About Patrick

I have been singing for as long as I can remember. As loud as I can remember. And as high as I can remember. I needed to make every sound I ever heard any other singer make. From my boy-soprano days of singing “The Sound Of Music” ( a big favorite in the DeGennaro household), to (the minute my voice changed); the screaming rock tenors from my two older sisters record collection. Whether it was Julie Andrews or Steven Tyler, I needed to be able to deliver the goods.

I understood the value of the behind the scenes , not so glamorous, technical work

I was already playing the piano for several years, so I started my singing career self accompanied. Already being a student of the piano, I understood the value of the behind the scenes , not so glamorous, technical work; so my eyes and ears were tuned to examine the singers I found exciting. Unlike instrumentalists, singers usually start teaching themselves.

No one picks up a violin and expects to start playing it, but singers don’t usually seek out any information until they’re in trouble. Even then, many singers simply decide that that’s their voice, whatever the limitations. That’s where I parted company with many of my earlier colleagues. There were to be no limitations for me vocally. I was going to sing every note known to man and then some. When I was seventeen I decided I needed more information. My new career was fantastically full. Paying jobs in regional theaters, wedding bands, rock and roll bands in addition to the usual High School music events left no doubt that I was serious about singing. It was time for the next step. A real New York City voice teacher. I was too young to realize the impact that Lynda Sharman would have on my vocal life. I went for a handful of lessons but it didn’t really flatter my ego enough.I was a little superstar with many many things to do in NYC.

I am the contemporary application of a classical singer’s expertise in vocal efficiency.

But those tapes would change my life and Lynda and I were not done. I went on my way and without really knowing it, those exercises were giving me a little road map of the musculature of my voice. I was getting what I wanted. I was developing the “chops” I always dreamed of. I was working, and before long, I was teaching a little too. About ten years later, my jobs were getting more demanding and I felt like I was missing part of the vocal equation.I was a little overdeveloped here, a little under developed there. I was getting tired , for the first time, and it was unacceptable at my age to think that I was on the other side of my career. Lynda was still teaching and I was there. I put in the missing link,(muscularly) and found the key to real vocal control is alignment. I’ll explain all that in “About the Technique”.I am the contemporary application of a classical singer’s expertise in vocal efficiency.

It is about the muscular development and the movement of those muscles from there. I have been teaching pop artists, Broadway actors, Cabaret singers and Rock and Roll performers for the last 8 years.I feel confident that I can offer information and solutions to any singer who wants more to work with. I custom design the exercises for the singer on the spot, to address what is happening now and what we ultimately are looking to accomplish. I also continue to sing, always. Whether recording or performing, I continue to use and fine-tune my technical ideas for my own voice as well as yours. And that is the point. To develop your voice. Not someone else’s idea of your voice As far as my singing every note known to man and then some; so far, not bad. My Julie Andrews days are long gone (yes we’re all relieved to hear that) but who knows what’s yet to come. My voice has always been and continues to be my favorite toy. Endless possibilities.