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$10.00
Four live jazz lessons plus your first online scat solo — Agata Pisko on jazz tone, straw warm-ups, larynx stability and improvising on Autumn Leaves.
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Is there life after the long scale? Tricia Grey takes you into Steps 6 and 7 — balanced onset, dynamics, flexibility, vibrato and power.
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Watch four singers get their belt fixed live. Learn the tongue, throat and vowel adjustments that turn a shouty top note into a strong, easy mix.
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The creator of The Zen of Screaming breaks down four kinds of vocal noise, shows the folds on high-speed video, then teaches fry screaming live.
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Sinuses, whistle voice, nasality, staccato, laryngeal massage, recovery time — teachers ask, the man who coined 'vocology' answers unrehearsed.
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A rapid-fire session of the exercises Dean Kaelin actually reaches for - NG, E-AH, the whoop slide - plus the lip trick he calls the anti-ventriloquist voice.
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Mark Baxter asks what mix teaching actually is, then answers it with three interacting systems - vocology, neurology and psychology - and how to work any of them.
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A phoniatrician and 20-year metal singer shows what the larynx really does during growls and screams - and why done right, it is safer than it sounds.
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Still unsure what mix actually sounds like? Kaelin decodes formants and harmonics in teacher language, then plays real singers so you can test your ear.
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Watch Matthew Edwards take two musical theatre singers through pop-rock audition cuts — stripping out the theatre-isms and rebuilding the sound in real time.
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Grab a glass of water, a spoon and a mirror. Paulina Kujawska shows teachers how tongue posture, swallowing and tongue-tie shape the voice you hear.
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Mark Baxter opens singing a rewritten Tina Turner parody and closes by arguing the one thing science can't measure is the thing your student is missing.
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The creator of the UVO straw shows voice teachers how to build a second income stream that keeps earning while you teach.
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A Chicago laryngologist shows what serious illness does to the airway — and the exact breathing, medication and trauma-informed steps that bring singers back.
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The YouTube vocal analyst with 650,000 subscribers shows you exactly how he runs a full-time online studio, from Zoom settings to filling your calendar.
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Stop teaching genres and start reverse-engineering them. Edwards hands you the listening tools to decode any style — and teach it the very next lesson.
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Kim Chandler proves your warm-ups are stuck in the major scale - then hands you chromatic, pentatonic, Dorian, Lydian and whole-tone exercises to fix it.
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A licensed psychologist and flow researcher shows you how to stop students spiraling into anxiety and prime them for peak performance instead.
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Two real students, two real songs. Watch how one small change in tongue position transforms tone, mix and confidence inside a single lesson.
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The founder of IVTOM defines mix three ways - what it feels like, what the muscles do, what the acoustics do - then proves it on two live students.
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Why telling a singer to open the pharynx often closes it, which tongue muscle is really working, and the red flags that mean your student cannot comply.
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Dr. Jon Skidmore reframes imposter syndrome as a protector rather than an enemy, with live exercises that train the deciding part of your brain.
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A recorded IVTOM session presented by Kelley Hijleh. Transcript could not be generated, so the content of this session has not yet been described.
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What belt actually is, physically and acoustically - then John Henny tunes four live singers into it, one vowel at a time, on Beyonce, Journey and Whitney.
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A guided tour of the IVTOM website — community wall, forums, messaging, teacher resources, and the Find a Mix Teacher listing that sends you referrals.
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Hear real patient audio, guess the diagnosis, then watch the laryngoscopy reveal the truth — with a vocologist, an ENT and a speech pathologist.
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Professor emeritus Kenneth Bozeman explains open, closed and whoop timbre, spectral tone color and auditory roughness — then shows you how to use them in the studio.
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Dean Kaelin shows how to give a singer a loud, aggressive, even extreme sound without the wear and tear — live, with two very different students.
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Watch Kenneth Bozeman rebuild three singers' top notes in real time using tonguey vowels, affect and buzz-tracking — classical and musical theatre.
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Should singers open the nasal port or not? Johan Sundberg settles it with five experiments, then unpacks breathy, flow and pressed phonation.
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Fernando Zimmermann shows the physiology behind four families of vocal distortion, with scope footage of his own larynx, then the commands to produce each.
