Estill Voice Training

Estill Voice Training (often abbreviated

EVT) is a programme for developing vocal
skills based on analysing the process of
vocal production into control of specific
structures in the vocal mechanism.[1] By
acquiring the ability to consciously move
each structure the potential for controlled
change of voice quality is increased.[2]
 Estill Voice Training

Abbreviation EVT

Parent organization Estill Voice

International, LLC

British speech and language therapist Sara

Harris writes:

The work allows singing/voice

teachers, voice coaches, and
speech and language therapists
to identify and resolve specific
vocal problems that have
resulted in fatigue or damage to
the vocal folds. Many of the
manoeuvers are already
familiar to speech therapists as
they have been adapted from
traditional techniques but
synthesized into an extremely
creative system. The application
of the system to dysphonic
patients produces excellent
results and the therapist will
gain great confidence in their
own voice use having mastered
 the manoeuvres and qualities
themselves.

— Sara Harris, The Voice

Clinic Handbook, Speech
Therapy for Dysphonia pp
171–172

The system was established in 1988[3] by

American singing voice specialist Jo
Estill,[4] who had been researching in this
field since 1979.[5][6] Estill's research led to
a series of vocal manoeuvres to develop
specific control over individual muscle
groups within the vocal
mechanism.[7][8][9][10] Soto-Morettini
quotes Estill as saying the great strength
of her method is that it can be used for
any style of music,[11] and speech and
language therapists describe the exercises
as valuable to voice therapy as well as
singing,[12] in both professional and non-
professional voice use,[7] offering an
approach for therapeutic intervention.[13]
Estill Voice Training is a trademark of Estill
Voice International, LLC.

Operating principles
Power, Source and Filter: Estill Voice
Training partitions the vocal system into
the three components power, source and
filter[14] extending the existing source-filter
model of speech production. 'Power' is the
source of energy producing the sound
(typically the respiratory system causing
air to be expelled from the lungs). 'Source'
is the component that vibrates to create
the sound waves (the vocal folds). 'Filter'
is the shaping of the sound waves to
create the final result (the vocal tract).[15]
The focus of Estill Voice Training is on the
source and filter components of the vocal
system and the interactions between
them.[16]

Craft, Artistry and Performance Magic:

Estill Voice Training separates the use of
voice into the 'craft' of having control over
the vocal mechanism, the 'artistry' of
expression relative to the material and
context, and the 'performance magic' of a
speaker or singer connecting with their
audience.[17][18] Estill Voice Training has a
focus on the 'craft' aspect and hence has
also been known as Estill Voice Craft by
some practitioners.[3]

Effort Levels: Estill Voice Training uses the

identification and quantification of the
level of work or 'effort' required for
speaking and singing to help develop
kinesthetic feedback.[7] This approach
enables a speaker or singer to recognize,
locate and control the degree of effort
involved in voice production.[19]

Dynamical Systems Theory and Attractor

States: The human vocal system is
extremely complex, involving interactions
between breath flow, moving structures,
resonators and so on. Estill Voice Training
draws on a branch of applied mathematics
known as dynamical systems theory that
helps to describe complex systems. One
key concept Estill Voice Training takes
from dynamical systems theory is the
notion that complex systems can have
attractor states. Attractor states are states
to which a complex system tends towards,
or is attracted to, over time. When applied
to the human vocal system, Estill Voice
Training proposes there are configurations
of the vocal system that are attractor
states, which the speaker or singer uses
habitually or tend towards.[20] For example,
a subject whose attractor state is for their
velum (also known as the soft palate) to
be in a raised position may find it requires
more conscious effort to create a nasal
sound than someone else whose attractor
state is for their velum to be in the lowered
position.

