There are so many singers out there trying to make a career for themselves in this industry, but only a few are able to grow and thrive. Arden Kaywin is a singer and voice teacher pioneering holistic, transformative performance techniques for singers. Through her Intensive Program, she helps professional singers all over the world make a bigger impact with their voices to grow fulfilling, sustainable careers. In this episode, she sits down with Bree Noble to share her career journey, from touring with an Opera company to pivoting as a coach. With her extensive classical background, Arden hones singers from good to great. She talks about the best practices for singers as they further their careers and even move across genres. Diving deep into the opera world, Arden also discusses the challenges many singers face and how they can break out of the conditioning that keeps them from tapping into their unique and authentic voice. From the tripod approach to singing to how much marketing matters, Arden gives us a great view into what it takes to create an impact in this industry. Don’t miss out on the many golden nuggets shared in this conversation!
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Best Practices To Transform Singers From Good To Great With Arden Kaywin
I’m excited to be here with Arden Kaywin. We are going to talk about singing and all the best practices for singers and how you can go from good to great. Before we do that, I would love to hear your background, Arden. I always think this is fun. We met very recently. I don’t know your story. I get to learn your story along with everybody else. Let’s get into your musical background, your singing background, and how you then transitioned into what you do.
Thank you, Bree, for having me. I’m so excited to be here. I’m trained as a classical singer. I did that very traditional training. I went to Oberlin Conservatory after college and got my Bachelor’s in Classical Voice. I went to Manhattan School of Music and got my Master’s in Classical Voice. I did young artist programs. I sang with the San Francisco Opera Young Artist Program and the Opera Theatre of Saint Louis. I sang all over the country. I sang in Europe and did that whole thing.
It was all very serious opera training. I loved it, and I’m good at it. It is my sweet spot and the wheelhouse of my voice, and I got burnt out doing that. For any of you who have that classical training or who are in that world, you will understand. It is a narrow perfectionist view of how to sing, use your instrument, and create your art. It’s also mired in all these other things like technique, performance, practice, language, 200 years of history, what the conductor wants, what the director wants, and what the composer wants.
I can remember being at this stage of my career where I was singing with a pretty good opera company that shall not be named. I can remember the conductor who was also very well-known in his late 70s at that point and was one of the standard bearers in that community, tacking up a litany of things on my dressing room door during intermission of an opening night performance of all the things that he thought that I needed to fix and do better. I was doing a supporting role.
He is telling the people who are doing the lead roles who are ten years ahead of me in their career who are famous opera singers in this community and being treated the same way. I’m thinking to myself, “I’m never going to be good enough. I’m never going to be happy.” I was so burnt out on this because I could not figure out how to bring my artistry and special sauce to this when everything going on in my head was all these perfectionist things that I needed to do and be. I was not happy.
At that point, I was going back and forth from where I was in San Francisco to Los Angeles. I was recording because I had been hired to sing on a soundtrack for something. It was the first time that I had been in the commercial music world or the recording world. I had written pop music but I didn’t tell anyone about it because if you’re an opera singer, and you’re writing pop music, you don’t tell anyone because they’re looking down their noses.
It was something I did for fun. Some people paint or keep a journal. I write little pop songs but then I had this experience of singing on this soundtrack. It was a female film scorer. We got along great. She was not a songwriter. She was more of a scorer but there were some songs in this. She and I ended up rewriting half of them. It was so fun. It was such a fantastic experience.
I was so burnt out in the opera world. When my contract was done, I was like, “I’m going to move to LA, abandon ship on the opera world, and go into commercial music.” This was in my late twenties. I got signed to an indie label and had one foot in each community because the opera world books out a year or two in advance. I would fly to one city and do Bach’s Mass or something with an orchestra. I would go and play an open mic at a BMI event. Do you remember these songwriter circles that they used to do at Genghis Cohen in LA for BMI?
I got involved in that world. I released two records, licensed a ton of music to film and TV, toured, and did that, and then because of my background as a classically trained singer, a lot of the producers that I was working with knew that was my background. They would say, “Do you coach? I have an artist who needs a little bit of help, and I know that’s your background.” I backdoored my way into coaching.
