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Do you have any experience?
We match you with the perfect vocal coach for your goals, so you can learn to sing conveniently online - singing lessons with no waiting time. Right after signing up you get a no-obligation trial-lesson slot via WhatsApp.
After your free trial lesson, discuss your goals and availability with your vocal coach and start learning to sing right away.
Book your singing lessons flexibly online. In the SIRIUS Workspace you get unlimited access to vocal exercises outside your lessons, so you can keep practicing at home with our tools.
Want to learn to sing and looking for a vocal coach in Bemidji, Minnesota? We work with SIRIUS-vetted vocal coaches. Based on your needs we match you with the perfect vocal coach - whether you are just starting to sing or looking for singing lessons for adults or kids. Want to work on your intonation, improve your head voice or explore breath training? Sign up for our free trial lesson and get a session proposal with your perfect vocal coach.
Our experienced vocal coaches help you unlock your full potential. Our technology, built for online singing lessons, guarantees excellent sound quality and lets you learn to sing from anywhere - with no extra software or download.
SIRIUS gives you personal singing lessons tailored to your needs - from finding a coach to payment, everything runs smoothly through our platform. Whether you want to add lessons or reschedule, it all works effortlessly online through our booking tool. You can even rent a keyboard to accompany yourself while you sing.
Learn the fundamentals of music theory, expand your vocal range and develop your sense of intonation - whether you want to sing pop, jazz, opera, rock or metal. These voice lessons and vocal lessons always meet you at your level.
SIRIUS gives you not only professional singing lessons but exclusive access to a digital Workspace that makes learning to sing more efficient and structured. In the SIRIUS Cloud you find all key materials and targeted vocal exercises from your vocal coach - available anytime in one place. Lessons can be summarized automatically, and you can access recordings of your sessions to track progress and work on your vocal technique.
Alongside one-on-one lessons you can join monthly group sessions to connect with other singers, try new vocal exercises and get valuable feedback - so you benefit from individual coaching and the energy of the community.
More hours = a better price per hour. Every plan: 45-min one-on-one lessons with vetted teachers.
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2 hours / month
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↓ You save $53.40 with a 6-month plan
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3 hours / month
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↓ You save $65.40 with a 6-month plan
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4 hours / month
$116.10 / month
$129.00 / month
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Do you have any experience?
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Carl
Singing student
At the Bemidji Music Studio a weekly half hour runs to $60 a month and forty-five minutes to $90, and both figures belong to piano, violin and cello. The voice studio down the road bills a steady monthly fee across the academic year and names no figure for it. The hour costs what it says it costs. Billed lessons begin at $29 here, the first one is free, and the figure sits on the page before you book anything. Knowing the number in advance is part of what you are choosing.
First somebody stands among other singers. Then somebody stands alone. The first arrangement is the one nearly everyone has had, and it returns no information: you hear the group, the group hears the group, and nothing reaches you about your own sound. The second is the one that answers the question, and an hour of it is usually enough. An absence of talent, on inspection, is usually an absence of feedback.
A studio here prints an age range for voice: teens and adults. That range describes one studio's intake, and it stops there. SIRIUS puts the floor at about six and publishes no ceiling, because none has ever been needed: the singers who book longest have usually been at it since before the studios in question opened. A child of nine and an adult of fifty arrive with different problems, and the hour is built around the problem.
Asked as a question of duration, the answer runs backwards from a concert date. A choir knows its date, counts the weeks left and fits the work into them. Without a date the question changes shape: parts of it respond inside a month, parts take far longer and give no notice of arriving, and the gap between lessons weighs more than either. Your coach can name which of yours falls where inside the first month. The useful unit is a week you actually sang in.
Dial-A-Ride is curb to curb, which means the route gets made when you call, inside ten miles of City Hall. Three conditions sit in that sentence: a phone call, a window, a radius. Video lessons keep none of the three and need only a connection that stays up. Nobody has to telephone ahead.
