Movement as an assessment is a way of seeing if, during voice trouble of any kind, elements of the body have been subscribed to sustaining the problem. For example, when someone’s voice is causing them trouble it can trigger extra sub-glottal pressure IE pushing. That pushing can become habitual, so that even if their voice could work better in the future, it won’t because it’s being pushed. In order to quickly assess that and bring about change we can use the arms in certain ways, because they affect the ribcage and the ribcage is part of pushing. In my own teaching, movement becomes part of every session because singers have all kinds of unhelpful physical situations that can be rooted out, instantly changing their voice.
Hi, I’m Chris Johnson and I’m a vocal coach.
Through my coaching work I’m pleased to say that major label artists, West End leads, backing vocalists, singer/songwriters and vocal coaches all put their trust in me to take good care of their instruments.
I thoroughly enjoy the work I do with singing teachers all over the world through teachvoice.com. Through our course we help practising coaches to up-skill, navigate the overwhelming amount of pedagogical options, and develop their own coaching acumen to a high level. I have been invited to present my approach to voice and acoustics to the Pan American Vocology Association (PAVA), Australian National Association of Teachers of Singing (ANATS), Vocology In Practice, The Voice Study Centre and the British Voice Association (BVA). In compliment to coaching, I have trained in laryngeal manual therapies and studied extensively with researchers in vocal acoustics, physical and somatic therapy, and laryngology. Through my popular podcast, The Naked Vocalist, I have also had the opportunity to connect and share with many progressive voice researchers and pedagogues. So far, we have had over 430,000 downloads (and counting!).