When I had my daughter and decided I didn’t want to be on the road anymore and be doing 250 dates a year, I started focusing a lot more on coaching because I had this unique experience of being classically technically trained and understanding the best or healthiest way to make a sound but being able to teach artists of other genres how to be able to translate that into what they’re doing with their body and their sound in a way that works for whatever genre they’re singing. I was doing that for a while.
I developed a seminal two-month intensive program from it, which is a whole different cutting-edge way of training. We can talk about that more later. My mission is to be able to let everyone out there who is a serious singer who is using their voice for whatever they’re doing understand that there is a new and different paradigm for how to train that gets better results in the form of the career that you want.
I had been trained beautifully but I got so burnt out because there were things that weren’t being addressed. How I was approaching my performances and my career killed that earlier part of my career. To be able to work with singers in a way that not only serves their technique at the highest level but be able to allow them to then do that and translate that in ways that serve the longevity and the success of the career that they want is what has been the most rewarding work that I spend my time doing now exclusively.
I love that you help people cross genres because I was classically trained too. I went to a liberal arts school but it was more of a conservatory style where they didn’t teach us anything other than how to be amazing musicians. We didn’t learn business. We didn’t learn the holistic career side but I came out a great singer. I also loved pop music. I was also writing that a little bit in secret although I was in a Christian pop group for the college that I was in.
Luckily, I was able to always keep one foot in each zone but when I came out of school, I did decide I didn’t want to pursue the classical route because I had seen people that had gone ahead of me and what that meant. I was afraid that I had learned how to not sing pop music. I had been trained so well in the classical area, and I knew how to sing and make a great sound but I didn’t know how to make a great sound in another genre. I had seen my classical voice teacher try to sing pop, and it was honestly laughable, unfortunately.
It’s like nails on a chalkboard.
It’s painful. A lot of people were like me. They come out and are great singers but don’t know how to translate that to other genres. Have you seen a lot of that? Do you help people with that?
The traditional way of training when it comes to classical and musical theater too, because it’s very similar but even more acute with classical, is the way they teach is to iron out all the things that are interesting about your voice so that it is this standard of perfection, and it is boring. The problem is this is the way American classical singers are taught. It’s not the way they’re taught in Europe and the rest of the world. It’s not just affecting singers who want to do other genres because all they know how to do is this very narrow perfectionist thing.
When you think about great R&B singers, pop singers, and other genres out there, what makes them great is the unique idiosyncrasies in their voice but all you learn in classical music is how to get rid of all that and make this perfectionist thing. It doesn’t affect you from being able to do other genres. Honestly, it also is affecting American singers from being able to get hired.
One of my old friends was number two at LA Opera for many years and was in charge of casting. I would go to LA Opera even to this day. You look at the roster, and it’s all these Eastern European singers, not a single American singer doing a lead role. I would be like, “Why aren’t you hiring American singers?” She’s like, “They’re not interesting.”
It’s because the paradigm of how that classical training is taught did not allow the singer to be able to on the one hand sing healthfully and sustainably but on the other hand allow all of the uniqueness and the interest in their voice to come out, which is why they’re not hiring the American singers and why classical singers have a hard time singing other genres. It requires you to tap into that honesty and that uniqueness in a much more defined way.
I’ve had another classical singer on this show who said the exact thing. They’re making carbon copies. Why should they hire you over someone else if you sound the same? I had great experiences becoming a great choir singer. I sang in an acapella group where you had to blend and all that. That’s great for that but it does tend to iron out those cool things in your voice. People would hear me on a loudspeaker and go, “That’s Bree Noble.” You’re saying people are now looking for that even in the classical world or the musical theater world. They want that uniqueness.
They do. They just don’t know why they’re not getting it. It happens less in the musical theater community but the musical theater community has its strictures around what sound is popular. It ebbs and flows depending on what show is on Broadway and who the star is. For example, Wicked. Kristin Chenoweth was amazing. What people don’t know about Kristin Chenoweth is that her voice is like a chameleon. She can do lots of things with her voice but what she chose to do to sing Glinda in Wicked was very frontonasal. She’s winning Tonys and getting exposure.
