ORIGIN. CHARACTERISTICS. DEMONSTRATION VIDEOS.
All rights are reserved. No part of this page may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Bulent Guneralp. The information presented here is true and complete to the best of my knowledge. This page is intended only as an informative guide for those wishing to know more about vocal issues. In no way is it intended to replace, countermand, or conflict with the advice given to you by your own teacher. The ultimate decision concerning vocal care should be made between you and your own teacher.
INTRODUCTION
The Vocathletic System is a holistic training system based on tradition, science, and my voice teacher Bülent Güneralp's discoveries and continuous inventions as a singer, voice teacher and athlete, which helps students to realize vocalism, express the natural voice easily, and develop it organically. It applies the athletic principles of mind and body control, nutrition and growth to vocal training. Singers and speakers learn athletic efficiency, and send brain signals to only those parts of the body required to be activated for vocalization. The Vocathletic System explains the whats, hows and whys of vocal technique in a manner easily understood and immediately put into practice with unequivocal results. The key words are: natural, simple, direct, effective.
If you wish to read more about the origin of the Vocathletic System and Bülent's vocal journey please visit his website here: https://www.bulentguneralp.com/the-vocathletic-system
CRITICAL TECHNICAL INVENTIONS and / or CHARACTERISTICS of THE GÜNERALP VOCATHLETIC SYSTEM
Vertical engagement of the lowest abdominal muscles to create pneumatic energy through the syringe-like use of the body.
Riding on the pneumatic energy without releasing the breath through the larynx
Active inhalation vs. passive inhalation.
Signal-less, "Blank Canvas" Vocal Posture:
The white screen from which the movie of singing is projected.
As you play the movie, be always aware of the unaffected vocal screen behind.
Send signals efficiently for vowels, consonants, facial expressions, etc. in the awareness of, and through the signal-less state.
Training the thyroid and the cricoid cartilages while maintaining the neutral (left alone) larynx, and the full contact of the vocal cords.
Constant awareness of the vowel-less space in which all vowels are formed.
Closed mouth training with a still, statue-like (signal-less) exterior.
Closed mouth - lips apart alternating training.
Sing in your closed mouth position with lips parted with gravity.
Specific exercises using 4 consonant points, 7 vowels, 8 consonant sounds.
Frontal sinus (Third Eye) vocal focus.
Drum-like use of the head as resonator.
Precise hand and finger movements combined with factual visualizations to activate specific parts of the body during vocalization.
Efficiency training:
Sending signals from the brain to only those parts of the body that are actively involved in vocalization.
"Vocathletic" training.
LONGSTANDING and WIDESPREAD TECHNICAL DOGMAS DEBUNKED by THE VOCATHLETIC SYSTEM
Trying to use the mouth as the main resonance chamber.
Opening the mouth big, especially for the top notes.
Lifting the soft palate.
Pulling the larynx down.
Dropping the jaw.
Yawning inside.
Releasing the air to vocalize.
Moving the air.
Singing on the breath.
Using different vocal focuses for different registers.
Narrowing or tweaking the vowels while ascending towards the high notes.
Placing the voice here or there.
Not having a specific vocal focus.
Breathing only through the nose.
Smiling.
Lifting the facial muscles.
Trying to create different spaces for different notes.
Approaching the voice in a compartmentalized way (registers).
Using all of the abdominal muscles to sing.
Trying to keep the rib cage as expanded as possible while singing.
Keeping the abdominal muscles pulled out while singing.
Flexing the muscles around the nose.
Flexing the glutei for the high notes.
Putting one foot forward.
Leaning forward.
Leaning backward.
Giving more importance to the high notes for technical progress.
Having twang.
KENAN OKTAY DEMONSTRATES THE VOCATHLETIC SYSTEM IN REPERTOIRE AND EXERCISES
WORK IN PROGRESS