Alexa Green

Oh my goodness.

And you know, injuries happen when there's a super high vocal load-

Yeah

... and then a super high level of effort or loudness that sometimes can happen suddenly, like a hemorrhage, or you can get into this gradual hamster wheel, so to speak, of it building up gradually over time, or that you're like a frog in a boiling pot of water and you are in this counterproductive c- compensatory pattern of effort that you can't even realize and you can't get yourself out of.

And injury happens that way, too.

And it can still come as a shock when you find out of, oh, I just thought I was tired and not as resilient and pushing myself.

I didn't realize this, this little thing has been growing, um, over time, and now I'm in a pickle.

Um, which is an whole other thing to wrap your head around.

So yeah, and I think...

I mean, really, how wonderful that you are a voice teacher that deeply understands this and can see this within the people that you work with and help guide them, uh, the way that your aunt kinda shepherded you as well.

Yeah.

That's beautiful.

My absolute favorite thing to do is work with singers on habilitating their voice after vocal injury or preventing the, the injury from the beginning, right? From a technical standpoint.

Those are-

Right

... my two favorite things to do, and I, I think one of my special skills is really hearing the change, hearing the voice change.

You know, we can't see our instrument unless we get a strobe, a scope, right? So that is my absolute favorite thing to do, is work with singers through their life, through...

Uh, and also our technique should change, right? As we grow and age, as our body changes.

Mm-hmm.

You know, I'm, I'm petite.

My voice is small, not in a bad way, but my vocal folds are so tiny and they are taking such a big...

You know, I'm asking a big burden of them often in shows.

And so I, you know, I didn't blame myself.

It was just the load was too heavy.

I couldn't push the boulder up the hill.

Oh my goodness.

And you know, injuries happen when there's a super high vocal load-

Yeah

... and then a super high level of effort or loudness that sometimes can happen suddenly, like a hemorrhage, or you can get into this gradual hamster wheel, so to speak, of it building up gradually over time, or that you're like a frog in a boiling pot of water and you are in this counterproductive c- compensatory pattern of effort that you can't even realize and you can't get yourself out of.

And injury happens that way, too.

And it can still come as a shock when you find out of, oh, I just thought I was tired and not as resilient and pushing myself.

I didn't realize this, this little thing has been growing, um, over time, and now I'm in a pickle.

Um, which is an whole other thing to wrap your head around.

So yeah, and I think...

I mean, really, how wonderful that you are a voice teacher that deeply understands this and can see this within the people that you work with and help guide them, uh, the way that your aunt kinda shepherded you as well.

Yeah.

That's beautiful.

My absolute favorite thing to do is work with singers on habilitating their voice after vocal injury or preventing the, the injury from the beginning, right? From a technical standpoint.

Those are-

Right

... my two favorite things to do, and I, I think one of my special skills is really hearing the change, hearing the voice change.

You know, we can't see our instrument unless we get a strobe, a scope, right? So that is my absolute favorite thing to do, is work with singers through their life, through...

Uh, and also our technique should change, right? As we grow and age, as our body changes.

Mm-hmm.

You know, I'm, I'm petite.

My voice is small, not in a bad way, but my vocal folds are so tiny and they are taking such a big...

You know, I'm asking a big burden of them often in shows.

And so I, you know, I didn't blame myself.

It was just the load was too heavy.

I couldn't push the boulder up the hill.