Join Arden’s free virtual studio to get member-only tips, tools and singing insights

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BRAVO

I’m so excited to have you!

Studio Members get motivational emails every once in a while, first dibs on scholarship seats to singing workshops and master-classes and other studio member-only resources I don’t offer anywhere else.

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Join Arden’s free virtual studio to get member-only tips, tools and singing insights

IMG_9257-Edit

BRAVO

I’m so excited to have you!

Studio Members get motivational emails every once in a while, first dibs on scholarship seats to singing workshops and master-classes and other studio member-only resources I don’t offer anywhere else.

Please enter your name.
Please enter a valid email address.
Something went wrong. Please check your entries and try again.
Singing Tips, Singing Technique, Sing Better, Become A Better Singer, Singing and Mindfulness, Improve My Singing, arden kaywin, voice teacher los angeles, vocal coach los angeles, voice lessons los angles

Why You Should Never Fight With A Pig

I heard this the other day. . . . “Never fight with a pig. You get dirty, and the pig loves it!” It made me laugh. And then it made me think. We’ve all experienced haters at one time or another on our artistic journey. There are plenty of spiteful, competitive singers and snarky industry professionals out there who want to tear you down to feel better about themselves. They’re so insecure about their own abilities and terrified of failing at their dream that they’ll do whatever they can to feel like they have a leg up. When faced with a hater like this, your gut reaction is probably to want to get in there and defend yourself. Don’t. You want to tell them how wrong they are about you. Don’t. You might even want to give them a taste of their own medicine. Don’t. These kinds of people feed on the drama. When you engage, you’re walking into their pigpen. Your power as a singer – your ability to perform and succeed at the highest level -depends on how well you’re able to move energy in the form of sound and emotion through your body, unimpeded. How well is

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Classical Singing vs. Pop Singing – Head Voice

I’ve got a question for you. .  .  . How do you feel about singing in your head voice? Is it no biggie? Or do you cringe at the mere thought of it? Or somewhere in between? If you’re a classical singer: You probably luuuuuuuuuuv singing in your head voice. After all, it’s the warm fuzzy place you call home ninety percent of the time. It’s your happy place – UNTIL – someone asks you to sing a contemporary pop type song (think cousin Ida who will just die unless you sing Whitney Houston’s “I Will Always Love You” at her wedding) and then you panic! You think: How do I sing those notes in a healthy way without shoving my chest voice up too high? If I use my head voice I’ll sound like an opera singer trying to sing pop which is the worst. (Sigh – maybe I’ll be mysteriously sick for the wedding) How do I sing in head voice for pop music? If you’re a pop singer: You probably have more of a love-hate relationship with singing in your head voice.  Using head voice for pop music seems to bring up all kinds of anxiety and confusion. Maybe you’ve even gone so far

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My Secret Weapon Is Now YOUR Secret Weapon!

Ever wonder if there’s one thing you could do to always sing well? Kind of like a secret weapon that would give you power & reliability every single time. Well, I happen to believe there actually is such a concept to sing well.  And once you know it, it globally changes what your body does to make sound when you sing. I know your curious. . . . I call it a secret weapon because of the dramatic effect it has on eliminating strain and creating stability and reliability in your voice. So no matter what genre you sing or what level singer you are, your chances of maximizing your technique to sing well go WAAAAAY up when you understand this key concept. So what is it???? Drum roll please. . . . . OPPOSITION Yup. . . . That might sound totally esoteric to you, but I’m goin’ SUPER fundamental with this one. The concept of Opposition is a game changer. TRUST ME. And you know me, I’m in this for the long haul with you. While I enjoy giving you tips and tricks to sound better singing in the short term – my ultimate goal is to set you

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Interested in doing The 4 Month Intensive? Don’t miss this!

I’m thrilled to announce that today, I’m opening up a big discount on The 4 Month Intensive and the Second Level Intensive only to members of my Virtual Voice Studio. It’s TIME SENSITIVE so watch this video now for the details! My Intensives have helped singers just like you, who are ready and hungry for a change. As life has proven to me again and again: If you want different results, then you have to try a different approach. Most of us need a good jumpstart to create real lasting change in our singing.  The Intensive could be that for you if you are ready to: Tap into your full singing potential Acknowledge yourself as someone ready to invest in the future of your singing Stop playing small and let go of your story Create a soul-centered relationships with your talent Be vulnerable Do what you say you are going to do Make commitments and take action This type of results focused work is not taught by most voice teachers. Integrating the mind/body experience with vocal technique is not a skill that most singers realize they even need! (Hint: If you’re working your tail off, but can’t figure out why you’re still not singing

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Learn How To “Sing On The Gesture Of Inhalation”

