The voice is a reflection of our physical, emotional and spiritual well being. HL
The location will be in Santa Monica, California.
Needed for course: a yoga mat, a 10 foot yoga strap, two blocks, a tuning fork in C# (136.1 hertz) and a small crystal. (I have some of these things available to borrow for traveling students).
This certification is for voice and singing teachers, yoga teachers, movement specialists, music healers and sound healers, professional therapists, life coaches, actors, public speakers and anyone who wants to learn a new groundbreaking method to free, train and heal the voice.
I am very excited to write that Vocal Yoga has now been recognized by the Speech and Singing community as a viable method for vocal health, healing and training. My book and teaching methods were mentioned in The National Association of Teachers of Singing’s academic journal in an article in the May/June 2017 issue, Volume 73, No. 5, pp. 511–518: Vocal Yoga: Applying Yoga Principles in Voice Therapy by Adam Lloyd, Bari Hoffman-Ruddy, Erin Silverman, and Jeffrey L. Lehman. “Heather Lyle incorporates voice pedagogy, yoga postures and principles, directed breathing exercises, and voice science in her work, Vocal Yoga: The Joy of Breathing, Singing, and Sounding. Lyle’s work focuses on respiratory exercises for speech and singing, and also provides examples of speech and singing exercises to achieve a balanced voice production. She incorporates aspects of other popular body alignment techniques and programs in her work including Feldenkrais, Alexander technique, and Tai Chi, among others.”
All certified teachers of Heather Lyle’s Vocal Yoga Method® will be listed on the Vocal Yoga Website with a link to their website.
Feel free to Click here to email for more information.
Voice science meets the science of yoga!
The voice is a reflection of our physical, emotional and spiritual well being.
To balance all the elements that affect the voice, vocologist and lifelong yogi Heather Arindam Lyle developed the patented Heather Lyle Vocal Yoga Method® and wrote the bestselling book: Vocal Yoga, the Joy of Breathing, Singing and Sounding. Vocal Yoga use yoga, pranayama, Tai Chi, Alexander Technique, primal sounding, Bel Canto, sound healing, trauma release therapy, voice science and more to promote deep breathing, vocal power and full embodied resonance. As a Vocal Yoga teacher you will be able to identify and remove physical and mental blocks that have been hindering vocal expression allowing the voice to resonate and vibrate down to the cellular level. After a Vocal Yoga class students emerge feeling new, fresh and free.
The whole body sounds!
We carry the best sound healing instrument at all times, our voice!
The best way to describe the course is to let a participant do it. This is an article by Stacy Cabaj (the head of the MFA acting department at Loyola Marymount) that was in the 2018 Voice and Speech Trainer’s Associations’ Newsletter.
What Resonated on the Mat: Lessons in Learning and Teaching The Vocal Yoga Method®
This summer I had the pleasure of attending the Teacher Certification program in Heather Lyle’s Vocal Yoga Method®. While I anticipated that in the program I would learn a great deal about the mechanics of the technique, I was surprised by how much I also learned about the art of teaching. On her website, Lyle describes the work as the union of “Yoga, pranayama, Tai Chi, Alexander Technique, primal sounding, Bel Canto, sound healing, voice science…[which] promote[s] deep breathing, vocal power, and resonance.” I found the approach immensely enjoyable and profoundly useful, and am excited to share it with my students in the M.F.A. Acting Program at Louisiana State University. Below are a few of the key principles that I plan to explore in my teaching as well as some invitations to reflect on these principles in your own classroom or coaching.
Sage on a Stage. Guide on the Side. Architect of Learning. These are a few of the many academic buzz phrases that describe a teacher’s role in the learning process. The Vocal Yoga® certification program was the first time I encountered George Siemens’ concept of the Educator as Curator. Siemens explains that in his model:
A curator is an expert learner. Instead of dispensing knowledge, [s]he creates spaces in which knowledge can be created, explored, and connected. While curators understand their field very well, they don’t adhere to traditional in‐class teacher‐centric power structures. A curator balances the freedom of individual learners with the thoughtful interpretation of the subject being explored. While learners are free to explore, they encounter displays, concepts, and artifacts representative of the discipline. Their freedom to explore is unbounded. But when they engage with subject matter, the key concepts of a discipline are transparently reflected through the curatorial actions of the teacher.