Figures for voice

In Estill Voice Training there are
thirteen[10][21] vocal exercises or 'Figures
for Voice' (named after the 'compulsory
figures' that figure skaters use to
demonstrate proficiency).[7][22][8] Each
exercise or 'figure' establishes control over
a specific structure of the vocal
mechanism, in isolation, by moving the
structure through a number of positions.[2]
For example, the figure for velum (soft
palate) control involves moving the velum
through raised, partially lowered and
lowered positions.[23] The thirteen Figures
for Voice are:

True Vocal Folds: Onset/Offset Control

 False Vocal Folds Control
True Vocal Folds: Body-Cover Control
Thyroid Cartilage Control
Cricoid Cartilage Control
Larynx Control
Velum Control
Tongue Control
Aryepiglottic Spincter Control
Jaw Control
Lips Control
Head and Neck Control
Torso Control

These Figures for Voice exercises have a

focus basic anatomy and vocal physiology,
a knowledge of which helps encourage
deductions on reducing constriction and
healthy voice decisions.[24] Janice
Chapman, the operatic singer, voice
teacher and researcher, writes "Estill
figures lead to a much greater freedom
and flexibility in the demanding work of
the singer and actor."[8]

Figures for Voice are taught on the course

'Level One: Figures for Voice' that typically
lasts three days. In addition to the thirteen
Figures for Voice, Estill Voice Training also
includes the 'Siren' exercise[25] where a
sound is produced across the entire vocal
range.[26] Other figures are historically part
of the model including vocal fold mass[7]
which is now part of true vocal fold body-
cover control, vocal fold plane[7] which is
now part of true vocal folds body-cover
control and exercises for falsetto quality,
and pharyngeal width[2][27] which is now
part of false vocal folds control and head
and neck control.

True Vocal Folds: Onset/Offset Control: In

this figure there are three options for
coordinating expiration and vocal fold
closure:[28][29] glottal where the vocal folds
are closed before expiration, smooth
where vocal fold closure is synchronised
with expiration, and aspirate where
expiration precedes vocal fold closure.
Learning to produce and apply different
onsets marks the beginning of control over
the vocal mechanism.[30]

False Vocal Folds Control: Estill Voice

Training identifies three possible positions
of the false vocal folds: constricted, mid
and retracted.[31] This figure is helpful in
identification of glottal and ventricular
constriction. Its concepts and options are
valuable to voice therapy as well as
singing.[12] The silent laugh technique,
developed into an exercise by Jo Estill, is
widely cited as reducing false vocal fold
constriction.[32][33][23][34][35][36][37]
True Vocal Folds: Body-Cover Control:
The 'body-cover theory' of vocal fold
structure was introduced by Hirano in
1977.[38] This figure demonstrates the
controlled use of the vocal folds in four
body-cover configurations: on the thick
edge, on the thin edge, in a stiff mode, or in
a slack mode.[29][8][39] These body-cover
configurations change or modify the
vibratory modes of the true vocal folds
and, within the dynamical system of the
human voice, effect the intensity of the
sound produced and contribute to what
are commonly labeled as the different
human vocal registers.[40] This figure was
formerly known as vocal fold mass.[7][2]
Thyroid Cartilage Control: This figure
demonstrates control of the position or tilt
of the thyroid cartilage[2][27] through
engagement or disengagement of the
cricothyroid muscle.[41] The speaker or
singer can tilt the thyroid cartilage by
adopting the posture of crying or
sobbing,[42] or making a soft whimpering
noise, like a small dog whining.[43] In Estill
Voice training, it is proposed that the
position of the thyroid cartilage influences
not only pitch but also the quality and
intensity of the sound produced.[41]

Cricoid Cartilage Control: This figure

demonstrates control of the position of
the cricoid cartilage. In Estill Voice training
it is proposed that specific positioning of
the cricoid cartilage is a typical part of the
vocal set-up for shouting and other high-
intensity voice productions employing
higher subglottic pressure.[44]

Larynx Control: This figure trains raising

and lowering of the larynx[8] influencing
resonance. This figure was formerly
known as the larynx height figure.

Velum Control: This figure trains the velum

(also known as the soft palate) and
consists of exercises opening, partially
closing and completely closing the
velopharyngeal port to control the degree
of nasality in the voice.[23][39] Dinah Harris
writes, "Estill has excellent exercises for
learning palatal control."[23]

