Welcome to the July Update of the Vocal Process eZINE
In this edition we reveal a webinar newbie’s experience of her first Vocal Process online vocal training Webinar
We announce the Retreats, masterclasses and coaching sessions coming up in the Wales, The Netherlands, Germany and in London over the next three months
Gillyanne presents at the BVA on problem-solving troubled voices in professional musical theatre performers
And two new additions to our YouTube Channel videos show you how to change the sound of a large chorus (100 singers) in seconds
What’s a Webinar?
We’ve been creating Professional Development vocal training Webinars for over two years now, but it’s still a new concept in the voice world.
British Voice Association Director and Teacher-In-Residence for the National Youth Choirs of GB Frith Trezevant told us she was a Webinar newbie, so we asked her to write down her experience of attending her first ever Webinar. Here’s an excerpt:
“We all need to keep abreast of the latest work in singing technique but courses are expensive and don’t always fit into busy lives. I’ve discovered the Webinar, and I’m becoming a fan.
Vocal Process offered me the opportunity to view and review their web offerings, and I jumped at the chance, in the knowledge that these practitioners are invariably well prepared and soundly grounded in their subject.
My main apprehension was my computer, a machine achingly slow and short of memory – and then my working of it. Don’t ask me to do anything more complicated than using the thing as a word processor. I’d rather eat glass.
Connecting up and running was easy, with foolproof instructions. I had fun with the tasks at the end of Webinar 6 – singing in other styles. I’ll definitely be spending some time this summer playing with repertoire I would normally have labelled as outside my comfort zone.
Working at home is common to most of us now and the added advantage of no transport/parking/catering costs has to be factored in to the cost of taking training like this. It’s remarkably competitive for what you get.
Overall, this was a very positive experience. In an age of call centres and passwords, my preference is to work with people rather than machines. I found the Webinar harmonised personal appeal with electronic convenience. What’s not to like?”
This course is not appropriate for everyone – only consider this Retreat if you already teach and are committed to improving your teaching and vocal diagnostic skills. We also need you to have a working knowledge of vocal function along the lines of our books and webinars – we expect you to know what an arytenoid is!
It’s a bespoke weekend, so we’ll be building the content around your needs and sharing our understanding of vocal, performance and teaching techniques -why they work and how to improve and apply them to individual students. Click here for more information and to book
MusiekHuis in Utrecht – the site of the Vocal Process singing masterclass
In October you’ll find us in Utrecht giving a workshop hosted by Ineke van Doorn and Jolande Geven. You can also book in for a private coaching or teacher mentoring session the following day with Gillyanne, Jeremy or both of us.
The workshop will take place on Saturday October 11th (10:00-16:30) at Muziekhuis Utrecht (http://www.muziekhuisutrecht.nl) and focuses on singing and teaching in musical theatre. With practical exercises, concepts and live demonstrations, we’ll be answering these questions:
What is the difference between a classical singer, or a popular music singer and a musicals singer?
Are there aspects of vocal technique that overlap between these styles?
Is there a ‘musical theatre’ sound or is it a group of sounds, and how do we train singers to use them and make excellent performances?
Contact Ineke and Jolande on email@example.com for more information or visit this page and look for the link to “Gastworkshop Gillyanne Kayes” to book a place.
The Operettenhaus in Hamburg
Following the workshop and private lessons in Utrecht we’re heading across the border to Hamburg where we are offering one-to-0ne sessions for singers and actors on Monday October 13th. Gillyanne has been giving lessons in Hamburg since 2012 and has a number of clients working in high-profile musical theatre productions in Hamburg and across Germany.
Hamburg is also accessible from Denmark and Poland so if you’d like to book a session with us in Hamburg, email us directly for more information on firstname.lastname@example.org
And of course we teach in London regularly giving private coaching and masterclasses at the studio near Marble Arch. Gillyanne specialises in vocal technique and troubleshooting, and Jeremy follows on by helping singers find and maintain their best performance. The masterclasses are restricted to four people (and no onlookers) so it’s like an intensive and highly targeted class where you learn just as much from the other participants as you do when you sing yourself.
You can click on our Coaching Calendar link to find out when we’re available (lessons are booking up fast so if you see a date and time you’d like, drop us an email asap!).
Gillyanne and Anne at the BVA
Dr Gillyanne Kayes presents on vocal problem-solving in professional theatre
Gillyanne has joined the council of Directors for the British Voice Association, and was an invited speaker for their Recovering Voices – from injured to well Study Day in July.
“In my presentation I talked about how I deal with troubled voices in professional musical theater singers. I’d noticed 2 interesting categories of problem: ‘child star syndrome’ and ‘functional problems in organic disorders’, and I discussed these issues using client case histories.
No matter how good the child performer, problems can arise if there are patterns of voice use (speaking pitch, use of range, breathing patterns) that hang over into adulthood. This can happen even if (or perhaps because) the child star stops singing when they become too old to perform child roles.
I presented 2 unusual problems of musical theatre singers who had organic voice disorders that impacted on the quality of their performance, and – of course – self-confidence.
An organic disorder, such as a small difference in length between the vocal folds, or a micro-webbing at the front of the vocal folds (think of the webbing between your fingers) is not necessarily serious for a normal voice user, but can be a real problem for an elite category singer, affecting how they manage their range, and control of volume.
I was able to use sound files, video clips and images of the vocal folds (all anonymised) and to talk about the different strategies I used with the singers to bring them back into functioning voice use.”
Anne Leatherland, Vocal Process Accredited Teacher
Vocal Process also had a presence at the BVA conference in Anne Leatherland’s presentation of her research (completed as part of the final unit of our Integrated Voice Teacher Accreditation): “Text Delivery in Classical and Musical Theatre Singing”
Anne’s paper was selected for the finals of the Van Lawrence award. The biennial award is for research that breaks new ground or invigorates the voice profession. Anne gave an excellent and interesting 15 minute presentation that attracted a lot of positive feedback, and answered questions from a judging panel about her work. Congratulations to Anne on her first major voice science presentation!
How to change the sound of your chorus in 30 seconds
Gillyanne Kayes & Jeremy Fisher working with Cambridge choral singers