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Claudia Friedlander
New York City
Revolutionizing vocal technique with timeless wisdom
Recent Activity
Resources and advice to help you prepare your best audition season to date. Continue reading
Posted Aug 15, 2014 at The Liberated Voice
A maturing larynx yields greater vocal stamina and power, but it also exposes weaknesses in your technique. Continue reading
Posted Jul 9, 2014 at The Liberated Voice
What I've been up to since my last post: presiding, publishing, & pumping iron! Continue reading
Posted Jun 15, 2014 at The Liberated Voice
Join me in NYC on March 24th to learn how to optimize your alignment, breathing and stamina for singing. Continue reading
Posted Feb 25, 2014 at The Liberated Voice
Glad you liked it, Sara! I am enjoying have a look around your blog as well.
Toggle Commented Feb 6, 2014 on Skill at Feeling at The Liberated Voice
Access to a wide range and depth of feelings expands your expressive palate, but it demands keen self-awareness and radical self-acceptance. Continue reading
Posted Feb 5, 2014 at The Liberated Voice
An initial vocal technique consultation & written evaluation of your baseline abilities and challenges provides you with a clear picture of where you are in relation to where you want to go while also providing me with the data I’ll need to map out the best course for getting you there. Continue reading
Posted Dec 8, 2013 at The Liberated Voice
Posted Dec 3, 2013 at The Liberated Voice
This video tutorial provides tips on how to use movement to enhance your art song performance rather than distract from it. Continue reading
Posted Nov 2, 2013 at The Liberated Voice
Planning meals around the unique demands of a singing career can indeed be challenging. Continue reading
Posted Oct 22, 2013 at The Liberated Voice
Steve, it looks like your company is doing astonishing work! Hope to experience it firsthand sometime. Rock on!
Toggle Commented Oct 14, 2013 on Is Opera Relevant? at The Liberated Voice
Opera's true relevance lies in the inherently transformative power of the acoustic human voice. Continue reading
Posted Oct 9, 2013 at The Liberated Voice
How your attitude towards technique can influence your feelings about exercise. Continue reading
Posted Oct 7, 2013 at The Liberated Voice
A committed, gifted singer will always sing their heart out and may not notice when problems slowly develop. Continue reading
Posted Sep 18, 2013 at The Liberated Voice
We have the technology. We can make you better. Continue reading
Posted Sep 2, 2013 at The Liberated Voice
via Continue reading
Reblogged Aug 26, 2013 at The Liberated Voice
I did not use the example of a spray can of compressed air to explain how the human body exhales. My explanation of how the human body exhales is outlined in my previous post ( I also did not say that subglottal air pressure is what makes the air leave the body. This post is not about exhaling. It is about creating optimal conditions for vocal fold response, which requires eliciting the Bernoulli Effect. There is a good description of this here: For singers to do this, it is necessary to create conditions such that the air pressure below the vocal folds is adequate to make them vibrate as the air releases. Unfortunately, most singers do this by tightening up their throats and then pushing out the air against the resistance they just created. This is an effortful process that can lead to damage and will never yield completely free, beautiful singing. The correct way for singers to manage their breath and optimize subglottal breath pressure is to keep the costal muscles of inspiration engaged while allowing the breath to release fully. There is a more detailed description of this process in this post: Of course the human breathing system is not like a can. I'm just using the can of compressed air to demonstrate how it is possible for there to be a difference in air pressure inside vs. outside a container and how this difference can make the release of the air more powerful. It is usually very difficult for singers to understand and master this very important technique of breath management. It's very hard for them to understand how it could be possible to produce a full sound without tightening and pushing. The analogy of the can is usually helpful for them to start getting some concept of how this works. I am not sure why you decided to comment on this post, as it seems to me that you are not yourself involved in singing or vocal technique. You are a yoga teacher who offers workshops in anatomy. As such, you hopefully know a great deal about the anatomy and physiology of breathing but likely have no experiential knowledge of how this is directly applied for classical singing. I am also surprised by the insulting tone of your comment. As a yoga teacher, I imagine that mindfulness and detached awareness are among the things you encourage in your students. So my expectation is that were you to come across a post that you felt to be incorrect or misleading, you would simply seek to provide better information and the overall tone would be one of equanimity and good will. I constantly seek to deepen my understanding of human anatomy. Yoga teachers like Nicole Newman and Elissa Weinzimmer are high on my list of valued colleagues and sources of information. It's my mission to demystify anatomy to singers, who unfortunately often do not receive instruction in how their instruments actually function. So if I get something wrong I'm eager to be enlightened. You, however, completely misconstrued the point of this post and used it as an excuse to hurl some vitriol in my direction.