All the other casting people and all the other singers are like, “That’s the sound we want. That’s the sound we need.” Everybody is trying to fit their voice into that box. You have a generation of singers who think that’s what needs to happen but that’s not their sound. They’re now manipulating and doing things that are not organic to them, which gets them in trouble from a technical standpoint. They end up with nodes, vocal hemorrhage, and other damages because they’re manipulating it. For Kristin Chenoweth, it’s natural for her but it’s not going to be natural for you. If you think you need to fit yourself into this box to get hired because that’s what the casting directors are also looking for now because that was successful on Broadway, it creates this vicious thing. It’s not just the opera world.
Does this translate to pop music? I’m curious because it sounded like you found a lot of freedom when you moved over to the pop or indie world. Do you find that it even comes into that world?
I did. However, what I learned was wherever you go, you take yourself with you. I brought all of these perfectionist tendencies and the need to sound a certain way, be a certain way, and look a certain way into my pop work. I was successful in doing that at an indie level. We’re talking about the early aughts. I’m older than I look probably but we’re talking about 2002 or 2003. At that time, being an indie artist was a lot harder than it is now. It was the beginning of iTunes. It was Napster. There was no social. Facebook was barely a thing.Wherever you go, you take yourself with you. Click To Tweet
There was MP3.com. That’s where I got my start.
The success that I had was great for what I was able to create but I still was operating under all the pressure of being like, “I need to sound like X because this artist is on a major label. If I’m going to do this, I better sound like that because that’s what’s in style.” Those pressures are there no matter what genre you sing. The work that we do with singers is to undo all that conditioning because it has a huge effect on your body and the sound that it makes. Your body cannot do what your brain is sabotaging.
As a singer, your whole body is your instrument, not just this. If you’re a human being, then your body is responding to your thoughts and your feelings. That’s what’s true for every human on the planet. That then can create a set of those thoughts and feelings if you feel like you have to be a certain thing or look a certain way or the perfectionist tendencies and all of that.
Those feelings and thoughts live in the body and create certain reactions that can sabotage your technique or what you already know but your body is not going to do that if it is in fear of failure, less than, or all that stuff. You’re going to manipulate control. Your body is not going to be able to do what it could otherwise do to create the most effective, beautiful, authentic, and powerful sound that gets noticed because it’s not like anything else out there. There’s a lot of unlearning and deconditioning for most singers that has to happen to get to that place.
You’ve been alluding to this a little bit. You have this three-legged tripod approach to singing, and some of that very much is what’s going on in the brain. Do you want to cover what those three legs are and how they fit together?
If you think of your singing career as the tripod upon which a successful singing career stands, there are three things. It’s the technique, which we call skillset. It’s the artistry, which we call heartset. It’s the mindset. It’s technique, artistry, and mindset, otherwise known as skillset, heartset, and mindset. Each of these three legs of the tripod has to be equally strong without one sabotaging the other. Think about it. What happens to a tripod that has a wobbly leg? It falls.
Most singers are out there hustling. They’re passionate and talented. They’re auditioning, recording, performing, trying to make it, and not succeeding at the level that they want because they’re trying to build this career on a wobbly tripod, and it doesn’t work. Most traditional training only addresses one leg of the tripod technique. Don’t get me wrong. The technique is super important. You need reliable technique because how are you going to access the potential of your instrument if you don’t have the technique that supports that to bring it out?
Let’s say you’re on Broadway, and you are going to do eight shows a week. Let’s say you’re a touring artist, and you need to be able to do 5, 6, or 7 shows a week. The technique is there so that your voice holds up so that you don’t have to cancel shows and lose money. The technique is super important. However, the technique does not exist in a vacuum. The only way that you optimize that technique is by making sure that the energy of the body, which is created by the thoughts and the emotions, supports the technique. Think about it.
We all embody our thoughts and our feelings. You think of a basic emotion like fear. Let’s say somebody is scared of a high note. They have that fear. Everybody from the beginning of time has the same fear reaction. It’s fight or flight. We know this. You’re scared of that high note coming up. Your body is either going to brace itself to fight that note, or it’s going to flee. It’s going to back away from the technique you know. You’re going to take your foot off the gas.
