Voice Workshops & Master Classes

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1 presents: Voice Workshops & Master Classes Audrey Pernell, Certified Roy Hart Voice Teacher Andrés Zará, Artistic Coach: Voice, Music, Performance Contact Information: Facebook: RumbosChile

2 OVERVIEW RUMBOS Laboratorio Artístico Vocal offers a variety of intensive workshops and master classes in vocal exploration and performance training in the fields of music, theatre, and personal development. We propose durations of 4 hours for master classes, and a minimum of 10 hours (2 days) for workshops, although we can adjust to meet the needs of each institution. Most activities are designed for participants with or without prior experience in voice work. We can modify the majority of these options for adults or children. Students should wear comfortable clothing for physical training (no jeans), and be prepared to work without shoes. All activities can be led in both English and Spanish. Our fees vary according to the duration, number of students, technical requirements, and number of necessary teachers and assistants. 2

3 VOICE WORKSHOPS STUDENTS 2-5 DAYS 1. Following the Expressive Voice In this workshop, we will explore the intimate relationship between the voice and the unique person behind it: the profound connection between singing and being, in which the creative act of singing becomes the most revealing expression of who we are as artists and as people. It is an integrative approach to voice work that seeks to develop the bridges between body, emotion, imagination, and musicality, all in service to the performer s artistic journey and personal development. Exploring improvisation dynamics, we will take creative risks to extend our vocal range, visiting a wide variety of sounds and expressive states especially the places that we tend to avoid. By suspending ourselves in these moments of conflict and doubt, we can open unexpected possibilities and connect ourselves to where the sound wants to go, beyond what we think we want from our voices. In doing so, we can learn to value the whole of our instrument and what our expressive voice has to offer, leading us to sing generously with authenticity, pleasure, and purpose. Curiously, Roy Hart is famous for having said I have no method. In this no- method approach to voice pedagogy, the teachers follow their intuition in the moment, based on what they perceive to be the need of the voice they hear, the body they see, and the presence they feel from each person. They guide students to connect with their vocal impulses, accepting the voice just as it is, and expressing what their voice has to say. Maximum of 14 participants. We can work with 20 people if we divide the group, using two rooms at the same time. Minimum of 2 days, 5 hours per day ` 2. Voice and Music Improvisation Follow your voice discover the music. Follow the music discover your voice. What music do you have hidden within your voice? What voices can you discover when you adventure into new musical territories? In this workshop we will explore the special relationship between voice and music, working with four different improvisation dynamics for performance and practice. We ll improvise in order to: Extend vocal and musical ranges Cultivate a personal warm- up Develop and interpret unique versions of songs Create original compositions in live performance FOLLOW THE VOICE In this work, our voices will travel to different places : Tones, timbres, textures, and intensities. When we allow ourselves to experiment, observe, and accept these vocal worlds without expectation, we can develop the capacity to feel intuitively where our voice wants to go. In this way, we learn to follow the voice and its creative impulses toward the melodies and stories hidden within the sound. Follow your voice discover the music. FOLLOW THE MUSIC We invite students to take a journey into the world of vocal improvisation, immersing themselves in different musical origins and structures. We ll explore the sound spaces, harmonic and rhythmic languages, interpretation conventions, and cultural contexts of various styles: 3

