Teresa is a vital voice teacher and singer with a full private voice studio in Pennsylvania. At age 60, she restarted her own voice lessons after not studying singing since college, although she had coached and worked with many musicians during that time.
Throughout menopause, creativity can bloom and demands new energy outlets. Teresa wanted to earn recognition as a performer of classical and musical theater music in her community and felt she had not been able to do that because of her vocal condition.
Her speaking was absolutely fine, even with teaching for hours. But her singing was characterized by a wobble/shaking of pitch throughout a limited range, breaks throughout the lower passaggio and great pitch instability. Her body was affected by a hip issue and she walked with a minor limp. She and I talked about healing, spirituality and singing as a foundational attitude for the journey we were about to take together.
We began working with a combination of exercises and approaches informed by voice therapy for Parkinson’s patients and advanced use of Somatic VoiceWork tm: The Lovetri Method as a rehabilitation method. I also used many Somatic Reeducation* exercises over time to stimulate her respiratory system and core, which had weak function because the muscles of the throat were not functioning well–not the other way around as many teachers and therapists believe.
It is also effective work to take advantage of the neuroplasticity of the brain. Essential tremor is a central nervous system dysfunction that starts with brain impulses, so slowly groving new patterns in the brain itself is a large key to healing the dysfunction.
I chose not to start with standard SLP rehabilitation tools other than identification of some life style habits to change. She started practicing yoga and renewed her commitment to physical therapy and massage for her hip.
Our hips are the ‘seat’ for the pelvic diaphragm and a source for grounded energy to come through our bodies.
The only SOVT exercises that were helpful were variations on “ung,” closing to the “ng” and sliding 1-3-1 or 1-5-1. She could not slide 1-2-1 without actually staying on the same pitch, so the larger intervals were necessary at first. I did not say “you are flat, sing that second pitch higher,” because she literally could not. It was a functional problem, not a problem with her ear.
Within 6 months she could sing a slurred 5-tone scale without wobble and on pitch, on certain vowels. She began to establish some vocal flexibility. She developed some integrated head voice function that she could use to illustrate while teaching, and students and her conductor encouraged her improvements. Her soft palate had begun to activate, although it could not stay activated and her body response would shut down. And this is why…
…she received a diagnosis of benign essential tremor after Lovetri noted that she might have an essential tremor. And the interesting thing is, the diagnosis did not change the type of work we were doing, not because I am pig-headed but because it was the most effective work in the first place. However, it did give her enormous peace of mind that she wasn’t doing something “wrong” or was a bad singer. It was something she could share with students and directors and let them know that she was aware and working towards improvement.
She is contemplating recommended Botox injections. This can be very effective, but the injections wear off and need to be repeated. My belief is that there are deeper levels of healing to be found, which can be supplemented with effective medical therapies. It is her belief, too.
After one year of work based on the Parkinson’s voice therapy and Lovetri’s research, I added some of the exercises for essential tremor found in Leda Scearce’s fantastic book Manual of Singing Voice Rehabilitation. It just goes to show how important working with the person in front of you is, and that a set of specific exercises rolled out by rote can not possibly serve each pathology patient who is a singer.
Teresa’s is also an interesting case illustrating that time is needed to allow inner psychololgical changes of Self when we are older. Teresa thought she was a soprano based on her college self of 40 years ago, and was singing alto in her small church choir due to her limited range. All this time, in spite of not studying, she has been evolving into a possibly true contralto of a substantial size. I would say that from the time I first mentioned this possibility, to fully embracing what her voice is becoming, was almost two and a half years! She has been excited and full of wonder, processing this change in self-identification.
This year, Teresa successfully performed the role of Jack’s Mother in Into the Woods, acted in a production of Steel Magnolias, has stabilized her alto choral singing and has started to prepare for a community concert, singing Brahms’ Two Songs for Alto, Viola and Piano!
Life isn’t about inventing yourself. It is about releasing yourself. And menopause is the time to do this with courage, humor and tenacious grit. And with a voice teacher/SVRS who takes you seriously and helps you accomplish small goals, one step at a time.
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*Two books to help introduce you to somatic reeducation concepts are
Body and Voice by Gilman
Singing With Your Whole Self: The Feldenkreis Method by Nelson and Blades-Zeller