Matt Edwards

Associate Professor of Voice, Shenandoah Conservatory Artistic Director of the CCM Vocal Pedagogy Institute

Embracing new pedagogical approaches: Indirect, tactical, and assertive techniques

Dr. Carla LeFevre (UNCG) wrote an article in the March/April 2015 “Journal of Singing” about teaching a lower laryngeal position and open throat singing. In the article, she identifies three categories of vocal exercises: indirect, tactical, and assertive. I love these categories because I think they clearly and respectfully define different but valid approaches. For example, when working with a student who has tongue tension, an indirect approach would be to say “feel as if your tongue is Jell-O,” a tactical approach would be to stick a straw under the student’s tongue, and an assertive approach would be to massage the muscles underneath the jaw while vocalizing. All of these approaches could work and achieve the same desired outcome as long as you know what you are specifically trying to accomplish in terms of vocal function.

All of our students have different learning styles and personality types as do we their teachers. Some students will respond more to visual cues and others to aural cues. Some will appreciate explanations of how the mechanism works while others will prefer to take in the experience and sense their voice within their body. Over the past few decades, numerous teaching methods have emerged – Speech Level Singing, Estill Training, Jeanie LoVetri’s Somatic Voicework™, Bel Canto Can Belto, Lisa Popeil’s Voiceworks™, The Four Pillars of Singing, and many others. All of these methods present different combinations of indirect, tactical, and assertive approaches that the creators have found to be effective in the training of singers. Obviously these various methods work and produce great results or otherwise they wouldn’t have a following.

So how can we as a profession embrace these contrasting yet similar methodologies instead of engaging in growth-stifling debate? By evaluating their approach within the three categories that Dr. LeFevre has identified rather than competitively comparing them against each other. If a student is already singing on Broadway and has no major complaints, an assertive approach is probably not indicated and could potentially cause problems. In this situation, a more indirect approach will probably yield better results and client satisfaction. However, if the teacher is presented with a student who comes from a low laryngeal classical background and wants to sing rock, a more assertive approach may be warranted. A student who has never felt their larynx rise may benefit from being exposed to those sensations and sounds and the easiest way to get there would be through one of the more assertive techniques.

There are also compelling reasons to include personality type in your evaluation of pedagogical methodologies. If your, or your student’s, Meyers-Briggs personality type includes “thinker” versus “feeler,” you or they may naturally be more attracted to an analytical approach. Some of the Estill and Four Pillars of Singing techniques that focus on laryngeal and other physiological positions may really benefit your teaching and/or singing. However, if you are a “feeler,” you may do better with Somatic Voicework™, which encourages students to experience their voice in their own way and to make adjustments primarily based on registration, vowel, and volume.

Of course you will want to evaluate whether or not a technique will give you the functional result you are seeking. You may also want to consider how the technique aligns with modern scientific understanding of the vocal mechanism. However, by thinking in this manner, you are less likely to throw out potentially useful exercises just because they do not align with your personality or learning type.

Having multiple approaches in your toolbox can only benefit you and your students. My hope is that we as teachers will become more respectful and receptive to approaches that are outside of our comfort zone and begin to encourage growth and change instead of stagnation.


9 comments on “Embracing new pedagogical approaches: Indirect, tactical, and assertive techniques

  1. Cate Frazier-Neely
    September 13, 2015

    Hi Matt, thank you for this post. I would like add that the Somatic Voice Work is kinesthetic, which is what you probably mean by “feeling.” The reason I add this is because for many years teachers told me I needed to “feel” more, and I thought, Lord, if I feel any more I will self-destruct!! They meant kinesthetic sense, like an athlete vs feeling more emotion.


  2. Pingback: Mix it up Monday: Make a plan of action! | Matthew Edwards

  3. Pingback: Mix it up Monday: Sliding around the trouble spots | Matthew Edwards

  4. Pingback: Mix it up Monday: Sipping spaghetti | Matthew Edwards

  5. Pingback: Mix it up Monday: The Chopstick Exercise | Matthew Edwards

  6. Pingback: Mix it up Monday: Vowel, Pitch, and Intensity | Matt Edwards

  7. Pingback: Mix it up Monday: Using falsetto to free the male voice | Matt Edwards

  8. Pingback: Mix it up Monday: Using head-voice to clean up diction | Matt Edwards

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s


This entry was posted on September 12, 2015 by in Misc. Thoughts, Vocal Exercises.

Ranked the #1 New Release in "Vocal and Singing" on (October 2014), "So You Want To Sing Rock 'N' Roll?" covers voice science, vocal health, technique, style, and how to find your artistic voice in a way that is beneficial to both singers and teachers. Order your copy today!

%d bloggers like this: