WORKING WITH STUDENTS WITH JOINT HYPERMOBILITY.
We are deeply invested in being supportive and effective teachers,
and it's so gratifying when a student has a breakthrough and lights up with joy.
My particular circumstances have revealed information about vocal support that can
FACILITATE MORE of that
DELIGHT AND SATISFACTION FOR YOU AND YOUR STUDENTS.
Since I CAN'T PERSONALLY TEACH EVERYONE
who can benefit from this work,
and since there are so many (up to 40% of the population has some combination and severity of ligamentous laxity,
not to mention the substantial benefits for standard bodies),
IT'S TIME FOR ME TO TEACH THIS WORK TO OTHER TEACHERS
who want to add this vocal support work to their repertoire.
This course will be available on-line as "in person" will only be possible post Covid 19.
Master Classes and on-going Workshops are also available.
I look forward to supporting you as you help free your students into
the realms of communication, artistry, and creation.
HOW WE GOT HERE
When I brought up
joint hyper-mobility as
a possible factor in
my vocal struggles,
I was met with
I could find
NOTHING FOR VOICE TEACHERS ABOUT HOW LIGAMENTOUS LAXITY,
AFFECTS VOCAL PRODUCTION OR THE ROLE IT MIGHT PLAY IN VOCAL COMPROMISE.
There is LIMITED, DISPARATE, DISJOINTED INFORMATION on hyper mobility in general, enough to synthesize the general principles of
joint hyper mobility management.
For over 30 YEARS I experienced
CAREER STALLING VOCAL COMPROMISE
after every lesson, master class, rehearsal or performance.
During one of those extended breaks from singing, I was surprised to learn that I have joint-hypermobility.
identification of the anatomical source of my own auditory and physical symptoms of disfunction revealed conflicts with commonly accepted vocal pedagogic methods.
As my awareness grew,
how many students had similar "stuff" going on
noticed how many vocalists struggled through master-classes, behind podiums and on stages while displaying similar symptoms of disfunction and discomfort.
I began to modify how I use my body in general and discovered that my vocal quality and stamina were changing.
I can't tell you how many times I gave up. I diligently applied the technique I was being taught and invariably the technique would fail me.
This work is
people with obviously
lax tendons and ligaments
unprecedented efficiencies for non-hypermobile vocalists,
releasing them to explore gratifying refinements and interpretive work
with their teachers.
Here is an example of just ONE ADJUSTMENT made in the LESSONS FROM HYPERMOBILITY™ process. While far from a "polished" sound, the change is dramatic and repeatable.
After extensive work addressing the usual suspects of held tension, the teacher called me to help identify the source of this student's unstable vibrato.
The exercise we had her do was diagnostic. It helped us locate a major source of the vocal instability.
(In teacher training we'll talk about the function of the arm placement in this particular instance).
Our next steps will be to help her reorganize how she creates an environment for making sound
in a way that works with how her body works.
30 SECONDS LATER
I love the look of concentration, amazement and delight.
VOICE UNBOUND ™
we’ve never talked about ligamentous laxity in the context of vocalization,
let alone in vocal pedagogy before.
you’ve reached the limits of “standard”
support & placement protocols
with your ligamentously lax vocalists.
How hyper mobility can affect vocal production
why what we learn from that can positively affect how we teach voice to standardly mobile bodies.
How and when
an understanding of ligamentous laxity
in the context of
How to rethink
support and placement protocols
in light of
The missing pieces
in how we talk about
What hyper mobility is
what it is not
Overall changes in approach when working with a hyper mobile student
why this change in approach can liberate your standard body students too.
Why, when, and how
for your ligamentously lax vocalists
The specific structural and muscular sequence needed by ligamentously lax vocalists to set up optimal fully embodied vocal support for unconstricted vocalization
(and why this can be useful for apparently nonhyper-mobile vocalists too).
Breathing adjustments for the hyper and non-hypermobile vocalist
Lessons from hyper-mobility ™
Pedagogic approaches to
integrating DYNAMIC VOCAL SUPPORT™
into singing, acting and public speaking work.
“I had one of my high school girls doing some of the... movements while she sang through a piece and it was STAGGERING how CONSISTENT her SOUND became.
It made me tear up at the sheer scope of it.
My body is just so very different than that."
Voice Teacher / Operatic Soprano
"Singing is release of energy and expression. Both are hard when there's so much tension, and managing the tension is so distracting. No one could fix it. It got to the point that I didn't want to sing anymore.
Monica gave me one thing to do and a problem I had for my whole life was fixed in a week and a half. I know it sounds too good to be true.
Now I can feel what everyone has been talking about. Now I can apply the things I learned in all the years of training and I can apply them correctly. My work with my teacher can take off. I'm allowing myself to be hopeful and even excited that singing can be fun again.
Music Teacher/Hyper-Mobile Singer