Robert Lunte’s Mentors And Their Influence
Below you will find some of the well known voice instructors Robert Lunte had the pleasure of studying with and how they influenced his own method as worked out in his The Four Pillars Of Singing vocal training system as well as his day to day vocal coaching practice. Robert Lunte’s mentors:
Maestro David P. Kyle
Possibly one of Robert Lunte’s mentors that had the most profound influence on him is Maestro David P. Kyle, Legendary Contemporary Voice Coach
Vocal teacher for rock, metal and jazz singers for over 50 years. The “Maestro” became a local Seattle icon and was considered by the industry to be one of the best vocal instructors for contemporary singers in the country. Unique to the “Maestro’s” approach was his method for expanding vocal range into multiple “registers”, while eliminating psychological barriers that hinder singers’ freedom of expression, by use of creative visualization techniques. Use of amplification and embracing technology was also an important part of the “Kyle” experience.
The Maestro & The TVS Method
The innovation of training with amplification continues. At TVS, vocalists not only enjoy working with a full PA system, but do so on a live, 260 seat staged facility in downtown Seattle, WA.
Today at The Vocalist Studio, vocalists continue to work with eleven essential Maestro Kyle workouts designed for bridging and head voice development, in addition to new vocalizes developed and researched by Robert Lunte to round out the repertoire of TVS vocalizes. In the Spring of 2009, The 2nd Edition of “Pillars” will be published and it will offer some of the most innovative new vocalizes and video tutorial footage in the business of voice pedagogy. www.myspace.com/maestrodavidkyle
Professor David Alt
David Alt, Professor (Voice)Chair, Department of Vocal Performance, and Program Director for Musical Theatre
Received a D.M.A. degree from the University of Iowa and a Certificate from the Conservatoire de Musique, Geneva, Switzerland. Alt studied opera with Wesley Balk, Minnesota Opera Institute, and voice with the French baritone Gerard Souzay and soprano Maralin Niska. Nominated for the Carbonell Award for Best Actor for his work in Brecht on Brecht, Alt has been heard in reviews of the music of Bernstein, Coward, Gershwin, Berlin, Sondheim, and Weill. He also has performed with the New World Symphony, the Deerfield Beach Symphony, the Miami Bach Society, the Chamber Singers of Iowa City Bach Festival, the St. Louis Municipal Opera, the Quad City (Illinois) Symphony, the Southeast Iowa Symphony, the Santa Fe Desert Chorale, the Carmel (California) Bach Festival, and New Theatre in Coral Gables. Alt’s articles have appeared in journals of the Music Educator’s National Conference, American Choral Directors, and National Association of Teachers of Singing.
Influence on the theoretical basis of Robert’s method
Robert studied classical technique with Dr. Alt from 1988-1992 at the University of Miami where he earned his Bachelor’s degree in Voice and Music Industry/Business. As a result of Robert’s work with Dr. Alt, he was exposed to a large repertoire of classical aria and art song for Baritone voice. Robert’s work with Dr. Alt helped develop classical theory and baritone formant, melodic analysis, music theory, articulation and text interpretation.
Peter Egan, Voice Coach
Peter Egan, Renown Estillian & Voice Coach
Robert trained under the tutelage of Peter Egan, one of the world’s leading experts on Estill Voice training. The Estill Voice Model with compulsory figures for Voice is an approach to voice training and speech pathologists. Figures for voice control include mastering 13 structures along the vocal tract and laryngeal mechanism .
The Estill system focuses on the study of, and the ability to, produce six vocal qualities; speech, Sob, Falsetto, Twang, Opera and Belt. Training with Estill focuses on both craft and artistry. Craft is learning how to control the various structural components of the voice. Artistry is application of the craft to the art and this has become a important value that underlines the consciousness of each TVS vocal athlete.
The impact of physiological focus on the TVS method
Included in Estill study is the in-depth study of laryngeal anatomy, physiology and acoustics. With the understanding of how physiology impacts acoustic results, singers are more capable of trouble-shooting and training for the desired effect in extreme singing techniques. The focused understanding of twang, belts and application of falsetto vocal modes have been critical to the TVS techniques of “bridging and connecting” and in particular, head voice development for extreme singing applications.
Steven Fraser, Voice Expert
Steven Fraser, Phonetics and Vocal Formant Expert
Robert studies with Steven Fraser, noted expert on vowel modification, phonetics and formants for singing. Mr. Fraser is a recognized expert in the analysis of spectrograph analysis of singing. A spectrogram is a a time-varying spectral representation (forming an image) that shows how the spectral density of a signal varies with time. In the field of Time-Frequency Signal Processing, it is one of the most popular quadratic Time-Frequency Distribution that represents a signal in a joint time-frequency domain and that has the property of being positive.
Mr. Fraser has a Bachelor’s in Vocal Music Education from Millikin University, and a Master’s in Choral Conducting from Washington University in St. Louis.
Harmonics, Analysis & The TVS Method
Also known as spectral voiceprints or voicegrams, spectrograms are used to identify phonetic sounds, to analyse the harmonics and formants of singers to help a singer tune dominate harmonics to create a desired effect in singing. Spectrograms are useful in assisting in overcoming speech defects and in speech training for the portion of the population that is profoundly deaf.