Voice of the Body

La voz del cuerpo

Yolanda makes the most of every single second of her classes. She uses the time not only for intonation, pronunciation and singing but even creates light-hearted moments full of musical smiles.”

Patricia Roche (Logroño).

It is impressive to discover that you are capable of doing so many things with your voice. All the theory put into practice keeps opening your eyes and demonstrating that there is much more to it than what appears at first sight … The spirit, my spirit, vibrates with the rhythm of the notes of those melodies that move my heart. Their spirit illuminates me, offering me a sweet sensation of well-being.”

Patricia Castilla (Pamplona).

Yolanda is a very good professional. She is highly versatile, exceptionally well versed in techniques and, in particular, very sensitive when it comes to finding out what each person needs and how to help. I greatly enjoyed her classes and, besides helping me to overcome technical problems, she was a great help in orienting me and encouraging to me to make the most of my style of voice and performance. She enabled me to free myself of pressures so as to give more power to my voice and has made me feel much more secure. Furthermore, she is an excellent person.”

Carolina González (Barcelona).

I always went home happy and even singing (softly) in the street, something I would have never done before because I am shy. I want you to know that you have been a very special person for me, not only as a teacher who shows people how to sing but as a person who has revealed to me the beauty of music and life. This may sound like an exaggeration but, I assure you, I am telling you exactly what I feel. Thank you for teaching me to love music and making of it such an important part of me and my life. You have made me a better person and, thanks to you, I have learned many things. Just as you told me, and just as I promised you, I have never stopped singing.”

Mar Ayza (Barcelona).

In order to reveal the whole potential of our instrument the voice, we must explore it in all its range and splendour. Singing is not only a question of technique but also of vocal liberation and musical, auditory and interpretive tuition and all this, together with voice training, gives us the magnificent sensation of freedom and artistic expression which we call the human voice and song.

LEARNING WITHOUT COMPLEXES: I recommend a voice technique for vocal health and creativity based on musical and sensorial learning. Here, two key elements influence the success of the process: affectivity and attention. Hence, both repetition and continuity over time are important. Equally necessary is a positive emotional predisposition, free of aesthetic prejudice and demotivating complexes. Concentration and continuity will help us to achieve our goal.

My teaching work has mainly been in Barcelona, both with professionals working in the domain of voice and people who love singing, from the beginner level through to that of polishing the work of skilled performers. This means covering not only technical questions but also repertoire, interpretation and musical style.

    Assessment of vocal technique for choir singing

    I have worked as a vocal technique adviser for the Dmusica Gospel Choir and the Cor de Cambra Tempus Musici (Tempus Musici Chamber Choir).

    Vocal Coaching: Training and voice assessment for public speaking and performance

    In the field of vocal technique for the spoken voice, I have advised several professionals and students working in theatre and dubbing. My work here has entailed vocal training and its direct application in speech making and character portrayal.

    Singing teaching

    My experience in recent years has been intense and varied, in different schools and centres of artistic and musical training. It also includes active musical therapy.




Jo Estill

Logo Estill Voice Training

Jo Estill, founder of the method known as the Estill Voice Training System and Doctor Honoris Causa from the University of East Anglia.


This method of vocal technique and training is precise and rigorous in its formulation as well as in its capacity for finding solutions for voice-related difficulties. It is based on scientific studies of the anatomy and physiology of the voice. Jo Estill and her team of co-workers began their research in this field in the United States in the 1970s.

The Estill Voice Training System is based on the results ofobservation and research into the phenomenon of voice production and the anatomical structures that shape it.

The rigour of the content and exercises of the system is combined with an enjoyable and entertaining educational process, the aim of which is to enhance kinaesthetic sensibility, which makes it possible to perceive and manage anatomical structures that play a part in voice production.

The system is designed for any person who wishes to understand and improve his or her voice. The system is effective for beginners and professionals alike in the domain of singing and working with the voice in general. It is applied in singing teaching and in training of the spoken voice for anyone in any profession where the voice constitutes a working tool: public speakers, teachers, broadcasters, dubbing actors, lecturers, salespeople, et cetera.

The method is used in the United States and in Europe by opera teachers and singers, voice and diction teachers, conservatory and academic lecturers, choir directors, phoniatric specialists and speech therapists.

The method is structured on two levels:

Level 1: Compulsory Figures. These are the basis and key elements of the Estill Voice Training System. As with different kinds of sports, the Compulsory Figures are exercises that demonstrate voluntary control of a group of specific muscles.

Level 2: Vocal Qualities. Cry/Sob, Speech, Falsetto, Twang, Belt and Opera are all applications of the Compulsory Figures.


    • The air flow must be managed in such a way that it adapts to the structures it finds on its way outside.
    • “Listen to your muscles”: the work of exercises in silence enhances kinaesthetic control of the voice.
    • “Knowledge is power”: this brings security and confidence, while combating stage fright.
    • Effective voice training is that which takes place in three areas: mechanical, art and magic.
    • Mechanics: this refers to practicing technical performance, mastering and managing the anatomical and physiological structures that produce the voice.
    • Art: knowledge and demonstration of the stylistic requisites or rules that govern and define an artistic genre.
    • Magic: this is the emotion and feeling that sometimes appear during a performance. Talent and inspiration are not everything and neither are they always present. Knowledge of and mastery over mechanics and art foster the possibility of these magic moments. This is the effect of artistry.


      • Mystery is replaced by objective knowledge.
      • It has no aesthetic prejudices. It offers a wide range of possibilities in vocal performance.
      • It gives priority to vocal health.
      • It promotes confidence and reduces stage fright.
      • It leaves nothing to chance.
      • It offers exhaustive knowledge of anatomical structures and physiology in vocal production.
      • It provides the necessary tools for a person to manage his or her voice according to particular needs.
      • It offers exercises so that we can know our voice and keep training it independently and personally.

    For further details you may access the official website of Estill Voice Training (in English).


    One song alone offers infinite possibilities

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