My voice teacher in grad school would always say that unlike instrumentalists, singers are not able to objectively look at our instrument. So the development of our imagination is crucial to how we “play” it.    If your goal is to play your instrument to it’s potential, then opening your imagination to conceive of your singing technique in new and different ways is essential.    Today I’ve got a new image for you that will stabilize your breath support.    If you are a singer who has ever struggled to get through a long phrase. . . . If you are a singer who has ever experienced tension and strain as pitch rises. . . . If you are a singer who has ever struggled with stamina. . . .   This one’s for you!! You just need some better tools to stabilize your breath support. I bring you this image courtesy of two of the great vocalists of the last century. Thomas Hampson, one of the great baritone voices of the last 50yrs, and Richard Miller, a vocal pedagogy pioneer, voice teacher (at my alma mater) and author of the seminal book on singing technique “The Structure Of Singing”.    Both Hampson and

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How To Let Go Of The Baggage Holding You Back From Singing Your Best

There is something I’ve been meaning to tell you. It’s something you may not tell yourself very often so I’m going to say it to you now. You are a wonderful singer. Truly. May I ask you a question? When you read my compliment just now, did any part of you flinch? Were you able to soak it in or did your inner critic chime in with doubt that the compliment was really meant for you, and go on to remind you of the ways it thinks your singing isn’t really that wonderful? I believe that at its core, singing is an exchange of energy. We use our bodies to create a sound – a form of energy unique to us – which we put out there to be absorbed by those who can hear it. That energy affects those listening and in doing so, their energy transforms in relation to it. For many of you, years spent internalizing the sentiments of your inner critic has created limiting beliefs. And when you have limiting beliefs about your voice and your talent, it negatively effects your ability to fully engage in the energetic exchange of sound in powerful ways. Most fundamentally, limiting beliefs

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Up-Level Your Singing Technique Using Sensory Awareness In Your Body

Having a present moment sensory awareness of your body while you sing is a MAJOR key ingredient to your ability to take your singing to that next level.   One thing I know for sure: you can not change what you are not aware of.    So an essential component of singing to your potential, and the thing that has the biggest effect on how successful you are in doing so, is your ability to be present to ALL the sensations of your singing in your body in the moment (both the efficient and the inefficient).   Rather then writing a lengthy blog, today I’m pulling back the curtain and taking you inside my studio to be a fly on the wall as I work with one of my students on this very thing – returning to the present moment sensory awareness of her body while singing.    In today’s video you will learn one of the exact step-by-step methods I use (that you can use too!) linking present moment sensory awareness to your vocal technique.   Spoiler alert! This video isn’t filled with sexy high notes, power belting or fast  passage work designed to impress you. Nope. This is the nitty-gritty work. It ain’t

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For Singers Who Have Ever Felt Stuck In Your Head. . . . . .

Happy almost Valentine’s Day! As I take in all the Hallmark sentiments floating around this time of year, I’m reminded that love is much deeper than romance. Love comes in many forms. Your relationship with your voice and with singing is the kind of love that can help you achieve things you never thought you could and take you places you never thought you’d go. . . . . if you only let it. I think we’ve all experienced moments when we just couldn’t get out of our head while singing. Some of us only experience it as a fleeting frustration, while others find it debilitating. Regardless of where you fall on the spectrum, I’m pretty sure that getting stuck in your head is a universal experience for most artists in some way, shape or form. And the reason why it’s so frustrating is because in that moment, your mind is standing in the way of the full expression of your love. And the feeling sucks!    This is why so much of my teaching and the content I bring you centers around the idea of mindfulness as it relates to singers and vocal technique. Without it, your expression – your LOVE

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What we all do that is the absolute definition of insane. . . .

  A little bit of business first: TOMORROW (Thurs 1/31) I will be LIVE ON FACEBOOK at 11am PST / 2pm EST / 7pm GMT for the very first time!  Click HERE to watch live or view the saved video later.  Episode 1 Topic: The #1 thing that will up-level your understanding of breath support for singing.    This is the MOST fundamental and FIRST thing I teach all of the singers who come to work with me privately, regardless if they’re an advanced singer or relatively new to technique. In my opinion, it’s the foundation that all other good singing technique is built on and I’ve got a whole new perspective on it for you LIVE TOMORROW.    If you’ve been coasting along with the same understanding of support for a while, wondering if there’s another layer of ease and consistency in your singing, I hope you will watch.   Now, enough business. Getting back to my subject for today. . . . . . My favorite mindfulness teacher posted something on his Instagram a few days ago that I really want to share with you.   I always say that when you change your thinking, you change your singing – and this post really made me

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Tools For Healthy Belting

Do you ever get confused and frustrated by all the conflicting information out there around the idea of healthy belting? Some voice teachers shun the fact that there is even such a thing as healthy belting and they steer singers away from belting entirely. Others teach a technique that doesn’t address the tensions that inefficient belting creates, and unknowingly lead their singers down a dangerous path towards possible vocal injury. I recently heard from a member of my virtual voice studio named Donna asking these very questions. She writes: There is so much information nowadays about singing technique and I am very passionate about it. The thing is, I read a lot of books about vocal technique and met a lot of teachers in order to improve my knowledge (and singing of course) and let’s just say the information gathered was sometimes so confusing and tension friendly. So thank you for sharing your wisdom with everyone! I have a question about those really high belting notes for females (d-d#-e-f): do you have some pieces of advice in order to help one access those notes in a powerful way (with that edge quality)? Is it enough to think about lower support