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Why singers seize up on high notes, and what to do about it. John Henny on fascia, biotensegrity, and imagery that actually connects to function.
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Watch Mary Saunders Barton coach three musical theatre singers live — reshaping high belt vowels, freeing pressure, and finding the moment before the lyric.
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A singer with cerebral palsy on what actually worked in his lessons, and the teaching habits that got him past ceilings he thought were permanent.
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Opera director Dr. Marc Reynolds shows how story, visualization and body language unlock vocal technique. Start with the conversation, not the singing.
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What happens in the brain before a single note? Mary Saunders-Barton's pre-phonatory checklist, and how character and story build a flexible, healthy technique.
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Megan Durham shows voice teachers how to recognize stress responses in the body, honor a student's "no," and use somatic tools that keep singers present.
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Your student can sing the notes - now what? Dean Kaelin walks through the finishing work that separates a competent singer from one people want to hear.
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Listen to six real patients, guess the diagnosis, then watch the scope footage. A speech pathologist shows where trained ears get it wrong.
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Dominika Plonka unpacks the physiology and acoustics behind the exercises you already teach - so you can stop borrowing methods and design your own.
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Sam Johnson turns vocal acoustics into practical studio tools — formants, turnover and decoupling — then proves it live on two teenage singers.
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A La Scala ENT shares the aerosol research, mask evidence and daily habits that keep singers healthy enough to actually show up and perform.
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A performance psychologist on why injured singers stall — and how grieving, treated as a peak performance skill, gets them back on stage without fear.
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Mary Ann Kehler walks you through the exact outline she uses with college audition students and their parents — 20 years of process in 90 minutes.
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A Tony honoree and Grammy nominee on how she trained, how she got cast, and the register-by-register system she now uses with pop and theatre singers.
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Three kinds of frequency, finally untangled. Dr. Richard Lissemore takes fold oscillation, harmonics and vocal tract resonance from "I'm out" to obvious.
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Six research-backed benefits of semi-occluded vocal tract work, the exact straw and water pressures that produce them, and a live workshop you can copy.
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Master one phrase and you master the whole song. Chrissy Cooley Rogers teaches balanced onset, the legato factor and dynamic balance, live.
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Meredith Colby turns neuroscience into studio technique: interoception, motor memory and neuroplasticity, taught through exercises you do in the room.
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Tricia Grey and veteran teacher Lewis screen-share a full lesson flow: diagnose the voice, pick the right path, and run it all over Zoom without losing your voice.
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A speech-language pathologist with thousands of endoscopies shows you the real anatomy behind twang, ring and warmth — with live MRI and scope footage.
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The under-vowel/over-vowel setup, the tongue and space adjustments, and the "butter" on top that make big high notes land the same way every time.
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Technique gets you the notes; style sells the song. Kaelin teaches the licks, rhythm and extreme sounds that stop a pop singer from being boring.
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Watch Dean Kaelin take one musical theater singer from legit to character voice to belt to mix in a single live lesson - same technique throughout.
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What really separates belt from mix, character voice from legit? Kaelin breaks each down by cord thickness, vowel placement and formant, with audio examples.
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A speech-language pathologist and vocal coach shows you what actually injures voices, how to spot the warning signs early, and the two-minute reset you can teach on Monday.
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Ian Howell teaches you to hear the voice functionally: warmth, buzz and airflow, and the physical adjustments behind each one.
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Turn gigs into shows people talk about. Value proposition, stage movement, and banter that keeps an audience with you from first song to last.
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Meredith Colby shows why pop singers need a coach, not a corrector, then proves it live, coaching a working singer through the high note she was fighting.
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Why the first resonance decides whether you yell, hoot or mix, shown on VoceVista and then tested live on real singers.
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Linda Balliro turns applied neuroscience into lesson-room tools, plus her BRAVE framework for stress, confidence and stage fright.
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The Voice alum and Foreign Figures frontman opens his books on Spotify's algorithm, sold-out local shows and the social posts that actually convert.
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Stop tweaking. Meredith Colby shows how giving one point of selective attention rewires a singer's motor memory faster than your best correction.
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Dr. Kittie Verdolini Abbott on why your instructions may be blocking learning — and the four-word method she uses instead.
