singsing!

singsing! Welkom bij singsing!, de privéschool & coaching praktijk voor zangers & sprekers van Sarah Algoet. Apprenez-le ici!

🎶 🦓 Sarah Algoet * voice teacher & vocal coach * for singers & speakers * performance coach * public speaking coach * mentor for teachers & coaches * international lecturer and masterclass leader * voice researcher * voice illustrator Je stem strategisch, creatief, functioneel en gezond gebruiken? Leer het hier!

*********************
Welcome to singsing!, the private school & coaching practice fo

r singers & speakers of Sarah Algoet. Using your voice in a strategic, creative, functional and healthy manner? Learn it here!

*********************
Bienvenue à singsing!, l'école privée et pratique de coaching pour les chanteurs et les orateurs de Sarah Algoet. Utiliser votre voix d'une manière stratégique, créative, fonctionnelle en utilisant et saine?

27/08/2026

You know the soundcheck where your voice comes back through the speakers sounding nothing like it does at home, and you have no idea what to even ask the engineer for?

That gap is almost never your voice. It’s the microphone, how you hold and move with it, and everything the desk does after it.

And it’s a craft, not luck, which means it can be learned.

That’s the session I was supposed to teach at .eu in Switzerland last week. I was ill and couldn’t travel, so it didn’t happen.

Rather than let it go, I’m running the whole thing online tomorrow evening, and recording it for the Eurovox platform.

It’s live for a reason. Set up your gear at home and you can try each thing as we go (optional), and there’s plenty of room for your questions.

💬 Tomorrow Friday August 28 at 6PM CET. If you’d like a seat, comment below and I’ll send you the link. My treat 🎶

📌 Save this so it doesn’t slip your mind.

📤 Share it with a singer or voice teacher who might be a bit afraid of tech stuff.

25/08/2026

The singer you’re teaching can work on their voice for years and still be let down by what happens once they pick up a microphone.

How they hold it, how they move with it, and everything the desk does after it, EQ, compression, reverb, delay,… shapes a huge part of what the audience actually hears.

And hardly anyone teaches this.

That’s the workshop I was supposed to lead at .eu in Switzerland last week. I was ill and couldn’t travel, so the session didn’t happen.

Instead of letting it go, I’m running the whole thing online for everyone who signed up, and recording it for the Eurovox platform.

It’s live on purpose. Set up your gear at home (optional) and you can try each thing as we go, and there’ll be plenty of room for your questions.

This Friday, the 28th.

💬 If you registered for Eurovox and were sad to miss this session, comment below and tell me whether the CET afternoon or evening suits you. I’ll pick the time that works for the most people.

📤 Share it with a Eurovox colleague, so they can join too!

📌 Save this so the date doesn’t slip.

🎶 My treat!

22/08/2026

🦓 The most freeing thing I can tell a voice teacher: you’re probably already the right one.

In a few hours I’m leading my .eu workshop on teaching hypermobile singers, online instead of in the room (more on that in a moment). This is the final reel of six, so let’s end on the thing that takes all the pressure off.

🙌 You don’t need to become a different teacher.

If you already ask instead of assume, stay curious, let the singer show you how they learn, and explore without judging, you’re doing the exact things a hypermobile singer needs. That’s not a new skill set. It’s good teaching, which you already have.

And on the days you feel stuck, you do what good teachers always do: you learn more, or you refer on.

🔑 The one thing to add: awareness.

Just knowing hypermobility exists changes everything, and it lets you prioritise safety and stability before technique. Because then you remember:

- Stiffness doesn’t rule it out.
- The voice can mirror health.
- A hypermobile singer’s “this feels fine” isn’t always reliable.
- And their progress will often be inconsistent, not from a lack of discipline, but from a body with shifting capacity.

That awareness is the whole difference. You don’t have to overhaul how you teach. You just have to see what’s there.

🎭 And the irony I promised:
I’m running this workshop from a screen, not from Lucerne, because the night before my flight I ended up in the ER with the exact kind of hypermobility episode I teach about. If you missed it, my carousel from last Thursday tells the whole (rather ironic) story.

Want to go deeper? I hope to see you virtually from EuroVox! There’s also my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Online Solo Group Lesson for Hypermobile Singers you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Which of these six reels surprised you most? Tell me in the comments.

