Archive for April, 2009

Suppression of sorrow

April 29, 2009

It is well known that the body can suppress pain and sorrow.   These are retained primarily in the muscles.  We also know, from Eugene Gindlin’s (sp?) “Focusing” the idea of microexpressions.  And from Travell, trigger points and taut muscles.   These are inconsistent with the idea that vocal structure is correct to begin with.  

It is these suppressed body pains that cause interference and can cause sublimation.


Divine voice within, the imperfect body, and goals of this website

April 25, 2009

The philosophy of is that most people have a divine voice within. Yet, the body is imperfect. So, much of this website is concerned with restoring health, restoring posture, and understanding voice physical structure, so as to better restore it. Through the restoration, the natural divine voice will emerge.

For this reason, there are very few exercises here to improve singing skills; our focus is on restoring your lost health, natural posture, hearing, and innate singing.

Yoga humor

April 20, 2009

So, here I am working on my innovative method to learn singing called   Then for undetermined reasons, I injured my lower back (sacrificial preface to my upcoming posture book).  


Now, of all the activities I’ve avoided past, I’m taking hot yoga.  Yes, hot yoga, where I’m the only guy in class.  Men, you can’t find a better place for hot women at attractive ratios.


Actually, in hot yoga, they teach us how to self-inflict-painful-stretches in a heated room.  I walk in with a backache and walk out with added shoulder and neck aches. 


Modern yoga feature special lighting, 12 feet high mirrors, filtered water, showers (I’m surprised it’s not filtered water showers); all for only $155 per month, including the young enthusiastic, attractive yoga instructors, of course. 

Vocal Support

April 20, 2009

The question is posed, what is “support” , what part of the body is being talked about?

An initial answer is that support is working against the natural urge of the diaphragm to release the air that has been inhaled….” by Martin at .

Martin says “This is achieved by resisting its movement. During singing, the waist muscles and solar plexus are pushed outwards, the abdomen around the navel is gradually pulled in in a constant and sustained manner, and the back muscles are tightened. The muscles in the loin are trying to push the pelvis backwards while the muscles in the abdomen are trying to pull the pelvis up under your body. This battle created between the abdominal muscles and the muscles in the loin is a valuable and important part of the support.

The support must however happen in a sustained and continuous manner as though working against a resistance, for as long as a sound is being produced. When the muscle contractions stop being sustained and continuous (for instance, if you can not pull the abdomen around the navel inwards any further or push the muscles of the waist or solar plexus outwards any further) then there is usually no more support. It is important to conserve your support energy so you do not waste it or use it at the wrong point in time. Do not use support before it is necessary for example when the singing gets difficult, such as on high notes or at the end of a phrase. Support is hard physical work so you should be in good physical condition.”


Thank you, Martin. This is very interesting. Is your defined support term different from the use of the word usage meaning breath support?

I like what you wrote (rare for me, as you know), but want to add a few more challenges.  I agree with you on the strengthening the lower abdomen to gain support and improve singing. But, until I’ve had a chance to really test the intracies of the muscles you’ve described, am unsure what will really happen.

“Do not use support before it is necessary for example when the singing gets difficult, such as on high notes or at the end of a phrase.”

Also, regarding not to use before it is necessary, why is this?

To elaborate, in yoga, there’s a great deal of emphasis to gain elasticity and strength in the lower back and the waist area. And in Chinese thought, there’s an emphasis on an area immediately below the navel, called the Tan Tien. In yoga and other Hindu thought, the lower abdomen and waist is where the kundalini energy arises. So, it would seem that the support for a lot of physical power is already in other thoughts. The major difference between what you’ve described and Eastern thoughts is the application toward the voice. Hence, there’s a great deal of similarities between learning how to sing and Eastern “spiritual” practices (which include martial arts, yoga, and meditation). But, there no such “Do not use support….” that I’m aware of. It seems support is continually cultivated here.

So, my next question is…. Is support a postural support that is to be continually practiced on and strengthened, or is it an occasional usage in singing?

Chen Sun

What is stage presence worth?

