About Lisa

Having graduated with honors from the University of Cincinnati- Conservatory of Music with a Bachelor of Music Education degree, Lisa Blair-Hawkins receives wide acclaim as an exceptionally accomplished and versatile artist and instructor. Her repertoire encompasses Classical and folk music, spirituals and jazz, and an uncommonly wide range of Broadway and pop music. She maintains a busy schedule as a vocal coach, professional accompanist, and artistic director. Her students are consistently selected to participate in the North Carolina Honors Chorus, the North Carolina Governor’s School, and nationally recognized summer music camps and programs. They have received numerous music scholarships to schools and universities, been hired for positions in national theme parks, and secured leading roles in community and professional theater and opera productions. In addition, her students have frequently appeared as featured soloists in venues ranging from local performances to national sports events. Currently, at least fifteen of her students are performing on Broadway or on national tours.

Serving as Artistic and Musical Director, Ms. Blair-Hawkins conducts her own summer performance arts music camp, the Performance Edge Summer Showcase. In 2002 Ms. Blair-Hawkins established a nonprofit organization, Performance Edge, Inc., which extends and broadens the training and opportunities for a wide cross section of young people in musical performance. In addition, she has served as Musical Director for North Carolina Theatre’s Summer Theater Arts School, the Duke University and Health System annual “Night of Duke Stars”, and FOX-50’s Gimme the Mike. Ms. Blair serves as both guest clinician and adjudicator for various music festivals, competitions, and workshops, including the Alfred Music NC Show Choir Invitational and Clinic, First Night Raleigh Talent Search, the Bishop Leures Show Choir Invitational, the Showstoppers International Show Choir Invitational, and the Highland High School “Singsational Invitational” in Anderson, Indiana. She has also served as music consultant for various choral and vocal music programs locally and across the country.

Ms. Blair-Hawkins directs a select choral group of students chosen from the pool of young people trained in the Performance Edge Summer Showcase, the Capital Ambassadors. These students serve as musical ambassadors in the Triangle area and represent more than thirty different North Carolina high schools and colleges. Since their beginning in 2003, they have performed for a variety of events, including WRAL’s televised holiday tower lighting four times, First Night Raleigh, Triangle Community Foundation’s 25th Anniversary Gala, the YWCA Academy of Women Awards, Artsplosure, Golden Years Celebration, and various nursing homes and civic clubs.

Ms. Blair-Hawkins has lived in Raleigh, North Carolina with her husband, Greg Hawkins, since 1997. In addition to meeting a busy schedule as a vocal teacher, professional accompanist, and music director, she continues to perform as a professional singer and pianist. On a personal level, she particularly enjoys her work as musical worship leader for her weekly Bible study, LAMBS, at Providence Baptist Church in Raleigh.

Schedule a Voice Lesson

Studio Information

Lessons

1.1 Each lesson will be conducted during a 45 minute time slot on a weekly or every other week basis (unless otherwise determined).

1.2 Only students will be permitted into Ms. Blair’s home, and are instructed to arrive or be dropped off no more than five minutes before the lesson, and to be picked up at the conclusion of the lesson.

1.3 A calendar of all lessons will be provided for students and parents.

Tuition

2.1 The cost for vocal lessons is $45.00 per 45 minute lesson, which may by paid by Venmo (@Lisa-Blair-Hawkins) or check.
* This cost covers all music materials, lesson recordings, piano accompaniments, supplies, etc.

2.2 Payment must be made prior to each lesson. If not, payment must be received within 48 hours in order for the next lesson to take place. Payment can be made weekly or monthly.

2.3 Checks should be made payable to:  Lisa Blair-Hawkins.

Location

3.1 Address: Lisa Blair-Hawkins
203 Rosenberry Hills Drive
Cary, NC 27513
Telephone: 919-678-9510  
Cell: 919-749-8829

3.2 Directions: From I-40 take Exit 287 (Cary/Harrison Avenue) and turn south onto Harrison Avenue for ½ mile to Cary Parkway (in front of Cary Academy). Turn right onto Cary Parkway and go 2 miles. Pass Evans Road to the new Silverlake subdivision. This will be a left from Cary Parkway onto Rosenberry Hills Drive, and the address is 203 Rosenberry Hills Drive.

* Please park on the street, on one side of my driveway, across the street, not blocking any driveway, etc.

Cancellation Policy

4.1 Make up lessons will only be provided as the schedule permits, and only if deemed necessary by Ms.Blair-Hawkins. Students may exchange lessons with another student if a conflict arises or they may take advantage of a vacancy created by another student. Please inform Ms. Blair prior to the affected lessons.  

