Jenna Schroer's dramatic voice demands attention with its balance of power, beauty & emotional connection. As a teacher, Ms. Schroer incorporates her training in yoga with her nearly twenty years of study of the voice. It is her belief that if you can speak, you can sing. There is no talent prerequisite in order to explore and become familiar with the voice. She has worked with ages 5-65 from all different musical backgrounds with interest in a variety of genres. Whether your passion lies in classical music, country, pop, gospel, world music, or musical theater, the technique taught in this studio applies. Ms Schroer cares most about helping you connect with breath and finding your easeful authentic voice. She also has an extensive background working with young children in Kindermusik, as well as kids/toddler yoga. Schroer was born and raised near Kansas City Missouri. She received her Bachelorâ€™s degree in Voice from the University of Missouri â€“Kansas City Conservatory of Music and Dance training with dramatic soprano Dr. Anne DeLaunay. She completed her Masters in Voice from University of Cincinnatiâ€™s College Conservatory of Music studying with bass-baritone Kenneth Shaw. Jenna has had the opportunity to sing such roles as the title role in Pucciniâ€™s Suor Angelica, Lady Billows in Brittenâ€™s Albert Herring, and Madame Lidoine in Poulencâ€™s Dialogues of the Carmelites. She is also a certified yoga instructor at World Peace Yoga in Clifton. Most recently Schroer has been immersed in sacred choral & chamber music. She recently sang the mezzo solo in the Middletown Civic Chorusâ€™s production of Handelâ€™s Messiah. She also sings with a Kirtan group, MEKALA, formed by fellow CCM graduate Audrey Causilla, that promotes wellness by acknowledging the powerful healing energy of music.
3660 Hauck Road, Cincinnati, OH 45241
I do not offer in-home lessons.
I do not offer online lessons.
MM - University of Cincinnati College Conservatory of Music
BM - University of Missouri - Kansas City
My teaching methods are grounded in three core beliefs. First, the process of singing involves the entire
body. Therefore reliable, healthy technique comes largely from the consistent study of oneâ€™s physical habits.
Second, a singer must learn to recognize the sensation of easeful singing rather than focusing on the sound they are
creating. Lastly, growth in oneâ€™s vocal abilities can only occur in an environment where the student feels safe and
supported not only as a singer, but as a human being.
Each individual gathers tension in their body throughout the day by simply being in the world. This tension
often translates into compromised breath support, uneven breath pressure, hyper-muscular onsets, overactive jaw &
tongue muscles and ultimately a loss of squillo as a result of over-singing. I address this in each lesson by
incorporating movement to relax the shoulders away from the ears, release tightness in the neck and upper back, and
open the rib cage. These exercises are then followed by lip/tongue trills to warm up the voice gently while
connecting it to a steady, supportive breath. From here the lessons vary widely depending on the needs of the
individual student. I use our warm-up time as a diagnostic to identify what work will be the most beneficial in
bringing the student back to the equilibrium of ease and control that is necessary for vocal freedom.
A singer must develop awareness around the sensation of easeful singing. I facilitate this process by
meeting a student where they are. For instance if a student is a visual learner, I will first introduce the concept of
resonant spaces to them by showing an MRI of a singer, an anatomy chart, or an anatomy model. For aural learners,
I will use three-ring binders or ear plugs to distort the singers hearing so that they may redirect their focus. If a
student is a kinesthetic learner, I will have them feel the vibration of the resonance in throat with their hand when
they are using heavy mechanism and then notice how the vibration changes when they switch into head voice and
then again in mix. Once the student has a solid understanding of how to apply the concept with my guidance, they
are asked to teach it to me. I use this approach because once you can teach a subject, you will be able to achieve
highly productive self guided practice time.
The student-teacher relationship is one of great trust and mutual respect. Since the singer will never truly be
able to hear the sound they are producing the way an audience member hears it, they rely heavily on the guidance of
the teacher. I work to develop a strong rapport with each singer by establishing an open line of communication early
on. It is vital to our process that the student share their doubts, concerns & successes along the way. I reinforce my
personal interest in each singer by listening to what they feel are their strengths & weaknesses so that I may design
workshops/masterclasses according, attending their performances, and regularly providing opportunities for students
to watch me perform and apply the technique Iâ€™m teaching to my own instrument.
I recognize that being a voice teacher is not just about fostering talent but is about growing people. The
primary goal I have for my students is for them to develop a sense awareness of their instrument and therefore a
heightened sense of whatâ€™s going on in their physical as well as emotional bodies. Students graduate from my studio
with a strong knowledge of theory, pedagogy, and style but perhaps more importantly, a strong sense of self.
A BLUE block means that instructor is available for that hour. A WHITE block means thats instructor is not available for teaching.