1.) Your whole body is your instrument, not just your vocal mechanism.
Your voice is part of a total system which includes your mind and your entire body. Any method or technique of singing that doesn’t address the total mind–body–voice system has limited applications to developing one’s full potential as a singer.
To become a better singer, shift your emphasis from trying to sing well, to using your entire mind-body-voice Self well. Once you discover your innate natural coordination, you will notice a dramatic improvement in all that you do.
2.) The poise of the head on the spine directly affects the quality of sound.
The larynx hangs from the hyoid bone which is slung from the mastoid processes on the skull. If the head is pulled down into the spine, the neck and throat muscles will be tense and the torso will become rigid. Excess tension kills vibrations and will produce a sound that is tight and strained.
Allow the head to move subtly up off the spine which lets the vocal mechanism hang freely and the breathing and support muscles of the torso work effortlessly.
3.) Pain and discomfort is caused by chronic tightening and shortening of muscles.
Muscles have only one function–to pull or contract. If a muscle remains in a state of contraction and is not allowed to release into its full resting length it will become chronically tense and inflamed leading to pain and discomfort.
By learning how to access the deep, support muscles in your body, you can relieve pain and tension by allowing chronically tight superficial muscles to release into greater length and flexibility.
4.) The more you try to control your breathing, the less control you have over it.
Breathing is automatic, reflexive function that regulates itself. By deliberately “taking” a breath we interfere with this natural function and create undue tension causing the breath to work against us.
Investigate the habits that are getting in the way of your natural breathing and learn how to undo those habits. Soon natural breathing will become a powerful ally in your singing and you will discover that you can easily “allow” for a natural, deep full breath that will give you enough fuel for even the longest of phrases.
5.) Gasping for breath indicates tension in the throat and false vocal folds.
The habit of creating a gasping sound on inhalation is an almost universal habit among voice users. Listen to almost any professional recording and you’ll most likely hear the singer make an audible sound on the inhalation. This is a sign of undue tension. Over time this habit will cause stiffness and rigidity leading to a dramatic decrease in vocal function.
Avoid this harmful habit of gasping for breath by allowing the musculature of the neck and torso to release into greater length and width.
6.) We have 24 ribs (12 on each side) and they are designed for movement.
Our ribs are spring loaded and designed for movement. They are attached to the spine via moveable joints. The ribs naturally rise and fall like pail handles if the rest of the torso is not held rigid, as is common in many singers. When we speak the ribs naturally fall at a faster rate than when we sing.
Good ‘support’ in singing relies on not allowing the rib cage to collapse during exhalation.
7.) The lungs are in the upper torso and the diaphragm sits right below them.
The lungs go as high as the collarbone and down to about the fifth rib. There is more lung tissue in the back than the front and the two-lobed left lung is slightly smaller than the right lung, which has three lobes, to accommodate the heart. Right beneath the lungs sits the diaphragm.
Many singing teachers ask their students to imagine breathing deep into their belly. This can be useful but singers should not be fooled about where the air is actually going when they breathe. It’s much higher than you think!
8.) It is impossible to directly control the diaphragm.
The diaphragm has no proprioceptive nerve endings. Additionally, the diaphragm is primarily a muscle of inspiration and consequently plays very little role in exhalation rendering the idea of ‘diaphragmatic support’ to be without basis in scientific fact.
It is impossible to exert any direct control over diaphragmatic movement except through the natural act of reflexive breathing and the the controlled exhalation of singing.
9.) By cooperating with your design you can find freedom and ease in your singing.
If you are aware, you’re halfway there! Heightening self-awareness in combination with learning about the body’s natural design can lead to dramatic improvements in vocal production and performance.
Getting clear on the architecture of the total mind-body-voice mechanism can eliminate tension, free your body and liberate your voice.
Want to learn more about your amazing human design?
Read “9 MORE Things Singers Need to Know About their Bodies“
Excellent!! Every last point.
Thanks Elisabeth! I’m glad you liked the article. 🙂
I am a performer and voice teacher from Greece, having studied and researched voice and movement in England. Just finished my weekend workshop ‘ Voice is the Body’ and your article totally reflects my teachings in a carefully articulated way. I will share this with my students. Thank you!!
It reminds me exactly the video ” The art of the breathing” by the great Alexander Technik Teacher Jessica Wolf.
It’s great that you wrote all the important information for the singers down.
Hi Eva – yes, Jessica is one of my greatest influences. She’s wonderful!
I am a singer since I was 15…I’m now 72. I only use my stomach muscle to ‘support’ and it still works. Your suggestions are right on the money!
Thank you. I’m going to pass this on to the choir.
Hi Sita – thanks for sharing with your choir!
Loved this article. Wonderful tips and things to think about.
Thanks Megan!
You raise so many good points – Yes! Your whole body sings. I’d like to add that the diaphragm action can be affected by other than inhaling and exhaling. Eg – as in “see-saw breathing” changing the shape of the rib cage and belly while holding breath, or while exhaling. There are many Feldenkrais Method lessons which use this pattern of movement as an aid to moving (and breathing) more easily.