4 Blues and Scat Bolero and Latin American Ballad Flamenco Free Improvisation o Voice and piano o Voices a cappella: Melodies, rhythms, texts, expressive sounds and vocal effects We all feel music in our bodies, and experience it everyday in our thoughts and emotions. This workshop offers students a space to discover and train their own musicality. They will acquire basic musical tools that will help them to sing in live performance with more confidence and ability, as well as deeper esthetic sense and artistic purpose. Developing your musical voice allows you to find a language to express what your artistic voice wants to say. Follow the music discover your voice. Maximum of 14 participants. We can work with 20 people if we divide the group, using two rooms at the same time. Minimum of 5 days, 5 hours per day 3. Workshops in Song, Collective Creation, Vocal/Physical Training, & Spanish Language Immersion RUMBOS can custom- design an intensive workshop to meet your needs by developing or combining any of the themes proposed in our master classes (see below). Maximum of 14 participants. We can work with 20 people if we divide the group, using two rooms at the same time. Minimum of 2 days, 5 hours per day MASTER CLASSES PARTICIPANTS / OBSERVERS 4 HOURS 1. IMPROVOICE Collective Creation with Spontaneous SOUND, STORY and SONG In this class we ll submerge ourselves in the exiting world of free vocal improvisation, discovering endless possibilities for musical and theatrical performance. First, through a combination of theoretical and practical work, we will playfully demystify the vocal and musical terminology used in our professional field: resonance, tuning, placement, register, tone, timbre, texture, intensity, etc. Then, by experimenting with different qualities through vocal play, we ll learn to open imaginative spaces in the sound. In doing so, students will be able to understand the vocal instrument both intellectually and practically. Soon we ll apply what we ve learned to the art of free vocal improvisation, individually and collectively, using all of our resources to stimulate our voices creativity. Melodies and rhythms, words and breaths. Percussive sounds, expressive sounds, and sound effects. The musicality in spoken language and the poetry within the melodic motive. In no time at all we ll be inventing intriguing sound atmospheres and explosive vocal symphonies. Rituals that open our capacity to listen and create. Exploring a few basic composition principles, we ll learn to follow our musical mistakes and vocal accidents towards flashes of catharsis and artistic genius, inspiring original musical and theatrical material. 2. Choral Improvisation This class offers musical and interpretative tools for collective improvised singing, exploring the basic principle of what it means to sing in tune the delicate balance in the relationships that exist between my voice and I together with my voice and other voices. Using movement and voice dynamics tailored to the experience and ability of each student, we will open our capacity to listen and receive the singing of others as a means to unlock the mysterious creative potential of our own singing voice. In this way, we will 4

5 develop a vocal dialogue, an intuitive exchange that will allow us to invent spontaneous compositions rooted in a sense of musicality, as well as a need to create an atmosphere and tell a story as we sing. By tapping into and trusting our collective moment- to- moment impulses, we practice the art of improvisation at its core. 3. The Body Sings: Vocal and Physical Training Through vocal dynamics to train the body and physical exercises to open possibilities in the voice, we give artists material to develop an integrative personal practice to help maximize their creative potential and prepare for their performances. It is also a wonderful class for both emerging and seasoned voice teachers who seek to develop or refresh their pedagogic methods. Themes to explore: building body awareness; renewing vocal elasticity; following physical and vocal impulses; practical tools for dealing with performance anxiety; techniques in breathing, yoga, massage, and bodywork for vocalists; collective singing, improvisation and vocal play for group warm- ups. 4. El Cuerpo Escucha (The Body Listens) A bilingual class to move your body, activate your listening, and abrir tu voz! This class, led in Spanish and English, develops the relationship between voice and body in the study of a foreign language. We will explore vocal and physical training exercises incorporating musical and theatrical elements to stimulate muscular memory, visit new resonance spaces, and absorb the fundamental pillars of oral Spanish. This process encourages instant comprehension, through the union of words and physical actions a body that learns in motion. Little by little we ll acquire tools to experience the richness of Spanish in both our speaking and singing voice. A fun and fluid phonetics class for students of all ages. No prior experience required. Just jump in and enjoy the journey, Buen viaje! 5. La Voz Rítmica (The Rhythmic Voice) An introduction to Latin American popular song styles Do you know how to tell the difference between Bolero and Cumbia? Tonada and Zamba? How do you know when you re listening to Bossa Nova? It s all about the rhythm. In this class, we ll take you on a rhythmic journey, way down south, to playfully explore the richness of Latin American popular music. Through movement, gesture, and dance we ll learn to feel the rhythm in our bodies and create an ensemble of percussive voices to accompany songs from different countries. Working collectively and individually, we will also address Spanish phonetics, and the underlying musicality within the poetry presented in each piece. A fantastic workshop for Spanish language- learners, pop singers, and choral ensembles. 6. African American Spirituals In this class we will explore traditional vocal and musical elements of the Spirituals: call and response, syncopation, spontaneous expression, free improvisation, and a sense of communion. Using voice and movement work, we ll create a counterpoint of stirring verses and rhythmic chants, inviting a deep connection between voice, body, and emotion, and playfully awakening our intuitive intelligence and sensitivity as singers. In doing so, we will inspire a new appreciation for the artistic and historic roots of contemporary Western popular music, as well as tune into our intrinsic human need to voice to express, connect, and create. 7. Blues Origins Blues Origins invites participants to discover and delve into principles of the Blues as it first emerged from the Spirituals, and the newly- freed African Americans need to express the loneliness and conflicts they faced as they ventured out of slavery to their individual destinies, and, consequently, to their distinctive 5

