Do you ever wonder how is it that your favorite singers seem to have a command of their instrument?
Do you want the same for yourself?
Understanding your voice—its strengths, its weaknesses, and its tendencies—is the key to developing, maintaining, and ultimately preserving your instrument. My approach to vocal training is heavily influenced by Somatic Voicework™ The LoVetri Method. Somatic Voicework™ The LoVetri Method is a body-based method of vocal training which is based on voice science and medicine, and draws from many disciplines like yoga, speech training, dance, acting, and other bodywork approaches. While this methodology can be used to teach any style of singing, I personally specialize in teaching Contemporary Commercial Music styles such as jazz, R&B, rock, blues, pop, and gospel/Christian music.
Unlike some of the other vocal methodologies out there, Somatic Voicework™ The LoVetri Method focuses on the function of the voice (i.e. what is the voice doing), not just how it sounds. If trained to acquire a specific sound rather than function, the result can potentially lead to the voice being able to create only that “one sound.” Somatic Voicework™ The LoVetri Method advocates “true” freedom (i.e. the ability to sing the note you want, in whatever sound you want), stamina (i.e. for as long as you need), and strength (i.e. at the dynamic level you need) through a specific process of conditioning the instrument. This is accomplished by drawing the mind of the singer into the physical process of making sound and working toward particular goals.
In teaching styles of music that lend itself to individuality instead of imitation, taking this approach to vocal training allows the singer to first identify and develop the singers’ natural, un-manipulated voice. The use of aural and kinesthetic awareness also allows the singer to be in tune with their body, their instrument, and ultimately become aware of its capabilities and limitations in terms of vocal qualities, vocal intensity, and stamina. It is this level of awareness that can directly contribute to the preservation of the singer’s instrument. If/When the singer then chooses to exceed their capabilities and limitations for expressive purposes, it is just that, a choice, not a demand.
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