• Promotes gradual development of mechanical control over any sung sound without sacrificing freedom or authenticity.
  • Allows the singer to make sounds he or she wants to make.
  • Brings out the individuality of the voice, and enhances the uniqueness of vocal expression in any and all styles of music.
  • Aims at the parameters of each musical style and the personal capacities of the singer within that style, as chosen by the singer.
  • Conditions the muscles of the vocal mechanism, over time, indirectly, through exercises, to respond automatically.
  • Provides a basis to strengthen and stabilize the overall sound; maintain flexibility; extend pitch range; increase breathing capacity, endurance, and management; control vowel sound configurations and allow for a variety of tones to be produced without struggle.
  • Allows the singer to connect to the body in a conscious manner, learning to adjust the use of the breath according to the demands of the music being sung.
  • Revolves around what the voice is doing and not what it is (soprano, alto, tenor, bass, etc.)
  • Resembles training given to athletes to strengthen them for a particular sport, or dancers who are strong and fit but still need to understand the differences between styles.
  • Enhances awareness of both sound and kinesthetic feeling, grounding it in bodily perception and auditory acuity.
Based on guidelines compiled by voice instructor and voice pedagogue, Jeanie LoVetri.