GGSM, FISM, PGCA
Aspects of the Vocal Package
Vocal Health and Rehabilitation: Clinical Pathways and
Practical Applications Series
This book is a continuation from The Heart of the Breath, and is the second volume in the Vocal Health and Rehabilitation: Clinical Pathways and Practical Applications Series.
Aspects of the Vocal Package provides an extensive guide for singers, singing teachers, and those interested in gaining deeper insights into the different aspects of the voice from a rehabilitative standpoint. It encompasses research that explores the principles of the Bernoulli and Venturi Effects in the context of the vocal rehabilitation case study of a singer diagnosed with a phonatory gap. The case study is complemented by instructive audio and video clips, and progressive practice routines at the end of each case study session encapsulate the preceding information. These routines can also be generally applied in the teaching situation with singers who haven’t been diagnosed with this condition.
The book is beautifully illustrated by artist Meg Pike, who has worked closely with Alison to enhance its clear and easily accessible format with bespoke illustrations.
It is available from Amazon: https://share.google/xyowe5bZBkzCrzpgQ at £34.50, and also from Alison direct at £29.50 incl. p&p email: alisonsutton228@googlemail.com
Reviews
Ed Blake (Laryngeal and Vocal Physiotherapist)
In my experience, truly gifted practitioners in voice care are a rare and extremely valued part of a multi-disciplinary team. Alison is one of the most committed and knowledgeable rehabilitation specialists with whom I have had the privilege to share patients. She genuinely makes an enormous difference to patients under her care through her tailored approach to rehabilitation. An outstanding professional.
Professor Neil Mackie, CBE
Alison Mary Sutton has established a remarkable and respected reputation in the field of vocal rehabilitation. Her books are a valuable resource for singing teachers, medical professionals, performers, and students alike. Having served as the former Head of Vocal Studies at the Royal College of Music in London, I am familiar with Alison’s exceptional work from my own experience. I wholeheartedly endorse her incredibly insightful study, which is enhanced by unique academic research.
Ellie Harrison (TV broadcaster)
Alison was the only voice specialist with the answers I needed to fix my vocal problems. Her techniques were exactly what I needed, and she was a great sleuth at figuring out what I was inadvertently doing to make the problem worse. It was fixed and I haven’t had the problem since.
Association of the Teachers of Singing (AOTOS)
Some books lead you happily and authoritatively on a journey. Alison Mary Sutton’s Aspects of the Vocal Package is one of those.
This book is a continuation from The Heart of the Breath, and is the second volume in the Vocal Health and Rehabilitation: Clinical Pathways and Practical Applications Series.
It is a book of two halves. The first half is somewhat didactic, introducing and discussing various ideas which will underpin the narrative of the second half. These include the Bernoulli Principle and Venturi Effect (dealing with airflow and pressure, in this case around the glottis), the process of breathing, voice perception and performance. These can be quite complex concepts (particularly the Bernoulli and Venturi bits – believe me, I’ve struggled with them in the past in other contexts) but happily Sutton explains them clearly and succinctly, with useful and appropriate illustrations.
Armed with that information, we’re taken into the second part of the book which is the story of a vocal rehabilitation. The subject, a 46 year old classical singer, uses her singing voice as part of her work. She had been diagnosed with a phonatory/glottal gap and sub-mucosal swelling. Diagnosed or not, a phonatory gap is not unusual – as it happens I may have a returning student who has developed something similar, so I was grateful that this book fell into my lap.
The rehabilitation takes place over four separate sessions plus follow-ups, and it’s those which are recorded in the book. Now, this sort of narrative could become hard going, but we’re spared that here. There are plenty of changes of pace and Alison uses a variety of formats, too, from technical explanation to dialogue between teacher and student to descriptions of and rationale behind the exercises being used and much more. It’s all engaging and conversational, and the topics covered include breathing and using the breath, vowel work, sirening, overcoming laryngeal constriction, consonants and more. It’s a rather rich dip into someone else’s teaching practice, and I think that as a result my teaching bootlaces will need some tightening. And yes, there’s a happy outcome at the end of the four (and more) sessions.
The book (which at 125 pages could be absorbed in one session, although you may want to come back to remind yourself of details) comes with an extended glossary; there is also a set of YouTube video and audio clips, which back up much of what is being described (28 of them, so the ‘absorbed in one session’ claim I just made might be a bit optimistic). Just don’t get caught up in trying to work out how and why the dialogues have been paraphrased, rather than repeated verbatim, in the book itself!
