Lessons from Hypermobility

Teacher Training

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 even 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.

 - Monica

Tools

for

VOICE teachers

who want to help their

hyper-mobile students

bring their vocal work into

alignment

with

how THEY are designed.

When I brought up 

hyper-mobility as

a possible factor in

my own vocal struggles, 

I was met with

blank stares.

I could find 

nothing for voice teachers

about ligamentous laxity,

how

it affects vocal production

or the role it might play in vocal compromise.

Focused

 identification of  the anatomical source of my own auditory and physical symptoms of disfunction revealed conflicts with commonly accepted  vocal pedagogic methods.

It took sifting through the limited, disparate and disjointed information that IS available on hyper mobility in general to synthesize the general principles of hyper mobility management.

Lessons from Hypermobility™

is the result of that work,

applying

specific and augmented general hypermobility management principles

 to the functioning of

the vocal support system.

This work is

essential for

people with obviously

lax tendons and ligaments 

and creates

unprecedented efficiencies for non-hypermobile vocalists,

releasing them to explore gratifying refinements and interpretive work

with their teachers.

As my awareness grew,

I noticed

how many students had similar "stuff" going on

and 

noticed how many vocalists struggled through master-classes, behind podiums and on stages while displaying similar symptoms of disfunction and discomfort.

 

Here is an example of just ONE ADJUSTMENT made in the Lessons from Hypermobility™ process. About 30 seconds passed between the before and after video. While far from a "polished" sound, the change is dramatic and repeatable.

VoiceUnbound - student's jagged vibrato is gone in moments

Before

VoiceUnbound - student's jagged vibrato is gone in moments

After

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.

I love the look of concentration, amazement and delight in the "after" video.

 

Lessons from hyper-mobility 

Teacher Training

Foundation Work

 

WE'LL ADDRESS:

Why

it’s important

to add

an understanding of ligamentous laxity

in the context of

vocalization. 

Why 

you’ve reached the limits of “standard”

Support & Placement protocols

with your ligamentously lax Vocalists.

Why

we’ve never talked about Ligamentous Laxity in the context of vocalization,

 let alone in vocal pedagogy before. 

What hyper mobility is

 and

what it is not

How and when

to identify

a potentially

Hyper-mobile vocalist

How hyper mobility can affect vocal production

 and

why what we learn from that can positively affect how we teach voice to standard bodies.

Overall changes in approach when working with a hyper mobile student

and

why this change in approach can liberate your standard body students too.

How to rethink

Support and Placement protocols

in light of

Ligamentous

Laxity.

The missing pieces

in how we talk about

"support"

Why, when, and how

 to adjust

Vocal Support

and 

Placement Protocols

 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

 

APPLIED

Lessons from hyper-mobility 

Teacher Training

Advanced Work

 

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."

ELIZABETH WELLS

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.

JESSIE M

Voice Teacher/Hyper-Mobile Singer