The Visceral Voice

The Visceral Voice The Visceral Voice - Where Every Voice Matters! www.thevisceralvoice.com

02/15/2026

Quadruped, Lateralization, and the Sternum
This drill isn’t just about the arm. It’s about the sternum and ribcage.
In quadruped, placing a book under one hand gives the ribcage and sternum a reason to rotate toward the side that often gets left behind. Many bodies live in lateralization — favoring one side for support while avoiding the other. This simple setup helps restore options so breath, movement, and voice can organize more efficiently.
If lateralization is a new term for you, check out my free webinar on the website to learn why it matters so much for vocal resilience.

Coming Up! February 18, 2026 at 12:15pm ET via Zoom, Joanne Bozeman and Marita Stryker join The Visceral Voice Vocal Res...
02/13/2026

Coming Up! February 18, 2026 at 12:15pm ET via Zoom, Joanne Bozeman and Marita Stryker join The Visceral Voice Vocal Resilience Academy for a 90 minute guest presentation:
Chronically Singing in the Studio: Supporting Singers with Dynamic Conditions HSD hEDS and POTS
Building on their work at ChronicallySinging.com, Joanne and Marita will offer a clear overview of symptomatic hypermobility and Postural Orthostatic Tachycardia Syndrome and why these dynamic conditions are receiving increased clinical and media attention.
Most importantly, they will share practical, studio ready recommendations for singers and teachers. What changes? What stays the same? How do we adapt load, pacing, breath work, and expectations when the nervous system and connective tissue are part of the story?
Inside the Academy, we talk often about adaptations, pressure management, grounding, and nervous system regulation. This session brings those conversations into real clinical and pedagogical application.

If you teach. If you sing. If you work with hypermobile bodies. This one matters.

Join us inside The Visceral Voice Vocal Resilience Academy.
POTS VoiceTeacher Singers VocalHealth NervousSystemRegulation

02/13/2026

I do not usually have someone fully sing in more active positions, because they can be demanding and revealing.
Kelly Jo felt tension through her first pass in her body and her voice. I noticed she was getting stuck in extension around T8, the mid thoracic spine, so I gave her ribs a reference point, allowing the ribcage and pelvis to stay stacked.
The sound that came from her was emotionally present. The entire room shifted. It was a stunning experience to be a part of.

02/12/2026

The carrying angle matters more than you think.
Your arms are not meant to hang or load straight down from the shoulders. That natural angle between the upper arm and forearm influences how force transfers into the ribcage, neck, and airway. Ignoring it often shows up as shoulder tension, neck gripping, or breath restriction. Finding and respecting your carrying angle can change how your whole system organizes under load.

Sometimes the work looks serious. Sometimes it looks like this.Cross legged on the floor, straw in hand, letting SOVT vo...
02/11/2026

Sometimes the work looks serious. Sometimes it looks like this.
Cross legged on the floor, straw in hand, letting SOVT voicing organize breath, pressure, and sound without forcing anything. Simple, playful, and surprisingly powerful when you let the system do its thing.
Voice work does not always have to look a certain way to be effective.
BreathAndVoice SingersSelfCare

02/10/2026

Before and after when the body is stuck on one side.
In a lateralized pattern, the system can shift onto one side but cannot fully leave it. Weight stays parked, rotation is limited, and the voice has to adapt around that lack of options. You might feel more effort, instability, or inconsistency rather than freedom.
After we find some occupancy, the body can begin to inhabit a side and then transition out of it. Weight moves, rotation returns, breath organizes, and the voice no longer has to compensate for a body that is stuck.
This is why I care less about symmetry and more about options. When the body can move, the voice follows.
BiomechanicsForSingers GroundedVoice

02/09/2026

Core coordination is not the same thing as core strengthening.
In this 90/90 sequence, I am bringing an artist through coordination first. Organizing the relationship between the pelvis, ribcage, and breath so the core knows when to respond instead of constantly gripping. This is about timing, pressure, and adaptability, not intensity.
When coordination is missing, strengthening often adds more effort on top of an already confused system. When coordination is present, strength shows up naturally, with far less work and far more support for the voice.
This is why we always earn strength through coordination in Vocal Resilience and the Academy. The core does not need to be stronger. It needs to be smarter.
BreathAndPressure MovementForVoice

02/06/2026

Cupping a mic always changes the sound system.
As Sarah Algoet shared in her guest workshop this week on microphone technique, artists like Ronnie James Dio cupped intentionally.
When you cup a dynamic microphone, you alter how it behaves. Directionality changes, the frequency response shifts, and the mic becomes more sensitive to feedback. That change is not a problem on its own, but it does need to be understood and communicated.
This is why collaboration matters.
Talk to the sound engineer.
Let them know your habits.
Build the relationship.
They are powerful collaborators in how an audience hears you.
I also believe deeply in collaboration in teaching. Bringing guest instructors into the Vocal Resilience Academy allows singers and teachers to learn from experts across disciplines and perspectives. This kind of cross pollination is where meaningful growth happens.
Grateful to Sarah Algoet for sharing this practical, real world knowledge (you should all take microphone technique🤗), and to Mic University for the visual reference used here.

02/05/2026

Rib flare is not just a posture thing.
It can be a pressure thing.
This rib flare drill has been one of my favorites for clients dealing with acid reflux because it helps reorganize how pressure moves through the ribcage, diaphragm, and abdomen.
This work does not happen in isolation. My clients are supported by a team. Nutrition matters, including thoughtful use of pre and probiotics. Nervous system regulation matters. Breathing patterns matter. Stress reduction matters. This drill is one piece of a much bigger picture.
When the ribcage can soften, move, and respond, the system often feels safer. And when the system feels safer, symptoms tend to quiet.
It is never about fixing one thing.
It is about supporting the whole person.
NervousSystemCare BreathAndVoice BiomechanicsOfVoice

02/04/2026

I reviewed a video of Akshara before our session and thought I knew what I wanted to work with her, but seeing her full body performance, I knew I needed to go to her relationship to the floor. Sometimes we see something up the chain we think we need to address, but it’s coming from somewhere else. This is why the voice is a full body experience.

So I gave Akshara active drills she can do in performance to find the ground.

If you’re interested in finding your own drills for performance, and truly embodying your voice, go to the Link in Bio to join the waitlist for the Vocal Resilience Academy and other resources. Shout out to Cat Boynton for the videos.

02/03/2026

This 90/90 sequence with phonation shows how we coordinate the core before moving into strengthening exercises. No bracing. No gripping. Just clear relationships between breath, building and managing intra abdominal pressure, and integrating the voice.
When the core coordinates well, the larynx gets to do its job.
The sound feels easier.
And the body feels like it is working with you, not against you.
This is the kind of work we build week by week inside the Vocal Resilience Academy.
The second clip has been edited for social because of time constraints. In class, I take more time with the straw phonation. That portion has been clipped here.
BiomechanicsOfVoice VoiceTraining MovementForSingers

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