Complete Vocal Institute

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Complete Vocal Institute (often abbreviated to CVI) is an educational institution,
located at Kultorvet in Copenhagen. The Institute was opened in 2005 and uses a
teaching method called Complete Vocal Technique (often abbreviated to CVT), which
was developed by singer and voice researcher Cathrine Sadolin. CVI educates
professionals and semi-professional singers and teachers and there are ongoing
about 250 singers (2012) associated with the longer courses.

The theoretical and practical basis for the school - Complete Vocal Technique - is
also the name of a book[1] on techniques written by Cathrine Sadolin. The
educational book Complete Vocal Technique incl. audio examples and exercises are
published in seven languages: Danish, Swedish, Finnish, English, Dutch, French and
German. Demand for courses at the school was right from the start so great that CVI
in both 2007 and 2008 were among Denmark�s fastest growing companies.[2][3][4]

Contents
1 Complete Vocal Technique
1.1 The four principles
2 The courses
3 Background and research
4 Notes
5 References
6 External links
7 Notes and references added
Complete Vocal Technique
�Complete Vocal Technique,� or CVT, is an internationally widespread method for
teaching voice.[5] CVT is divided into four main principles, and by combining parts
of these principles singers can produce the sounds they want. This also makes it
possible to pinpoint and correct specific problems and errors without having to
change the parts the singer are happy with.

The four principles

Three basic principles (to ensure vocal health)
Four modes: Neutral, Curbing,[6] Overdrive,[7][5] and Edge[7] (to select the "gear"
you want to sing in)
Sound color (making the voice brighter or darker)
Effects (to acquire special sounds)
CVI sees all sounds as equal and all sounds can be made in a healthy way. Singing
technique is therefore a technique for all styles of singing. Authorized CVT
teachers should not express their personal taste. It is only the singer, who
decides what he or she wants to work with and it's only the singer who has
influence on the final result.

When the method is called Complete Vocal Technique it refers to the idea that the
techniques cover all the sounds the human voice can produce. The method is not
perceived as complete in the sense, that there is no room for improvement. Research
is ongoing and techniques are updated regularly. The goal of Complete Vocal
Institute is to explain the voice in a simple and understandable manner and ensure
that the desired sounds are produced in a healthy way so that the singers avoid
damage to their voice.

The courses
Singers with a professional or semi-professional background can apply for admission
to a number of courses of varying length and content. Singers can choose to follow
the courses in Copenhagen or in a number of countries, where there are authorized
CVT teachers. The shortest courses are 1�5 days while it takes three years to
become a licensed CVT teacher. Singers who want to focus exclusively on their own
singing can choose between courses of three months to one year. Subsequently, the
singers can choose to continue on so-called Advanced courses.

The 3-year singer/teacher-education - is required to be licensed as an Authorised

CVT Teacher. The first 23 teachers completed the course in 2005 and were assigned
to CVI when the Institute opened the same year. Today (2012) there are 131 licensed
CVT teachers from 12 countries and a further 128 are taking the course. Teachers
are trained in identifying the singers' learning type and adapting the tuition
after each singer. There is a large age spread among the singers at the teacher
education and they come from the Nordic countries and Europe. There are also
trained teachers from countries such as Egypt, Philippines and USA. After
graduating as a CVT-teacher their typically teach at conservatories, universities,
theaters, studios, music schools and privately.

Background and research

The education system used on CVI is created by Cathrine Sadolin. Due to asthma from
childhood she received singing lessons to control her breathing. Because of the
illness, she had to develop her own techniques to produce the desired sounds. Her
first step was to understand the body and the vocal physiology and she experimented
with producing the desired sounds in other ways than the already known methods.

Through research of the anatomy and physiology and all types of singers, she found
out that there is an underlying structure behind the sounds that a human can do.
This was divided into four different modes that cover all the sounds the human
voice can produce. She worked also with a range of professional singers to try out
the techniques, when they wanted to produce specific sounds or had problems with
their voice. The work formed the basis for the techniques Complete Vocal Institute
currently uses and Cathrine Sadolin has continued the voice research together with
physicians and acousticians. Cathrine Sadolin has been invited to speak in the
voice conferences in Europe and USA since 1996.

In 2007, she started to collaborate with consultant ENT Surgeon Julian McGlashan
from Nottingham University Hospital. Their first joint research study was published
in February 2007 on auditive research, where speech therapists had to determine
which voice modes was used by listening to song samples. After that they cooperated
to show the laryngeal gestures in the various effects e.g. distortion, growl,
grunt, creaks and creaking, rattle, Scream, vocal breaks, etc.

Since then they have worked with visual detection, where test subjects had to
determine the different singing modes without hearing the sound, but by looking at
photos and videos of the larynx during singing, recorded with an endoscope camera.
The camera is led in through the nose so it can record the vocal folds and larynx
movements during singing. Furthermore EGG measurements where electrodes are placed
on the larynx to record the vocal movements during singing and speaking are used to
detect the various vocal modes.

Currently (2012) Cathrine Sadolin and Julian McGlashan are researching the
terminology used in describing singing and the use of the voice.

Together with sound specialist Eddy B. Brixen (from DPA) and EBB-consult, there is
ongoing research in making spectral analysis of the sound spectrum, the voice
produces with the various modes.

In addition to testing the techniques in a scientific way another goal is that an

outsider will be able to identify the different voice modes on a purely objective
basis, without prior knowledge of singing.