Either way, that thought has created a scenario that your body is reacting to, which sabotages the technique that you otherwise know. It doesn’t matter. You could have the best technique in the world, and if your brain is sabotaging your body from using it, you’re going to keep creating that same bad sound that’s going to make you scared in the first place. You have the high note approaching. You’re in your fear reaction, and you fight. You’re in your fight reaction.
In the body, you’re going to make, push, do, manipulate, force, and control. You’ve completely sabotaged the technique that you otherwise know and created that bad high note that you were scared about in the first place. What’s worse is you have evidence that you’re not good enough. You have evidence that it doesn’t work. That feeds back into the next time you have a high note to sing. You’re even more scared. You have even more evidence that you’re not good enough, which means that now, you’re in your fear reaction even more.
For the next high note, there’s this negative feedback loop. It creates this vicious cycle. That’s why the legs of these tripods go together. If training only addresses one part without the other two, we’re not creating singers who have everything they need to be able to go out there, be successful in their career, stand out above the competition, and create impact, which then brings income.
You’re known for taking good singers and making them great. What do people need to already have under their belt before they work with you? I’m assuming they have to have a certain baseline of technique since you don’t work with beginners.
The reason we don’t work with beginners is not because you need a certain baseline of technique. When somebody is a beginner, there’s usually no level of focus, seriousness, commitment, and intention that it takes to go from good to great. It’s very easy for people to dabble but the work that we do doesn’t work for dabblers. It requires somebody to be full-in and all-in and have that focus and that seriousness about what they’re trying to create in their career.
When I say, “We don’t work with beginners,” I should rephrase that. We do work with people who have not taken voice lessons before but they are people who are out there trying to create real careers. They’re auditioning, gigging, and performing. You might be a singer-songwriter who is hustling but you’ve never focused on your voice before. We will work with you because you’re at that level where you’re already doing what you’re doing, and we want to take it here. We don’t work with people who are like, “I want to sing better to sing at my uncle’s wedding. I want to be able to do better at karaoke.”
“I’m leading worship in church, and I don’t want to crack.”
It’s deep work. It’s transformational work. It’s holistic work. What I have found is 1) Those kinds of people are not interested in that work. 2) They’re not ready for it from that place of intention. Without the intention, it doesn’t work anyway because they’re not going to do the work and invest in it either.
That doesn’t matter if it’s singing or anything related to music. If you’re a dabbler, you’re not going to make progress in anything. That’s frustrating for them and us as the people that are trying to help them. That makes sense. I wanted to ask about the uniqueness of someone’s voice. How do you discover that? How do you bring that back if they have ironed it out?
That’s why the mindset piece of the work that we do is so essential. As a singer, what we do is support them in all of this mindset work to learn how to fail and be willing to make a bad sound. There are so many times. I can’t even tell you. I’ll be in a studio class with our singers and be like, “I dare you to F it up. I dare you to make a bad sound.” Every single time, what happens is when they have worked that mindset, and they have the ability to let go and do that, the sound that they make is ten times better than what happened when they were trying to make a bad sound. The mindset work is essential to be able to set those foundations and undo limiting beliefs and old stories that somebody is telling themselves and that they’re still aligning with that they don’t even realize.
9 times out of 10, it’s stuff that has nothing to do with singing that is 150% coming in and affecting their ability to let go, trust their technique, trust their body, trust their talent, trust what they were given, and let that be enough because most people come in, and they are so filled with this not-enough stuff. They have to sound a certain way, be a certain way, look a certain way, and all the stuff that’s convincing them that they’re not, which is why they get into proving mode or trying mode. That disconnects them from that uniqueness or that authenticity. It’s connecting back to what is special or the worth. That’s all the mindset work that we do in the program in addition to the high-level technique work. These things have to go hand in hand which brings that.
Most singers have at least one, if not many, side comments that were made about their singing from the past from someone who probably doesn’t even matter. That sticks in your mind, and you’re like, “I better not do that. Someone doesn’t like this part of my voice. Therefore, I should get rid of that.” As an experience, I have those, and I still remember them. I’ll never see those people again but they’re still there. That’s why the mindset is so important.
