Archive for the ‘0 VocalPosture philosophy’ Category

hyperacusis, tinnitus, posture, resonance, vocal shape

October 20, 2010

It is not necessarily the vocal shape that directs all the sound, and obviously, the posture initially affects the direction of the sound.   If posture is not straight, it is possible that the sound starts going toward the ears, from starting at the vocal tract and then resonating within the skull.

The straight alignment can better assure that the sounds emit through the mouth.

Result is lesser volume of sound to ears and reduced tinnitus and hyperacusis.

This returns to the concept of Maya and also Alexander Technique.   Hearing is never right or accurately established, until the vocal apparatus is sitting in a regular vocal sound pathway–which in our case, is a detensed throat and inner mouth pathway.  This begins the cause of Maya in hearing.

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Full voice idea

September 28, 2010

It would seem that a full voice can be achieved by:  1. reducing the tension on the soft upper pallet, which gives the vocal tract a slightly longer tract, as the soft upper pallet can then be more concave upwards.  This gives bassy sounds a longer path.  2.   Then, send (push) the sound more to the sinus mask to increase higher frequency resonance as well.   Curious as to whether this idea is correct.  Love to hear your thoughts!

This is not to say that it’s easy to detense and push at the same time, while there’s still vocal tract tension.   Vocalposture’s view is that eventually, detensing will make the full sound the natural, innate sound.

Technical training and dance

July 12, 2010

from [quote=ronws]I know this thread has aged a little bit. But I have thought about it some more. I think most any system of training, whether full of technical jargon or hokey imagery can benefit and expand a range and ability, primarily because it is offering some training and method by which to approach singing.
I still get plenty from technical descriptions. To me, knowledge is like a salad bar. Try the julienned carrots, they might be good.[/quote]

Can we learn dancing best by naming the muscles, explaining how ligaments worked, and  analyzing the physics of muscle contractions?  That is, instead of teaching steps and movements and interpretations, dance instructions becomes more anatomical, for example, contract the tibilias posterior slightly, tighten the peroneus brevis, set the rhomboideus major at 30 degrees, would dance teaching be served?

The ridiculous part of singing via SUBTLE anatomy descriptions is evident.   This isn’t to say anatomy descriptions can’t be used– just as in dance, one can say, move the calf half way forward, but the subtle anatomy descriptions such as accelerate the gastrocnemus while lengthening the peronus longus are inane. 

And worse yet, these subtle descriptions are 90% likely to be wrong.  I’ll bet the physics-physiology for even the simplest dance is extremely difficult, as the body is a vertical figure in balance, counter-balance, and doing all kinds of 3D, very complicated supports, contractions, and motions.

If we can’t even understand well the physics-physiology of dance, which we can see and uses the physics of better understood hard motions, what makes one think one can use physics-physiology for singing, which we can’t see and deal with lesser understood physics of soft tissues?

Hearing, singing and posture

July 10, 2010

Returning to a topic we had a year ago–the question was, is it possible to hear oneself sing accurately.  If it is possible, singing is much simpler–just interpret-match one’s voice to the music.

The vibrations move to the eardrums through the air vibrations from the mouth, the soft tissues in the vocal apparatus, and the head’s bones.  Most of the prior answers responded said it is possible, but it takes years of practice.  

I had stated that the mind then take these vibrations and interpret in very unusual ways; a process that I call Maya, the Maya in Indian and Buddhist thought.  Maya is illusion (delusion), and as it applies toward singing, I’m suggesting that aural Maya is one’s own mind’s hearing delusion of own voice.   Maya literally creates a different heard sound from what one’s actual singing–filling in missing notes, creating artificial highs, making one believe one sounds like the original recording, and more self-delusions.

How does Maya work?   The mind is powerful, and I can only guess at parts of this.  We can partially derive this from the way great gurus and bodhivisttas of the past tackled Maya.  Through meditation they bypassed Maya’s trickeries to see religious truths.

In meditation, the first step is to straighten one’s spine and align one’s head (sounds a bit Alexander technique?–well, it is).  

I’m suggesting that we can apply the similar spinal alignment treatments to bypass vocal and aural Maya (delusion).  When one spinally aligns, the vocal apparatus detenses and tones itself to sing naturally better.  This is getting rid of vocal Maya.

I’m further suggesting that when the spine and head are properly aligned, the detensing coupled with differing and better sound travel paths (through air, tissues and bones, above) enables one to hear better.   The hearing better will enable one to sing better with the also heard music.