In Lyle’s program, she assembled and interpreted a vast number of resources. (How thrilling it was to experience a comparative analysis of the breathing pedagogy of each of the major voice and singing traditions!) She then guided participants through immersive activities that allowed us to explore each concept in pairs or small groups. Finally, she solicited certain participants to share their expertise on various topics, capitalizing on the professional diversity of the attendees. It was a compelling learning environment, and I left humbled and exhilarated by the idea of curatorial learning.
Reflection: How do you envision your role(s) in the learning process? When and why might you transition between roles?
One day in training, a young singer was working her voice very athletically and approaching the upper limit of her vocal range. She paused for a moment and said, “You know, I could probably go a little higher, but it doesn’t feel like I could do it safely today.” The yoga teachers in the room locked eyes and said: “Vocal Ahimsa!”
Ahimsa is a yogic principle commonly defined as non-violence or non-harming of living beings through one’s thought, speech, or action. This notion can take many forms; in many western yoga (asana) classes, students are reminded to listen to their bodies and respect their own physical limitations. This is also useful to apply to vocal training, particularly when working on vocal extremes, primal sounding, or any other vocal acrobatics. As teachers, we must model and discuss the necessity of working at, not beyond, one’s own intelligent edge. We can help our students/actors differentiate the sensations of sustainable and unsustainable voice use, and to prioritize their vocal safety and longevity.
Reflection: What is your training maxim that reminds your students to check in with their body/breath/voice? How do you encourage them to explore fully and freely, while also honoring their limitations?
On the last day of the certification program, each participant taught a short practice class. One gentleman, a marvelous yoga teacher, ended his session with several words of gratitude: “I thank my teachers and my teachers’ teachers.”
This moved me to reflect on the rituals with which we begin and end our classes. I recalled that Janet Rodgers, my mentor in V.C.U.’s Voice and Speech Pedagogy Program, would sound a chime to begin and end each class, as her students sat in a circle, eyes-closed, mindfully listening. A recent alumna of our M.F.A. Acting program, Cara Reid, would close each session by sharing an amazing factoid or clip about the voice, fostering her students’ curiosity. Over the years I’ve witnessed many teachers offer a directive or writing prompt on the board, inviting their students to begin an independent activity, warm-up, or journaling. Such rituals can set the tone of the class, create community, and allow learners to record or reflect on their experience.
Reflection: How might you intentionally use these moments of transition? What ritual practices, actions, or words can help you and your students to engage more mindfully and meaningfully with the learning process?
SCHEDULE OF WORKSHOP
There will be a morning session that starts at 10:00AM, a 1 and 15 minute lunch break and then an afternoon session that finishes at 5:30PM.
This is the planned schedule. It may waiver a bit as we get into the work.
Morning Session: THE NERVOUS SYSTEM: The course will begin with the study of the autonomic and parasympathetic nervous system and the unconscious protective mechanisms of the body. We will address body armoring, the muscles of fight or flight and how they affect the breath and voice. We will learn how to look at a body and see where there is loss of elasticity in the fascia. With the use of Vocal Yoga designed theatre exercises, habitual holding patterns will be quickly identified and the student will learn to identify these areas of tension in themselves and others. Trauma release exercises will be used to release tension held in the body.
Afternoon Session: BREATHING: We will then study the anatomy and physiology of breathing (diaphragmatic and costal) and learn how to undue unhealthy habitual breathing patterns to allow the body to find its natural, most healthy way of breathing. All of the muscles of respiration will be identified. Pranayama, Bel Canto and medical respiratory strengthening exercises will be used to open up the whole torso to breathing and identify any areas that restrict the breath.
Morning Session: ALIGNMENT: We will continue breaking down body armor with a series of stretches, asanas and massage techniques that release holding in the fight or flight muscles. Alignment affects breathing. We will study proper body alignment for voice standing and seated and use Vocal Yoga yoga strap exercises, Alexander technique, spinal awareness and asanas to correct any problems.
