Short Courses & Events / Archive

Mastering the Art of "Marking": Vocal Longevity for the Modern Singer

Wednesday 25th March 2026, 5:00 PM - 7:00 PM (London Time)

This short course explores marking technique in singing—a vocal conservation strategy used by singers during rehearsals and extended performance periods. Marking involves singing at reduced vocal intensity, altered pitch, or modified vocal quality to preserve vocal health while maintaining musical and dramatic engagement.

 

The course begins with the historical context of marking, tracing its evolution from informal practice among opera singers to its current recognition as an essential vocal health strategy across multiple performance genres. The concept of marking extends beyond singing—in ballet, dancers use marking to perform attenuated versions of choreography during rehearsal, and research has demonstrated that this practice confers cognitive benefits beyond simply conserving physical energy. Additionally, in the military, the term "marking time" similarly refers to marching in place without forward movement—maintaining rhythm and engagement while conserving effort. 

 

Current knowledge about marking in singing is explored through recent survey research investigating marking practices in clinical, studio, and performance settings. This investigation represents one of the first formal examinations of how singers, voice teachers, and voice care professionals understand and implement marking strategies. The course reviews findings on when singers choose to mark, what vocal parameters they modify, and how marking decisions are influenced by rehearsal context, performance demands, and vocal health status.

 

Principles of voice science underlying effective marking are examined, drawing on research comparing operatic, Broadway, and contemporary commercial music styles, we analyze how vocal tract configuration, subglottal pressure, glottal closure patterns, and resonance strategies differ between full voice and marking. Participants learn how these physiological adjustments can be strategically modified to reduce vocal load while maintaining artistic integrity.

 

Practical marking strategies are presented for diverse singing styles, from Western classical to contemporary commercial music. The course addresses style-specific considerations including how to maintain appropriate vocal tract resonance, preserve stylistic authenticity, and communicate musical intentions while marking. Recommendations are provided for determining when marking is appropriate, how to communicate marking intentions to collaborators, and how to transition effectively between marking and full voice.

 

Participants will gain practical tools for implementing marking in their own practice, teaching, or clinical work, supported by current research and voice science principles.

 

🏷️ Price £30 (UK VAT inclusive)
🎥 Recording automatically sent to all who book (even if you cannot attend live)
▶️ Rewatch as many times as you like
📜 Certificate of attendance available

Jacob Wright

Jacob Wright, M.M., M.A., CCC-SLP, is a voice and upper airway–specialized speech-language pathologist at the UAB Voice Center, where he works in close collaboration with laryngologists and interdisciplinary partners to assess and treat complex voice and upper airway disorders. He holds multiple advanced degrees in singing and vocal pedagogy, bringing a deep understanding of vocal function, performance demands, and training methodology to his clinical work.

CPD Course Logo

Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.

Learn More

Sorry, this is an archived short course...

We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.

Music Theory Fundamentals for Voice Pedagogues
Tuesday 5th May 2026
2:00 PM - 4:00 PM
Tuesday 12th May 2026
2:00 PM - 4:00 PM
Tuesday 19th May 2026
2:00 PM - 4:00 PM
Tuesday 26th May 2026
2:00 PM - 4:00 PM
Tuesday 2nd June 2026
2:00 PM - 4:00 PM
Tuesday 9th June 2026
2:00 PM - 4:00 PM
(London Time)

Music Theory Fundamentals for Voice Pedagogues

Dr David Cane

Voice pedagogy has advanced significantly in the last decades in relation to knowledge of the vocal apparatus (anatomy and mechanics), acoustics, and performance psychology (to name just a few subfields) – this is a wonderful thing! Nonetheless, musicianship and the foundations of music theory are still relevant to the teaching and coaching of singers and this course aims to empower voice teachers and coaches with skills to support the fundamental musicianship development of their students.

The Vocal Health Challenges for Actors and Singers!
Thursday 14th May 2026
5:00 PM - 7:00 PM
Friday 15th May 2026
5:00 PM - 7:00 PM
(London Time)

The Vocal Health Challenges for Actors and Singers!

Leda Scearce

Two part course! Vocal health principles are inextricably and symbiotically linked with singing and acting voice pedagogy: Good vocal health allows the singer and actor to more easily and effectively achieve their technical and artistic goals, and good teaching reinforces vocal technique that diminishes the risk of vocal injury. We now also recognize the necessity for singers and actors to understand how their instruments work, how to take care of their voices, and what to do when something goes wrong. Singing and acting teachers are indeed on the front lines of vocal health!

Staging A Coup: History meets science for the coup de la glotte!
Tuesday 19th May 2026
5:00 PM - 7:00 PM
(London Time)

Staging A Coup: History meets science for the coup de la glotte!

Kourtney Austin

Historical vocal pedagogy, voice science, voice health, and performance practice come together in this presentation from Kourtney Austin! The session addresses the historical context for teaching the onset as a fundamental skill, along with a review of a recent publication examining the acoustic effects of different types of onset, and practical studio implementation of onset training. The aforementioned publication is the first known research to objectively measure the acoustic implications of the coup de la glotte, and delineate it from the hard glottal attack.