Your body is your instrument. Your body can’t do what your brain is sabotaging. If you have an old limiting belief from a person that you embodied that was like, “Your high voice isn’t good. You’re an alto.” I’m not even talking about singing in the highest part of your range. We have an ascension of pitch. All of a sudden, your body goes into that because somebody gave you a belief. You didn’t even choose it. Somebody gave you that belief that you then latched onto, which is now putting you in that.
If your body is here, you can’t lean into your support. You can’t be in the open channel of energy for sound. You’re going to be controlling tension. Tension is the enemy of the singer. The mindset things that sabotage us puts us in those tensions. We don’t want to fail and sound bad. We go into the control mechanisms to try to mitigate that but those control mechanisms are the very thing that take us out of the most powerful sound and the healthiest technique that we could otherwise have.
When I was trying to blend my break, even saying, “These notes are my break,” immediately, in my mind, I was like, “That’s an A. That’s a B-flat. I have to tense up and freak out because I don’t know if I should sing this in head voice or chest voice.” All those things that are in the back of your mind affect you, even the language of calling it a break.
How does that sabotage you from the very beginning? Every single singer that comes to work with me has the terminology of break. You’re not alone in this. It’s part of the zeitgeist of singing language but I hate it because it implies an interruption or a chasm. What is your body going to do? I’m picturing Road Runner coming up against the edge of the cliff and hitting his heels into the ground. That’s what your body does, “I got a break.” That very thing interrupts the efficient use of your body and your technique. You have created a “break.” The mindset is so key to this. It’s not how traditional training is for singers. It is killing singer’s careers.
I watched it affect my own, and it took me ten years of my explorations into mindset work, spirituality, and psychology, and piecing this all together from experts who were not in the singing world. It took me ten years of sometimes walking down dead ends and falling into every pothole that I possibly could. Once I was able to synthesize this, there was a difference that it made in my sound, my confidence, and my ability to make an impact. That’s the thing. Your only job as a singer or a performer of any kind is to make an impact on your audience and do it in a sustainable and healthy way.You're only job as a singer is to make an impact on your audience and do it in a sustainable and healthy way. Click To Tweet
If you don’t make that impact, there is no career. Impact equals income. That’s it. The bigger the impact, the bigger the income. Why can Bruno Mars charge $750 a ticket for his concert and Taylor Swift for $1,100? It’s because they know how to make that impact. Are they the most perfect singers? No, but they know how to get out of their way, make an amazing sound, and impact the audience with it.
Some people are born with that ability, lucky them, and others can be taught. This can be taught but it takes a level of seriousness and commitment because what we’re talking about is peeling away these things, allowing that trust and the technique that you otherwise know, and teaching you the foundation of that to be able to stand in that confidence and know that’s enough.
Do you know how hard it is to stand in front of an audience and not feel like you need to push, prove, or do anything but stand in that vulnerability of, “I am enough. My technique is enough. I trust it. I know who I am,” and let that be enough? It is so hard. It takes a level of commitment and seriousness to be able to get there but for those singers who are invested in their careers, we show you how to do that. It can be taught.
Do you think that there has to be a certain level of talent to be successful as a singer? Do you think that you can teach most people to be at that level eventually if they learn their technique and all the mindset stuff?
That’s the luck of genetics or luck of birth. Not everybody is going to achieve Adele status or Celine Dion status. However, my personal belief is as long as somebody can match-pitch and embody rhythm and melody, anybody can go from 0 to 10. You may be born with a level of talent that starts you at 10, which means now we’re going from 10 to 50. You might be born with 50. We’re going from 50 to 150 but there is so much that can be expanded on whatever God-given gift you are given but unfortunately, those God-given gifts are not equal.
People might also have another God-given gift that they pair with. Maybe they get to the tenth level of singing. They are an amazing songwriter, or they have a magnetic personality.
It’s also that ability to tap in and allow yourself to be authentic and seen. That is the most impactful thing. When you do that, the voice evolves, improves, and becomes more powerful. When I think of some of the great performers in the past, Bob Dylan comes to mind. He has a weird voice yet he knows how to use it in the most authentic and impactful way for him.
