Introduction to Somatic Voicework™ The LoVetri Method: A Body-Based Approach To Singing Contemporary Commercial Music

I Statement of Principles of the Method

Based on voice science, vocal hygiene and voice medicine principles

Explains and emphasizes vocal health

Has no special jargon or terms

Cultivates physical and aural awareness

II Taught in three Independent Levels, 3 days each

Each Level must be taken in order, but can be done independently in sequence

III Explanation and use of vocal registers and vowel qualities

Identification of register qualities (chest, head, mix)

Identification of vowel sound qualities (bright, dark, neutral)

Clarification of posture and breathing (physical movement and coordination)

Wholistic approach to entire process (body, mind, awareness of both)

IV Avoids any direct manipulation of structures within the throat

Expects all sounds to be made freely and comfortably

Facilitates honest emotional expression and unique vocal timbre

Uses clear terminology drawn only from voice science, traditional vocal pedagogy and the music marketplace

V Explanation and use of “Modules” as lesson and practice protocol

Evaluation of individual student’s abilities, goals and prior training (if any)

Relationship to speaking voice

Clarity of practice regime, week to week or lesson to lesson

VI Additional contributing factors

Sensory Awareness (auditory/kinesthetic)

Freedom of tension in the body and in the voice

Recognition of constriction in the sound or blocks in the body

VII Assessment of the vocal and physical instrument

Overall “default” vocal quality and register balance

Tone quality: breathy/clear/nasal/noisy

Relationship of pitch range and dynamics to speaking voice response

Accuracy of consonant production for intelligibility

VIII Auditory evaluation of vowel production including acoustic parameters (resonance)

Relationship to sound pressure level (breath pressure) in pitch range

Overall coordination of all factors as combined while singing

IX Hearing the difference between what the voice is, as an instrument, and what it does.

Understanding what to do with what you hear

Recognizing potential vocal health issues

Helping people match pitch easily using speech as the bridge

X Relationship of external anatomy to vowel configuration

Relationship of internal/pharyngeal response to vowel configuration (use of tongue tip, lips, (mouth shape,) jaw position, facial muscles

Deliberately changing from “bright” to “dark” vowels as a way to stimulate and then regulate pharyngeal adjustments

XI Styles and vocal function

Why functional efficiency must come before stylistic considerations

Understanding how to create a balance in mid-range (“mix”)

Understanding the parameters of each CCM style (and, as needed, classical literature)

XII Discussion of mid-range mechanics

Vocal fold and vocal tract balance and response indicates balance and coordination

Isolation of vowel behavior from vocal fold response (registers versus resonance)

Coordination with volume/breath pressure

XIII Adjusting for specific populations

Children, teens, young adults, mature adults, seniors, retraining compromised voices

Time constraints (immediate to open-ended)

XIV Using exercises to change habitual vocal patterns

Guiding the singer to feeling satisfied and authentic

Increasing awareness of body, sound and expression

XV Tools for the teacher

Correct “in the positive” (counter unwanted behavior with positive new behavior)

Use only “non-jargon” words (no terms have been created for this method)

Accept student’s feedback as being valid – considers the psychological and emotional elements of teaching and learning to be of equal importance to the functional

XVI The “OKs”

OK to not know

OK to ask for assistance

OK to proceed slowly

OK to re-assess direction of training

OK to be available to student outside of lessons

XVII Understanding how to relate to other voice disciplines

Knowing when to refer to other professionals

Necessary to have appropriate boundaries professionally and personally

XVIII Somatic Voicework™ seeks to be:

A healing modality —

Between the singer and the singer’s voice

Between the mind and the body

Between the teacher and the singer

Between the singer and the world

XIX Is an open system —

Adjusts and changes as new scientific information becomes available

Sharing within the community without negative or punitive judgement

Respects Speech Language Pathologists and Laryngologists as outside experts helping us with objective data

Respects all styles of music in their own realms as being of equal value

Respects all other methods of teaching that do not teach direct manipulation of the structures inside the throat or ask for vocal or physical behaviors that violate the natural responses of the body as understood by science