4.2 If canceling a lesson, please leave a message or contact Ms. Blair at least 24 hours in advance in order to avoid payment for and forfeit of a lesson time.

FREQUENT ABSENCES WILL RESULT IN DISMISSAL.

4.3 LATE IS LOSS. If the student arrives at the lesson late, only the remainder of the lesson will be taught and the time will be forfeited. It is impossible to ask other students to alter their schedules to allow one student to be tardy.

4.4 As a professional musician and clinician, occasions may arise which will require that the schedule be altered. The cooperation and support of both the student and the parent are respectfully requested in these matters. If the instructor finds it necessary to cancel scheduled lessons, those lessons will not be rescheduled by the instructor unless a mutually convenient time is possible.

Materials

5.1 All students must have the proper lesson materials at each lesson. These materials include: a three ring, 1" notebook with pockets; any assigned supplementary materials, recordings, and music; other materials related to vocal study which are pertinent to the situation (i.e. audition pieces, solos, scholarship information, etc.)

Recitals

6.1 There will be two recitals scheduled during the year, as well as workshops and performances, and informal master classes offered. Parents, family and friends are encouraged to attend each event.

Schedule a Voice Lesson

Vocal Objectives

  1. Attitude is the most important factor in studying voice, or any subject. This includes interest in learning how to sing as well as joy and confidence in singing. Emphasis in this area reduces fear and self-consciousness, while increasing sensitivity, artistic understanding, and even a person’s health and appearance.
  2. “Practice makes perfect.” Development and success of a singer depends as much upon consistent and effective practice as on any other factor. Practice should be enjoyed, even though hard work and concentration is required. The correct way to sing is only accomplished through persistent effort in practicing all assigned exercises, scales, sight singing, and literature. Also, remember to be patient and realize that results become evident over a period of time.
  3. Correct posture is a fundamental for control and success in singing as well as for any activity. Good posture consists of the following: balance slightly forward on the toes, weight evenly distributed with one foot slightly in advance; straight legs, spine, neck, and head; hips tucked in; stomach flat; chest comfortably high; head balanced and level; hands relaxed and held easily at sides. There should always be a feeling of a lift in the body with balanced and erect posture, but never tense or rigid.
  4. Breathing correctly is the basic technical requirement for success in singing. Many famous singers know that breath control is the secret of their outstanding technique. Efficient breath control requires focused effort over a considerable time to become natural. Breath control and practice to improve it are life-long goals of all singers. Correct posture is fundamental to good breathing along with the following: the spine from the neck down should be kept stretched and tall, but flexible; the chest must remain comfortably high during singing, and never rigid; the upper chest must be lifted before taking a breath, and can never be raised during this process because it prohibits the singer from sustaining a tone evenly and freely.
  5. Production of tone and careful attention to tonal quality is basic to freedom and beauty in singing. Conditions are right for good tone when the throat feels relaxed and open. This same feeling of ease and relaxation in the throat should also be achieved in the cheeks, lips, and jaw. This area of emphasis leads directly to clear singing of vowels and notes sung correctly.
  6. Singing cannot be beautiful unless words are pronounced freely, clearly and beautifully - correct diction. Therefore, singing should simply extend from speaking. One of the main objectives for singers is to be able to sing all vowels with a nice tone and pure quality. There are five basic Pure Vowels used as foundation for practice and production: a = ah, e = eh, i = ee, o = oh, u = ooh. The tongue should be loosely forward in the mouth with the tip barely touching the base of the lower teeth. The jaw should drop naturally, and each vowel should be sung as it would be mouthed to be spoken. Also included in the area of diction is articulation of consonants without hindering the vowels and tone production. Consonants should be articulated distinctly, freely, and quickly. They should also be as natural and plain as in dramatic speech. They must be thought on the same pitch as the vowel to avoid being scooped or flat. Make vowels long and consonants short.
  7. Mastery of legato singing, which is smoothly carrying over one tone to the next, is critical to good singing. In addition, sustaining tones to their complete rhythmic length without change, or connecting tones without skips or slides must occur in correct singing. This area of singing involves dynamics, agility in singing, and extending range. Every good singer desires to improve control of notes sung as well as to increase flexibility in singing. Achieving all of the previous objectives is the only way to establish these last principles. Exercises and warm-ups are the best tool for precision in tone progression. By varying the speeds for different exercises the singer can develop precision and control needed for high quality singing.

* Try to use the mirror to check various areas of appearance and body mechanics while singing. Always make natural and expressive singing a constant goal. Also, be open to criticism and coaching, and to analyzing your own vocal strengths and weaknesses.

Schedule a Voice Lesson
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