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Natalie Weiss is a gifted vocal educator, as well as an amazing singer and performer. Her popular YouTube channel is a must-watch for singers.
In this interview, Natalie gives us insights into her own vocal development, as well as how to learn to riff, prepare for performances, and how to get the sensations of singing into your awareness and control.
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Episode Transcript
Episode 111 – Natalie Weiss Interview
John: Hey there, this is John Henny. Welcome back to another episode of The Intelligent Vocalist. I do so appreciate you spending your precious listening time with me. All right. Today I am excited to present my interview with Natalie Weiss. Now if you are unfamiliar with Natalie, you need to go straight to YouTube and type in her name because she has a fantastic series called Breaking Down the Riffs, where she breaks down riffs, a complicated riff, and teaches them to you in ways that are easy to understand. It’s really a fantastic series. She also has a video of her coaching. She’s a top notch coach and there are videos of her singing and she’s just a phenomenal singer, and you will hear in this interview, she will just impromptu do demonstrations with her voice that are just fantastic. We’re on a Skype connection and sometimes the connection gets a little funny, but even through Skype you can just hear how absolutely wonderful she is.
John: And we discuss her early vocal struggles. This did not come super easy to her. We discussed how she learns riffs also how she prepares for performance days, I think which is very instructive, and most importantly, she talks about the sensations of singing. And I want you to listen to how she talks about and discusses her approach to singing and how she thinks about singing. And it’s not coming from a nerdy kind of voice science way, which is something I’m obviously passionate about. But Natalie really embodies that critical step of getting the sensations of the voice into your body, into your nervous system and into your awareness. In fact, my previous podcast episode to this one discusses that explicitly, why you need to really understand and catalog sensation. So I think that is a great takeaway from this interview. So without further ado, I present Natalie Weiss. Okay. I am on with Natalie. Natalie, welcome.
Natalie: Thank you for having me.
John: I’m so appreciative. I have to say, I put out a request for my listeners to see what guests they want. And you were the most requested guest.
Natalie: That’s crazy.
John: Yeah. Yes, you were. But what I want to do– you kind of have a unique thing going in that you’re a really gifted entertainer and singer, but you’re also a really good coach as well. And so you’re working both ends of it. And not all of us do, and certainly not as well as you. And when someone sings as effortlessly as you, people will often assume that it was all just natural and you didn’t have to work at it. And can you just take us back to maybe a time where you were vocally struggling and trying to put your voice together?
Natalie: If you rewind to my childhood, like I had a musical ability. I was classically trained on the piano first. My parents could tell that I was musical, so they put me in piano lessons. So I started on the piano and like, you know, I didn’t really– I sang around the house, but my main thing was like, I really wanted to be a pop star growing up. I would go to pop concerts. That’s kind of how it started.
John: Who were some of your idols?
Natalie: Billy Joel and Janet Jackson and Madonna. Like I went to a Madonna concert at age five, which is very inappropriate. So definitely like exposed to pop music early, was not like I went to musicals, maybe I went to my first show at maybe seven or ten, but we weren’t a musical theater family. We were more so pop, like my dad listens to all the seventies pop eighties pop.
So I grew up listening to it. So I think I was imitating singers pretty early and there’s like early videos of me trying to riff and can’t, but like trying to do it. And then I think like at the talent show at school I was a piano player and then the next year I was like, why don’t I sing and my performance quality was like, you know, swaying and no emotion. Just, you know, singing a Whitney Houston song and I sang The Greatest Love of All, and I can’t find the video anywhere, but it went from like, okay singing, no vibrato, vocal damage very early on. Like, I had nodules when I was three and thirteen. So I was the child who was like the crazy child who was like yelling and go to speech therapy very early because I was screaming. So I was scoped so early.
So when I was 13 and I was actually doing a show in middle school, I had no head voice, so I was like just air. So I had to go to a laryngologist really early and I don’t remember how I healed, but I had no training at all. Just screaming, chest voice. I was Peter Pan at age 10, and it was nodules like, just all the lines were hoarse. I mean, I had no vibrato yet. And then at 11, I all of a sudden was singing like, “I believe the children are our future.” Not that tone, but like I remember like, “show them all the beauty they possess inside,” and then my parents were like, wait, what? You know, like I definitely had the ability to riff and the vibrato started coming in.
John: I’m sorry to interrupt, but did you start to feel a different pocket in your voice? This release from just being locked in chest voice at that age, did you discover this new place?
