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Integrated Voice in more detail...
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Module Two - Unit Nine (Option-One)
Belting Explained
with Gillyanne Kayes, Jeremy Fisher
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Overview
What is 'Belting', how is it made, and when do I use it?
Discover the set-up for safe Belting, gain practice strategies
for finding your Belt voice, and feel the postural changes in
the body required for high intensity vocalising. The day
includes practice time under experienced supervision. A must
for teachers and performers interested in working in Musical
Theatre, Pop or Rock genres.
Learning Outcomes
On completing this unit you will:
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1 |
Be familiar
with research on high-energy voice use. |
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2 |
Be able to
identify situations that require energised voice use. |
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3 |
Have developed
personal skills in high-energy voice use. |
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4 |
Have acquired
insight into helping students or clients in high-energy voice
work. |
Unit Assignments
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1 |
Incorporating
belting or yelling into a performance scenario or typical
role-play. |
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2 |
Produce
computer voice-prints that demonstrate the acoustic changes in
the differentiated vocal sets that contribute to Belting.
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3 |
Modelling
belting or yelling for students and clients in a teaching
situation (you may use recorded material for this). |
Unit Assessment
You will be assessed on your understanding of the
component parts of belting and yelling, the physiological
positions that contribute to their vocal set-up, and the
safety parameters which protect the voice from damage. You
will also need to demonstrate your ability to belt, yell or
shout without causing vocal trauma.
Other Information
This unit and Option Two (Voice of Violence) target the
specialised work required to deal with high-energy voice use.
Support will be offered for the development of personal skills
in this field via a full day of course follow-up.It is
essential that those planning to coach and teach high-energy
voice work are able to do it themselves without vocal trauma.
Participants working with spoken voice can opt for Voice of
Violence, taught by Lise Olson; participants working with
singers must take Belting Explained.
The Belting Explained workshop is open to members of the
public. Course follow-up is available to Integrated Voice
Participants only.
Duration
TBA
Fees
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Full price: |
TBA |
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Discounts: |
TBA |
Dates, availability and booking...
Please see
Forthcoming Courses
Recommended Reading
None
Integrated Voice prospectus
Part 1
About you
About us
The
faculty
What
you will gain from the programme
Part 2
Overview of programme
Timescale
Fees
Entry to the programme
Part 3
Module One: Fundamentals of Vocal Integration
Module Two: Advanced Vocal Practice
Module Three: Specialisation
Programme completion and Accreditation
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Integrated Voice
THE FACULTY
Gillyanne Kayes is a
freelance writer, teacher and voice expert. She has been
training voices for the last 21 years and has numerous clients
working in professional theatre and film.
Jeremy Fisher is a
performance coach, Musical Director and prize-winning
accompanist. As a vocal coach he works with opera sings,
actors, singing teachers and song writers on repertoire, style
and performance integration.
David Carey is a
Fellow of the Royal Society of Arts, David studied Speech and
Drama at the RSAMD, gained his MA (with distinction) in
Contemporary English Language and Linguistics at Reading
University. He is currently Voice Tutor at the Royal Academy
of Dramatic Art.
Dr Meribeth G Dayme is
Chief Executive of LifeWise International and works as a Voice
and Communication Specialist in business and the Performing
Arts.
Julie McLean is a
qualified Speech and Language Therapist (SLT) with fifteen
years post-graduate experience. She has worked for the last
six years in a specialist capacity with voice disordered
clients in the NHS and private sector.
Lise Olson is
currently a Lecturer in Acting and Voice at the Liverpool
Institute for Performing Arts and teaches 'The Voice of
Violence' for Vocal Process.
Jenevora Williams is teacher-in- residence for The National Youth Choir, works with the choristers at St Paul's Cathedral, and acts as consultant to Decca, Hyperion and the ROH on child performers.
Guest
Faculty: Sara Harris RCSLT, Tom Harris FRCS; Elizabeth
Stirling.
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