Tyler here --- thanks for dropping by! My passion for teaching comes from a love of the human voice, and the problem solving that comes with helping singers overcome their unique vocal hang-ups.
Tyler Jones (he/him) is a voice teacher and actor based in NYC. He specializes in singing voice instruction for professional voice users across a range of industries and genres, including Broadway, Pop/Rock, Film/TV, and more. His clients span Tony winners, TV stars, singer-songwriters, pre-professionals, and even an EGOT! In 2022, Tyler was a Production Vocal Coach for Hulu’s musical series, “Up Here.” He has also served as Production Vocal Supervisor for A.J. Holmes’ Off-Broadway show, YEAH, BUT NOT RIGHT NOW. Tyler has a special interest in vocal health and working with singers who have experienced voice injury. He has completed a Laryngology Observership at NYC’s premier voice clinic for Broadway performers, Sean Parker Institute For The Voice at Weill-Cornell Medicine, for which he also serves as a referral voice teacher. He has presented masterclasses and lectures at the collegiate level— most recently for the Musical Theatre department at University of Michigan.
As an actor, Tyler has appeared in THE BOOK OF MORMON, and most recently, on Apple TV’s “WeCrashed,” opposite Anne Hathaway. Other theatre credits include leading roles at TUTS; Broadway at Sacramento; Long Wharf; Maltz-Jupiter; Connecticut Rep, and more. Other television credits include appearances on “Boardwalk Empire,” “Little America” and “Masters of Doom.” Tyler has trained extensively in Estill Voicework, Fitzmaurice, Speech Level Singing, the Aaron Hagan Technique, Bel Canto, Alexander Technique and Feldenkrais. He has earned the title of Distinguished Voice Professional from New York Singing Teachers Association’s Professional Development Program. Tyler received his BFA in Musical Theatre from University of Michigan. He is a member of AEA, SAG-AFTRA, and NYSTA. He is proud to be an associate teacher for his own mentor, Mr. Mike Ruckles. Tyler's favorite job is being Dad to his truly insane dog, Sadie.
why I became a teacher:
My exploration into the voice began when I first experienced voice problems of my own. Following an adolescence that revolved around my ability to sing at a very high level, I suddenly lost my voice during my freshman year at University of Michigan. The experience left me feeling embarrassed, isolated, and for the first time in my life, unsure about my future as a singer. Technical development came to a screeching halt, as I became too worried about re-injuring myself to find any meaningful growth through practice. Singing, the one activity that had offered me a sense of identity and purpose for my whole life, became something that terrified me.
Plenty of well-intentioned peers and teachers reassured me that I was just in my head about it. "You always sound good!" (Thanks— but it didn’t FEEL good!) "Stop thinking about it so much!" (How do you do that?!) Or, my personal favorite: "You're getting in your own way and it’s sabotaging your auditions!” (Neat!! I appreciate the feedback!!!) Fine -- my singing sounded good...but how do I keep it from being fatiguing? Lip service— however well-meant— couldn't keep me from blowing out my voice whenever I sang. I knew this wasn't sustainable; Broadway performers are vocal athletes, expected to deliver thrilling vocals eight times per week (not including all of the voice use that happens during rehearsals, auditions, concerts, press events, just being a HUMAN, etc.).
With the cast of Into The Woods in Concert
I continued to encounter speed bumps as I gained traction in my performing career. I gave great auditions, and was fortunate to be offered many wonderful acting opportunities, but the excitement over booking a role was always eclipsed by fear: “How will my voice ever get through this? What am I supposed to do on a two-show day? What about two two-show days in a row?!” Each project I worked on came with its own set of unique vocal demands and challenges. Realizing that I needed a game-plan for vocal sustainability once and for all...I decided to create one!
With Josh Breckenridge & Gavin Creel,
Backstage at Book of Mormon
Along my quest for a healthy singing technique, I was fortunate to meet exceptional voice teachers, therapists, laryngologists, manual therapists, and other luminaries in their respective fields. They became my mentors, friends, and colleagues, each offering valuable insights that gradually assembled the puzzle I desperately sought to solve. As my technical issues resolved, I found a newfound love for singing and the voice---this time, from a mechanical standpoint. My hunger for voice-related information wouldn't stop growing, and I found myself starved to know everything about the entire singing universe. My mentors generously shared their time and expertise, recognizing my potential as a future voice teacher. Through their guidance, real world application, and tireless study of anatomy, physiology and various methodologies, I filled my "vocal toolbox" with the techniques and strategies I needed to achieve the healthy vocal production that had eluded me for so long.
With Krystina Alabado, The Most Beautiful Room In New York
I'm so grateful to have found joy in singing again- like catching up with an old friend after many years. It sounds crazy, but I feel lucky to have experienced so many voice problems, because they led me down a purpose driven path that I may not have ever considered. Yes, the challenges I encountered were frustrating (and frightening), but each of them offered teaching moments that I’ve been able to incorporate into my work (as both a teacher and performer) every day. I'm so grateful to my students for trusting me with their instruments-- I get so much satisfaction from helping fellow artists overcome the limitations and anxieties they've placed upon their singing, and it really is the greatest gift of my life to make a living doing what feels like my calling.