.avif)
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 Peachtree City, Georgia? 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.
Perfect to get started.
/hour
/hour
2 hours / month
$80.10 / month
$89.00 / month
with a 6-month membership
with a 3-month membership
↓ You save $53.40 with a 6-month plan
For lasting progress.
/hour
/hour
3 hours / month
$98.10 / month
$109.00 / month
with a 6-month membership
with a 3-month membership
↓ You save $65.40 with a 6-month plan
Faster progress, more practice.
/hour
/hour
4 hours / month
$116.10 / month
$129.00 / month
with a 6-month membership
with a 3-month membership
↓ You save $77.40 with a 6-month plan
All prices incl. VAT · Pause anytime
Do you have any experience?
Many music students worldwide already trust SIRIUS.
“Maya is very friendly and competent. The singing lessons are great! ”
.avif)
Lily
Singing student
“I've been studying singing with Jessica for 8 months now and I'm still having fun:)”
.avif)
Maria
Singing student
“Self-learning videos for learning to sing were not my thing. But since I discovered singing lessons with Lena about Sirius, I've been fully motivated.”
.avif)
Georgina
Singing student
“I'm taking singing lessons for the first time and I just love Sirius. I've received a lot of valuable tips from Habib. I really recommend it to you guys.”
Lucas
Singing student
“Lena not only knows about singing lessons, but also makes the lesson a real experience. It is always my highlight of the week.”
.avif)
Carl
Singing student
<p>Our lessons open at $29. The trial hour ahead of them is free. What you pay after it follows from the two things you choose, length and frequency, which is why we publish a starting figure instead of a flat one. Local teaching is sold on other bases entirely: a studio on Southpark Drive lists $140.00 a month for weekly half-hour private lessons, which is that studio's figure and measured per month, not per hour. You will have seen your own arrangement written down before any of it is charged.</p>
<p>That sentence is almost always about a single fixable thing, and the commonest one has nothing to do with the voice box at all: the phrase was never planned. Air gets spent on the first half of a line, so the second half arrives thin, and the singer concludes the top notes are missing. They are usually not missing. What is missing is a breath taken in the right place, which is a decision rather than a gift. Give one line somebody's full attention and it shows up within minutes, and it is among the quickest faults to change.</p>
<p>The useful boundary is concentration, not talent. A young child can begin as soon as making a sound is enjoyable, with the lesson kept short enough to stay that way. In the years an instrument physically remakes itself, guidance counts for more than at any later stage, and that is precisely when most people quietly stop. Older singers arrive with more musical memory and less patience for being talked down to, and the work adapts to that. Nothing about the method changes; what changes is how much is attempted in sixty minutes.</p>
<p>Seasonal is a real unit here, and it is not a bad one to borrow. Inside a first season you should expect the mechanical things to move: breath placed deliberately, a top that stops thinning, tuning that survives being nervous. The join between registers is slower and usually wants two or three of those seasons before it stops being audible. Interpretation has no such unit at all.</p>
<p>This town sells the room and the calendar in one piece. In a handbell rehearsal running 6:30 to 7:00 the room matters enormously, because fourteen ringers have to arrive together and a screen cannot hold them in time. Your own technique is a different question: it needs somebody attending to a single voice precisely enough to name the bar that went wrong. Video does that, and it adds something a room cannot: the attempt is kept, so the week's practice works from the recording instead of from memory. What you lose is being in the same room as other singers.</p>
Do you have any experience?
Holy Trinity Catholic Church on Walt Banks Road does not advertise its music by ensemble. It advertises it by how often you intend to show up. The parish writes that opportunities are available for all commitment levels, including weekly, seasonal and one time/special performances, and beside those three words it prints no group names, no rehearsal times and no sizes. Getting in means writing to an address and calling a direct line.
Once you notice that sorting, it turns up across town. At Christ Our Shepherd Lutheran on North Peachtree Parkway, ten published ensembles are listed: three carry the phrase rehearsals occur as necessary, a fourth names its two days and no hour, and six carry a clock. At First Presbyterian on Willowbend Road, the Blue-Plate Special plays when needed, the Elders Men's Quartet sings occasionally, and Veritas performs periodically throughout the year. The Georgia Singers Theater Company, which rents its rehearsal space rather than owning any, publishes a phone number and no date at all.