April 16, 2009

Research shows that approximately 50% of our communications is non-verbal. The remaining 50%–about 20% of this are the word themselves and 30% is the vocal quality.

As a singer, one would guess that the vocal quality adds another 20 to 30%. This means, your stage presence is about 20% to 30% of the value of your entertainment.

yoga–initial thoughts

April 16, 2009

Yoga can stretch all kinds of muscles and would work for much of vocalposture’s objectives on reducing muscular tension. But, yoga is not complete.

1. Trigger points and emotional-blocked muscular tensions are difficult to rid by yoga.
2. Yoga, particularly in a class or any kind of public session, won’t release much of the suppressed emotional tensions.

How to energize or connect with a crowd?

April 15, 2009

FAQ– how do I energize a crowd?

In a sense, performing and creating fans is like being a leader. Audiences like to follow…. They just want to follow someone who leads and give them something they want to follow.

If they haven’t heard your band before, and you don’t have any fans in the audience, you’ll need a minimum of 3 good songs to persuade you’re really good at giving them what they’re in the mood for. And what’s good depends much on the age of the audience, their energy level at the event, their desired music genre they initially want to hear, and the energy level of the music. So, if they’re feeling energetic, give them energetic songs. If they’re mellow, sing mellow songs initially to see if they can become energized. If metal crowd, curse. If audience is vulgar, use vulgar terms. If you have initial women fans, this is easier. They want someone who is romantic and will cheer rapidly then. Are they in a partying mood? If so, issue partying songs immediately. This leadership-followers positioning is important—you have to size the situation and then lead accordingly.

Leading nonverbally means be loose, confident, and frequently romantic. Talk with the audience a bit. Enjoy your interactions. Audiences are already primed to follow—you just have to lead. If you’re short or a woman, use your arms to project your image and create energy. Taller men don’t have to do much but sing.

After you’ve persuaded them with 3 good songs, you’ll probably get a few fans. These start start the cheering. Crowds won’t do much until these initial cheerers. After you get them interested in your band, you can play almost anything. Revving up with the initial fans is important, because they are the ones that motivate the rest to set the cheering and partying mood.

I can’t stand clichés such “Are you having a good time?”, “Hello, (City)” but these do work, but not as well as perhaps “Are you having a good time?” “Damned if I care. Drink some more if you wanna have a good time! Well, here’s our drinking song Hey babe, (point at a few) wanna have a drink with me (after the show?)J”

Getting crowd interaction is a very complicated matter, more complicated than singing. I think it’s fair to say the most successful entertainers are actually better at this than singing, musicianship, or even song-writing. So, it takes time and learning.

Chen Sun

Nasal irrigation

April 15, 2009



Good time for nasal irrigation:


Nasal irrigation washes out allergens and mucus, and also nasal sprays.  So, before sprays and right before bedtime are good times for nasal irrigation.




Nasal irrigation  or an equivalent.  nasal irrigation products.


Another device you may want to try is pulsating waterpik w nasal irrigator.   Costs about $45.



Nasal spray–free

April 15, 2009


This is same as fluticasone propionate (sp), which is only $25.  With doctor’s prescription Veramyst will give you a free 30 days supply. 



Good time for nasal irrigation:


Nasal irrigation washes out allergens and mucus, and also nasal sprays.  So, before sprays and right before bedtime are good times for nasal irrigation.




Nasal irrigation  or an equivalent.  nasal irrigation products.


Another device you may want to try is pulsating waterpik w nasal irrigator.   Costs about $45.



vacuum cleaners

April 15, 2009

Also, the vacuum cleaner makes a big difference. Most vacuum cleaners leak air such that the sucked-un dust and any pollens gets blown around. Amazingly, this is also true with HEPA vacuum cleaners. Check consumers reports reviews. ‘s recommended vacuum cleaners are very good, but can be purchased less else where. I use Electrolux Oxygen canister. Even here, you have to be very careful on the exact model and version being purchased. Also, how you might dust makes a big difference. Allergies are cumulative, so if you allergic to pollen and minor to dust, reducing dust can help with pollen.