Notes
Sadolin, Cathrine (2008). Complete Vocal Technique. Copenhagen: Shout
Publications. ISBN 9788799243617.
"Gazelle list 2007" (PDF). Retrieved 8 February 2012.
"What is a Gazelle company" (PDF). Retrieved 8 February 2012.
"Gazelle list 2008" (PDF).
Sundberg, Johan; Bitelli, Maddalena; Holmberg, Annika; Laaksonen, Ville (2017-03-
24). "The "Overdrive" Mode in the "Complete Vocal Technique": A Preliminary Study".
Journal of Voice. 0 (0). doi:10.1016/j.jvoice.2017.02.009. ISSN 0892-1997. PMID
28347616.
Thuesen, Mathias Aaen; McGlashan, Julian; Sadolin, Cathrine. "Curbing�The Metallic
Mode In-between". Journal of Voice. 0 (0). doi:10.1016/j.jvoice.2017.01.010. ISSN
0892-1997.
McGlashan, Julian; Thuesen, Mathias Aaen; Sadolin, Cathrine (2017-05-01).
"Overdrive and Edge as Refiners of "Belting"?". Journal of Voice. 31 (3):
385.e11�385.e22. doi:10.1016/j.jvoice.2016.09.006. ISSN 0892-1997. PMID 27876301.
References
Algoet, Sarah, E. Eraly, B. Vandaele, W. Decoster, F. De Jong (2015). "The
vibratory pattern of the vocal folds in the four vocal modes of complete vocal
technique. A videokymographic study." Paper presented at the 11th Pan European
Voice Conference 2015 (PEVOC), Florence, Italy, August 31 to September 4th.
Abstract available in Pan European Voice Conference: Pevoc 11 Abstract Book, p. 22
Andersson, Margareta & Tanggaard, Ulla (2007). Arbete med sceniskt uttryck inom
s�ngundervisning: En j�mf�rande studie om s�ngundervisning inom olika genrer.
Independent BA thesis, Gothenburg University (in Swedish).
Bargmann, Susanne, Ulrik Elholm and Jan Lysdahl (2016). Bliv bedre med fokuseret
tr�ning. Lindhardt og Ringhof. ISBN 8750045873, 9788750045878. (in Danish)
Gustafsson, Josefine (2009). Teknik eller interpretation. Independent BA thesis,
Royal College of Music in Stockholm (Swedish).
Huuva, Malin & Josefine Wil�n (2010). S�ngundervisning i Samklang. Independent
thesis Basic level (professional degree), Lule� University of Technology (in
Swedish).
Jarman, Freya (2017). "High Notes, High Drama: Musical climaxes and gender politics
in tenor heroes and Broadway women." In The Routledge Research Companion to Popular
Music and Gender, edited by Stan Hawkins. Routledge/Taylor & Francis. ISBN
1317042034, 9781317042037
Liljeland, Cecilia (2008). V�gen til en S�ngr�st. Independent BA thesis, Gothenburg
University (in Swedish).
McGlashan, Julian, Mathias Aaen Thuesen, and Cathrine Sadolin (2017). "Overdrive
and Edge as Refiners of �Belting�?: An Empirical Study Qualifying and Categorizing
�Belting� Based on Audio Perception, Laryngostroboscopic Imaging, Acoustics, LTAS,
and EGG." Journal of Voice 31, no. 3 (May 2017), 385.e11�385.e22. DOI:
https://dx.doi.org/10.1016/j.jvoice.2016.09.006.
Pekkari, Cecilia (2004). L�rande och arbetsformer f�r s�ng inom popul�rmusikaliska
genrer. Independent thesis Basic level (professional degree), Lule� University of
Technology (in Swedish).
Reinedahl, Ester-Marie (2009). Ulike metoder hvorved man kan undervise sangelever
om pust og st�tteteknikk. Independent BA thesis, Gothenburg University (in
Swedish).
Sadolin, Cathrine (2008). Complete Vocal Technique. Shout Publications. ISBN
9788799243617.
Sadolin, Cathrine (2009). Healthy production of rough vocal effects and other
sounds that by many are considered harming for the voice. Presented at the 8th Pan
European Voice Conference 2009 (PEVOC), Dresden, Germany, August 26-29.
Sundberg, Johan, Maddalena Bitelli, Annika Holmberg, and Ville Laaksonen (2017).
"The �Overdrive� Mode in the �Complete Vocal Technique�: A Preliminary Study."
Journal of Voice (Article in press), Published online: March 24, 2017. Accessed
July 24, 2017. DOI: https://dx.doi.org/10.1016/j.jvoice.2017.02.009.
Thuesen, Mathias Aaen, Julian McGlashan, and Cathrine Sadolin (2017). "Curbing�The
Metallic Mode In-between: An empirical study qualifying and categorizing restrained
sounds known as Curbing based on audio perception, laryngostroboscopic imaging,
acoustics, LTAS, and EGG." Journal of Voice (Article in press), Published online:
March 04, 2017. Accessed July 24, 2017. DOI:
https://dx.doi.org/10.1016/j.jvoice.2017.01.010.
Widegren, Anne (2008). G�r s�ngpedagogen n�gon skillnad?. Independent BA thesis,
Royal College of Music in Stockholm (Swedish).
External links
http://www.completevocalinstitute.com/
http://cvtresearch.com/
Notes and references added

Categories: Music schools in Denmark

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