Errata offers a regular curriculum of workshops, training and individual sessions free to its members and for a fee more broadly to anyone who is interested.
As it says on the tin. You can access voice coaching (working on delivery and polish) or singing lessons (learning from scratch) from Errata. We work mostly in CCM genres (pop, musical theatre, rock, R&B, etc) but also have some classical training and awareness, essential for healthy choral singing. Our artistic director regularly works with opera singers and musical theatre performers, and is highly trained in Estill Voice Technique as a master practitioner.
Singing in chorus is regarded by many in singing pedagogy as the most complex of all singing styles. Singing CCM (pop, rock, R&B etc) in chorus can be extra challenging, as these styles don’t lend themselves to the sustainable and healthy technique that choral singing demands. Vocal cross-training is a well evidenced approach to these challenges and can keep your voice functional, comfortable and beautiful.
A functional vocal health assessment is offered to everyone who joins Errata to set baselines and make sure we look after your voice. It’s not a diagnostic assessment, but it can be useful if you are having or developing vocal issues to be signposted to the right place, and to set technique-based goals in your singing.
Advanced laryngeal manipulation/massage has a growing evidence base in managing vocal distress, discomfort and dysfunction as a result of singing. After an assessment and 1-1 session, you will be treated by our assistant director (who is fully qualified and insured), taught how to self-administer the massage, and this will co-ordinate with your vocal health goals.
Performance anxiety isn’t a disorder, it’s a natural and normal part of performing. However, it can be so extreme that it sometimes gets in the way of us giving our best. Our assistant director is qualified to use psychological approaches to manage performance anxiety so you can convert that nervous energy into stunning showmanship.
This work covers pitch, resonance, weight and the habits of speech and singing that often carry the sense of gender, at whatever pace suits you, and towards a voice that you feel sounds like you. Vocal health runs through all of it, so nothing you learn here costs you range or comfort later.
A choir that only sings is leaving half the performance on the table. This covers what to do with your face, your eyes and your body while you sing, how to hold a character without losing the line, and how to move as a group without it looking drilled. No acting experience needed.
Enough theory to make rehearsals easier, and no more. Reading a stave, finding your note, counting a rhythm you haven’t heard before, and understanding why your part does what it does against everyone else’s. Useful whether you read fluently, half remember school recorder lessons, or have never looked at a score. Theory is a tool for singing, not an entrance exam.
Writing your own material, from a first idea to something a choir can actually sing. We look at lyrics, melody, structure and arranging for voices in parts, alongside the practical business of getting a song out of your head and onto paper.
Rehearsals are noisy, socially demanding and full of unwritten rules, which makes them hard work for a lot of neurodivergent singers. This is practical support for learning music in the way you actually process it, managing sensory load in the room, and asking for what you need without having to explain yourself twice. The starting point is that how you work isn’t the problem.
Improvisation requires the development of ease, connection and authenticity but with the energy to respond to the situation authentically, as a performance. These are skills essential in performance choir singing and we have access to some great, experienced performers.
Building and performing a drag persona: look, name, walk, lip sync, timing, and the difference between a number that goes fine and one that lands. Drag has a long shared history with queer choirs and we treat it as a craft, which mostly means practising it rather than talking about it.