Natalie: No. So I would say not yet. So I didn’t even know what the word head voice was. So I was just like, I guess, belting or singing a pop song. So definitely like, I wouldn’t even say, I think maybe 10 was like very hoarse, 11 kind of hoarse, 13 I had whatever I think nodules at 13. So when I got scoped it was air. Then I worked with a voice teacher on even what head voice was. So like, my first introduction was, I was cast in seventh grade as Lady Larkin in Once Upon a Mattress, and I was mad because I just wanted to play Winifred cause all I knew how to do is scream. And so I had to sing in my head voice and it was like, it was like pop star head voice, you know, it was like nothing there.
So I learned like how to open up a little bit more going into freshman year, sophomore year where I had a voice teacher in the high school, which was like very light voice lessons. But my voice lessons were like, “You can’t belt it? Just do it.” Like it wasn’t voice lessons. It was like sing through songs. They didn’t really know how to sing. My head voice, I explain as pop star head voice, like just very thin, high larynx. Like you know. Lots of scoops. So I would sing songs for Fiddler on the Roof, and then my teacher was like, don’t scoop. I’m like, what’s a scoop? Like I didn’t know anything. So my first year of college– I guess I was a good singer in high school.
Natalie: I could sing pop, I could belt, and I could sing in my head voice — it was thin. But there was no such terminology as a mix. Like I didn’t even know what that was. And so the first year, first day of freshman year, my teacher drew a diagram of like, you know, chest voice, head voice, mixed, or middle voice, and we were like, what is this? And so I sang The Story Goes On from Baby, and the famous story from my teacher is that I was like, I’m going to sing this song. And I sang the big belty part, I sort of switched into head voice there. And she was like, Natalie, the story went on but your voice didn’t. And that was like the famous funny story from my teacher, who is Mary Saunders, Bel Canto Can Belto, if you follow any of that.
John: And I’ve actually read her book on training. I’m actually going to be lecturing at a conference she’s going to be lecturing at next month. So I’m very excited about that. So she would definitely come from that idea of mixing both disciplines, which is actually still a little novel although being more accepted. But it was kind of two camps in the voice world. So you were really fortunate to have somebody that was able to work you both ways. And so by developing your head voice, how did you find your way into mix?
Natalie: So then I feel like I just remember freshman year really learning how to open up my head voice. Like I had none of that. I was like, you know, I’m learning from a few teachers but mostly Mary, a little bit of Bev Patton, very small lessons here and there. A couple of one offs with the voice faculty there and having to sing art songs in different languages. My favorite thing is when people are like, oh, they just think that I know how to belt and riff. And I’m like, no. Like I had to do everything in college. So I remember having to lower keys, and I was like, no, I don’t sing C-sharps. No, I don’t do that. You know, I remember specifically Dancing All the Time from Big, and there was a D and I was like, no, I’ll just lower it.
I used to calculate exactly when I would be in what voice. And then slowly but surely with lots of cracking in college, in sophomore year I just remember, like, it clicked. I don’t remember exactly, but I do remember understanding what it was to balance my voice a little bit more than I had been. And then it was just about, I do everything. And it’s about percentages of voices. So I think for me it definitely clicked like a year and a half into college. And then it was just about continuing to train it and being able to sing all different styles.
John: And I know it just kind of felt like it just clicked. But looking back, do you think it was more sensation driven that you just finally began to feel it or was it a little more intellectual like, you know what, I need to control the position of my larynx in the shade of the vowel at certain points.
Natalie: I don’t think I was thinking about larynx or vowels or shade. I still don’t even know sometimes about what’s happening. I think it was definitely about like lots of soft palette raising. We talked about like covering vowels versus spreading but then sometimes she’d be like, belt more. And I’m like, you mean louder? Like, I didn’t understand. She just meant like more speech in it. So even now that I teach, I’m still asking her like, what are you talking about? So I think for me it was a feeling more so than scientific, what’s going on. It was like visually helped. And even after graduation, like I sing some very difficult songs and I’m like, why am I doing and I’ll be like, I’m imagining a string pulling forward and so that helped me. It has nothing to do with voice science. But then I asked Mary like, you taught me everything. And she told me you had the anatomy to be able to do it. I’m like, so even now as a teacher, I’m discovering the slight changes I make with people in five minutes sometimes won’t happen with other people for three years. I dunno if it’s like nature versus nurture, but it really is training versus natural ability. I think it’s kinda mixed.
