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Rick
- Rate US$50
- Response 1h
-
Students25
Number of students Rick has accompanied since arriving at Superprof
Number of students Rick has accompanied since arriving at Superprof
US$50/hr
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- Singing
- Opera Singing
Experienced tutor in Singing in Milton, Rick offers private lessons tailored to your needs.
- Singing
- Opera Singing
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About Rick
Professor of Musical Theatre/Voice and professional performer with 30 years of voice training experience in musical theatre, opera, art song, jazz, rock, and country-western.
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Giving student the tools to succeed, and then seeing the moments of discovery and growth, are intergral to my own continuing growth as an artist. Passing on this artistic knowledge is a daily priviledge.
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About the lesson
- All Levels
- English
All languages in which the lesson is available :
English
Teaching Philosophy Statement
Tell the story.
I am a director, music director, program director, voice teacher, acting coach, singer and actor. When
working towards a performance, however, no matter which hat I'm wearing, my goal is always the same: Tell the story.
Every person involved in the performing arts--whether in costume design or chorus line, in the pit or on the stage, on headsets or revolving sets--has the same objective: Tell the story. In order for a performing artist to have the ability to pull his weight in this endeavor, he must have strong fundamental training; he must have a sound technique. When the lay person pictures the archetypal artist, the image is usually of an eccentric bohemian inexplicably blessed with a personal muse. The problem in this scenario is that this artist only remains active so long as his capricious muse chooses to speak to him; the flow of art ceases when the muse is mute. The truth is, trained artists don't hope for mysterious sources of inspiration to endow them with their problem solving needs; trained artists have any number of methods at their disposal that assist them with the task of crafting their work. Artists are buoyed by the process behind their artistry. Pre-professional students of the performing arts, then, must fully absorb the fundamentals of crafting their cognitive, emotive and physical talent so that they may continue to grow as artists long after the lessons of their training have ended. Simply put, they must make a strong personal commitment to the development of their technical training so that they can more easily service a director in his quest to tell the story.
From the performing artist's perspective, there is a logical progression in the process that leads towards the realization of any production. The process begins with training under a set of master teachers who apply methods designed to build a performer's technique. A performer with a sound technique can more easily express himself in the spoken word, the sung word, in dance, in combat, or in the wings. This type of versatile performer is of greater service to a director than one who cannot help him to realize his vision due to technical limitations. Technical training, therefore, is the indispensable understructure that provides the means for a performing artist to becoming a viable component in advancing the core message of a complex production. In the arena of pre-professional training, the essential goal is to help students learn how to further their technique while simultaneously teaching them how to put their technique at the service of telling the story.
According to the above stated point of view, my approach to the teacher/student working process can be distilled into a four step, easier-said-than-done, admittedly over-simplified, model. In this valiant effort to distill the undistillable, I'll try to relate this as both as a music director/voice teacher and a director/acting coach.
1. Music Director/Voice Teacher--I work with students to perceive the voice as a physical and
acoustical landscape comprised of a limited set of variables that can work both independently and in
conjunction with one another to form an unlimited number of sounds. Awareness and conditioning
exercises are applied as indicated above.
1a. Director/Acting Coach--I teach students how to apply methods for building a heightened sense of awareness of their cognitive, emotive and physical condition (from here forward, I’ll refer to it as the C.E.P. landscape). I also give student's tools to help them exercise and condition their C.E.P. instruments along the way.
2. Music Director/Voice Teacher --If the voice is conditioned properly, any element of head, chest or
mix, front space, mid space, or back space, etc… should be accessible to the singer.
2a. Director/Acting Coach--The next step in the process is providing methods for maximizing students' chances of accessing any given area of the C.E.P. landscape by choice.
3. Music Director/Voice Teacher/Acting Coach--The process continues by teaching students how to analyze texts and scores so that they may learn how to synthesize the information found therein with pertinent choices from the C.E.P. landscape. The intended result is the construction of a believable, three dimensional character who can organically express himself through the spoken or sung word and have the ability to synthesize this with movement and/or dance. It is in this phase where a student's technique is put at the service of building a character, and where the fully formed character takes his place in advancing the story. Members of an ensemble will learn to make themselves available to one another and synergize the above items with a specific understanding of musical styles.
4. Music Director/Voice Teacher/Director/Acting Coach--It is the student's responsibility to commit
fully to every given C.E.P. exercise, dig deeply into each character analysis assignment, make friends
with trial and error, take risks, and practice diligently in between meetings. Like I said, easier said than done. When considering the process mentioned above, it is important to note that people change cognitively, emotively, and physically as they grow older. One of life's great ironies is that the only true constant is the state of change. Because of this, C.E.P. awareness exercises are meant to be practiced as a daily renewal in order to keep pace with C.E.P. systems that, due to the natural maturation process, are in a constant state of flux. Therefore, the process oriented work learned in a pre-professional performing arts program can be recycled throughout a performer's professional career; some of the results will be consistent throughout the course of a career, others may morph dramatically. In this way, the lessons learned during the pursuit of a degree need not (should not) end the moment it is conferred.
If a student is given tools which will help him to assume full ownership of his work by the time he graduates, then we as teachers will have accomplished our mission. For me, the mission can be summed-up as follows: As teachers of pre-professional artists we cannot be content to give our students a fish so that they may have a meal, we must instead help them understand how to fish for themselves; we must give them the technical tools that will help them to tell the story.
Rick Gomez
Assistant Professor and Director of Musical Theatre
Brenau University
Gainesville Theatre Alliance
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Hundreds of students in opera, musical theatre, rock, jazz, pageantry, country-western, and everything in between.
Don't let a low hourly lesson price lure you in. Be certain your perspective teacher has the training and experience necessary to guide your training effectively. Have a trial lesson before committing to anything long term.
As a college professor and a director of musical theatre, there are too many month-to-month events to mention. I am always fond of whatever events are most recent.
A few things worth thinking about before reaching out
Your needs are unique to your cicumstances. Talk to your perspective teacher first. Ask any questions you think pertinent to your needs. If you wish to proceed to a trial lesson, schedule a time to meet. After the lesson you will likely have more questions. No question pertaining to voice training should be taboo.
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Rates
Rate
- US$50
Pack prices
- 5h: US$250
- 10h: US$500
online
- US$50/h
Details
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