There is a vital distinction between evaluating your actual singing – the beauty of your sound, consistency of your vocal production, etc. – and assessing the functionality of the individual components of your technique and the skill with which you are able to integrate them into a coordinated process. While it’s important to have clear goals, the path to achieving them must be based on a comprehensive assessment of both your physiology and your current skill set in order to evaluate strengths, weaknesses and imbalances in all areas.
It is within your power to completely transform everything about your own physiology that has an impact on your voice. Advances in fields such as exercise science, psychology, and bodywork offer tools and technologies to advance what State of the Art means for singers.
Professor David Ley discusses his methods employing vibrators to enhance vocal production.
While a good ear remains the most powerful tool a voice teacher can possess, our advanced knowledge of anatomy, physiology, motor learning and psychology can and should promote great advances in vocal pedagogy.
Nibble the bait, but watch out for the hook.
Don't click unless you're absolutely ready to be initiated into the real mysteries of singing.
Eventually, they're going to find out anyway…
At some point in their training, most singers inevitably encounter the stereotypical possessive voice teacher. But why are some voice teachers so possessive? Why is it often so difficult and traumatizing for singers to switch studios? Why do some voice teachers encourage lifelong dependency from their students? And why do we accept, or even expect, such behavior from them?
The singing voice is vibrant by default. If there's a noticeable vibrato, it signals a distortion in vocal production.
Bugs Bunny demonstrates the power of expressive intent.