This is a positive read, full of technical and didactic insight, and fascinating as an insight into how another teacher might structure a series of lessons. Aspects of the Vocal Package will be a very useful addition to the library of any new singing teacher – not only will it give you a fresh view of some basic vocal theory, but your next student could be the one with glottal problems and it will have given you some idea about where you should be thinking – as well as to more experienced voice coaches and singing teachers who are looking to refresh or add to their existing knowledge base.
Martin Le Poidevin (AOTOS member)
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The British Voice Association (BVA)
Aspects of the Vocal Package by Alison Mary Sutton forms part of a wider series and reflects the breadth of her experience as a singer, teacher and clinician. What I particularly appreciated from the outset was the clear emphasis not only on vocal health, but on the joy of singing and self-expression. That thread runs gently but consistently throughout the book.
In her introduction Alison shares her own story. She began singing with a deep love of expression, only to be discouraged by a thoughtless teacher. The resulting nerves and stage fright affected the early part of her career. Later experiences in opera and a move into teaching broadened her professional world. A diagnosis of breast cancer, followed by depression, led her to explore psychology in greater depth. That personal journey clearly informs her work. There is a thoughtful blending of clinical understanding with compassion and humanity that feels grounded and real.
The structure of the book is clear and reassuring. The first half focuses on the science and clinical aspects of the voice, particularly phonatory gap pathology. The second half presents a detailed case study. The layout guides the reader steadily through increasingly complex ideas without feeling overwhelming.
Alison opens with a clear explanation of how the voice works, supported by well judged diagrams. The writing is neither overly technical nor simplified to the point of losing depth. She continually brings us back to the importance of balanced muscle activity in establishing healthy vocal patterns, while acknowledging the complexity and adaptability of the voice.
Her explanation of the Bernoulli and Venturi effects is detailed and carefully connected to vocal fold vibration, air pressure and flow. Useful quotations from Ingo Titze and DJ Brown provide strong scientific grounding. Resonance and subglottal pressure interactions are also explored, building a coherent framework before moving into pathology.
The overview of phonatory gap pathology flows naturally from the earlier chapters. The diagrams in this section are especially helpful in clarifying pressure and flow. With my own science background, I valued the precision. Readers without that background may find certain sections stretching, yet Alison’s explanations are clear and readable. Her discussion of vocal tract inertance is one of the clearest I have come across, supported again by reference to Titze.
Chapters on sound perception, breath and the realities of performance create a thoughtful bridge into the case study. The section on breath particularly resonated with me. The tendency for singers to drive the breath is something many of us see regularly in teaching. When working with phonatory gap, this becomes crucial.
The second half centres on Marjorie, a 46 year old classical mezzo soprano and music therapist diagnosed with a small submucosal swelling on the right vocal fold, alongside a phonatory or glottal gap during phonation. The diagnostic process and rationale for rehabilitation are clearly explained over four main sessions and a follow -up. The inclusion of audiovisual material through links and QR codes is excellent. For those of us working in vocal habilitation, this offers valuable and generous insight into the rehabilitation journey.
We see what a phonatory or glottal gap looks like, followed by a clear outline of Marjorie’s rehabilitation programme. Individual sessions are then explored in detail, supported by photographs, diagrams and exercises. The presentation is attractive and practical, making complex clinical work feel accessible.
Session 2 introduces reed and inertance interactions alongside a carefully graded sequence of breathing exercises designed to support control and avoid parasympathetic gasping. The progression is thoughtful and well paced. In session 3, Alison explores speaking and identity, including reflections on consonants with reference to Oren Brown. From my own thirty years of teaching experience, I would suggest that the treatment of consonants and vowels varies across genres. What serves a classical singer may not always translate directly into contemporary styles.
For Marjorie, however, the approach appears carefully chosen and effective, particularly in addressing the phonatory gap. Later sections, including the discussion of consonants on the beat in Session 4 and the use of NG into vowel for brighter resonance in the follow-up session demonstrate close attention to tongue position and acoustic outcome.
Overall, Aspects of the Vocal Package feels like a generous and considered contribution to our field. Alison brings together science, psychology and artistry in a way that reflects both professional expertise and personal resilience. For teachers, therapists and vocal habilitation professionals, this book offers intellectual depth, practical guidance and a quiet reminder that behind every clinical process is a human being who simply wants to sing with freedom and confidence.
Anne Leatherland (Advanced Voice Practitioner, Vocal Habilitation Professional, creator of Vocal Intuition™)