Spot on!
Thanks Lauren!
Excellent.
I work with young singers frequently …this will be shared with them! Thanks
Thanks for sharing with your singers Debbie!
What GREAT teacher you are!!!!!!!!!
Excellent article! I am a singing teacher and I’ll definitely use this for my students. Thanks!!
I made my professional debut in 1961 and performed in world opera stages for 35 years. I have been teaching at I.U. for the last 30 years -and still active as a teacher and performer-. Last month sang a full recital, at age 78. I’m very grateful you have presented everything 100% correct. Not only I will send it to my students, but I will printed and keep copies in my studio at Indiana University. Again, thank you very much.
Carlos Montané
A beautifully presented and clear dismantling of many myths surrounding basic vocal technique. Thank you.
I’m in good collegial company! Ditto to all—–
As a long time singer and a recently graduated massage therapist, this article provides the perfect nexus between these two disciplines. Thanks so much for sharing the knowledge. I’ll be paying it forward, not only with the singers with whom I’ll be partnering from here on out, but also with those who’ll be on my massage table in the near future. Thanks again
Great stuff very clearly and simply explained! Thanks.
So nice!
Congratulations on the TVF article which I appreciated very much.
It demonstrates, once again, that the Old Italian School of Singing’s empirical principles and precepts were indeed correct.
To this I’d add what Beniamino Gigli said at a London conference in 1946: “As soon as I begin to sing I forget all about the diaphragm and the ribs, all about the breathing machinery and its action and sing on the air accumulated right underneath the larynx” concluding “think more and do less”. Gennaro Sica Tenor and Singing Teacher. Firenze http://www.arteaudizione.com
Thank you Gennaro! Love that quote from Gigli. Cheers!
That makes so much sense even though I’m not a singer but since everything is connected body-mind-spirit, it totally resonates with me.
Concise & Precise!
Thanks Mariam!
I’ve learn something here that we allow me to be a better singer .. Ty
Singers seem to think that the sounds that we make come from the throat. Most don’t knowwhat it takes to be a good singer. Luciano Pavarotti one of the top tenors of our time said that early in his career I think it was Joan Sutherland had him place his hand on her stomach and that helped him understand the relationship between breathing and the reproduction of sound.
Nice one, Peter! Good article!
Thanks Helen!
I am a music teacher and have been teaching and performing for many years. I completely agree with every word written. Will share with my students. Thanks!
This understanding of WHICH parts of our body control the breath and learning how to use those parts, has given me GREATLY increased stamina, vocal strength, health and athleticism. At 79 years old, I have more athleticism, endurance, health and ability than I have ever had. I did not retire from choral work until this year. I Have been so BLESSED to stand in front of singers all these years!
“Getting old is not for sissies” as the saying goes!! Taking care of our bodies and minds insures a LONG AND JOYFUL life!
Dr. Betty Devine
Great blog my friend 🙂
Thank you Stewart!
Thank you for this wonderfully concise piece of valuable information! I find that breath is very much tied to the posture and overall life force of a student.
You’re welcome Kim! Thanks for stopping by. 🙂
Mr. Peter Jacobson,
Thank you for sharing your article. It is concise with all points well presented. It certainly opens new awareness to singing and vocal treatment. I will share your post to others.
Ty, Ted Hipol
Thanks Ted!
these are spectacular…especially having the head float off the spinal column. every once in awhile i hear my natural voice when i sing and it’s so much easier and prettier than my “study” voice. thanks for this!
Wonderful article, I agree with every word.
Lauren Fisher sent on Feb 27, 2016 “Spot on!”, Mariam sent on March 2, 2016 “Concise & Precise.” Highly Agree with both, appreciated All comments. Many Tnx!
I would say that much of this applies to woodwind players too. Good advice!
Great to see some correct teaching! Thank you. So many charlatans out there. My book on “A Practical Guide to the Bel Canto Technique” is being edited at present and hope to publish through UKZN Press. I was taught in the line of Manuel Garcia; Mathilda Marchesi; Mario Basiola and Joyce Barker. Have sung professionally for 30 years and still teaching. Joyce always said “Drop and Fill” when breathing in. i.e. Relax the stomach and allow the breath to feel as if it is filling you up from the root muscle upwards which allows one to sing freely with the whole mind, soul and body.
Excellent article. I am a singer, voice teacher and choral conductor in Israel. I am a college lecturer and direct a center for choral singing. You have expressed precisely what I teach. Unfortunately, not enough teachers are aware of the whole picture and end up limiting voices and promiting stress rather than opening them up to achieve their full potential. I will share this with my English-speaking students.
Promoting
Thank you for sharing this valuable information.
You’re welcome Gerrit!
Excellent article. I would add “never suck in the air.” Just expanding the midriff drops the diaphragm which expands the lungs, and air simply falls into the lungs.