Somebody else who was stuck in blocks and patterns around their sound would have judged it, tried to control it, tried to manipulate it, and not have had the career that he had because he allowed himself to be authentic, and that’s the sound. Believe it or not, that’s a skill that he had to cultivate over time, whether he did it knowingly and intentionally, or whether he was able to recognize something within himself. When he let that be, people responded. There’s a process for those people where it’s not intuitive to do that how it was for him to be able to let go and learn how to tap into that. Whatever sound you’re given can flourish uniquely and authentically. You’re going to get a lot farther because of it.
Let me present a scenario. I’m curious to see what you think about this. You have somebody who’s a good singer. They’re good at marketing, promotion, and all that stuff. There’s someone who has done your program. They’re an amazing singer and all that stuff but they haven’t figured out all the marketing stuff yet. Do you think that the person who’s got all the marketing chops is going to win? Do you think that eventually, the person who worked on their voice is going to figure the other stuff out and be miles ahead?
The person who is good but has figured all the marketing stuff out will get to a certain level but they will not go past it because you can put the full force of a marketing budget and marketing smarts behind whatever the product is. Let’s say it’s a recording. If that recording does not land and make that visceral impact on the audience, it’s only going to go so far. It doesn’t matter how much marketing you put behind it. If you think of it like a widget, if the widget is not effective, now you’re throwing marketing money and dollars behind a widget that is only going to be so effective because it’s not doing the maximum potential of what it could do.
I hear this from artists all the time, “The reason I’m not succeeding is I need money. I need $10,000 for the marketing budget.” I’m like, “You’ve already gotten out there. You’ve released recordings, and they’re only getting a couple of thousand plays, which tells you that they’re not making the impact that they need to make. When you post it on social media, people are not listening to it over and over again. When you put it on YouTube, they’re not listening to it. Those performances are not making the impact that they need to. You’re telling me that now you want to spend $10,000 to market something that’s not making an impact. You might as well take $10,000, put it in the toilet, and flush it. That’s my personal opinion for what it’s worth. Take it or leave it.”
However, if a person who has that ability and knows how to make that impact doesn’t have marketing chops, it’s a crapshoot. If they’re not putting it out anywhere, now we have a different mindset problem. Why? What is that? If they’re putting it out, and it makes an impact, it starts to get a little bit of traction. It starts to get some notices. You teach that person how to market.
I’m also a firm believer. Know your wheelhouse. Know what your zone of genius is. Understand the other aspects of your career. Understand the marketing so that you can then hire somebody whose zone of genius is that. Don’t go in it blind. If you can create that zone of genius for yourself, now you have two pieces of the puzzle that are going to skyrocket.
If you know enough to be able to hire somebody whose zone of genius is that, now at least what you’re marketing has the best shot because it makes that impact. Whether it’s hiring the right producer, getting the marketing team, or getting the right management, none of that matters in my opinion if the widget or the performance is not making an impact. That has to be the thing first before we do anything else. That’s my belief.
I experienced an example of this. Someone suggested to me, “How about we do this song in church?” I lead worship in church. They sent me Spotify, and I listened to it. I’m like, “It’s fine. Let me see if there are any other versions of the song out there. I’m not quite getting the gist of the song.” I found another version, and I was blown away because of the way that the singer sang it. It was a completely different song to me. The first thing that I did was send it to several people. I’m like, “Do you think we should do this song in church? This is amazing.” Not only does it cause me to keep listening to it but it also makes me want to share it because of the impact that the singer had on me. It also elevated that song.
People tell me all the time, “I don’t have the right song. I don’t have the right producer. I don’t have this. I don’t have that.” I listen to them, and I’m like, “What you don’t have is the ability to tap into the maximum potential of your instrument to create that impact. When you have that, then the right producer matters. The right marketing team matters but without that, it’s just chasing good money with that.”
This has been an amazing conversation. The singers that have benefited. Is there anything else that you want to be sure to tell singers out there? What is your stage advice?
I get asked a lot, “How do you make that impact? How do you do that?” My first answer is, “How much time do you have? This is what we deep dive into in eight weeks of intensive training,” but the simplistic answer to that is it’s about the mind-body connection, which I was alluding to and talking about earlier. The way that a singer goes from good to great is by being able to have a mind-body connection that works for them instead of sabotaging them and all the ways that I’ve been talking about.