John: Well there’s a funny story where voice scientists were looking at how wide singers’ mouths are, how big their mouths are. And they, as they were measuring that, one of the widest mouths they measured was Idina Menzel, and they calculated that that’s why she’s able to take that really intense belt chesty quality so high cause she’s able to track resonances in a way that other singers can’t just because of her anatomy. Now, using the terms mix versus belt, and I know these terms get argued and bandied about. What do you think of as a mix versus what you think of as a belt? If you think of them differently at all.
Natalie: I think there’s a different kind of a mix. So I think when people come in and they’re like, “Hi, I’d like to work on this song. I usually mix it, but do you want me to belt it?” I’m like, stop. What are you saying? I think that what they think is a mix is a head mix, which is a twang head voice, which really isn’t a belt, which is a fake belt. So I think what they think is just not pleasurable. And it’s twanged head voice because they haven’t learned how to speak that high. So they need more speech with head in it. I don’t want to use the word chest voice a lot because chest voice makes people push a lot of times. So I just say the word speech all the time. But in terms of mixing, I mean like I think the epitome of head mix is like– can I use references like Jason Robert Brown? Twanged head voice. If it needed a beltier quality, well that would be more speech mix.
John: When you’re– let me see if I can phrase this right. I want to go back to where you talked about they need more head voice in their speech, in their speaking voice. Can you elaborate on that a little further? Cause that’s a really interesting idea, and actually readjusting how somebody is using their voice constantly.
Natalie: I feel like somebody asked me this the other day. She’s like, well how do you do that? I’m like, Oh God, I don’t know. So it’s like visually, you’re going speaking. You can’t possibly like chest out. You have to– there’s like a turn where we have to go and then we add head in, but it’s not a covered head voice. It’s head into the speech. So it’s 60% speech, 40% head as we get higher. And there’s no way to high belt without that, or else we’re going like, and also you can’t sing in your mouth. You have to kind of, for me, as that gets higher, I’m kind of shifting into like eyebrow land. But apparently there’s head in that speech, is what I still am unclear about. Even sometimes.
John: So do you drive a lot by just the sensation then?
Natalie: The sensation of lifting. The feeling of– I mean, a teacher once broke it down– be like an umbrella. If it’s drizzling out and it’s like raining, the soft palette is, it’s like a imaginary pole going through my head. I’m constantly thinking on top of the note, whatever visual that is. If I got to sing a high belt note, I know it’s coming. So let’s say it’s like a G, I need to get the lift beforehand. Even if it’s like a mental, nobody knows I’m doing it, but I’m not going or else I’m just not prepared. I have to be sitting on the note at all times.
John: Right. I think the fancy term people use is prephonatory tuning. So before phonation you’ve actually adjusted–
Natalie: –knowing on the pitch?
John: You’re right there. Everything’s been adjusted before you apply the energy, as opposed to just taking a wild swing at it, and people end up just pulling up from the bottom. But what I love is your approach through sensation and sound. You’re nailing all these shades of the voice. Like it’s a great contemporary, what you call your fake belt or that reinforced head voice and then your belt is just tuned. I mean your vowels are just beautiful,
Natalie: I learned last year, like I belt, but I don’t always belt. It is a color I have. So like in order to preserve my voice, if I’m doing a long concert, there are certain vowels that I do spread, that I prefer to spread. And if I’m like nearly dying in a concert, I am covering but I am thinking a little diagonal so I’m not spreading so much that I’m tired. But I constantly remember to think kind of vertically so that I don’t tire out. That being said, I don’t cop out and switch into head voice anymore.
John: Well when you talk about those spread vowels, or really going for that wide open belt, the danger there is the nervous system will kind of kick in and think, Oh, it’s time to shout, and then the muscles. So what do you do– like when you’re feeling really good and you can do that, how do you– Do you feel yourself overriding that urge to squeeze or go over heavy at the vocal folds?
Natalie: That’s so interesting. I think that my technique is so embedded now. I have found new resonance in the past couple of years of teaching. Like every day I discover something else. So like I never used to be like, and now it’s mouth, cheek, eyebrows. Like, that’s very new too. So, like for me, if I’m on a G, I’ll say like, I’m very itchy in the teeth, and as I shift up, I’m actually feeling a buzz as I go higher. So if I’m trying to sing a C, I don’t have a piano app, but something like that, I can’t sing here anymore, so I need to shift. But as I’m doing this, I’m also thinking over, and it’s so many like made up visuals that actually do work. I’m thinking of– the good example is like in Dyin’ Ain’t So Bad. It’s too much weight. I think over and out. So I’m not going, I mean, it’s just a different color and it’s a little too shouty.