📌 Save this whole series for the next time you teach a bendy singer.

📤 Share it with a voice teacher who needs to hear they’re already enough.

🦓 Picture from the ER, last Tuesday night.It is not the post I was supposed to share today. I should have been at EuroVo...
20/08/2026

🦓 Picture from the ER, last Tuesday night.

It is not the post I was supposed to share today. I should have been at EuroVox in Lucerne, teaching voice teachers about hypermobile singers. My session is this Saturday.

Instead, the night before my flight, I was in the ER.

The irony is almost too much. Unexplained episodes, no ECG until I pushed, and a reflexive “it’s just anxiety”, that IS the hypermobility experience for so many of us. One of the exact things I was coming to teach decided to demonstrate itself, live.

Swipe through for the full story. It’s messy, it’s honest, and it’s so much bigger than one bad night.

The part I can’t stop thinking about: my fiancé, a man, had similar symptoms years ago and was sent straight to the ER for every test.

Me, a woman, got pushed toward “anxiety” first. Last time this happened - a few years ago - there was a real, physical cause. The anxiety was my body’s alarm going off. A symptom. Never the cause.

And this isn’t only my story. hEDS has an average diagnostic delay of 22 years. 94% of us are told by a non-psychiatrist doctor that our symptoms are psychological.

Being believed is the first hurdle, long before treatment begins.

I’m okay-ish now. Tired, dizzy, breathless at the smallest effort, and being cared for. 🤍

The good news: EuroVox said yes to plan B! I’m running my workshop online, beamed onto a screen in the room. Less interactive than I dreamed, but I’m up for it.

To everyone who’s ever been told it’s all in their head: I see you. I believe you.

—

💬 If you know the “we can’t find anything” loop, you’re not alone here. Tell me in the comments.

📌 Save this for a day you need to feel believed.

📤 Share it with someone who’s still waiting to be taken seriously.

—

The Incidence of Misdiagnosis in Patients with Ehlers–Danlos Syndrome, Chanbin Lee and Pradeep Chopra (2025) https://doi.org/10.3390/children12060698

18/08/2026

🦓 The breakthrough that vanishes by next week isn’t the singer failing. Or you.

It’s variable capacity, and it’s an essential element in teaching hypermobile singers.

(Reel 5 of 6 - Tomorrow I leave for .eu in Lucerne to teach this to voice teachers!)

🔄 Why capacity shifts.

A hypermobile body doesn’t have one fixed baseline. What’s available changes daily: sleep, stress, hormones, weather, and how much the body already spent yesterday. So a skill that flowed last week can genuinely be out of reach today.

This isn’t regression, and it isn’t laziness. It’s the condition doing exactly what it does. Once you expect it, it stops feeling like failure and starts being information.

💛 Why kindness is the strategy, not the consolation.

On a low-capacity day, pushing harder backfires. Criticism, from you or from them, adds tension to a system that’s already stretched, which lowers capacity even further. Meeting the body where it is, that’s what keeps the door open.

You can watch this play out in a real lesson. On September 9, I lead an Online Solo Group Lesson for Hypermobile Singers and teachers can join as a fly on the wall to see how I navigate exactly these days.

Tomorrow I step into a lot of input myself: travel, a full conference, so many people. I’ll be practicing this too. Kindness to my own system is on my program!

Want to go deeper? There’s my EuroVox session in Lucerne, my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Solo Group Lesson you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Have you seen a singer’s capacity shift from week to week? Tell me in the comments.

📌 Save this for a lesson that doesn’t go how you expected.

📤 Share it with a voice teacher who works with bendy singers.

16/08/2026

🦓 Why I work on safety before I ever touch technique.

A hypermobile nervous system is often bracing without knowing it.

(Reel 4 of 6 - Next week I’m at .eu in Lucerne teaching this to voice teachers!)

🧠 A hypermobile body sends unclear signals from the inside. Loose joints, unreliable sensing, so the nervous system can’t quite locate itself. And a system that can’t find stability tends to read the situation as unsafe, often below conscious awareness.

An unsafe system protects. It grips, it holds the breath high, it braces the throat and the pelvic floor. You can’t build free, easy technique on top of that. The bracing has to ease first.

🛠️ So what does “working on safety” actually look like?

