Executive coaching, built for artists
Twelve singers. One group. A full year. The next twelve start October 1. $5,500 for the year, or $458/month · Thursdays & Sundays, 6:15–8:15 PM CDT
One program. Six different lives.
B.A.S.S. IS A PRODUCT, NOT A PROMISE.
A senior preparing college auditions and a working singer-songwriter are not solving the same problem. None of this is handed to you as a worksheet. It gets built in your sessions, from your calendar, your city, your money and your voice.
01 · THE HIGH SCHOOL SENIOR
Right now — Preparing college and conservatory auditions, with a folder of repertoire and no idea which pieces make the case.
What gets built
· A school list ranked by what each one actually offers you — money, teacher, stage time
· Audition repertoire chosen for the panel, not for the recital
· An audition calendar with pre-screen deadlines, travel and costs on it
· A budget for the full audition season, including the flights nobody warns you about
· What to ask a studio teacher before you give them four years
· A plan for freshman year, so the work doesn't stop at the acceptance letter
02 · THE BIVOCATIONAL MUSICIAN
Right now — A job, a family, and a voice that still means everything. Singing lives in the hours that are left.
What gets built
· An honest map of the hours you actually have — weekly and seasonally
· The two or three income streams that fit those hours, and the ones to stop chasing
· Rates set for what you already do: church, teaching, weddings, sessions
· A booking calendar built around the job and the family, not against them
· A repertoire set you can hold performance-ready on limited practice time
· An email list, so the work finds you between seasons
Fixed elements are not a prison. They are an outline.
03 · THE MUSICAL THEATRE SINGER
Right now — A book, a set of cuts, and a stack of auditions that go well and go nowhere.
What gets built
· Your type, named — in the words casting actually uses
· The book rebuilt to match it: cuts, keys, tabs, and what to retire
· Headshot and reel direction that says the same thing the book says
· A submission system — where, how often, and what tracks it
· A regional and audition calendar with deadlines on it, three months out
· What to have ready before you talk to an agent, and when to ask
04 · THE OPERA SINGER
Right now — Roles learned, arias ready, applications sent, and a calendar that fills only when somebody else decides it should.
What gets built
· A personalized audition budget — fees, travel, coachings, the real number
· A travel plan built on where you live and when you're actually free
· An audition schedule, three months at a time
· Which roles to prepare next — for your fach, and for what actually pays
· How and when to approach an artist manager, and what they need to see first
· An email list you own, and how to use it between contracts
05 · THE GIGGING MUSICIAN
Right now — Working. Paid. Booked most weekends, in the same rooms, for close to the same fee as three years ago.
What gets built
· Your actual rate, calculated — and then the sentence you say out loud
· Packages priced: solo, duo, band, corporate, private
· A one-sheet and a booking page a venue can say yes from
· A target list of better rooms, with names and how to approach them
· The year mapped — the seasons that pay, booked before they fill
· Contracts and deposits, so a cancellation stops being your loss
06 · THE SINGER-SONGWRITER
Right now — Writing constantly. Recording some of it. Posting a little of it. Finishing less of it than they'd like.
What gets built
· A catalog inventory — what's written, what's finished, what's abandoned
· A release calendar with actual dates on it
· Registration handled: PRO, splits, metadata, copyright
· A distribution and pitch path for each release
· A content plan that comes out of the catalog instead of competing with it
· An email list that turns listeners into people who buy
Twelve singers. Six different lives
Why this isn't another course
Most singers don't need another course. They need someone who has done this to look at their voice, their artistry, and their audience at the same time — and stay with them long enough for the work to compound.
That's what BASS is. Four hours a week of direct training and coaching across vocal technique, performance, career management, and marketing strategy. About 80% is live with me. The rest is self-guided, so you're not paying for filler.
Forty-one years of doing this. One teacher, not thirty-plus coaches.
WATCH THE WEBINAR BEFORE YOU BOOK YOUR CALL!
The next 30 minutes can change your singing career.
Everything in BASS moves one of three things forward.
PILLAR ONE
Voice
The instrument. Vocal technique, repertoire, style — range, resonance, stamina, diction, and what your voice actually does under pressure
PILLAR TWO
Artistry
The performer. Acting and performance coaching that turns technically correct singing into performances that hold a room.
PILLAR THREE
Audience
The career. Strategic auditions, networking, branding, marketing — who needs to hear you, how they find you, and what happens next
How it actually runs
What a year looks like
Thursdays and Sundays, 6:15–8:15 PM CDT — four hours a week, live
About 80% live with me, the rest self-guided
Twelve months, roughly 50 meeting weeks — we're dark for holidays
Cohorts capped at 12 singers
Step-by-step video checkpoints you complete at your own pace
A mastermind cohort of career-minded singers — the part people underestimate until they're in it
75+ pieces of content in a year — you perform it, you edit it, you post it. Anna posted 265 videos. Not every piece gets published. Every piece gets made, and the reps are the point.
A weekly chance to perform — every week, not a showcase once a year.
Personalized content workflows — built around your life, then tested until they're proven, not until they're finished.
Networking and list-building strategies that get coached, analyzed and repeated — not suggested once and abandoned.
None of these numbers happen to you. You make them happen, every week, for a year. The program is built so the work is possible, scheduled and reviewed. It is not built to do it for you.On the cap: Twelve isn't a marketing number. It's what I can give four hours a week to, myself, without diluting it.
Where they started - and what they have now
"I don't think I would have even called myself a professional singer last year. I came in saying — I create, but I don't know what to do with all the stuff I create. It organized my brain and my music and gave me a path forward, without squashing the fun part."
Anna Morton, singer-songwriter
12 songs written 30 copyrighted, up from zero
1 album released 265 videos posted
115,000 YouTube views
___________________
"Now I understand what it is to be a musician. It's not just called music — it's called the music business, and there are many facets to it. It hits more areas than you think you'd need to hit."
Barbara Quaye, singer-songwriter
___________________
"Before this I was slogging through my courses, not thinking about next steps. I was surprised how much a slight adjustment to any one area makes a huge difference."
Rowan Barnard, university music student
___________________
Asked whether a year of time, work, money and humility was worth it, all answered the same way.
"Absolutely worth it."
Who you would be working with?
Forty-one years, one teacher
LK Fletcher is a vocal coach, mentor, and agent, and the CEO of The Mona Lisa Life. Over four decades her singers have gone to the Met, to Broadway, to The Voice, and to stages around the world.
In BASS you work with her directly. Not an associate, not a rotating faculty — that's the whole point of capping the cohort at twelve.
$5,500 for the year — or $458 a month
Four hours a week of direct training and coaching for twelve months: vocal technique, performance and acting coaching, career management, and marketing strategy, plus the resources to execute it.
Payment plans are available through PayPal for those who qualify.
The next twelve start October 1.
Find out if it's the right fit
Thirty minutes, with me. We'll talk about where your voice is, where you want it to go, and whether this is the right way to get there. If it isn't, I'll tell you.