John: It’s interesting just the subtle vowel tuning that you do to go to the right place. It’s really well done. It’s very subtle.
Natalie: So if I’m not prepared for like I have to be like, I think like a triangle here. If I’m not locked into that, the straight tone, if I have to straight tone for like three or four bars and I’m not locked in, it’s gone. So my visual is like this triangle that has to go forward for it. And then the vibrato kind of brings it forward after.
John: Interesting. So you find straight tones a little more taxing than vibrato?
Natalie: Well, on D’s.
John: What is your approach above D? Like, let’s say you’ve got to give a pretty intense E or even an F?
Natalie: I mean, it’s just that I need to be speaking up here, but I’m not shouting. Because freshman year my teacher was like, okay, call a taxi. You know, “Taxi!” And I was like, taxi. I didn’t know how to access that part of my voice. So that’s the same thing as like this. I mean, you can’t see the visual on a podcast.
John: She’s making spinning motions above the head–
Natalie: –Princess Lea, but it’s that same lift, but I’m speaking higher.
John: Right. Now, I wanna jump to where I first became aware of you, and a lot of people– You got on YouTube really early. And it’s rather fascinating. Now you were touring with Les Mis at the time. I’m talking about the Breaking Down the Riffs.
Natalie: So that was later. That was six years after I was on YouTube. So my first YouTube video was by accident. I was singing at somebody’s house, my senior year of college where youtube.com was literally not a thing. And somebody put up a performance video of me singing And I Am Telling You from Dream Girls, and I sorta did it as an opera joke and then a belt thing at the end. And then I sing the last note off key, which is also my brand. So he said a lot of like, yes, girl. And then he labeled it “and I am telling you white girl can blow.” And then I had a lot of Facebook friend requests the next day because Dream Girls the movie was coming out, and that’s how everything started. I do not know where I would be without that video.
John: Interesting. So I actually got on because the first thing I saw was you breaking down the riff from Halo.
Natalie: That’s the first episode of my web series. So that’s like years after all of the performance videos had come out.
John: And that’s when you were touring with Les Mis, if I’m not mistaken. And you do something really fascinating in that, as you’re teaching the riff, you encourage a little head tilt and that seems to kick it in. And I’ve watched you’re coaching and you’re very physical and you encourage physicality. If somebody is learning to riff, how do you think those little physical moves assist?
Natalie: Well, there’s two answers. One is part of my motto, is in episode one is like, “You too can riff,” like everyone can riff. Except I don’t believe everyone can riff. So like I don’t want to crush dreams, but I get a lot of questions, Well, how do I go as fast as Tori Kelly? Most people can’t. She’s an alien. You know, like you can go as fast as you can go. And then I try to say, and then every day scale. But people ask me, what did you do to warm up your riffs today? I said, I woke up and riffed. Like I don’t warm up my riffs. I warm up if I’m tired like vocally, but in terms of like– some days it doesn’t move as much, but I don’t practice riffing. That’s something that I was naturally adept– what is the word?
John: You talked about going back as a young child, you were trying to riff, so you were already–
Natalie: But that was like something in the anatomy of it, I guess science? But in the tilting thing, that’s an eight note scale and it’s that note and that’s why I was like, well why don’t you try tilting your head, and they’re like, Whoa, that works. You know, so it was like a made up visual that like that is a scale except it’s not hitting the fourth note. It’s going skipping to the fifth, and I tested the method out on my wardrobe supervisor on tour who was basically tone deaf and she could do it. So I knew that it was like accessible to like the everyman. And then all the terminology of the whole step half step was based on music theory, but also like, you know, “double double” basic terms and I would test them out on my best friend and be like, what do you think if people are walking on the street, they’re going to be like, easier to “double double, what are you doing,” but like, that made sense.
I don’t know anything about solfege, so it’s a lot of anti solfege. You know, if it’s going down, I usually start the riff with “one” cause you have to count– you have to hit seven notes. So instead of going “seven, six, five”– I don’t know how to count backwards, you know. So a lot of stuff is– most of the breakdowns I come up with start with “one.” But the physicality is something that– the tilt thing is, that was from episode one. But like, you know, even little things like episode two, she did it and I was like, cool, that worked. You know what I mean? It was also like collaborative, and that worked for her. Also there’s no right answer. So like in episode three when we filmed, she was a very excellent riffer, and we stopped filming and she goes, I don’t understand the breakdown you just taught me. And I’m like, if you don’t understand it, then nobody will. So I had to rethink how I taught it. So again, when I’m doing these, they’re suggested breakdowns.
