<p>@addicted2MT, the post in this same thread from March 16 by @ashleybashley addresses some of your questions about the vocal training at ShenCo.</p>
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I am NOT an expert on vocal training AT ALL, but I think there was a recent thread where one of CC’s resident vocal experts took (scientifically well-supported) issue with the idea that classical training is a good foundation for proper belting (I think he said they use very different muscles and techniques) and with the idea that belting is more harmful to the voice than classical singing. If anyone remembers which thread that was this might be a worthwhile place to add a pointer to it. I think their point was that we shouldn’t perpetuate the myth that belting is bad for the voice.</p>
<p>That said, it is of course ideal if students have the maximum number of tools in their toolboxes, and I also agree that singing ANY style of music incorrectly can damage the voice. :)</p>
<p>@maMTma, I saw that post, but it mentions the use of the LoVetri Method only during the senior year. I was trying to get some clarification as to whether they only do classical for three years and then add pop/belt/rock the last year? It doesn’t seem like enough to me…</p>
<p>I don’t think anyone thinks classical training and belting use the same technique at all. But learning proper foundational skills before trying different styles of singing is usually what is recommended. And even kids who’ve had years of vocal training will find their college instructors wanting them to do some basic things differently than what theyre used to. So font be sirprised if they want to work on some fundamentsls when you first get there.<br>
Even Shenandoah who is known for its teaching of belt and pop rock styles insists on mastery of the classical/legit voice first. It is just healthy preparation before moving in to other styles. Not arguing with anyone. I am sure there are many different methods of training and like schools you have to find the ones that fit you best. My concern is that students find training that will be healthy for them. any kind of singing done the wrong way can be very damaging. So asking the questions of how and when different styles of singing are introduced and why are good questions to ask of any program. </p>
<p>So, I think it totally depends on where you are starting. Some legit singers can’t belt. Some belters can’t sing legit. Some choir kids don’t really do either one well or understand what those terms even mean, they just sing Meanwhile, I have a natural belter who studied classical singing and did opera before MT but prefers belting and is now learning to mix. There’s a lot of variety out there.</p>
<p>Wow ,@Flossy, your description of your D sounds very much like mine, except that mine has been mixing for a while now! My D has been training classically for years and even been in a professional opera, then, one day, she was asked to sing Don’t Rain on My Parade for a school function and she belted the song without knowing what belting was. Her teacher advised me to find her a voice T that could teach her how to belt healthily since we knew there would be no keeping her from continuing. That led to her first MT show and love-at-first-act, so to speak! now she is a jr in HS and starting the madness of preparing for college auditions! I am most grateful for this site!!!</p>
<p>I am not an expert but from what my D said they do want a good classical voice as a sound base to build on. I believe Shenco takes every student on a case by case basis. All students are evaluated then their teachers assigned and lessons tailored to their needs. Some study mixing and belting earlier than others if they are ready. I know she has mentioned working on a variety of music to fill out her rep book. I don’t believe freshman work on the mixed or belt unless they are considered ready. She did mention working on a country song this week. Freshmen are also in choir. She seems to be happy with her progress and very pleased with the emphasis on a healthy voice. She has seen too many friends ruin their voices early on by not learning a good techinique. As she says “this is my money maker so I am going to take my time and learn to do it right”. She also says “my goal is to be steadily employed not famous, I’m in this for the long haul”. Smart girl, some things just can’t be rushed.</p>
<p>@changingmt, sounds like you have quite a mature and level headed young lady! Congrats to you.</p>
<p>I don’t know much about the MT program at Penn State, but a voice faculty member there just had an excellent article on this subject in last month’s (?) Classical Singer magazine. Sounds like they are doing great things there.</p>
<p>Also, Indiana has been mentioned. The MT program is not in the Jacobs School of Music - a VERY well regarded vocal program - but there is cross-over of voice faculty, and students have some freedom in “designing” their own emphasis in MT - or outside do MT.</p>
<p>For all those who asked, I spoke to DD briefly and she said that she is belting/mixing and gets to choose some of the songs she is working on but she also has to work on music her teacher assigns too. Right now she is working on a country song and a classical piece among others. She did confirm that although the Pop/Rock emphasis is during senior year she is currently doing some of this music because she picked it to help fill out her rep book. I hope this helps. </p>
<p>It ABSOLUTELY helps, @changingmt ! I like to hear that the kids can chose to work on some pop/rock songs before senior year if they feel they want/need to and are ready for them.</p>
<p>To clarify the process at Shenandoah:</p>