Thanks Sue!
Fantastic article! And great reminders of things to keep in mind for in my singing! Thank you, Peter!
Thanks Anna! Hope you’re doing well. 🙂
Yes, Yes, and YES!!! Bravo, Peter! ???
Thank you Robin!
As someone who’s been a professional singer since I was eight years old, first in pop then opera and music theatre, it was obvious to me that my body was locking after itself. Judge of my surprise when my singing teacher at the Royal College of Music with his mumbo jumbo methods caused my voice to stop working within three months having had nothing wrong for sixteen years. I had a haemorrhage of my right vocal fold and nine months of intermittent silence. Thankfully. A new teacher put me back on track and there’s been no problem since. During my enforced time off, I did a lot of study and realised most vocal teacher are no more than coaches, and most know nothing about the vocal process. Having a successful singing teaching practise in London for the last thirty years I have always upheld everything you suggest in your article. As Dame Nellie Melba said in her treatise nor singing “Good singing is easy singing, difficult singing is bad. Eh that sounds simple, it’s because it is. Let your body do the work in the way is was designed to do so.” Bravo for this article!
Thank you Ian! I honor and respect your singing journey! 🙂
As someone who’s been a professional singer since I was eight years old, first in pop then opera and music theatre, it was obvious to me that my body was looking after itself. Judge of my surprise when my singing teacher at the Royal College of Music with his mumbo jumbo methods caused my voice to stop working within three months having had nothing wrong for sixteen years. I had a haemorrhage of my right vocal fold and nine months of intermittent silence. Thankfully, a new teacher put me back on track and there’s been no problem since. During my enforced time off, I did a lot of study and realised most vocal teacher are no more than coaches, and most know nothing about the vocal process. Having a successful singing teaching practise in London for the last thirty years I have always upheld everything you suggest in your article. As Dame Nellie Melba said in her treatise nor singing “Good singing is easy singing, difficult singing is bad. Eh that sounds simple, it’s because it is. Let your body do the work in the way is was designed to do so.” Bravo for this article!
Are you a practitioner of either the Alexander Technique or Carl Stough’s breathing coordination?
Hi Daniel, yes I’m an Alexander teacher and know enough about Stough’s breathing coordination to be dangerous. Ha! How about you?
This is a lovely article. The language “takes me back” to wonderful Alexander Technique sessions that were so helpful to me in my development as a singer and performer. I will share this with my vocal pedagogy class.
Hi Colleen – glad this article took you back to nice time in your life! Thank you for sharing the article with your vocal ped students. Cheers! 🙂
This is great! I will be sharing it with my voice students!
Thanks Jennifer!
I have sung all my life, & agree with the article & comments. Also as i started out as a ballet dancer, i think correct posture helps with your body being in the right “place” and makes you a better singer. Singing helps reduce stress & lowers your pulse rate too, as i found after an op, lying in the bed quietly singing. Thanks
As a flutist, I think this material is amazing
thank you soooo much!
is there a way to receive post alerts through email?
Hi Francisca, you’re welcome! You can sign for our mailing list here: https://baltimoreat.lpages.co/daily-email-tips/
Hello, I’m a vocal coach in France and I want to thank you for your article, I explain almost all this items during my lessons 😉
I took the freedom to translate it in french, cause some of my followers doesn’t speak in english, so I can share your article, and the translatio 🙂
Thank you for translating this into French! 🙂
After a near death experience due to a very large ‘saddle clot’ that caused bilateral pulmonary trauma, I found I couldn’t sing. Over time my general condition improved, but not my voice. It seems I have to rethink the process of singing!
Thank you for a very interesting article.
Thank you! This is concise and correct. My training was by Europeans, although I am American. I sang in major international houses for decades, and can still perform at 67. These are the principles of true Bel Canto singing. Common sense and basic physics. Creating a beauty that carries emotion and text to the public, and that yields stamina, range, color, flexibility, power , and longevity. Having “judged,” and given literally hundreds of master classes abroad and taught in Europe, NYC and now Chicago, through Lyric Opera …I mourn the loss of these basic truths in the American teaching structure. I do mostly remedial work with professionals who have been diligently practicing
Misguided training and are paying the price for their faith in a busted
And technically misinformed American training program. “Lock and squeeze”…??
Thank you for sharing your clear and ( sadly) controversial article!
I am delighted to share.
You’re welcome Winifred! I respect and honor your vast experience. Best wishes and Happy New Year! 🙂
Great article!
Thank you, Peter!
It is actually a great and helpful piece of information. I am satisfied that you simply shared this helpful information with us. Please stay us informed like this. Thanks for sharing.
Thank you for the article. It is so very true that we do not spend enough time learning how our body functions. We do, after all, only get one and we use it for everything. Usually I think of applying the knowledge directly for health purposes but clearly it has the application in the musical sense as well. Not only for singing but for playing instruments also. Posture and breath support are kind of a big deal.