John: And I noticed some singers will riff and they’ll stay pretty motionless. Other singers will use like little jaw wobbles with each note to help delineate.
Natalie: So I had a girl today who was doing with the jaw. I just said, you don’t need to manipulate it to make the sounds. That being said, if I’m like– I’m all for relaxed jaw. It’s not making the sound, but I do catch myself like if I’m doing a certain thing, it’s moving, but I’m not going to change the notes.
John: And do you– I’ve heard some people talk about kind of feeling the riff in the vibrato, to get that spin and that agility.
Natalie: I’ve never thought about it in the vibrato. But I think about it if I’m doing a riff down, I think of like an over and out feeling if I’m going, like even for me, like the Demi Lovato video that I did have. So the thing about that is like, it’s sort of like in the middle of like, I don’t like to use the word break. I don’t use break, like it’s my break. I don’t use that word. I just like sing everything. However, in pop singing it’s like, you either have to stay in head– and people ask me, is it harder to riff and head voice or chest voice?
And I think for everyone, they would say the folds are thicker in chest voice, so it’s harder to move. So yes I do agree. It’s easier for me to riff in head voice. So in the performance that I did, we actually had to — secrets — dub the audio from two performances because the riff didn’t land. So it’s like, it was stuck. It was, but I couldn’t stop and I know videos are being taken. So in my recent concert and I was like, I really want to get good video. And I sort of like thought of the idea in the latest episode I did so long ago with Avery Wilson, he says they’re like books on shelves. And I just was like forward and out, forward and out through the cheeks. Like, whatever visual is like forward and out for me, or else it’s like it gets kind of slidey.
John: Cause you delineate so well. Like, every pitch lands.
Natalie: Not always though, sometimes you have to go. For me, it has nothing to do with the vibrato.
John: And do you find it trickier to riff up as opposed to riffing down?
Natalie: Yes, because when I riff up, which is barely ever, but I mean I feel a sense of like pumping. As opposed to it’s going like, I can’t even do it now. And like really activating these [stomach] muscles more.
John: Let’s take a performance day, cause one thing people want to know is– what does performance day look like for you? Like how do you get your voice ready if you have a concert?
Natalie: Okay. So I’ve had to do concerts extremely hoarse and an extremely 100%. So like the morning of my London concert, I had a concert at one o’clock and by 10 o’clock I was fully belting and I never warmed up. And I was like, I could sing forever. I literally didn’t do a warmup. And then when I went to Germany twice, I don’t know what that air is doing, but both times I was struggling. So like I would get up much earlier, and like my number one is panic, which is not a good– I’m being honest, that’s where my process is, of like it’ll never happen. And my friend’s like, you have 12 hours. It’s okay. But instead of trying to even make a chest sound, because it’s really bad, is like even trying to get any head voice going in the shower and humming. That being said, if you have to sing higher, I got to ease my way up there. I don’t really have a performance regimen though, because I pray that it’s 100% and if it’s 100%, then hey, I’m fine.
John: So let’s say it’s not 100% you’re going on. What are some of your escape hatches that you use?
Natalie: Well, first of all, like in just in Germany, the good thing was that the monitor I had was so clear, so I didn’t have to over sing. So anything I could quietly get a sound out and really find a placement, you know. Anytime that I was tired– I wouldn’t say I would use more head if I was really struggling. Like my friends know, but nobody else would know. Like, because I’m using a different type of weight. So if I’m like, you know what, not that I’m giving the audience any less. But like for instance, I recently did this performance where I had like fifteen 11 o’clock numbers and the one song that I had, I already had a video of it. I’m like, you guys, it’s going to suck. Don’t find if I don’t like give you belt belt. So every time I would be like, yeah, you know, emotion. Right. So I had to like conserve and when I really needed it, I needed to give more. But if I had to conserve, I wouldn’t give you like– I would say it was more of a mark, and I also call quiet belt a mark.
Natalie: A little bit like more of like a, not even singing voice. That’s also how I get people to make the sound. Because then the minute that I say don’t sing, they belt. It’s crazy. Like I have multiple times worked on belt songs and they’re like, either they won’t do it, too heavy, or they’re in– the second that I’m like, you know, what did you eat for breakfast? And they’ll be like, I had eggs. And then I’m like, okay, go. And they’re like, wait, what? It’s completely psychological with some people.
