"extraordinarily useful... greater understanding"
With only ten minutes together [Kimberly] makes every minute count… working as a yoga teacher in the future the information and tools I have learned from Kimberly both from her lecture in the Saturday workshop and from the one-on-one meeting will be extraordinarily useful. I have a greater understanding of the anatomical parts of voice production and I understand what it means to
have an embodied experience of voice use.
Sarah de Poray, participant, What Every Voice User Needs To Know About The Body workshop, Pranalife Yoga Teacher Training, Autumn 2016
"I felt the release.. new avenues for self-reflection"
What Every Musician Needs To Know About The Body
Through visual, audio and physical experimentation, musicians are taught about their body map—the neuronal self-representation of their bodies in their brain—including detailed anatomical information about their body’s structure, function and size to encourage free, efficient movement in their playing or singing. The goal is the prevention of injury, freedom from pain and optimal use of their instrument/voice.
Kimberly Barber, Andover Educator®
This course is for all musicians and can be offered in various formats and tailored to suit specialized instrument groups as needed. The traditional course format is a 6-hour course offered in one day or over a series of days or weeks, but there are also one-hour lecture-demonstrations that focus on specific aspects of the work according to the needs of the group in question.
Through visual, audio and physical experimentation, musicians are taught about their body map—the neuronal self-representation of their bodies in their brain. Participants are given detailed anatomical information about their body’s structure, function and size to encourage free, efficient movement in their playing or singing. The goal is the prevention of injury, freedom from pain and optimal use of their instrument/voice.
The course is presented in an informal setting either in one day or over several days/weeks with each hour having a specific focus. The one-day course consists of two three-hour sessions (with short breaks between) separated by a one-hour lunch break. Course groups generally consist of about 20 musicians (adjustments to format are possible). There is plenty of time given to embody the materials through practical exercises and explorations, examination of skeletal models and visual aids.
Hour One: Somatics, Senses and Attention—understanding the basic principles of Body Mapping; learning to use the kinesthetic sense; cultivating inclusive awareness
Hour Two: The Places of Balance—recognizing the weight bearing and delivery capacity of the skeleton, finding optimal postural balance and using it to mechanical advantage in singing and playing
Hour Three: The Arm Structure—detailed anatomy and optimal use of the arm structure
Hour Four: The Movement and Structures of Breathing—breathing, articulation, etc.
Hour Five: The Lower Limb—function, structure and size of the leg for optimal movement in music making
Hour Six: Practical Integration of Principles—participants are encouraged to bring their instruments and work with the instructor in a group setting to embody the principles learned in the course; instruction in Constructive Rest and other exercises to improve body awareness
Sessions can be offered in many different formats and topics including:
- What Every Musician (more general)/Pianist/Singer/String Player/Wind & Brass Player etc. Needs To Know About The Body—basic Body Mapping principles, balance, senses/attention, breath, upper/lower limb, necessary detail according to instrument cohort
- The Musician’s Breath—a condensed course that gives a broad overview of Body Mapping with specific information about the movement and structures of breathing, with specific detail tailored to the needs of the instrument cohort involved
- Other Topics on Request—any number of possible variations and specific areas can be tailored to the needs of your group
Musicians can book individual sessions with Ms. Barber to work on elements of Body Mapping as it pertains to their specific instrument and personal concerns. Of particular interest are areas of tension, pain or limitation in movement that are preventing optimal playing or singing.
Full Six-Hour Course: Depending on format (one-day or multiple days), between $1000-1500
One-Hour Seminars: $150
Individual Sessions: $80.00/hour
Best Voice Forward
Best Voice Forward is a workshop to develop your marketing skills as a singer, including resume and photo advice, honing your audition package, and tips and tricks to set yourself apart from the crowd.
You will get:
- The Skinny on Resumes:
Finding out what is required and how to do it
- The Skinny on Headshots:
How to find the best photographer and what you should expect from them
- How to find your Big Five:
We’ll figure out together which are the strongest five audition arias for you personally, so that you can show audition panels your best singing self
- How to choose your First Aria:
The most important aria on your list is the one you do first. Therefore, it stands to reason that it should be the one you do best. Find out how to determine what this aria is!
