Dear Colleague …

Welcome to the latest edition of the Vocal Process ezine. With Changing Voices coming up this weekend we have a feature that focuses on the challenges and rewards of working with emergent personalities and their voices. We also have news on downloadable software for those interested in computer voice analysis and advance notice of forthcoming courses.

Do you have a question about voice use or vocal function? Put your query to the Vocal Process Team and guest specialists in our Your Questions Answered section.

Changing Voices

This popular workshop returns to London on 15 May 2004. Deirdre Trundle shows how to work quickly and efficiently with adolescent voices 'in change'. In addition to demonstrating her five-minute testing procedure, Deirdre will work with several young singers showing how to apply the techniques. The day will finish with a short discussion forum.

Read more about Changing Voices in out Training section

Vocal Process Certification - With One Voice

With One Voice forms the final unit of 'Integrated Voice' Module One. This seminar explores differences and similarities between spoken and sung voice. We are delighted to welcome David Carey as co-presenter for the day. Both Gillyanne and David have a shared interest in the relationship between speech and singing, and the workshop will feature a joint practical session on working with 'one voice' as well as a discussion forum. With One Voice takes place on Saturday 12 June 2004 and runs in association with the Royal Academy of Dramatic Art. The course is also open to the public.

Learn more about Vocal Process Certification - Integrated Voice in our Training section.

Advanced Core Training - Advance Notice

Both of us will be leading Advanced Core Training this summer. The course is open to all who have taken Core Training or similar courses. It's an opportunity to fine-tune diagnostic and isolation skills and to extend existing practice. We will be examining mixed vocal sets, incorporating breath use and range work, and brainstorming practical applications in teaching and performance practice.

Spectrographic Analysis For My Voice?

More teachers are becoming interested in the possibilities of computer voice analysis programs. Jeremy has used spectrographic analysis for several years in his studio, both as a training tool and as an adjunct to listening skills. Hearing and seeing the sounds you have just made, without actually being involved in making them, is enormously useful - you still have the muscle memory of making the sound, but can view the voice on screen objectively and can then make the subtle tweaks necessary to improve or adjust. Onsets, laryngeal height, vocal fold mass and vowel use can all be seen using the spectrograph, and seeing the changes on screen that happen after adjusting your vocal mechanism can really help integrate what you hear with what you feel. Both in private sessions and classes, there have been a number of 'aha!' moments, as performers and teachers understand and experience subtle changes in their voices.

There is a wide selection of voice analysis software available on the web that can be used to produce spectrograms. They have a range of features and most are available for free trial. A number of spectrographic programs are available as freeware (free to download and use) or shareware (free to use for a limited time or in a limited way). On the web site is a list of links to programs available for download, together with articles on reading spectrograms analysing different vocal sets.

Feature - How do we inspire young singers?
by Jenny Morgan

In my 20 years of teaching singing, some of my most memorable and surprising moments have been through my work with 14 to 16 year olds.

In many ways I suppose, my approach could be regarded as old fashioned. I believe in strong boundaries: designated practice time, sometimes written as a personal statement and signed by the student; punctual lesson attendance, which I personally chase up; remembering to bring practice books, music, tape and so on; and most important of all 100% attention during the half-hour lesson.

Initially I like to concentrate on body use: posture and general health. Teenagers are very body aware at this age. I promote the positive: such as improving their figures through correcting posture and breathing. I talk about the importance of physical stillness, without rigidity, to provide the best housing for efficient functioning of the larynx. I encounter a lot of fidgeting at this age, this no doubt stems from self-consciousness about changes in the body. I find that talking about these issues in a holistic way, taking into account their emotional, spiritual and physical selves, is a way to encourage them to take some responsibility for their development.

I remember a very difficult, sulky 15 year old girl, who I despaired of ever getting through GCSE Music, turning up at her lesson, not just having learnt the song but having learnt it with real feeling and thought. Or the 16 year old girl, who'd never even listened to a note of classical music, telling me she wanted to do Grade 5 singing, and when was I going to teach her 'opera'? On both these occasions I was careful to keep my glee to myself, affect a studied nonchalance and casually extract the syllabus from my file for fear of breaking the magic that seemed to have taken place. This, I believe is the crux of one's success with inspiring, seducing and igniting the imaginations of our young; they have infinite ways of surprising us. Assume nothing, be mindful of your prejudices and tastes, and promote excellence and quality in whatever style you teach.

While encouraging our young students to sing to the best of their ability is every teacher's aim, my most satisfying results have come from a parent seeking me out at a concert and telling me how much singing lessons have improved their child's self confidence and how this is reflected in their other subjects and their improved general well being.

This, to me, reminds us of the fundamental importance music plays in our lives and in ourselves. Every student has the basic right to learn and experience music as an integral part of his or her education just like reading and writing. As Estelle Morris recently said at a Primary Schools conference, "We would be outraged if our children left school unable to read or write and we should feel the same about music." After all, to be musical is simply to be human.

In the meanwhile …

remember to monitor your effort levels!