6 voices and original songs. In this class, we ll explore creative improvisation and musical dialogue as essential elements to finding ones unique voice to sing the Blues. Students will learn to approach the genre from their own personal stories and experiences their needs, motivations, physical and emotional states, and above all, their perceived obstacles in life and in art. In this way, we ll travel beyond twentieth- century musical conventions and structures to the roots of the Blues connecting authentically to what our voices have to sing in the present moment. 8. RUMBOS Expedition In this class we will work with a selection of folk songs from different countries of the world: Chile, Venezuela, Brazil, South Africa, Croatia, and Sweden among others. We ll explore the vocal esthetics of diverse traditions and appreciate the basic musical elements of each style: rhythm, melody, harmony, and counterpoint. To prepare our voices for the journey, we will investigate various qualities of movement, gestures, and expressive states, stimulating our physical intelligence and liberating the vocal sound. With guided exercises in vocalise and vocal play, students will explore different ranges and resonances, as well as open their capacity to listen while singing collectively. Through this well- traveled repertoire and the power of our imagination, we ll transport ourselves to far away places and moments in time. A not- to- be- missed journey for the adventurous voice. 6

7 RUMBOS DIRECTORS AUDREY PERNELL is an actress, singer, and certified Roy Hart Voice teacher presently residing in Santiago, Chile. She began her journey into RH work with Jonathan Hart Makwaia as a theater student at Swarthmore College near Philadelphia. Since 2006, she also has worked with Pantheatre at the Roy Hart International Arts Centre in southern France, as well as in Paris, New York, and Santiago. Under the mentorship of Linda Wise, she completed a self- designed master s degree in Voice Performance and Pedagogy through Antioch University Midwest in 2011, and officially joined the family of RH voice teachers in In Santiago, Audrey has taught at various universities and private academies, working with actors, singers, dancers, musicians, as well as with speech therapists, psychologists, and fellow voice pedagogues. Alongside her husband, Chilean performer and voice teacher Andrés Zará, she co- directs RUMBOS LABORATORIO ARTÍSTICO VOCAL. Over the past five years, they have developed numerous projects and workshops investigating the human voice s vast expressive and creative potential ( ANDRÉS ZARÁ is a Chilean performer and voice teacher. He first studied singing and music at the Instituto Projazz in Santiago. With over 18 years of professional experience, he has worked as a session musician in productions for national artists including Gloria Simonetti, Daniel Guerrero and Zalo Reyes. Currently, he is the lead singer of the project Chileswing, produced by Tito Troncoso, who launched their first album in A graduate of UNIACC with a degree in theater, Andrés has performed in numerous professional productions over the years including Cats (Rum Tum Tugger, Teatro Municipal de Las Condes), Jesus Christ Superstar (Jesus, Teatro Nescafé de las Artes), Man of la Mancha (Don Quijote, Teatro Municipal de Rancagua), as well as the original Chilean musical La Araucana, with tours in Santiago, Osorno, Rancagua, and Arica. He has studied and collaborated with Pantheatre since 2009 in New York, Santiago, and the Roy Hart International Arts Centre in southern France. Andrés has taught singing at Projazz, Escuela Moderna, Universidad Mayor, UNIACC, and Universidad del Desarrollo. Alongside his wife, performer and voice teacher Audrey Pernell, he is the co- director of RUMBOS LABORATORIO ARTÍSTICO VOCAL, and a founding member of various creative projects including Concierto Rumbos and Canciones al Aire with La Tromba vocal quartet ( ABOUT RUMBOS Laboratorio Artístico Vocal RUMBOS is an artistic vocal laboratory directed by Audrey Pernell (USA) and Andrés Zará (CHILE). Based in Santiago, Chile, they have developed workshops and performances that explore the vast expressive and creative potential of the human voice. Since 2009 they have collaborated with an intimate circle of international and interdisciplinary artists and voice teachers. For more information about our classes, services, and projects, visit our website: and look for us on Facebook: RumbosChile. Photo credits: Sebastián Camacho, Suiyen Kong, Eric Laurits, Ángela Moya, Sergio Palominos 7