science and evidence-based training.

Our work brings together vocal technique, performance, vocal health, and the connection between body and mind, giving singers reliable control without losing their natural sound.

What we work on

• Breath flow and posture

• Tone, resonance and vocal registers

• Vowel shaping and larynx position

• Vocal coordination, efficiency, and muscle memory

• Expression and performance
  

Focused, efficient progress

Over time, this builds coordination, strength and consistency – giving you a more reliable voice you can use with confidence.

INDEPENDENT BUSINESSES

Ed and Anna operate independently as separate businesses, so lesson bookings and payments are made with your chosen teacher via the Booking page.

Lesson Structure

A typical first lesson is structured along the following lines.

• Short chat (first lesson only) - We discuss your goals, experience and any specific vocal issues.

• Diagnostics (first lesson only) - You sing a few simple exercises so we can assess your voice and identify what’s working and what needs attention.

• Targeted exercises (20-25 mins) - You work through carefully chosen exercises to address underlying habits and improve coordination. This is where most of the technical change happens.

• Apply it to a song (20-25 mins) - The same coordination and technique are applied directly to repertoire, so the changes translate into real singing.

• Summary and next steps - We recap the session, outline what to practise, and plan the next stage.

As technique improves, expression becomes easier and more natural. When the voice is working efficiently, you’re free to focus on performance.

how much are lessons?

Please see the Prices section

What is my first lesson like?

See the ‘What Happens In A Singing Lesson’ section above

Do you work with beginners?

Yes, absolutely.

Many people who think they are ‘tone-deaf’ simply haven’t yet developed the coordination needed to match pitch reliably. In most cases, it’s not the ear but the voice that needs training.

We help you build that coordination step by step.

HOW MUCH DO I NEED TO PRACTISE?

Progress depends on consistency.

Like any skill – sport, language or instrument – the more regularly and deliberately you practise, the faster you improve. Even short, focused practice between lessons can make a big difference.

how many lesson will i need?

It varies.

A block of 6 lessons is usually enough to understand your voice, identify current habits and begin making changes.

Beyond that, progress depends on:

• your starting point

• your goals

• how often and how effectively you practise

The more consistent the work, the more reliable and ingrained your technique becomes.

Do you teach style too?

Yes – style, expression and delivery are a key part of singing.

We usually develop these once the underlying technique is working more reliably, so you can express yourself with greater ease and control – without losing your individuality.

Do you work with rappers?

Yes.

We can help with projection, pitch control and vocal health, as well as bridging the gap between speech, rap and melody.

Should i bring sheet music?

Not essential.

You’re welcome to bring lyrics, chord charts or sheet music if you have them – especially for less well-known songs. Otherwise, we can provide what’s needed.

We also use Spotify and backing tracks where appropriate.

DO I need to read music?

No.

Exercises are simple and taught by ear, and songs can be learnt using lyrics or recordings. Sheet music is optional.

Can I bring my own backing-track?

Yes, especially if it is an original track.

CAN I RECORD MY LESSON?

Yes – we recommend it.

Recording helps you track progress and remember key exercises between sessions.

What technique do we teach?

Our teaching is informed by Speech Level Singing, alongside ongoing work in modern vocal science.

The aim is simple: to develop a voice that is balanced, efficient and free from unnecessary strain, with smoothly connected vocal registers – allowing greater control, range and expression.

SHOULD I PREPARE A SONG?

You can, but it’s not essential.

There’s no need to perfect it – we’ll work on it together in the lesson. You can also use lyrics as a guide. 

Do we offer discounts?

Yes, a 10% discount is available when booking a block of 6 lessons in advance. Please ask your teacher upon booking.

You can still book flexibly – there’s no requirement to have regular lessons or pre-book specific times. Lesson times can vary, and sessions don’t need to be scheduled in advance, only paid for. Our standard cancellation policy applies.

Do you offer group lessons?

Not at the moment.

how do we teach?

The vocal method we use helps to connect the different registers of the voice.

This often means finding or fine-tuning the lower register, then finding the upper register, then learning how to join them seemlessly together.

Then the voice is able to transition smoothly from lowest to the highest note - rather than break, crack or strain - the most common and frustrating problems - and you have the freedom to sing how you want.

The voice has one big quirk though… You cannot see what you are doing. Your vocal cords and larynx are hidden inside your neck. This is unlike almost every other skill you have ever learnt. It is therefore useful to know a few key things…

understanding your instrument

There are four main concepts that will help you understand your voice:

1. When you sing, you may feel the ‘resonance’ (or the vibration of the sound produced from your vocal cords) move up and down your vocal tract. The resonance feels like it moves up from the chest, into the mouth, behind the soft palate and nose, then further up in vertical direction in the head.

2. The vocal cords must be able to vibrate together AND adjust properly.

3. The larynx must stay in a mostly neutral position (i.e. not be lifted up, not be pushed down), and it must remain as stable as possible (i.e. not move up and down). If not, the tone of the voice will vary, and the ‘ease of production’ will vary.

4. Your breath must come from your diaphragm (and ribs). This gives the most control on exhalation, and also prevents any unwanted tension from your chest affecting your throat muscles. (It also looks better too!)

PROPER VOCAL FUNCTION 

Vibrating cords

Basically, if the vocal cords are allowed to vibrate together in a flow of air they make sound. 

adjusting cords

For good singing, this vibration must happen with the correct amount of vocal cord ‘adjustment’. The vocal cords cannot be too thick or too thin - they must be ‘just right’, throughout the entire range.

• If they are too thick (usually in chest voice, or at the top of chest voice), there will be tension in the voice

• If they are too thin (usually when moving into head voice), there will be cracks in the voice

neutral larynx

If the vocal cords are adjusting ok (not too thick or thin), but the larynx raises, then the tone might be consistent but it will be squeaky like a chipmunk or the Bee-Gees. (The Bee Gees are amazing but this should be an option!)

the result

If the cords are adjusted correctly, NOT squeezed then they can adjust in pitch in a controlled manner with even tone/timbre. 

RESonance & vocal BRIDGES

As you sing, you may feel the vibration of your voice. As you sing higher or lower notes, you may feel this vibration move up and down your vocal tract.

What you are feeling is the ‘resonance’ - essentially the vibration of the sound bounce around inside the cavities of your mouth, throat, nose, and chest. This movement from one place to another - almost from one body part to another - is often called a ‘bridge'. A bridge is better than a break, as, by definition, it is joined up and is therefore better controlled.

As a result of singing properly through a bridge, the resonance can often be felt to ascend up the vocal tract. It moves from the chest, into the mouth, behind the soft palate, and into the head. This helps singers being controlled, even, and connected, from bottom to top - without breaks, cracks, tension or noticeable changes in tone/timbre (unless stylistically desired). 

'twang'

Providing there is no unwanted squeezing, you can raise or 'tilt' the larynx to add twang into a voice. This helps with projection but also helps the vocal cords adjust in pitch. (NB - Laryngeal tilt is not the same as laryngeal squeeze.)

To give the voice a stronger, fuller-sounding tone (as well as just twang), the larynx should be lowered back to a neutral position, with the tilt remaining but not the high larynx. And never any squeeze. 

NOT 'OVER-TRAINED' or boring

Like a well-trained athlete, a healthy voice should be able to do more, for longer periods of time, with more stylistic options available, have more flexibility, more strength, have a more interesting tone, less pain, less wobbly, and ultimately be nicer to listen to. 

Stylistic changes in tone - e.g. flips, yodels, falsetto, twang, distortion, etc. - can be added when required.