• Undergrad:

  Radford University

• Tutors Out Of:

  New York, NY

• Travel Radius:

  6 miles

• Tutoring Certifications:

  algebra 1 - algebra 2 - ear training - general music - guitar - music theory - piano - prealgebra - theatre - voice (music)

• Tutor's Fee Per Hour:

  $45.00 * with a 10% discount after purchasing $360

Shelly Renée Wade
Singer / Teacher / Conductor

New York, NY 10031


Shelly (Mezzo-soprano) is an accomplished singer and teacher based New York, NY. She holds a Masters Degree in Voice Performance from Manhattan School of Music. Some of her operatic roles include 'Cherubino' in LE NOZZE DI FIGARO, 'Jenny Hildebrand' in Kurt Weil's STREET SCENE, 'Little Boy' in Lucas Foss' GRIFFELKIN, and 'Doatsy Mae' in the musical BEST LITTLE WHOREHOUSE IN TEXAS. She has studied classical voice with highly recognized teachers such as Dr. Cynthia Hoffman, Arthur Levy, and Chloe Owen.

Shelly has taught voice lessons and music lessons to all age groups since 2003. In addition to her experience with the voice, she also has a B.M. in Music Education. She also teaches acting for singers, piano, theory, ear-training, beginning guitar, and other subjects as well. She loves teaching and continues to study pedagogy and methods in order to give her studies the best possible learning opportunities.

I find teaching to be highly rewarding and I do it because I love it. In addition to music, I also tutor math.

I strongly incorporate Feldenkrais' 'Awareness through Movement' exercises into my voice teaching, as well as Alexander Technique and Yoga. I firmly believe that body awareness is the basis for a healthy and solid technique. (A student cannot fix a problem such as jaw tension, (or wrist tension for pianists) until they are fully aware of it, and can feel it themselves.) In addition to body work, I also incorporate a more technical approach by teaching anatomy of the voice and body. In order to become 'aware', one must first have knowledge of how their entire instrument operates. This is taught on a sliding scale, based upon age and experience.


Over the past eight years, have studied voice with several great teachers and through each of them, I have learned several different methods and techniques. Each teacher has given me different tools and ways of communicating. I am very good at tailoring these method and tools for each individual student's needs. I feel that it is very important have a myriad of methods to share with students.


My teaching is based upon a high level of expectations, but never pushing a student beyond where I believe they can excel. It is not about being perfect; perfection is boring. It is not about the artist, it is about the music. I teach singing as theater first and technique second. I focus heavily on incorporating the speaking voice and breath support into singing. I like to think of 'technique' as Alexander once defined it: 'an applied use of the self'. I teach that control is a result, not a process. To think of it as a process is to 'end-gain', in which one loses control by trying to gain it. I also work with my students on not judging themselves. Judging leads to hesitation and hesitation leads to lack of control. True control comes from letting go. Technique depends not only on the body, but the body's connection to the brain. This calls for preparation to sing. Necessary steps include 'think, prepare, and act (without judgment or hesitation)'. To solve problems, I like to 'become aware', 'inhibit', and 're-establish'. I work with students to work on technique as both a basis and a detail. This meaning, 'practice mode' and 'performance mode'. In performance mode, technique should be completely passive and the focus should be on dramatic interpretation.

Email this tutor in New York, NY!

• ear training

  I was trained in Ear-Training and Aural Skills in the Master's Program at Manhattan School of Music. We used a combination of Movable and Fixed Do. I can teach either way, but prefer to teach movable do since that is the most-used system here in the States. I begin working on Intervals, singing them on their interval name, such as "perfect fifth" or "major third" in order to create habitual memory. I then move to dictation and sight-reading. Major/Minor/Augemented/Diminished Chords, etc, but only as advanced as the student desires.

• general music

  I have a Bachelor's Degree in Music Education and I am certified to teach K-12 Music. I enjoy teaching general music simply because it is highly rewarding and fun. Music is invaluable to the soul of all ages and especially important for the young. I have been trained in methods of Kodaly, Orff, and Dalcrose Methods. I have taught recorder, Orff instruments, and choral singing in general music classes. I also direct children's choirs.

• guitar

  Beginning Guitar I have a Bachelor's Degree in Music Education and a Master's Degree in Music from Manhattan School of Music. I am a singer, but play guitar as well. I am especially good with children and young people who are just beginning.

• voice (music)

  Review: "Shelly uncovered my sound and helped me to isolate the muscles and sensations that produced it. She showed me how to call it up through my entire range. Soon, I could apply it to each half-tone of the scale." -a voice student, 2006 Shelly Wade (Mezzo-soprano) is an accomplished singer and teacher based New York, NY. She holds a Masters Degree in Voice Performance from Manhattan School of Music. Some of her operatic roles include 'Cherubino' in LE NOZZE DI FIGARO, 'Jenny Hildebrand' in Kurt Weil's STREET SCENE, 'Little Boy' in Lucas Foss' GRIFFELKIN, and 'Doatsy Mae' in the musical BEST LITTLE WHOREHOUSE IN TEXAS. She has studied classical voice with highly recognized teachers such as Dr. Cynthia Hoffman, Arthur Levy, and Chloe Owen. Shelly has taught voice lessons and music lessons to all age groups since 2003. She loves teaching and continues to study pedagogy and methods in order to give her studies the best possible learning opportunities. I strongly incorporate Feldenkrais' 'Awareness through Movement' exercises into my teaching, as well as Alexander Technique and Yoga. I firmly believe that body awareness is the basis for a healthy and solid technique. (A student cannot fix a problem such as jaw tension, (or wrist tension for pianists) until they are fully aware of it, and can feel it themselves.) In addition to body work, I also incorporate a more technical approach by teaching anatomy of the voice and body. In order to become 'aware', one must first have knowledge of how their entire instrument operates. This is taught on a sliding scale, based upon age and experience. Over the past eight years, have studied voice with several great teachers and through each of them, I have learned several different methods and techniques. Each teacher has given me different tools and ways of communicating. I am very good at tailoring these method and tools for each individual student's needs. I feel that it is very important have a myriad of methods to share with students. My teaching is based upon a high level of expectations, but never pushing a student beyond where I believe they can excel. It is not about being perfect; perfection is boring. It is not about the artist, it is about the music. I teach singing as theater first and technique second. I focus heavily on incorporating the speaking voice and breath support into singing. I like to think of 'technique' as Alexander once defined it: 'an applied use of the self'. I teach that control is a result, not a process. To think of it as a process is to 'end-gain', in which one loses control by trying to gain it. I also work with my students on not judging themselves. Judging leads to hesitation and hesitation leads to lack of control. True control comes from letting go. Technique depends not only on the body, but the body's connection to the brain. This calls for preparation to sing. Necessary steps include 'think, prepare, and act (without judgment or hesitation)'. To solve problems, I like to 'become aware', 'inhibit', and 're-establish'. I work with students to work on technique as both a basis and a detail. This meaning, 'practice mode' and 'performance mode'. In performance mode, technique should be completely passive and the focus should be on dramatic interpretation.