It’s not one exercise. It’s a whole toolkit, and different bodies need different doors: proprioceptive input so the brain knows where the body and its parts are in space, nervous system regulation so the system can settle, gentle work with breath.

I’ve shared concrete tools in earlier reels and on my blog, so I won’t repeat them all here. The principle is what matters: settle the system, then the voice opens.

This is a lot of what I do with the voice teachers I mentor. We look at your specific singers, and how to give their nervous systems something steadier to stand on.

Want to go deeper? There’s my EuroVox session in a few days in Lucerne, my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Online Solo Group Lesson for Hypermobile Singers you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Do you notice bracing in the singers you work with before you notice technique problems? Tell me in the comments.

📌 Save this for your next lesson with a hypermobile singer.

📤 Share it with a voice teacher who works with bendy singers.

14/08/2026

🦓 When a hypermobile singer says “this feels fine”, they may genuinely believe it - and still be wrong.

Reel 3 of 6 - next week I’m at .eu in Lucerne teaching this to voice teachers.

🧠 Interoception is your sense of what’s happening inside your body: tension, effort, pain… In hypermobile bodies the connective tissue sends the brain fuzzy signals, so this is often unreliable. They can be genuinely unaware of strain that you can clearly hear.

Also, interoceptive accuracy can be low while interoceptive sensibility is high. Their body reacts strongly to what’s happening, but they can’t interpret it.

🔑 When a singer calls a sensation “comfortable”, they often mean “familiar”. It’s what they’ve felt their whole life. That’s not the same as comfortable.

If you’ve felt low-level strain since childhood, your brain files it under “normal”. It becomes the reference point.

I never tell them they’re wrong. That would be dismissive. And if I say “that sounds tight”, I’ve handed them my perception, and robbed them of their own discovery. Instead, we go into playful exploration. I guide them toward new sensations without naming what I’m listening for.

And almost every time, something beautiful happens. The singer says: “oh, that feels weird.” “That’s strange.” “Huh, interesting.”

Those are the words I’m listening for. Because “weird” means the brain just met something new. It’s building a fresh reference point in real time.

And often they arrive there themselves: “wait, what I felt before wasn’t actually comfortable. This is. I didn’t know this was possible.”

That realization on their own, teaches them more than anything I could.

Want to go deeper? There’s my EuroVox session next week in Lucerne, my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Online Solo Group Lesson for Hypermobile Singers you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Have you ever watched a singer suddenly realize what “comfortable” actually feels like? Tell me in the comments.

📌 Save this for your next lesson with a hypermobile singer.

📤 Share it with a voice teacher who works with bendy singers.

12/08/2026

🦓 “I couldn’t possibly be hypermobile, I’m way too stiff!”

Well, stiffness is one of the most common reasons hypermobility gets missed, in the studio AND in the doctor’s office.

Next week I’m at .eu in Lucerne teaching this to voice teachers (Reel 2 of 6).

🤸‍♀️ Laxity and flexibility are not the same thing.
Laxity is structural slack in the joints: the connective tissue that stabilises them is loose. Flexibility is how stretchy your muscles are. Two different systems.

So a singer can have loose, lax joints AND tight, stiff muscles at the exact same time. Stiffness doesn’t rule hypermobility out.

🔎 Why the Beighton score can mislead you.
You may know the Beighton score, the nine-point hypermobility check. Two problems:

1. It only tests 9 specific joints. It says nothing about the jaw, ribs, spine or larynx, which are very relevant for singers.�
2. Compensatory tension can hide the laxity. Many hypermobile people can not perform a forward trunk-flexion test, not because their joints aren’t lax, but because their muscles are compensating. The very stiffness that looks like “not hypermobile” can be the hypermobility, showing up as protective tension.

⏳ And then there’s age.

Flexibility decreases over the years. Many hypermobile people were bendy kids and then slowly stiffened. The joints may still be lax underneath, with decades of compensation and ageing layered on top.

So when an older singer says “no way, I’m far too stiff”, I gently ask about their childhood. Gymnastics? Ballet? Double-jointed party tricks? Often, a moment of recognition follows.

Want to go deeper? There’s my EuroVox session next week in Lucerne, my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Online Solo Group Lesson for Hypermobile Singers you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Have you ever assumed a stiff singer couldn’t be hypermobile? Tell me in the comments.

