BVA (British Voice Association) (choice for voice)
London, UK, August 2010
‘Laryngeal gestures and Laryngograph waveforms associated with the four vocal modes described in the Complete Vocal Technique method of singing teaching’ Cathrine Sadolin & Julian McGlashan workshop

Abstract:
Laryngeal getsures and Laryngograph waveforms associated with the four vocal modes described in the Complete Vocal Technique method of singing teaching

Multidisciplinary Approaches to Performance, Health and Research in Voice
The Royal Academy of Music, 15th, 16th and 17th July 2010
by Julian McGlashan, Cathrine Sadolin

The five vocal modes Neutral, Neutral with air, Curbing, Overdrive and Edge form the basic underlying structure of the Complete Vocal Technique (CVT). These modes are easily identifiable acoustically and the hypothesis is that they are produced using particular laryngeal gestures and laryngograph waveforms. Eighteen CVT trained singers were asked to produce sustained vowels at a constant pitch in each of the 5 modes and were examined using a 3.2 mm Olympus ENF V2 videoendoscope attached to OTV-S7 camera system and the Laryngostrobe digital imaging system. The group of 5 images for each singer were placed in a random order and shown to 34 CVT trained singing teachers after being given brief training in the identification of the modes based on the combined Laryngograph and laryngeal images. The video images were shown in isolation, then the Laryngograph waveforms associated with each mode were shown in isolation and finally the combined Laryngograph and video images were displayed to the raters. RESULTS:

Percentage correctly identified modes

Mode               Larynx+ Waveform (%) Larynx (%) Waveform (%)

Neutral                99.2                             94.9       96.2

Neutral with Air   95.1                             81.7       83.2

Curbing               89.1                             74.7       47.5

Overdrive            84.6                             78.9       48.5

Edge                   89.5                             91.3       43.5

 

CONCLUSION:
There appear to be recognisable laryngeal gestures associated with production of each of the five vocal modes. The visualising the synchronously obtained Laryngograph waveforms provide additional supportive information to the visual images for correct mode identification except for Edge.

BVA (British Voice Association) (choice for voice)
London, UK, August 2010
‘Complete Vocal Technique: Neutral, Curbing, Overdrive and Edge – the four vocal modes in practise’ Cathrine Sadolin workshop

Abstract workshop:
Complete Vocal Technique: Neutral, Curbing, Overdrive and Edge – the four vocal modes in practise

Multidisciplinary Approaches to Performance, Health and Research in Voice
The Royal Academy of Music, 15th, 16th and 17th July 2010

Cathrine Sadolin

WORKSHOP
Complete Vocal Technique: Neutral, Curbing, Overdrive and Edge – the four vocal modes in practise

Fundamental to the method ‘Complete Vocal Technique’ (CVT) is the classification of all human voice sounds into one of four vocal modes named Neutral, Curbing, Overdrive and Edge. The classification is used by professional singers within all musical styles, and has in a period of 20 years proved easy to grasp in both real life situations and now also in auditive and visual tests (sound examples and laryngeal images/ Laryngograph waveforms).

The four vocal modes is efficient in pinpointing vocal problems and form the base of the CVT terminology that makes it possible to classify all sounds the voice can make in great details. The four vocal modes does not only sound and look differently, they are also subject to different rules to secure healthy voice production. What is helpful in one mode may cause voice trouble in another. When singers/speakers respect the rules of the modes, and combine them with elements such as Sound Colours and Effects they can produce all sounds in a healthy way.

Cathrine Sadolin, the developer of CVT, will involve the audience in this workshop, while explaining and demonstrating how to work with the modes in practise to achieve any sound and solve many different voice problems like unintentional vocal breaks, too much or too little volume, hoarseness and much more.

CVT is spreading fast. Since the opening of ‘Complete Vocal Institute’ in Copenhagen in 2005, more than 700 singers from 25 countries have been attending an education. Today 85 singing teachers holds authorization as Complete Vocal Technique Teachers, 110 more are on their way making a total of 195 Authorised Complete Vocal Technique Teachers in 2012. Books about CVT are published in English, Danish, Swedish, Finnish, Dutch and German languages and from March 2010 also in French and Spanish languages.

BVA (British Voice Association) (choice for voice)
London, UK, August 2010
‘Power and safety in voice production – acoustic control’

Abstract:
Power and safety in voice production – acoustic control

Multidisciplinary Approaches to Performance, Health and Research in Voice
The Royal Academy of Music, 15th, 16th and 17th July 2010
Power and safety in voice production – acoustic control

The more powerful sounds we are producing, the more control of the vocal fold movements is necessary to avoid vocal trouble. The vocal folds movements are partly determined by the acoustics in the vocal tract. The aim of this presentation is to make an analogy between the behaviour of the voice and the behaviour known from loudspeaker construction theories, and thereby get a better understanding and fresh point of view from 100 years of loudspeaker research. A parallel will also be drawn to the ‘four vocal modes ‘ as taught by ‘Complete Vocal Technique’.