Tongue Control: This figure demonstrates

the influences of different tongue
postures, such as compressed.[45][39] As a
practical example, Diane Sheets (Estill
Voice Training Certified Course Instructor)
worked on the interaction of tongue and
larynx when dealing with the vocal
problems of Marty Roe, lead vocalist of
Diamond Rio.[46] Control of the tongue can
have subtle resonance changes and give
greater flexibility to the range.[45]
Aryepiglottic Spincter Control: This figure
demonstrates the ability to control twang
in the voice through conscious
anteroposterior narrowing of the
aryepiglottic sphincter in the upper
epilarynx while avoiding constriction of the
false vocal folds.[47][48] Estill suggests that
this laryngeal tube creates a separate
resonator that is responsible for the extra
brightness in phonation.[49]

Jaw Control: The jaw figure demonstrates

the subtle resonance changes in voice
production that are associated with
different positions or postures of the
jaw.[50]
Lips Control: This figure demonstrates
various lip postures employed by speakers
and singers and their subtle impact on
vocal resonance through changing the
length of the vocal tract.[51]

Head and Neck Control: Head and neck

anchoring involves bracing the skeletal
structures of the head and neck gives a
stable external framework for the smaller
muscles that control the vocal tract.[52]

Torso Control: Torso anchoring stabilises

the body and breath.[53][54] Gillyanne Kayes
writes, 'Techniques for anchoring the tone
have been described over the centuries by
singers and teachers under a variety of
names: support, singing from the back,
singing from the neck, appoggiare, rooting,
grounding and connecting the voice. In the
Estill training model, I believe these
techniques have been correctly identified
as postural anchoring.'[55]

Voice qualities
Estill Voice Training incorporates six 'voice
qualities'[56] as mechanisms for
demonstration of voice production control.
The increased control developed through
proficiency in the different Figures for
Voice allows the singer or speaker to
manipulate the vocal mechanism
specifically to produce these arbitrary
voice qualities,[57] and variations on
them.[27] Essentially these voice qualities,
such as 'Sob Quality' and 'Belt Quality', are
constructed from moving the structures of
the vocal mechanism into specific
positions or combinations. For example,
Sob Quality includes a low larynx position
(the larynx figure) and thin vocal folds (the
true vocal fold body & cover figure).[43] The
six voice qualities are:[58]

Speech
Falsetto
Sob
 Twang (Oral and Nasal variations)
Belting
Opera

Voice qualities are taught on the course

'Level Two: Figure Combinations for Six
Voice Qualities' that typically lasts two
days.

Speech: Speech quality is often termed

modal speech by voice scientists or chest
voice by singers.[59][60] Speech quality
includes thick vocal folds and a neutral
larynx position.[61]

Falsetto: In Estill Voice Training

terminology, the term falsetto has a
meaning distinct from falsetto as a male
vocal register in Western classical
terminology.[62]

Sob: Sob quality is a soft and dark sound,

associated with the sobbing cry of an
adult who mourns.[63][64] Sob quality is
produced on a lowered larynx and thinned
vocal folds.[43] Sob quality releases glottal
hyperadduction and medial compression,
lowers the larynx and releases pharyngeal
constriction.[23] Mary Hammond says that
young performers find low larynx and sob
quality less familiar.[65] Cry quality is a
permutation of sob quality adopting a
higher laryngeal position.[56]
Twang: The key to twang quality is a
narrowing of the epilarynx via a narrowing
or constriction of the aryepiglottic
sphincter.[66][27][67] Twang quality has been
used by speakers and singer to boost
vocal resonance or 'squillo' and is referred
to as the speaker's ring or singer's
formant.[66] The quality is excellent when
teaching safe shouting and at cutting
through background noise, increasing
clarity of the voice, and is taught to both
singers and actors to enable them to be
heard clearly in large auditoria without
vocal strain.[49] Twang quality may be
nasalized or oral, as differentiated by an
open or closed velopharyngeal port.[47]
Estill suggests setting the vocal tract
initially by imitating a cat yowling, ducks
quacking, and other exercises.[49][66]

Opera: Opera quality is a complex set-up

including a mix of speech quality and
twang quality with a tilted thyroid cartilage,
lowered larynx.[67]

Belting: Belting or belt quality is a complex

setup combining speech quality, twang
quality, a tilted cricoid cartilage and raised
larynx.[67] Twang is an important
component in belt quality.[49] Gillyanne
Kayes writes, 'Belting is not harmful if you
are doing it right. Jo Estill has described it
as "happy yelling".'[68] Belt quality also uses
clavicular breathing and has the longest
closed phase[69] with the highest
subglottic pressure and the greatest
glottic resistance.[70]