So the first question this town asks a singer is not what you sound like. It is how much of the year you are good for.
Weekly, seasonal, one time. Those are three answers to a scheduling question, and none of them is an answer about your voice. Sorting by frequency is a reasonable thing for a parish to publish. What that arrangement cannot tell you is whether your breath gives out where you think it does, or why the top of a phrase keeps thinning. A list sorted by commitment level has nowhere to record it. An hour spent on one singer has no other business.
Take the hardest of those three levels and work backwards. A one time special performance means a single piece has to hold up once, in front of people, with no second chance and no section to hide inside. That asks for intonation you can trust when the room goes quiet, a shift between registers nobody hears happening, and enough breath planned into the line that the last bar is still supported. Diction sits on top: a listener at the back either gets the words or does not. Tone is the by-product of the other four, and it arrives last.
Here the frequency question belongs to you, and it is not a category you have to pick from a list. You decide how long a lesson runs and how often it comes round, and you can change your mind in either direction without leaving a group short. Your coach is chosen against the music you actually mean to sing. The plan is written down so you can hold it up against what your voice is doing three months later. The trial lesson is free - a fourth commitment level, and it asks nothing back.
On a Wednesday evening at 206 Willowbend Road, three groups rehearse back to back: the Rainbow Ringers from 6:00 to 6:30, Alchemy Bells from 6:30 to 7:00, the Chancel Choir from 7:00 to 8:00. A recorded lesson has no band on either side of it. You can stop in the middle of a phrase and do it four more times, and all five attempts are on file by Thursday, by which time the feeling of the good one is gone and the evidence is not. Your drills and a brief write-up are filed alongside.
First Presbyterian publishes seven groups at one address, among them a 14-member handbell ensemble and a 6-member one, plus an a cappella chamber choir and a four-man quartet that sings at civic functions. Christ Our Shepherd publishes ten, running from four and five year olds on a Wednesday afternoon through a woodwind choir on Monday evening. At Holly Grove AME on Holly Grove Church Road, organized in 1897, the music ministry names two singing groups and three instrumentalists by person rather than by size: Voices of Holly Grove, a Male Chorus, a pianist, a bass guitarist and a trumpeter. The Frederick Brown Jr. Amphitheater on McIntosh Trail runs a performance season from April through October and its operator's ticket shop listed three dated evenings for September 2026, priced between $25.00 and $210.00 by that operator rather than by the city that owns the building.
Age appears here inside ensemble titles rather than on a door. One address prints it in all ten of its published titles, from four and five year olds through High School/Adult; the parish on Walt Banks Road prints no age at all, only the three commitment levels. That makes the town unusually open and unusually vague at the same time. A lesson is specific instead. It begins with whoever is singing, establishes what that particular voice manages comfortably today, and proceeds from there, at nine or at seventy.
The fixed weekday points here sit on four different days. Monday belongs to the woodwind choir, Tuesday to two handbell groups at 4:00 p.m. and 6:00 p.m., Wednesday to the stacked half-hours on Willowbend Road and to a 7:00 p.m. rehearsal at Christ Our Shepherd that runs until 8:30. Thursday belongs to the contemporary worship team. Joining two means running two schedules that nobody ever coordinated. You give the hour its own place in the week, and nothing has to be unlocked to hold it.
If you do not yet know which commitment level you want, that is the ordinary position, and a first lesson does not make you answer first. Nothing is being cast. No season has opened or closed. You perform something familiar to one person, who hears it through and then tells you what reached them and what did not. You decide about frequency afterward, with something to base the decision on.
Weekly, seasonal, one time/special. Peachtree City publishes those categories honestly, and they answer a real scheduling question. What they do not do is describe a voice. The measure that describes yours is smaller and belongs to you: one hour, as often as you decide it should come round, with a person whose only task in it is to listen.
.avif)
.avif)
