MUSIC TRAILHEAD PhD, MM, BM Choral Clinician, Consultant, Voice Teacher Ph.D.1986, The
University of Texas at Austin M.M.1960, Southern Methodist
University, Dallas, TX B.M. 1958, Texas Technological University, Lubbock, TX
Richard E. Watkins
EDUCATION
PROFESSIONAL EXPERIENCE
Richard Watkins has taught vocal/choral music since 1959 at the secondary public school and college levels. While working on his Master's degree, he sang professionally with the Dallas Civic Opera Chorus. During the early 60's, he was the Asst. Director of the U.S. Army Air Defense Command Choral Group, which toured the U.S., functioning as a public relations, troop morale representative of the Commanding General, US Army Air Defense Command. He was stage director and musical director for 15 musicals (South Pacific, Oklahoma, Guys and Dolls, Fiddler on the Roof, Annie Get Your Gun, and Bye Bye Birdie) involving junior high through adult casts and pit orchestra. He was a church choir director for many different denominations for over thirty years.
His choirs won consistent superior ratings at choral competitions. He is a member of: Texas Music Educators Association; Texas Choral Directors Association; Texas Music Adjudicators Association (Charter member), and National Association of Teachers of Singing. He is an active choral contest judge and choral clinician.
Watkins has taught private voice, class voice, and choral ensemble (Northridge Singers 1992-2005) at Austin Community College since 1992. ACC private students have made finals at area NATS competitions. One NATS finalist is also the lead singer in an award winning rock group. Community private students have won recognition as the outstanding lead in a musical production and outstanding supporting role in a musical production. ACC choir members have won membership in nationally selected choirs that sang at Carnegie Hall.
WHAT
CAN I DO TO HELP YOU WITH YOUR SCHOOL CHOIR,
CHURCH
CHOIR, OR SOLO SINGING?
Please look at the following
CHORAL OR SOLO FOCUS AREAS and see if I
might be able to help. Contact me to schedule clinics, consultations, or voice
lessons to address your needs. You remember the experiences that caused you to
become a music teacher. My goal is to help you guide your students to the
musical experiences that caused you to love music. Check PROCESS
to see how we can tailor my services to your specific situation. On the
following reference linked web pages, use the history or back button on your
web browser to navigate back to this web page.
REFERENCES
Faculty: David Jones, Sheryl Jones, Kay Sherrill, Linda Bolding
Students: Laura Powell, Maria Natera, Matt Lesher, Todd Whitehead, Catherine Rose, http://www.akashowgroup.com
Cathie Sheridan,http://www.cathiesheridan.com
Video
Clips of My Work: Music Trailhead
CHORAL FOCUS AREAS
Choral Sound
Tone Quality (Vowel sound formation, open throat)
Balance within sections, balance between sections
Dynamic range
Female voice development of head register and smooth transition across
register changes
Male voice development of head register and smooth transition across
register changes
Style Considerations
Texture influences on balance within and between voice sections
Phrasing and the phrase arch in different style periods
Dynamic range in different style periods
Stage Presence
Getting on and off stage
Riser formation
Singing with the eyes as well as the voice
Using or not using folders in performance
Microphone placement
Classroom Management
Behavior problems
Student understanding of rules and goals of the organization
Student and parent understanding of requirements of choir membership
Efficient and effective audition procedure
Documentation of steps taken to deal with problems
Developing and involving student leaders
Eliciting and earning the support of the principal, counselors, and
faculty
Programming
Choice of music to fit short-term and long-term music education goals
Decisions about doing musicals and taking choir trips
Developing parent support groups
Long term preparation for contests and important concerts (sightreading, choice of repertoire)
PRIVATE VOICE FOCUS AREAS
Solo Sound
Tone Quality (Vowel sound formation, open throat)
Dynamic range
Female voice development of head register and smooth transition across
register changes
Male voice development of head register and smooth transition across
register changes
Style Considerations
Developing a solo sound not dependent on amplification
Dealing with "belting" and dynamic demands on rock singers
Developing vocal and interpretative skills to perform a range of styles to last a lifetime
Stage Presence
Techniques to counter stage-fright
Singing with the eyes, body, and voice
Projection of the whole character of the song
Microphone use but not dependence
Professionalism
Develop a reputation of dependability
Establish clear agreements about requirements and remuneration
Develop a marketable singing style that will last and give you musical
satisfaction
PROCESS
Discuss, Observe, Identify
We can discuss your goals and situation by phone or email and schedule an observation for me to come in and work with the group or just watch. I would then identify strengths and areas needing improvement to reach your stated goals. That can be anything from effective choral rehearsal techniques to should I do a musical or how do I stop my string of II's and finally get a I at contest or how do I "belt" and still have a voice left after six weeks of rehearsals. My goal is to tailor my services to your needs. That could involve just a discussion of what I observed or an intensive analysis using video equipment I would bring in to show the director what could use improvement. We would then plan steps toward reaching your goals.
Demo Teach, Clinic, Follow Up Sequence
After identifying areas needing work, I would want to have a first full rehearsal/private lesson with the student or group. This rehearsal could be early in the semester and focus on basics mentioned in the FOCUS AREAS using music the choir/student has scheduled for future performances. After the rehearsal, a decision would be made concerning the value of my services for the situation. If the director/student decides that the rehearsal was productive, a follow-up rehearsal or schedule of rehearsals closer to performance time would be scheduled and remuneration would be discussed. If my services don't match your needs, the first rehearsal would be free and I would be paid only for travel expenses.
I don't want to come in and just entertain your students by being funny and "different"; I want to come in and sell them on gaining skills and attitudes that make music come alive to individual singers and to their audiences. My goal is for students to value musical skills and knowledge as personal expressive tools.