Certification
Estill Voice International governs the Estill
Voice Training Certification Programme.
There are three forms of Estill Voice
Training certification available for
individuals:[71]

Estill Figure Proficiency (EFP) is

awarded to individuals who can
demonstrate the basic options for voice
control taught in Estill Voice Training™
Level One (Figures for Voice Control),
and Level Two (Figure Combinations for
Six Voice Qualities) courses with
appropriate Hand Signals.
Estill Master Trainer (EMT) qualifies an
individual to teach Estill Voice Training
within their private studio, course
practice sessions or classroom setting.
The certification is a two-stage
examination including written and voice
control components, and observed
teaching.
Estill Mentors and Course Instructors
(EMCI) follows Estill Master Trainer,
 qualifying an individual to teach Estill
Voice Training in public courses,
seminars and conferences. The
certification is a two-stage examination
including written and oral components
and observed presentations.

Influence, adoption and

application
Estill Voice Training has been adopted by
voice professionals worldwide and a list of
certified instructors is published by Estill
Voice International.[72] Joan Melton
describes the Estill Voice Training
terminology as a part of the language of
singing teachers in Australia, with terms
such as twang and anchoring in common
use, although "the Estill language is heard
somewhat less frequently in the UK and
only occasionally in the United States."[73]
Freelance voice teacher and speech and
language therapist Christina Shewell
writes, "Estill Voice Training clarifies many
of the complex vocal tract options that
shape the style of a singers voice,
explaining and demonstrating different
combinations of structural conditions, and
many singing teachers use the system as
part of their teaching."[74] The following list
gives some examples of the application of
Estill Voice Training in a range of
disciplines:
Pop Singing: Maureen Scott is a
Certified Master Teacher whose clients
include Mika and The Enemy.[10]
Country Singing: Diane Sheets is a
Certified Course Instructor whose
clients have included Marty Roe of
Nashville Country Band Diamond Rio.[75]
Acting: Estill Voice Training has been
integrated into the training of actors at
Mountview Academy of Theatre Arts in
London.[76]
Musical Theatre: Faculty teaching on
Musical Theatre training courses
reference their Estill Voice Training
certification. Examples include Steven
Chicurel, Certified Course Instructor with
testing privileges and service distinction,
who is an associate professor of theatre
at the University of Central Florida,[77]
and Anne-Marie Speed, Certified Course
Instructor with testing privileges and
service distinction, who teaches spoken
voice on the Musical Theatre course at
the Royal Academy of Music in
London.[78]
Educational Curriculum: Educational
institutions have adopted Estill Voice
Training terminology and exercises into
their curriculum. Examples include the
Drama Centre at Flinders University in
Adelaide, South Australia, where the
Estill-based vocal technique is
taught;[79][80] London College of Music in
its guidelines on the suggested
development of vocal technique, as part
of the music theatre syllabus, uses Estill
Voice Training terminology;[81]
Motherwell College, Scotland, includes
Estill Voice Training in its BA Honours
Musical Theatre and BA Honours Acting
programmes;[82] and at the prestigious
Bird College in London.[76] and the Voice
Performance and Musical Theatre
programmes at Mars Hill College, North
Carolina, include Estill Voice Training in
their curriculum.[17]
Clinical Voice Therapy: Dinah Harris,
contributor to The Voice Clinic
Handbook, recommends learning Estill
Voice Training as it provides many
useful tools for those working in a voice
clinic.[83] Rattenbury, Carding and Finn
present a study that used a range of
Figures for Voice exercises as
prognostic indicators and voice therapy
treatment techniques.[84]
Community Choirs: Thomas Lloyd,
Artistic Director of the Bucks County
Choral Society, writes that he has "seen
and heard results related to sound,
dynamic range, consistency of support,
and vocal color with [his] choirs,
 especially with [his] untrained
singers."[85]

Soto-Morettini writes that, 'although the

Estill method can be very complex, there
are a number of simple things that
students can learn quickly — and that
these simple things can go a long way
towards clearing up the confusion that
attends some vocal training.'[86]