📌 Save this for the next time someone says “I’m too stiff to be bendy”.

📤 Share it with a voice teacher who works with bendy singers.

10/08/2026

🦓 Next week I’m in Lucerne for .eu , teaching voice teachers how to work with hypermobile singers. This is the first of six reels sharing what I’ll bring into that room.

First, something impactful: you notice things no one else does.

🔍 Why you’re often the first to spot it.

You listen to a singer’s body more closely than almost anyone in their life. Not their doctor, who sees them for ten minutes. Not their family. You. Week after week, sound by sound.

That puts you in a rare position. You can’t diagnose, and you shouldn’t try. But you can notice, and you can gently point.

🪑 So that singer whose voice eased the moment they sat down:

Two things could explain it:�
1. It could be dysautonomia: a dysregulation of the autonomic nervous system (heart rate, blood pressure, digestion) that frequently comes with hypermobility. POTS is one well-known form, where the heart races on standing. Sitting removes that load, and suddenly singing is easier. If that’s what’s going on, a doctor needs to be involved.�
2. Or it could be proprioception: the body’s sense of where it is in space, which is often unreliable in hypermobile bodies. Sitting gives the brain more contact, more information, more certainty. And a brain that feels certain allows the body to sing.�
You don’t need to know which one it is instantly. You need to notice it’s there, and open the door to exploring it.

🎁 That’s the gift of awareness.

Not a diagnosis. Just: “I’m noticing something. Let’s look at this together.” For many hypermobile singers, that sentence is the first time anyone took their strange, shifting experience seriously.

Want to go deeper?
There’s my EuroVox session next week in Lucerne, my blog, the webinar in The singsing! Sofa Library, 1-on-1 mentoring, and the September 9 Online Solo Group Lesson for Hypermobile Singers you can join as a fly on the wall (or active singer, if you’re hypermobile!). 🔗 Links in bio.

—

💬 Have you ever noticed something in a singer’s voice that turned out to be about their health? Tell me in the comments.�

📌 Save this for the next time something in a lesson doesn’t add up.�

📤 Share it with a voice teacher who works with bendy singers.

08/08/2026

🦓 Being kind to yourself isn’t soft. It’s physiology.

This is the last of four things I want hypermobile singers to start doing. And it’s the one I still work on myself:

🧠 Why self-criticism backfires in a hypermobile body.

In the reel I said your nervous system can’t tell the difference between an outside attack and the voice in your own head. So when you turn on yourself, your system responds the way it would to a real threat. It braces. It grips. The breath goes shallow.

For a body that’s already working hard to feel stable, that’s a heavy extra load.

So harshness on a hard day doesn’t sharpen your voice. It tightens the very system your voice depends on.

What this is NOT:

This isn’t about pretending every day is fine. It isn’t toxic positivity. You’re allowed to be frustrated when your voice won’t do what it did last week.

Kindness just means you don’t add a second layer of suffering on top of the first. The disappointment is enough. You don’t need to punish yourself for it too.

🫱🏻‍🫲🏽 How the four connect.

Look back at the series and you’ll notice one thread.
1. The check-in
2. proprioception
3. nervous system regulation
4. and now self-kindness

They’re all about the same thing: A hypermobile voice works best when the system underneath it feels safe.

That’s the whole philosophy, in one line. Safety first. The voice follows.

🎵 Want to work on this together?
I work with singers one-on-one. And on September 9, I’m leading an online Solo Group Lesson for hypermobile singers. Sing in your own slot, or join as a fly on the wall.

The link is in my bio, or just ask me to send you all the info.

—

💬 Which of the four was hardest for you? Tell me in the comments.

📌 Save this for a day your voice won’t cooperate.

📤 Share it with a bendy singer who’s been far too hard on themselves.

Dirección

Camino Xáquera 55B
Lliber
03729

Teléfono

+32479259872

Página web

Notificaciones

Sé el primero en enterarse y déjanos enviarle un correo electrónico cuando singsing! publique noticias y promociones. Su dirección de correo electrónico no se utilizará para ningún otro fin, y puede darse de baja en cualquier momento.

Contacto La Escuela/facultad

Enviar un mensaje a singsing!:

Atajos

Compartir

Categoría