<p>-The philosophy of voice training within the program is that to be employable in the marketplace every student should be able to sing in styles from legit to pop/rock. </p>
<p>-Each student is individually placed with the teacher that seems to best fit their needs. If the student is already proficient at legit and wants to learn to belt, they will begin working on belt early on. If the student is proficient at belt but deficient in legit, they will still work on belting, but they will be expected to work diligently to improve their legit singing. Those who are already well rounded will continue to work all styles and may very well begin singing pop/rock repertoire before their senior year.</p>
<p>-In their senior year they are taught a pop/rock technique that is heavily based on Somatic Voicework™ the LoVetri method, but they will also learn other techniques based on the needs of the individual. If they are primarily targeting the “legit” market upon graduation, they will continue to work on that material throughout their senior year while also learning to sing rock.</p>
<p>-Singing rock does not mean that everyone sings Metallica. Some voices find a home in 60s folk rock, others are at home in country, and others do well with singer songwriters like Regina Spektor. The training is tailored to the individual so that they feel comfortable with what they sing. </p>
<p>I have a colleague who is researching what constitutes classical technique and what she has found is confusion. Some teachers advocate low breathing while others advocate rib cage breathing, and others say don’t think about the breath. Some advocate a chin tucked in position for classical resonance while others advocate a slightly raised chin. Some talk about balancing the registers, some advocate mainly head register usage, while others insist that registers do not exist.</p>
<p>Many teachers are now moving towards using the term “functional” instead of “classical” to define what constitutes a healthy foundation. Functional training can take many forms but the underlying principle is that the teacher truly understands how the voice works, how to adjust the system based on the individual, how to achieve results with multiple approaches, and they are aware that different genres require different techniques. Functional training can be found in classical voice studios as well as contemporary voice studios. The voice faculty at Shenandoah consists of functional teachers, which is why the students maintain their vocal health and the conservatory has strong singers across the many different degree programs and levels (bachelor through doctorate). Many of the faculty are trained in Somatic Voicework™, some have certificates in Vocology, while others have extensive pedagogy training in non-trademarked techniques. Its an exciting place where the faculty have come together for the greater good of the students and the students are able to excel in ways they never thought possible.</p>
<p>~VT</p>
<p>Thank you Voice Teacher… This is why we love Shenandoah, the staff really cares about their students!</p>
<p>Indeed, THANK YOU @VoiceTeacher! I loved reading your detailed response. I now have a much better understanding and appreciation for Shenandoah. I really like to hear that students get individual attention and that “The training is tailored to the individual so that they feel comfortable with what they sing” since it is inevitable that not all students are on the same level or have the same vocal needs. My D’s past and current voice teachers have both been trained in Somatic Voicework™ the LoVetri method and my D has experienced great success by their instruction, so I am very interested in finding out what is the philosophy of voice training at each of ther prospective schools. I appreciate your thorough explanation. 
</p>
<p>I love @VoiceTeacher 's responses! Always so thorough. Thanks, VT!</p>
<p>Voice Teacher, thank you so much for the very helpful information. I must say that Shenendoah was a bit off of our radar as for some reason I was under the impression the program was only looking for students who were more Pop/Rock oriented right from the start which isn’t my daughter’s current vocal strength. But it is clear to me now that I probably had that impression as you focus on those skills as an important part of the advanced level instruction. My daughter, I’m sure, would love to have the opportunity to safely expand her vocal range at some point and learn healthy belting and pop singing techniques to supplement her classical training. I appreciate you taking the time to clarify how your program evolves. It says a great deal to me about the quality of your training and I’m happy to know that Shenendoah is such a great option!</p>
<p>@VoiceTeacher - your many informative responses, such as this one, on CC - as well as workshops S able to attend at SETC - have put Shenandoah prominently on the radar. We feel that S would get fantastic - and SAFE - coaching there.</p>
<p>Wow, thanks for the great feedback! We do indeed care about the students; we have all been there before and we still remember what it was like to be students. At SU we believe students stand the greatest chance of success when they have the chance to be mentored by faculty in and out of the classroom. You will also find that all of the faculty teach because they absolutely love what they do, not because teaching was a back-up plan.</p>
<p>We recruit students of all backgrounds, so the pop/rock should not scare students away from auditioning. We do expect that if a student wants to attend SU that they are willing to learn how to sing pop/rock (whatever fits their voice) and learn how to belt/mix-belt. As long as they want to learn (even if they think they will never be able to sing that rep), they should audition.</p>
<p>~VT</p>