Jeannette LoVetri, Director

Somatic Voicework™

Somatic Voicework™ The LoVetri Method is a body-based method of vocal training which draws from many disciplines. It is based upon voice science and medicine as well as traditional classical vocal training, complementary modalities such as yoga, movement, dance, acting, and speech training, and various bodywork approaches. Somatic Voicework™ The LoVetri Method is meant to unselfconsciously draw the mind of the singer into the physical process of making sound.

Bodywork is anything that works on the body itself and helps a person become more able to perceive through the five senses . Bodywork allows the singer to release physical tensions, move more freely, feel more fully, and breathe more deeply, and also increases one's awareness of sensations. It amplifies one's trust of the body and its reponses. Somatic Voicework™ The LoVetri Method is a way of working on all aspects of the voice so that the singer (or speaker) may increase awareness of sound-making as a physical process. The singer becomes more able to sense the throat and effect changes without manipulation and increases intuition about vocal choices. Somatic Voicework™ The LoVetri Method is influenced by the principles of Alexander Technique™, Feldenkrais Method™, Swedish massage, shiatsu, acupuncture, Rolfing™, Bioenergetics™, and Therapeutic Touch™, as well as other healing disciplines.

Somatic Voicework™ The LoVetri Method allows the voice and body to be partners with the mind, whether it be for song or speech. It allows the instrument to handle a variety of tasks with greater ease and less effort.

In addition to all of the above, Somatic Voicework™ is unique in that all of the vocal exercises are focused on function. It is based upon what the voice is doing, not just how the voice sounds.

Most vocal training relies on a set of exercises that do a certain thing to the voice or ask for a specific kind of sound from the singer. The exercises are seen as being either magical ("Just sing like me on the syllables Che la vieri son muori sola in a descending scale everyday for 10 years and you will be able to sing opera"), or as having inherent qualities of their own ("Sing staccato on "AH" on an arpeggio up and down from low to high and you will even out your range"). You will always hear voice teachers ask each other for "specific exercises" to clear up vocal problems, but what they mean is: What syllables on what musical notes do I ask my singers to do in order to create perfection? Since there is a very finite number of possibilities here, most singing teachers then resort to the breathing for more help. ("If the problem isn't solved in the exercises, the answer must be in the BREATHING!!!!!") The less people know about vocal function, the more they rely on breathing exercises as a cure-all.

Essentially, the breathing for singing should be relatively easy. It requires good posture, an open rib cage, and strong set of belly muscles and coordination. It features a specific way of moving the ribs and abs during inhalation and exhalation that is learned over time and must be connected to voiced sound-making in order to be useful but there are a number of scientifically validated approaches to both inhalation and exhalation that work efficiently. If sophisticated breathing was all that was necessary to being a good singer, every athlete and every wind and brass player, every yogi, every underwater diver -- anyone who has learned some kind of control of their own breathing -- would automatically sound like Luciano Pavarotti or Barbra Streisand!

Breathing problems cannot be dismissed lightly but they are often not the source of vocal problems.

Somatic Voicework™ can use a simple exercise, such as a triad on "AH" on staccato to help wake up head register, to coordinate breath and body, to help clear up a breathy tone, to increase musical virtuosity, and in several other ways. Almost any exercise can be done to ellicit any function. Certain exercises lend themselves to certain responses, but nothing is guaranteed.

Everything depends upon the intention of the teacher and singer to agree upon a certain goal before the exercise begins. The intention of the exercises must be clear in the mind of the teacher in order for it to do what it is supposed to do in the throat of the student/singer.

Teachers must, therefore, understand that different responses are possible from one exercise, one set of pitches and one level of volume. Even in well produced, free voices, functions can and do adjust depending upon the intention or goal of the exercise or music.

The new Somatic Voicework™ website is now up and running. Please pay us a visit.


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CCM Vocal Pedagogy Institute at Shenandoah University

The Contemporary Commercial Music Vocal Pedagogy Institute Our twelfth year featuring Somatic Voicework™, the LoVetri Method, July 12-21, 2014 for levels I, II and III. It continues to be the first and only vocal pedagogy course offering graduate and doctoral credit for courses on CCM. It also offers a number of post certification courses for those who are certified as Level III graduates. Please view our 2014 CCM brochure. For more information please visit CCM Institute For further questions please contact: Kathryn Green at kgreen@su.edu.

Other Venues for Somatic Voicework™ Level I

Somatic Voicework™ Level II will be offered for the first time outside of Shenandoah, January 17-19, 2014, at UMass Dartmouth. For details and registration information please check out our 2014 brochure. For more information, please contact Marcelle Gauvin.

For the second time in New York City!!! Somatic Voicework™ Level I will be offered May 16-18, 2014 at the City College of New York. Our 2014 brochure is now available please visit for registration and more information. For any questions, please contact Suzanne Pittson.

Workshops/Masterclasses

NATS Ontario Chapter would like to extend an invitation encouraging all voice professionals and voice students to attend a special workshop with Jeanie LoVetri at the University of Toronto, Saturday, May 3rd from 12:30 to 5:30. Jeanie will present an introduction and overview of her method (Somatic Voicework™), a masterclass and follow up with a Q and A period. Please view the flyer for this event. For more information please contact Alison Moodie.

There will be a second event, Sunday, May 4th, 12:30 to 5:30 at the University of Toronto with an introduction to Somatic Voicework, teacher training, and masterclass. Please view the flyer for the Sunday workshop. The contact person for the Sunday workshop is Alex Samaras.

The Voice Workshop™ is proud to host Overtone Singing and Vocal Improvisation workshop with Rollin Rachele on Sunday, May 25, 2014 at the Voice Workshop™ 317 West 93rd street, Apt 3B, New York, NY. Rollin Rachele is an internationally known teacher and performer who has combined overtone singing with a variety of other western forms and traditional Indian Raga music over the years. This workshop is for people who wish to learn more about overtone singing and how to apply them to other traditions, in order to create a richer palette of sound. For more information and registration information please view the Overtone Workshop Flyer or email rollin@overtonesinging.com.

Functional Vocal Training for 21st Century CCM Styles. Jeannette LoVetri and  Texas Woman's University in Denton, Texas, in conjunction with the Texas Music Educators Association, will be holding a Vocal Pedagogy Workshop at TWU on Thursday, June 12th 2014-9:00 am to 5:30 pm and Friday, June 13th -9:00 am to 12:00 pm. The workshop will examine the basics of CCM styles and the vocal production necessary to sing them. Vocal health and terminology will also be covered and teachers will be guided to address typical issues that arise in belting, mixing and in the extreme pitch range and volume demands of repertoire. Please view the Vocal Pedagogy Workshop for more information and registration or email Nicki Cohen