Your body can’t do what the brain is sabotaging. The connection between the negative feedback loop, fear reaction, and all these things are all specific examples of mind-body connection when you have set up those neural pathways and you have that muscle memory and that emotional memory to connect these two things. That’s how the most authentic performance, the most efficient technique, and the most impactful sound are created.
At the level that the singers that we work with are playing at, it’s not enough to be good. There are a lot of good singers out there. If you want to be the kind of singer who gets a gig every once in a while, and you only get paid $200 for it or maybe you don’t get paid at all, and maybe you’re releasing records and nobody is listening to them, there are a lot of singers out there who are able to do that. They’re all “good” but what catapults the singers into great is being able to have a mind-body connection that serves their instrument to create the most impactful performance.
That’s what we help singers do in the form of high-level technique, high-level professional mindset work, and explorations into unique artistry and then world-class support to be able to do it. For the majority of them and for probably a lot of you who are reading if you’re singers out there, these are not issues that you’re able to fix yourself ever. Most of the time, we’re too close to it, and we can’t see the level of support that’s needed to be able to go from good to great.
It’s easy to go from nothing to good but the learning curve or the exponential learning that it takes to go from good to great might only be from here to here but what it takes to go from here to here is a lot more support, a lot more commitment, and a lot more investment of time, energy, money, or whatever it may be than it is to go from the bottom to the middle. I’m on my soapbox. I get powerful and passionate about this as you can tell.
I love it. I’m sure there are many out there that are getting riled up as well. If they want to connect with you, how can they connect with you online and learn more about the programs that you have?
There are two things. If you’re resonating with this, and you’re somebody who is in the game or you’re a singer of any genre where you’re out there auditioning, hustling, recording, and performing, and you’re not seeing the results that you want in the form of the impact, the income, and the opportunities that you would otherwise think that you would be making by now, you can book a call directly with me.
You will fill out a short application to qualify and then have access to my calendar. You can hop on my calendar, and we will have a call for about 45 minutes. We will talk about what’s working, what’s not working in your singing, what you want, where you want to go with it, and the gap between where you are and where you want to go. I’ll share with you the ways that we work with singers. If it’s a fit for us to work together, that’s fantastic. If not, that’s okay too. The call is about clarity because you will understand the exact steps that you need to take to get to your goals.
That’s one option if you’ve resonated, and you want to get on my calendar. The other option is the masterclass that I did around the five steps that it takes to go from good to great. It’s a bit more of a deep dive so that you can have a little bit more of a learning experience if that’s something you’re interested in. They’re not mutually exclusive. If you watch that and then you want to book a call, you can do that too.
That is awesome. Thank you for those resources. Thank you so much, Arden, for sharing all of your experiences as a singer, your life experiences, and all that you’ve learned. It can help so many people not have to go through all of that themselves to hear this from someone else. That’s why it’s so impactful to share our stories and things that we have learned to cut that learning curve for other people. Thank you so much for doing that.At the end of the day, if we're not enjoying ourselves when we're doing this, then what's the point anyway? Click To Tweet
You’re so welcome. It took me ten years. I would rather it take me ten years so that I can condense it so that you can get the transformation. What we do is only two months. People are like, “How can you do that in two months?” It’s because we’re doing it differently. We’re not doing it the old-fashioned way. Thank you, Bree, for being able to be such a light and share so many different resources and philosophies around performing, being a woman in this field, and being able to do this in a way that supports ourselves and our families because at the end of the day, if we’re not enjoying ourselves when we’re doing this, then what’s the point anyway? To be able to have resources that you bring and do that is super important.
Thank you so much.
- Arden Kaywin
- Watch Arden’s Masterclass: “The 5 Steps Smart Pro Singers Use to Breakthrough for an Elite Singing Career”
- Book a Breakthrough Call with Arden
- Arden Kaywin Vocal Studio 2-Month Intensive Program
About Arden Kaywin
Arden Kaywin is a singer and voice teacher pioneering holistic, transformative performance techniques for singers. Through her Intensive Program, she helps professional singers all over the world make a bigger impact with their voice to grow fulfilling, sustainable careers. Arden’s singers have charted on Billboard, landed roles on Broadway and opera houses around the world.