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Claudia Friedlander
New York City
Revolutionizing vocal technique with timeless wisdom
Recent Activity
An excerpt from Chapter 12 of The Singer's Audition & Career Handbook: Choosing Audition Repertoire. Continue reading
Posted 5 days ago at The Liberated Voice
An excerpt from Chapter 12 of The Singer's Audition & Career Handbook: Promotional Materials. Continue reading
Posted Jun 13, 2019 at The Liberated Voice
An excerpt from Chapter 15 of The Singer's Audition & Career Handbook: Keeping Afloat. Continue reading
Posted Jun 2, 2019 at The Liberated Voice
I’m a voice teacher with more than 20 years’ experience helping singers learn and improve their technique. I believe that with commitment, excellent instruction, a well-structured practice regimen and a sense of humor, anyone can master singing technique. Continue reading
Posted Mar 6, 2019 at The Liberated Voice
A heads up for sexual predators and the producing organizations who employ them: It’s over. Continue reading
Posted Aug 13, 2018 at The Liberated Voice
Complete Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy & Biomechanics is now available worldwide! Continue reading
Posted Jun 16, 2018 at The Liberated Voice
The soft palate elevates to close the nasal port, contributing to vocal resonance by regulating nasality. Continue reading
Posted Jun 15, 2018 at The Liberated Voice
Your thyroarytenoid and cricothyroid muscles share a partnership similar to the one between your hamstrings and quadriceps. Continue reading
Posted Jun 14, 2018 at The Liberated Voice
My book, Complete Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy and Biomechanics is available for pre-order and comes out this coming Friday, June 15th. As I count down to the release, I’ll share some brief daily excerpts and hope they will inspire you to pick up a copy! Major muscles of respiration. Illustration: Sandy Escobar from Chapter 2: Breathing and Chapter 6: A Singer’s Workout Regimen Cardiorespiratory Fitness The primary function of respiration is the delivery of oxygen to our cells and elimination of carbon dioxide from our bodies. Our level of cardiorespiratory fitness is defined by how... Continue reading
Posted Jun 13, 2018 at The Liberated Voice
Singers require spines that are free of postural distortions, dynamically stabilized rather than rigidly held. Continue reading
Posted Jun 12, 2018 at The Liberated Voice
The best teacher in the world can only teach a singer how to play the instrument they bring to the studio. Continue reading
Posted Jun 11, 2018 at The Liberated Voice
Art can transform rage from a noxious poison into a purifying crucible for expression. Continue reading
Posted Jun 8, 2018 at The Liberated Voice
It is time for people to stop referring to “musicians and singers” as though the former does not contain the latter. Continue reading
Posted May 15, 2018 at The Liberated Voice
Transform your body into an optimal singing machine with my new book on sport-specific training & anatomy for singers, out this spring! Continue reading
Posted Nov 26, 2017 at The Liberated Voice
The application for Joyce DiDonato’s 2018 Master Class series is now available. These guidelines will help you get your materials in great shape for submission. Continue reading
Posted Sep 21, 2017 at The Liberated Voice
Is identity a given, a work in progress, or just an illusion? Continue reading
Posted Jul 17, 2017 at The Liberated Voice
My first two books, Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy, and Biomechanics and The Singer’s Audition & Career Handbook, are forthcoming from Rowman & LIttlefield in spring 2018. Continue reading
Posted Jul 14, 2017 at The Liberated Voice
Artistry may not be something that can be taught, but we can design curricula and create an environment that encourages its development. Continue reading
Posted Apr 25, 2016 at The Liberated Voice
Achieving vocal technical mastery need not be a maddening process. Continue reading
Posted Feb 16, 2016 at The Liberated Voice
Vocal training programs must provide for the cultivation of good alignment, stamina, balanced strength and flexibility, and overall health and well-being. Continue reading
Posted Feb 5, 2016 at The Liberated Voice
Thanks! I'm looking forward to exploring the possibilities as well. Of course, it would take a lot more than any one brain to tackle the issue – I'd love to gather experts on every aspect of vocal performance and education to brainstorm how we can do this better.
A Master of Music is a professional degree - one that by definition qualifies the recipient to practice a trade. We must ensure that our voice MMs are ready to go to work. Continue reading
Posted Jan 31, 2016 at The Liberated Voice
Singers have at least as much in common with athletes as we do instrumentalists. We must create a body capable of virtuosity and let our intentions take complete control. Continue reading
Posted Dec 16, 2015 at The Liberated Voice
Hi David, I had a look at the video you're referring to. Feughtinger recommends a "grooved" position of the tongue, so he would seem to be advocating for engaging the hyoglossus as well as tensing up the other components of the tongue that create this deep groove; in the video I think he is also advocating for singing with a lowered soft palate/uvula. These days most vocologists and vocal pedagogues are in agreement that the ideal position for the tongue is usually in an appropriately arched position, with no retraction/depression of the hyoglossus; there is also wide, albeit not universal, agreement that for classical singing, the soft palate should sustain a raised position closing off the nasal port except when the demands of articulation require that it be otherwise. Creating a deep groove in the tongue and dropping the soft palate is one means of shaping the resonance space. If Feuchtinger and his disciples are able to elicit great results from their students with this approach to articulation and resonance, then clearly it works for them. However, I do not find this is the most effective way to shape resonance - it runs counter to the way I approach articulation and resonance in my own teaching of technique. I can see no advantage to lightly engaging the hyoglossus. Doing so will necessarily create some degree of downward pressure on the larynx, because the hyoglossus originates in the hyoid bone, from which the larynx is suspended. But I also don't think you can evaluate the effectiveness of doing this outside the greater context of what Feuchtinger proposes. I will say, however, that I find it seriously off-putting when a method lays claim to "superiority" and "perfection" the way this web site does! They say, "We are the only course in the world to go into such intense detail to explain how the voice is produced and how it is possible to correct it and develop it." You can't imagine that someone like me to take such language seriously. There is plenty of bad instruction out there, but there are also dedicated teachers conducting valid research and training outstanding singers who would never make such outlandish claims! I realize that you are asking my opinion about Feughtinger's ideas rather than promoting this web site, but wow! So, in short, what Feughtinger is advocating is a specific technique for developing resonance and articulation. I wouldn't go so far as to call it a "discovery," though, because it is not the *only* way to develop resonance and articulation, and strong arguments (also based on anatomy and physiology) can be made in favor of others. best, Claudia
Thanks - really glad you like the post! It is indeed a big part of the problem that there are issues that many voice faculty simply do not know how to address effectively. Voice departments continue to enthusiastically add star performers to their faculties who have excellent ears but little teaching experience or pedagogy background. I often get lesson inquiries from singers who give glowing reports of the teacher they worked w/ for their MM but say, "they weren't really a technician and now I need someone who can help me work through some specific issues." When such a teacher is faced with a student who can't access their top or has a manic vibrato, and this student doesn't respond well to the same exercises that worked for them, they often conclude that it's an insurmountable problem rather than a technical imbalance. The teachers need to understand that these problem have solutions and either learn to help their students solve them or refer them to someone who can.