Introduction: There is a large repository of various techniques used in voice therapy to remediate voices of singers, speakers, and other kinds of professional voice users. However, there are no published or shared techniques on working with wind instrumentalists (either professional or amateur) with diagnosed vocal issues. While these wind instrumentalists go through voice therapy to learn strategies to relax and more efficiently use the voice when speaking or singing, these learned behaviors will generally disappear once the musician puts the instrument up to the mouth to play, as the entire topography of the mouth and vocal tract change and often tension is reintroduced and reinforced in the system. Basically, all the good work done in voice therapy is compromised when playing the instrument.

Objective: to share techniques used with wind instrument patients that encourage keeping the therapeutic strategies learned in voice therapy when playing but adding some modifications so the benefits can be maintained while the musician is playing the instrument.

Methods/Design: The clinician will demonstrate the strategies used with wind instrumentalist voice patients and will also provide double reeds and brass mouthpieces to attendees to have so they try the strategies and experience how they feel. Most of the strategies can be produced solely on mouthpieces for demonstration reasons, but they extend easily to instruments. The wind instruments most focused on will include the double -reeds, clarinet, French horn and trumpet. While it is likely that there will be enough reeds and mouthpieces for all attendees, there will be Sodium peroxide available to clean the brass mouthpieces if they need to be shared (the double reeds will not be shared).

Results and Conclusions: The strategies shared with the attendees will provide them additional tools to work with wind instrumentalists who are also voice patients.