Exploring the Embodiment of Sound
What Is The Moving Voice?
The Moving Voice is a specialized strand of my work that integrates the Alexander Work, Body Breath Sound (BBS), and my background as a professional singer.
This approach explores the relationship between movement, breath, and sound — how the organization of the body influences vocal coordination, resonance, and expression.
While much of my teaching centers on the Alexander Work, The Moving Voice remains an important and ongoing influence in how I understand vocal embodiment.
What Does This Work Offer?
The Moving Voice supports singers, speakers, teachers, and movers in developing greater ease and reliability in breath and sound production.
Through guided movement exploration and sensory awareness, we examine:
Patterns of tension and interference
The coordination of breath and body
Sensory and auditory feedback
Expressive freedom grounded in physical organization
This work is especially useful for those navigating vocal tension, technical plateaus, or performance-related strain.
The emphasis is not on repertoire or career goals, but on cultivating a functional and expressive relationship with your whole-body instrument.
How Can I Study?
The Moving Voice is offered in private sessions and occasional workshops or small group settings.
Body Breath Sound (BBS)
The Moving Voice is deeply informed by the Body Breath Sound method developed by voice teacher Adriana Hardy, with whom I have studied extensively.
BBS integrates principles from Feldenkrais, vocal science, yoga, Daoist movement traditions, and decades of voice pedagogy. It offers a clear, experiential framework for understanding the relationship between:
Body — structural organization and natural movement
Breath — functional and non-functional breathing patterns
Sound — accurate sensory feedback and expressive coordination
Rather than prescribing technique, BBS helps identify where we interfere with ourselves in singing or speaking — and how to reorganize with greater ease.
“This is the somatics of acoustics.
Everyone eats and breathes. We have developed manners or ways of eating that are more pleasing to look at, or socially and culturally acceptable, or more efficient. The same goes with breathing. Everyone breathes, but most people don’t pay any attention to how they breathe.
This work is like having a set of guidelines for breathing, like we do for eating, that, through new awareness, can make it more efficient. This is the etiquette of breathing. But it’s not for social purposes - it’s really for one’s own personal freedom.”
— Adriana Hardy
