The Use of Rough Vocal Effects in Singing – The Science, Sounds, and Practice of Singing Distortions, Grunts, Growls, Screams, and Many Others in a Healthy Manner

This workshop will give a brief introduction to the CVT framework of and approach to vocal effects, provide participants with insights into supraglottic categorisations through stroboscopy, the different sounds and uses of vocal effects in contemporary music, as well as electroglottographic measures, acoustics, and tricks for participants to get a chance to try out rough vocal effects in their own voices and get familiarised with how to work with these advanced techniques in a healthy and sustainable way that does not harm the voice. The workshop is based on research findings from across previously published research studies, as well as decades of pedagogical insights and practice.

Many genres and styles of music make use of intentional rough sounding vocal effects. While they may sound hoarse or harmful, they can be produced healthily and sustainable if performed with correct technique. In Complete Vocal Technique rough vocal effects are classified according to physiological activity, the audible sound, specific ways of teaching, and recommendations for use. Some effects typically used are:
• Distortion (e.g. Janis Joplin in Piece of my heart or Metallica in Enter Sandman)
• Growl (e.g. Stevie Wonder in Living for the City or Christina Aguilera in Fighter)
• Grunt (e.g. Arch Enemy in My Apocalypse or Tom Waits in Hoist that Rag)
• Rattle (e.g. Jennifer Holiday in I Am Changing or Jeff Buckley in Grace)
• Creak and Creaking (e.g. Pink Floyd in One of My Turns or Pink in The One that Got Away)
• Screams (e.g. James Brown in Brother Rapp or Halestorm in I Miss the Misery)

Previously published studies using endoscopic assessments, EGG-measures, acoustic analyses, panel-assessments, and longitudinal health tracking demonstrate the consistent recognition, vocal sustainability, as well as inter-and intra-participant reliability of these vocal effects in studied cohorts of professional singers. All the rough-sounding vocal effects can be learned, trained, combined, and performed in a healthy manner when controlled using specific vocal tract configurations added to healthy phonation types. Complete Vocal Technique has been pioneering vocal pedagogy and research work within this area of teaching and singing for more than 30 years, with multiple publications in research outlets such as Journal of Voice and in books/apps in 10 languages.