My methods are a distillation of the methods of the many teachers who have taught me over the last twenty years (not least the late Wynford Evans - a wonderfully supportive and inspirational teacher and friend), in many hundreds of private lessons and public master-classes, coupled with the methods I have acquired from an extensive study of the textbooks of great teachers of the past, in particular the writings of Professor William Vennard and of late those of Richard Miller and Janice Chapman

Vennard insists on a scientific approach. To quote his excellent textbook "There are those teachers who feel that applying science to an art is quackery, but I believe that our only safeguard against the charlatan is general knowledge of the most accurate information available"

I focus on getting the pupil to experience (and remember) the subtle feelings that occur at the moment of producing a fine sound.

To produce the fine sound in the first place I use the normal methods of imagery and focus, aiming for power, resonance, clarity of vowel and consonant production and, most especially, beauty of tone - the magic ingredient that moves the audience.

Modern sensibilities preclude the hands on touching used by many fine teachers, so I work instead by close visual and aural observation.

A few aspects of my teaching seem to me to be my own discoveries - in particular methods for legato and for connecting with an audience.

Only 20 minutes or so of a lesson is devoted to pure technique (posture, breathing, support etc), with the bulk of the lesson being devoted to repertoire (and applied technique). I can provide songs and arias if required or I am very happy to work with songs in any style that interest the student.