Criticism
Estill Voice Training has been criticised for
not including 'breathing' and the related
abdominal support within the system, and
some of the uses of anchoring for
classical singing,[8][2] although Shewell
cites Jo Estill as suggesting breath work
as unnecessary if the Figures for Voice are
well practiced.[4]

Notes
1. Shewell 2009, p. 335.
2. Mathieson 2001, p. 495.
3. Estill Voice International, LLC 2010a.
4. Shewell 2009, p. 143.
5. Estill & Colton 1979.
6. Colton & Estill 1979.
7. Harris et al. 1998, p. 171.
8. Chapman 2006, p. 257.
9. Houseman 2002, p. 11.
10. Calvi 2007.
11. Soto-Morettini 2006, p. xvi.
12. Harris et al. 1998, p. 177.
13. Martin & Lockhart 2000, p. 100.
14. McDonald Klimek 2007.
15. Obert & Chicurel 2005, p. 8.
16. Sundberg 1987, p. 92.
17. Tobolski 2002, p. 19.
18. Estill 2010.
19. Chapman 2006, pp. 62–63.
20. McDonald Klimek 2005a, p. 7.
21. Golda 2010a, p. 29.
22. Chapman 2006, p. 73.
23. Harris et al. 1998, p. 232.
24. Olson 2001, p. 31.
25. Harris et al. 1998, p. 235.
26. McDonald Klimek 2005a, p. 57.
27. Harris et al. 1998, p. 172.
28. Harris et al. 1998, p. 233.
29. Golda 2010b, p. 32.
30. Harris et al. 1998, p. 165.
31. Shewell 2009, p. 165.
32. Citardi, Yanagisawa & Estill 1996.
33. Kayes 2000, p. 14.
34. Houseman 2002, p. 140.
35. Springer 2007.
36. Mitchell et al. 2003, p. 177.
37. Shewell 2009, pp. 333 and 337.
38. Obert & Chicurel 2005, p. 22.
39. Newham 1998, p. 68.
40. McDonald Klimek 2005a, pp. 43.
41. McDonald Klimek 2005a, pp. 51–56.
42. Speed 2001.
43. Harris et al. 1998, p. 175.
44. McDonald Klimek 2005a, pp. 59–64.
45. McDonald Klimek 2005a, pp. 79–85.
46. Diamond Rio 2009, pp. 240–241.
47. McDonald Klimek 2008, p. 95.
48. Nair 1999, p. 64.
49. Harris et al. 1998, p. 181.
50. McDonald Klimek 2005a, pp. 93–98.
51. McDonald Klimek 2005a, pp. 99–103.
52. McDonald Klimek 2005a, p. 105.
53. Kayes 2004, p. 75.
54. Olson 2001, p. 32.
55. Kayes 2000, p. 69.
56. Kayes 2000, p. 153.
57. Brown 1996, p. 180.
58. Pinksterboer 2008, pp. 108–9.
59. McDonald Klimek 2005b, p. 11.
60. Verdolini & Krebs 1999, p. 228.
61. Kayes 2004, p. 157.
62. Jungr 2002, p. 105.
63. McDonald Klimek 2005b, p. 31.
64. Houseman 2002, p. 138.
65. Melton 2007, p. 79.
66. Lombard & Steinhauer 2005, p. 295.
67. Kayes 2004, p. 158.
68. Kayes 2004, p. 163.
69. Sundberg, Gramming & Lovetri 1991,
p. 60.
70. McNaughton 2002, p. 5.
71. Estill Voice International, LLC 2018b.
72. Estill Voice International, LLC 2010c.
73. Melton 2007, p. 194.
74. Shewell 2009, p. 483.
75. Diamond Rio 2009, pp. 237–244.
76. Lipton & Reeve 2003.
77. Bell & Chicurel 2008, p. 117.
78. Royal Academy of Music 2010, p. 17.
79. Flinders University 2008, pp. 37–41.
80. Flinders University 2010, p. 48.
81. London College of Music 2009, pp. 20–
21.
82. Motherwell College, p. 158.
83. Harris et al. 1998, p. 236.
84. Rattenbury, Carding & Finn 2004.
85. Lloyd 2009, p. 17.
86. Soto-Morettini 2006, p. xv.

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External links
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