Afternoon Session: ASANAS for breathing: We will continue to look at muscles of respiration and the student will learn specially designed asanas that target all of the muscles used in respiration and extended voice use.
Morning Session: ANATOMY TRAINS: How the myofascia courses through the body in different lines or trains and how each anatomy train affects the voice.
Afternoon Session: Explore asanas that open the anatomy trains and thereby open the voice. How does each modification of a different part of the body affect the voice.
Morning Session: SUPPORT AND VOCAL POWER: We will then study the anatomy and physiology of support and identify the specific muscles to engage vocal power. Asanas will be used to connect the voice to the core and stabilize vibrato. Primal sounding and wailing will be used to release the voice.
Afternoon Session: We will also look at the different methods of support still being taught today and learn a system based on the anatomy and physiology of the voice preferred by voice scientists today.
Off to process material
Morning Session: TENSION: We will uncover the tiny little places of the body that like to engage when we make sound and, if tense, will restrict your voice. As we change pitches, volume and intensity, certain muscles can grab the voice on its journey out of the body. We will go through all these places and learn a series of release exercises to free each part.
Afternoon Session: RESONANCE: We will explore resonance with tubes, tuning forks, straws and more. The definition of resonance is amplification of the range of audibility of any source of speech or singing sounds, by various couplings of the cavities of the mouth, nose, sinuses, larynx, pharynx, and upper thorax, and, by the skeletal structure of the body. With the use of tuning fork exercises, straw exercises, tube exercises, resonant voice speech therapy exercises, vocalizes and yoga toning we will explore each resonant area of the body and learn to identify areas that are dormant to sound and how to awaken them. We will discover how to experience the whole body sounding!
Morning Session: MORE RESONANCE AND CHAKRA TUNING: Seed sounds for each chakra and how to use tuning forks to activate the chakras and release blocked parts of the body.
Afternoon Session: AIRFLOW: One of the differences between singing and speech is the need to develop airflow, what the Italians called, filar al suono ( to spin the sound). Range extension and airflow sounding exercises will be delved into. Physic based airflow voice exercises to ancient Indian kriyas will be learned to raise the kundalini though the nadis and assist in airflow activation.
Morning and Afternoon: PHYSICS OF SOUND AND ACOUSTICS OF THE VOICE: Study of the overtone series and how to optimize vocal cord closure and couple the resonators to optimize the overtones in the voice. Individual work with Heather Lyle on each person’s voice. How to create a Vocal Yoga Sequence for a class.
FINAL WRAP Questions and Answers and finally, each person will have a chance to teach Vocal Yoga. You may focus on what ever aspect best fits your passion. The purpose of teaching is to see if you can articulate what you have learned and put it into practice for yourself or others.
Heather Lyle: NCVS Vocologist, B.M., M.M., F.V., E-RYT, C.Ht., Heather Lyle is considered one of the leading voice teachers in Los Angeles for singers, actors, public speakers. She is a dedicated educator who received her Bachelor and Master Degrees in voice, specializing in singing, diction and speech science graduating summa cum laude. A winner of the prestigious California University Sally Casanova Doctoral Scholarship, Lyle completed advanced doctoral voice research and a doctoral internship in vocal pedagogy at the Indiana University School of Music under the tutelage of renown voice teacher Paul Kiesgen. Heather Lyle is also a Certified Associate Teacher of Fitzmaurice Voicework, and has taught in the Fitzmaurice Teacher Certification Program numerous times. Fitzmaurice Voicework is one of the leading voice works for actors today, taught at Harvard, Juilliard and professional acting conservatories. Lyle teaches singing and vocal technique for the University of Southern California’s School of Dramatic Arts and Santa Monica College. She also teaches speaking skills for the doctoral economics and finance students attending the UCLA Anderson School of Management.
