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About

Linden is a highly trained performer who grew up in the Blue Mountains, west of Sydney, Australia. At 19, Linden was offered a scholarship to train in musical theatre at Lasalle College of the Arts in Singapore and spend the next decade working in the scene, taking roles in major productions in Singapore and Australia. Linden has developed a career as a sought-after singer, actor, guitarist and dancer, and in 2016, won The Rob Guest Endowment Award. He is putting the final touches on an album of original songs he’s been chipping away at for 2 years.

Teaching

I love the process of teaching, particularly for the voice.

The voice is an instrument with significantly more mystery than others. The mechanics are not clearly visible and therefore the acute control of internal articulators only comes with a well developed physical awareness and a considerable understanding of the vocal system at large. Keep in mind, the vocal system is not limited to the real estate between your mouth and lungs. The entire musculature of the body supports the optimal voice.

Many singers can learn to sing well by imitation and instinct. These are great tools to have no doubt, but perhaps you want to troubleshoot difficulties or even change style and timbre. That requires a deeper understanding of the instrument, and more broadly, your body’s unique relationship to it. Think of it as learning to be your own car mechanic.

To add to all this, the emotional state of mind has a profound effect on the singer’s ability to produce clear, resonant sound. Ever wondered why a clear, powerful, high note can evoke shivers or tears? In these moments, great singers are using intrinsically emotional vocal postures. That is to say that the posture and strength required to produce these sounds are very closely related to those of true emotional release; be it grief, anger, or joy. Think about when you laugh uncontrollably, or sob deeply. In these moments, the voice is truly unobstructed by tension or insecurity. Our challenge is to put a harness on them.

These states of being are obviously confronting. I’ve had students overcome by waves of emotion (I have myself) simply by recreating vulnerable vocal postures that we typically associate with deeply emotional states. This is not to be shied away from. True vocal release often requires the learning singer to be willing to dive headlong into such discomfort, with the purpose of discovering and mapping out their own physical and emotional topography.

This is of course, not to be confused with vocal strain. Strain is typically an indication that some kind of resistance is at play. Resistance and tension are more detrimental to vocal health than anything. Poor hydration is a close second!

If you want to talk technically, I grew up under the instruction of a classically trained lyric soprano for a mother, so the Bel Canto technique is always present. Later in life I took instruction from two highly lauded Australian instructors, Gary May and Amanda Colliver.

If you want to explore the full range of your vocal capabilities and develop real confidence in your absolutely unique vocal instrument, I want to help you. Vocal instructing provides a fascinating challenge as I learn the ins and outs of your instrument and thereby develop a personalised approach to your learning.

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