Do you have any experience?
The Bemidji Chorale runs from September to April. The Lyrica Voice Studio and the Olson String Studio both run September through May. First Lutheran Church keeps a 10:30 a.m. service from September to May and moves outdoors to the Beltrami County Fairgrounds for the summer. The community theater plays fall to spring and hands the summer to a different company. None of these is a school, and all four announce the year the way a school does.
Almost everything here starts in September. The summer is not empty: a string institute runs June 8 to 19, a recital series takes Wednesdays at 12:00 p.m., the Sunday service moves to the fairgrounds, and a different company takes over the theater. But the summer gets described as the part after May, and the year is counted from September in every notice that counts one. SIRIUS counts from the week you book, and has no May in it.
Thirty-one lessons spread across an academic year is the figure the Olson String Studio publishes for strings. The voice studio beside it publishes weekly forty-five or sixty minute sessions and no total at all. The figure counts for less than the repetition behind it: somebody hears you in October, hears you again in November, and holds the two hearings side by side. A single hearing holds nothing beside anything.
Two things get confused constantly, and an hour separates them; the passage between registers is a mechanical event that can be drilled, while tone is a consequence you cannot practice directly at all. Work on the first and the second follows. Attack the second head-on and you get a manufactured sound that tires quickly. The hour spends its early weeks on the mechanical half, because that is the half answering to instruction.
Working back from the close of the academic year: May closes the studios, April closes the Chorale, and a decision has been taken on your behalf that you will stop until fall. Your coach works to no such boundary. Lessons run in June and in August, the first of them unpriced, and the plan carries across the gap without restarting. September arrives and finds you already in the middle of something.
A recording is a second hearing of the same minute. That sounds trivial until the minute in question is one you cannot reproduce: the phrase that came out right once, for reasons neither of you could name at the time. Playing it back a week later, when the sensation has gone, you can hear the mechanics that produced it. The distance between those two hearings is where most of the learning happens.
Bemidji State University runs University Singers on Tuesdays and Thursdays from 5:00 p.m. to 6:15 p.m. in Bangsberg 250, alongside The Bemidji Choir, the Chamber Singers and the Bemidji Opera Theater. The Bemidji Symphony Orchestra plays in the high school auditorium, at 7:00 p.m. on October 3 and at 3:00 p.m. on November 15 and December 6. The Bemidji Community Theater at 316 Beltrami Ave. NW charges $15.00 for adults, $12.00 for seniors and $6.00 for children, and sells its tickets at McKenzie Place and Ken K. Thompson Jewelry. The public library on America Ave. N.W. stays open until 7:00 p.m. from Tuesday to Thursday.
A season tells you when a group starts. About when a voice is ready it says nothing. The Chorale opens in September and the Northwoods Youth Orchestra runs September through May, and both of those openings belong to a calendar. A larynx keeps no calendar. Your coach starts from what the voice can do this month and revises it next month. The date with any bearing on you is the one you write down yourself.
If your week runs on a school year, the notices here line up with it. If it does not, the published calendar starts working against you around the end of May. Paul Bunyan Transit operates 7 a.m. to 6 p.m. on weekdays, and the direction it publishes is a single one: a bus leaves the north side sixty minutes before closing, heading south for the last time. Every line of that was set at an office. The lesson is an entry you write into the week yourself, and come June, when the rest of it stops announcing itself, that entry is still standing.
On a Wednesday at noon somebody plays for thirty minutes in a church, and the offering at the door goes to a scholarship fund. It is about as informal as public music gets here, and it still needs a church, a Wednesday and an audience. SIRIUS needs a time you choose and a song you already know. The rest happens inside the hour, and an account of what the voice did comes out at the end. Nothing is asked of you at the start.
September, October, April, and then a Wednesday at noon that belongs to none of them. Bemidji files most of its music under one calendar and keeps announcing it that way. Your coach uses a different one, with no fixed opening and no fixed close, and it stays open while you go on using it.
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