- Advice about All Things Audition: The Bottom Line
How to Look Good, Act Good, Know what’s required and be relaxed and focused—how to develop your pre-game routine
Sounding off, Stepping Out
Sounding Off, Stepping Out is designed for emerging musical artists to gain the tools of the trade: publicity and marketing materials, grant writing, preparing for recording sessions—this workshop gives you the skills.
Taking this Workshop will give you:
- The Skinny on Resumes
Find out what your resume and biography should include and how to format it for maximum impact
- The Skinny on Headshots
Learn what presenters and panels look for in a headshot and how you can get it
- The Skinny on Recordings
The reality of life as a performer is that you will need to have high quality recordings to present yourself to agents, competitions and arts councils/granting organizations. Find out what you need to show yourself at your absolute optimum
- Grant Writing from A-Z: The Project, The Artist Statement and More…
Every artist will be expected to write a proposal for a project they hope to receive funding for. A primer on how to put your first proposal together
This workshop gives you the complete package to put your promotional materials in order.
Call me Mister
Practical and artistic advice for mezzo-sopranos or sopranos wishing to undertake trouser roles, exploring individual arias from the vast repertoire of such roles and working on dramatic and musical aspects to authentically flesh out character and body language.
Kimberly Barber has had an extensive career playing “trouser” or “travesti” roles, donning the clothing of the opposite sex to portray young men—a time-honoured operatic and theatrical tradition. Out of this personal history comes a wealth of experience of “gender-bending”, allowing her to give practical and artistic advice to mezzo-sopranos or sopranos wishing to undertake these, particularly for mezzos, ubiquitous parts. Ms Barber works intensively with up to 6 singers for a minimum of 20 minutes each, exploring individual arias from the vast repertoire of “trouser” roles and working on dramatic and musical aspects of the roles to flesh out the character.
This is also a fascinating workshop for opera fans or neophytes who may be confused by the travesti tradition, providing a window into the singer’s art.
- Handel: Rinaldo, Nerone, Ariodante, Bradamante, Ruggiero, Serse, Polinesso etc.
- Mozart: Cherubino, Idamante, Annio, Sesto etc.
- Strauss: Octavian, Composer
- Verdi: Oscar
Possible discussion points:
- General vocal/artistic coaching; traditions of the role
- Characterization through phrasing, language and interpretive details
- Discussion of performance practices and traditions for specific roles (musical and physical)
- Baroque ornamentation
- Male physicality – Discussion/demonstration and practice of body language in a male context—how to walk, move, use the body
Finding Your Individual Voice
With exercises for breaking down blocks, release from tension, enhancing vocal and expressive potential for increased intensity of performance, we solidify individual audition repertoire through exploration and play.
A three-day Workshop with Kimberly Barber
Establishment and solidification of individual audition repertoire through exploration and play–goal-oriented exercises for breaking down blocks, release from tension, enhancing vocal and expressive potential for increased intensity of performance
The workshop is presented in an informal setting over three days, with sessions taking place on three separate days in a week or over a period of three weeks. The workshop days consist of two two-hour sessions separated by a one-hour lunch break. Workshop groups should consist of maximum of 12 singers (adjustments to format are possible)
Operatic arias appropriate to each singer’s level of development and voice type (duets between group members can also be used for exercise purposes)
Day 1 & 2:
- Finding where your “passions” lie (carving out an individual niche for yourself)
- Exercises in freedom of movement, release of entanglements, reaching full expressive potential
- Repertoire (the Fach system, finding your individual audition arias–“the Big 5”)
- Each singer brings memorized arias and performs them in the session. We choose five arias (with a possible alternate or two) with which the singer feels entirely comfortable and sovereign and which show the artist’s unique capabilities
Day 3: The Audition & the Career
- Mock Audition
- Question and Answer Period – possible topics include…
- Publicity materials