Soul-Training: Riffs, Runs, & R&B Singing
Tuesday 2nd September 2025, 5:00 PM - 7:00 PM (London Time)
In this interactive workshop, participants will have an opportunity to explore soul singing and R&B vocal styles with deep roots in the African American musical tradition (Rhythm & Blues).
After a brief history detailing how African-American music laid the foundations of soul and R&B vocal techniques, we’ll be focusing on the R&B styles that emerged from the 1960s through early 2000s. Lisa Popeil will share insights gained from her years of study and practice, with singers, voice teachers, and anyone interested, guiding participants through the techniques of this style. And no discussion of Soul-Singing would be complete without exploring the art of “vocal runs, riffs or licks”, which are a core improvisational language within the tradition.
Other vital topics related to singing soulfully regard having a particular relationship to “the beat”, compared to how classically trained singers might consider core beats and rhythms in general. R&B singing exhibits rapid dynamic, adduction, and resonance shifts as well as specific resonator shapes that help produce the most authentic sound.
The movement of the body and how that relates to soulfulness in singing will be explored, so dress comfortably!
Finally, we’ll be studying many great artists and their methods such as Whitney Houston, Mariah Carey, James Brown, Luther Vandross, and Aretha Franklin to see what we can learn and model from their individual approaches to this vocal style.
🏷️ 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
Lisa Popeil
Lisa Popeil, MFA in Voice, has studied voice for 60 years and has taught professionally in a variety of styles of singing for over 40 years. Based in Los Angeles, California, Lisa is the creator of the Voiceworks® Method, the Total Singer DVD and the Total Singer Workshop.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, 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.
Thursday 11th December 2025
8:00 AM - 10:00 AM
(London Time)
Picking Up Good Vibrations: Pedagogical and Clinical Voice Analysis!
Dr Calvin Baker
Voice teachers and clinicians strongly rely on auditory perceptual modes of voice evaluation. These are considered the gold standard for assessing voice quality and training effects (e.g., a singer’s progress from lesson to lesson or across voice therapy). Join Dr Calvin Baker as he explores techniques for instrumentally analysing the singing voice. Specific considerations for the challenges of obtaining reliable, robust, and comparable data will be presented, and practical recommendations for recording and analysing the singing voice in pedagogical and clinical contexts will be made.
Thursday 11th December 2025
5:00 PM - 7:00 PM
(London Time)
The Pedagogy of Vibrato: Integrating Science and Studio Practice
Dr Justin John Moniz
Vibrato is more than just a shimmer in the sound—it’s one of the voice’s most powerful tools for artistry and expression. In this dynamic course, Justin John Moniz—Associate Director of Vocal Performance and Coordinator of Vocal Pedagogy at NYU Steinhardt, and Associate Editor of the Journal of Singing—pulls back the curtain on vibrato, blending history, science, and studio know-how into an engaging exploration for singers and teachers alike.
Tuesday 16th December 2025
2:00 PM - 4:00 PM
(London Time)
Inspired Sound: Unlocking the Science of Choral Acoustics
Professor Helena Daffern
In this session, Professor Helena Daffern will explore the fascinating science behind choral sound, offering choir singers and directors valuable insights into achieving a cohesive and expressive ensemble, no matter what their standard. The concept of choral blend will be examined —what it is, how it can be cultivated, and the roles of intonation and vibrato will be analysed. The decisions that have to be made around intonation when tuning thirds or dealing with modulations over the course of an a cappella piece will be explained in the context of existing research and different singing styles such as barbershop singing and solo voice ensembles.