You can take your instrument to the shop when it needs repairs, but if it's your body that needs a tune-up a customized yoga regimen can work wonders. Continue reading
Posted Jul 31, 2013 at The Liberated Voice
Thanks for the comment, Adrianna! I agree that the Billfold writer is an extreme case. She clearly did not have adequate creative and personal resources to pursue an opera career, which in the end are much more important than financial resources. What's unfortunate is that most aspiring singers can't accurately assess whether they have the requisite creative and personal resources for an opera career until they've already signed on for a degree program. It takes some experience and exposure to figure out whether this is for you. While that's true of most trades, singers are less likely to get a realistic idea of whether they can go the distance from their undergraduate classwork. They don't get a clear picture of what the career path entails or the lifestyle choices that go along with it. It's a given that there will be a certain percentage of people who complete an undergraduate music performance degree and then decide that the career just isn't for them. But when our educational system fails to provide adequate training and career counseling, it engenders the kind of bitterness expressed by the woman who wrote the Billfold piece. Instead of intentionally opting out, singers feel rejected and disenfranchised by a system where the odds are mysteriously stacked against them. Only 20 - 25% of people who enroll in Navy Seal training make it through the program. The training is designed to swiftly weed out those who aren't viable. The percentage of singers who enroll in performance degree programs who end up with professional careers is likely smaller, and for the same reasons: It's a tough job, it's a tough life, and not everyone is cut out for it. We don't do them any favors by granting them degrees without the proper qualifications. They may not be facing actual bullets, but we're still putting them in harm's way.
Toggle Commented Jul 14, 2013 on Investing in Your Voice at The Liberated Voice
com·pres·sion /kəmˈpreSHən/ 1. The action of compressing or being compressed. 2. The reduction in volume (causing an increase in pressure) of the fuel mixture in an internal combustion engine before ignition. I'm intending more the second meaning, which is my reason for putting the word in quotes the first time it appears in my post - after all, the breath is what fuels our engine! To whatever extent you increase the difference in air pressure above or below the glottis, you heighten the intensity with which you'll be able to elicit the Bernoulli effect as you sing. Maintaining tension on the costal muscles of inspiration will increase this air pressure differential. Perhaps not as much as valving off the throat, but quite enough for powerful singing. Engaging the vocal folds with the same expressive intensity you'd use in speech + eliciting the Bernoulli effect = all the resistance you need to sing. With no resistance there will of course be no sound - the vocal folds vibrate together by alternately allowing the air to release and resisting it. But there is no sensation of resistance in the throat and thus no strain or fatigue. When you blow up a balloon, the air inside the balloon is quite "compressed" due to the resistance created by the rubber it's made out of, and it will produce a very loud (and annoying) sound sound simply by stretching the opening long and thin so the air is able to escape, with no additional resistance needed to further compress the air (even though there's now a hole in the container).
Do the heavy lifting with the big muscles, and you'll avoid overly taxing the small ones. Continue reading
Posted Jun 25, 2013 at The Liberated Voice
Don't trust your career ambitions to fate - it's not a good business plan. Continue reading
Posted Jun 7, 2013 at The Liberated Voice
The NYIOPs have the potential to become a worthwhile investment for everyone who auditions. They would benefit from some targeted tweaks. Continue reading
Posted Jun 4, 2013 at The Liberated Voice
Most everything is more effective and expedient with a vibrator. Also a lot more fun. Continue reading
Posted May 20, 2013 at The Liberated Voice