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Creaky, growl, grunt and overdrive, shown on real endoscopy footage, then three singers coached live into their first safe distortion.
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Kaelin plays real singers — flipping, splatting, damaged, barely mixing — and works a room of teachers through what is wrong and where they would start.
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Legato is not one skill but five. Dominika Plonka breaks them apart, then rebuilds them live on two singers' ballads.
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Watch two full lessons as Ballantyne uses targeted speech phrases, primal sounds and a white-noise speaker to carry singers through the chest-to-mix transition.
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The American R lowers the third formant. Ballantyne shows how to use that quirk to build a second-formant strategy - and a freer mixed belt - in minutes.
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Why a reliable voice can turn unpredictable in a singer's late 40s, what is actually happening in the folds, and how to teach her through it.
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Kenneth Bozeman maps the acoustic registers every singer crosses — and shows you how to let vowel, timbre and sensation migrate instead of fighting them.
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Chest, head, mix, belt, legit, falsetto, modes — Mary Saunders-Barton sorts the words we use from what the voice is really doing, then proves it on live singers.
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Which songs actually build a young musical theatre voice — and which ones expose it. Mary Saunders-Barton walks her developmental repertoire list for women and men.
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John Henny breaks down the acoustics of high belt, then coaches three live singers through Benatar, Rihanna and more - vowel by vowel, note by note.
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John Henny translates acoustics into what you actually say in a lesson - formants, vowels, jaw drop - then proves it on two live singers.
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A physician's tour of vocal fold oscillation - the three conditions voice requires, what Bernoulli really does, and why straws work. Plus thyroid disease and the voice.
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Elisabeth Howard teaches the Vocal Power Method live: out-and-down support, chest and head mix, colors and five vibratos, with volunteers coached on stage.
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Part three of Kaelin's mix series: the small vowel adjustments that turn a technically correct singer into a consistent, finished, professional-sounding one.
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Two hours on what mix actually is — mechanically, acoustically, perceptually — with real spectra from Menzel, Merman, Pavarotti and Sutherland.
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Psychologist Jon Skidmore walks teachers through the exact calming tools, exposure drills and reframing questions he uses with anxious performers.
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Richard Lissemore unpacks his own dissertation research on what sopranos actually do between D5 and F5 — with ultrasound tongue imaging and hard acoustic data.
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Watch Richard Lissemore coach two volunteer sopranos through the second passaggio with real-time spectrum analysis showing exactly when the turnover happens.
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Lissemore makes the case for training men through falsetto — the exercises, the exact starting pitches, and why most teachers begin far too high.
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Teri Stock shows the exercises and conversations she uses to bring damaged voices back — straws, lip bubbles, vibrato work and honest vocal budgeting.
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Walk through Tricia Grey's step-by-step vocal development method — assessment, breath, register isolation and mixing — with live exercises and backing tracks.
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Watch Kaelin take a classically trained baritone from a screamed-out E-flat to easy high notes — in a genuine first lesson, filmed live in front of teachers.
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Why your student can do it in the lesson but not at home. Linda Balliro on motor learning, internal vs external focus, and three live demos that prove it.
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A certified Fitzmaurice teacher puts a room of voice teachers on the floor to feel destructuring, then stands them up to sing from a released body.
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A voice-specialist SLP shares the intake questions, handicap indexes and rating scale she uses on every singer, plus the cases that fooled her.
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Kaelin coaches three live singers out of a neutral mix into legit, belt and rock — same technique, just a different balance of air, muscle and vowel.
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Clinical psychologist Dr. Jon Skidmore shows voice teachers how to recognize mood, anxiety and thought disorders in students, and exactly when to refer out.
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Lissemore walks teachers through sound waves, harmonics, resonance and the vowel "resonance dance" — the science-informed foundation for smarter pedagogy.
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A full standard pedagogy for female belt — the octave rule, belt passaggio, best belt vowels, belt vs. yell — plus live coaching of two singers on real repertoire.
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Watch Mark Baxter coach four live singers on Zoom — original songs, covers, a laryngitis emergency, and a college-bound belter — in one IVTOM masterclass.
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A speech pathologist and a voice teacher work live with Cory, a trans masculine singer, on pitch, resonance and stability through testosterone.