John: You give them permission to stop working so hard. Now give us a quick overview. When you’re learning a brand new song, what’s your process for breaking it down?
Natalie: Brand new as in like, I’m originating it? Or heard a cover and I can listen to the resources?
John: You know what, let’s take it from you’re originating it. Well, you play piano, which helps.
Natalie: Yes, that helps. I would say the composer would probably have a demo of them singing it, possibly really badly. And some of them are great singers. So the hard part about a bad singer composer is that I imitate them naturally. And I’m like, no, that’s not my voice. So then I learn it melody by melody and then rhythm. And then if I’m doing like a recording, then I’m following exactly what’s written. And then they say, okay, now play. And I’m like, okay, I’m playing, like lots of horrible riffs, you know. But a lot of people are like, do whatever you want, but I have to make sure that it’s like grounded in the story. I don’t want to do anything extra. In terms of like learning audition material, I mean, it really helps that I play piano.
John: And you tend to break it down technically first and then start finding emotion.
Natalie: So I would say in terms of like how to sing songs, I know how to sing songs technically. I think that I’m always thinking about like, what is the lyric? What’s the meaning? When I’m straight toning and vibrato is sort of a personal choice, but I think like, I have good intuition with it. Again, there’s no right answer, but there’s a certain style that like requires more of this, more of that. In terms of like, sometimes I have to mark my breaths actually. If they’re really wordy songs, I have to think about the phrase. And sometimes I’m like, how do I sing that note? You know, I’m playing around with it and making weird noises.
John: Just to find the right color, the right intensity–
Natalie: The right color is the exact term.
John: Yeah. and so through that, through trying just different vowel sounds, depth of larynx, all of these things…
Natalie: I also ask them like, great, now that I heard your demo, are we going for… and then I’ll name like examples. Are we going for like, I have lots of different colors, so like are we going for the Rihanna Natalie Weiss or are we going for Kelly O’Hara Natalie Weiss? And then I’m not copying, but I am using them as inspiration because I can give you different kinds of vibrato and style, or you want like musical theater and they’re like, try this. And I’ll give them options and somebody was once like, that’s so fun. You can shop in the Natalie library. You know what I mean? You just can give different colors.
John: You’re learning process for that, was that just through really listening to singers intensely and trying to copy them and really understand what it is that they bring and then finding another artist too.?
Natalie: I think it wasn’t like calculated to be honest. I think it was like– what’s the word– not like sponge. Just like lots of different– because people used to ask me like, did you practice every day? And my answer is, I never practiced and I practiced 24/7 . So literally I was never, now I’m going to do my exercises, but I was on the toilet going, you know.
John: Finding your cataloging sensation, which is what we ultimately have to do. One final question. When you need a break from all things voice, what do you listen to, to just kind of relax your mind?
Natalie: I don’t really, I wouldn’t say listen. I’d say like, I mean I’ll Netflix binge on one of my dumb shows.
John: Okay. Then what’s your favorite music to listen to just for enjoyment.
Natalie: Honestly, I put on Tori Kelly or Jojo most of the time. Those are my two favorite. Anything like acoustic pop is what I love. Looking at my last played. I mean Sara Bareilles is here on most played. I also love Marc Broussard. He’s an excellent singer. I love Shawn Mendez, but that’s just like if I want to like bop in my room.
John: And just let us know where interested listeners can find more about you. I know you have extremely limited availability, but if someone’s interested in coaching with you– cause you do Skype lessons, yes?
Natalie: Yes, I do Zoom on occasion, depending on like– Zoom for me is like best if I’ve met them in person or if they’re preparing for something very specific instead of like a general– cause it’s much harder for me to hear with the delay and the sound. But they can go to natalieweissofficial.com, because natalieweiss.com wouldn’t give me their domain then. It’s not even a website. I tried to pay for it and it’s not even a working website. So natalieweissofficial.com. It’s long. But Instagram and Twitter, @thenatalieweiss on both.
John: All right. I want to thank you so much for taking this time out and speaking with us. And look forward to more great music from you.
If you want to know more about me, check out my website, johnhenny.com. I’ve got some courses there for singers. I have a free straw warmup course that you can get. So check that out. You can also get my book Teaching Contemporary Singing at Amazon. Just look that up by John Henny. And until next time, to better singing. Thank you so much. Bye. Bye.