Lyle has also taught for LA Mission College, the Los Angeles High School for the Arts, Mount Saint Mary’s College, Loyola Marymount’s Yoga and the Healing Sciences Program, Studio 5 in New York, Seydways Acting Studio in Hollywood, numerous other acting schools, and the private sector. Internationally she has taught for “Indian Idol Academy” Hong Kong Academy of Performing Arts, Loreto College and Probir Guha’s acclaimed “Alternative Living Theatre”. Lyle is the founder of the patented Vocal Yoga Method®, a somatic voice work synthesizing techniques from Yoga, Pranayama, Alexander Technique, Physical Therapy, Roy Hart, the Bel Canto School of Singing, Qi Gong, kirtan chanting, primal voice work, circle singing and voice science to free the voice. Lyle began her practice of yoga at age 14 through the influence of her father, yoga teacher Auro Arindam. She has been a life long student of Integral Yoga and a devotee of Sri Aurobindo and the Mother.
Terra Gold, M.A., L.Ac., YTRX, E-RYT500 Terra is co-author of the comprehensive yoga therapy medical book, entitled Yoga Therapy and Integrative Medicine: Where Ancient Science Meets Modern Medicine, released in early 2015 that highlights the uses of yoga therapy within specific medical fields. She is a licensed acupuncturist, a clinically trained nutritionist, a certified yoga therapist, and has an allied professional degree in Integrative Body Psychotherapy (IBP). Terra integrates all of these modalities into her work with private clientele, and has been the private yoga therapist/primary care specialist for several large entertainment media executives and celebrities, as well as the co-creator and director of the annual Yoga and the Healing Sciences Teacher Training Program at Loyola Marymount. She has been featured in LA Yoga Magazine and in the widely acclaimed books, Yoga For Dummies, Shakti: The Feminine Power of Yoga, and The Secret Art of Adjusting Yoga Poses. Terra is also a Bhakti Kirtan Musician with a self-released album entitled, “Sun and Moon.” She loves travel, all forms of art, music and nature, and greatly enjoys being a mom to her 2 year old son, River.
Jennie Morton BSc (Hons) Osteopathy, MS Psychology Jennie began her career as a classical Ballet dancer before moving into musical theatre, performing in London’s West End for many years. She was also the lead singer of a top UK Big Band performing across, jazz, swing, rock, and pop genres. She is now an Osteopath specializing in the treatment of all performing artists, and worked at The British Association for Performing Arts Medicine Clinic in London (UK) for 10 years. Her treatments are focused on injury prevention, rehabilitation, and integration into performance, and she is a specialist in laryngeal manual therapy for vocalists. Now living in Los Angeles, she provides treatment for performing artists, and also offers performance coaching for singers, actors, instrumentalists, and dancers. She is an adjunct professor at Chapman University where she works with the dance, music, and voice students, and is the Wellness Professor at The Colburn School. She is on the Board of Directors for the Performing Arts Medicine Association (PAMA), an international organization dedicated to the health and wellbeing of performing artists, and the Dance Resource Center (DRC), an LA-based service organization providing support and resources for the dance community.
Jennie is dedicated to the provision of education on the subject of healthy practice in the performing arts, and provides lectures and workshops internationally for performers, teachers, and medical professionals. She is an Honorary Lecturer for the MSc in Performing Arts Medicine at University College London, for which she compiled the Musculoskeletal and Neuromuscular Injury syllabus, and is on the Health and Wellness Committee for the International Society for Music Education. Published articles include “Voice and Dance Technique Integration for Musical Theatre – Triple Threat or Double Trouble?” (VASTA Voice and Speech Review Journal), “Osteopathy In The Arts” (The Osteopath journal),“The Hazards of the Musical Theatre Workplace” and “The Integration of Voice and Dance Techniques in Musical Theatre” (Medical Problems of Performing Artists) “Osteopathy For Singers” (iSing Magazine), as well as several others on injury management for dancers and musicians. Jennie is the founder of www.healthyperformers.com, and her book The Authentic Performer: Wearing A Mask And The Effect On Health was published in May 2015.
Yes, yes it is all about the primal voice! If you don’t find the primal voice you have nothing to work with. Everyone should do Heather Lyle’s Vocal Yoga!
–Vladimir Chernov, world famous Russian baritone opera singer
I’ve never felt my ribcage open that fully! I love Vocal Yoga!
–Christopher Lemmings, International opera singer
Experience a moment of Heather Lyle discussing harmonics with Masood Ali Khan.
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