So, I’m suggesting to sing better, one of the easiest things to do is to “hear” and effortlessly create truthfully one’s own sounds–and this is a process called getting rid of aural and vocal Maya.   

Hence, if meditation posture alignment is appropriate to see the “religious truth”, I’m suggesting that posture alignment is appropriate to hearing and vocal emission truths–one’s natural, best tonal voice.   You can read more about methods describing these at, a random blog.

The idea of aural Maya I’m uncertain about–I’m claiming that the head positioning actual makes a difference in the way one hears.  What are your thoughts?

Different singing sounds after jogging

July 5, 2010


[quote=classical guitar]Okay here’s the deal… 

Vocal Range without jogging 3 miles in the morning= A2-A5
Vocal Range with jogging 3 miles in the morning= B3-C#5 (at least)

What’s going on?  It’s so frustrating having to deal with a different instrument half the days of the week…  It’s like bi-polar voice syndrome or something…

Also, I tend to wake up with a realllllly low voice for a tenor in the morning.  Maybe the two are related.  I’m currently on meds for acid reflux, and drinking about a gallon of water a day (have been for a year).  Lot’s of sinus drainage also on days that I don’t get the cardio in…

Anybody else deal with this frustrating crap?[/quote]

Well, here’s my two cents worth.

The body stores muscle tension patterns.  When one runs, one “shakes” up these patterns, and your resonanting mechanism as well as your musclar controls are affected.  Musclar controls return quickly after some rest, but shaking up tension patterns are not restored quickly.  Afterwards, one’s vocal apparatus sounds entirely different.

To solve this, one needs to get rid of the tension patterns–detense–which is a difficult process being described in my blog,  (Most of the information isn’t on there yet).  By permanently ridding of stored muscular tensions, you’ll sing far better than your current conditions, in any pitch ranges.

Acid reflux meds, especially proton inhibitors, in general, help sufferers sing better.  The reason is that when acid touches the esophageal and mouth tissues, these weaken; furthermore, acidic fumes cause nasal congestion (as the nasal tissues protect themselves by shutting closing the nose to nasal fumes).  With acid reflux med, the vocal tissues are stronger.

Of course, it is better not to use acid reflux med at all; there are lots of techniques for this–some of which is explained or will be explained in

Getting rid of tension before accurate singing

June 22, 2010

Alan Greene is mostly accurate in that one’s vocal practice does little good until the tension is gone.   He’s saying that the practice can develop bad habits.

This is somewhat accurate–that tension causes other types of sounds to emerge.  And because hearing remains inaccurate with bad posture; such that, due to Maya and even accompanying music, one continues to believe that one is singing accurately.

However, this Vocalposture’s detensing involves the entire body and can take a very long time.   Also, the optimal goal is flexibility to tonal and body changes, such that the practices can easily change to a new style, due to detensed tissues.

Hence, Vocalposture’s methods differ from Greene in that vocal exercises start early, before all tension disappears.   Vocalposture is concerned about excessive tensions that may injure voice, so harmful singing should not be part of its initial exercises.

Expanded chest and ribs for singing

January 8, 2010

The question is asked whether the rib should be expanded.

 The question, in my opinion, should not be whether to keep the ribs deliberately expanded, but, instead, how to have the rib relaxed and in tone, which, in my opinion, is usually is a far more expanded state.  Your singing state should be its ribs in muscular tone state and adjusted for the emotional effect your singing is trying to achieve.

The reason the ribs are usually not in a relaxed and in-muscular-tone state is because of posture problems and emotional tension.  These are difficult to fix, but if fixed, the result will be an expanded chest, similar to what is described frequently in professional dance classes.   It is also possible to attain an expanded rib similar to that in a military stance, but this often produces lesser varieties of emotional sounds.

 Interesting how the words musical tone and muscular tone are related—this is what is stating.

Overall posture

July 28, 2009

People’s original, and usually not-properly-aligned, postures are different, and there is no single corrective treatment method.   The following is my posture changes needed, which may apply to many others.

Feet to be properly balancing spine–orthotics if necessary.

Knees somewhat straight.  Excessive bent knees is a clue that the posture is leaning too much.

Hips pushed forward.

Abdomen tighten

Chest expanded and upper chest protruded.

Throat somewhat relaxed.

Upper chest protruded such that the throat and head balance.

Jaw ready to be dropped and not protruded forward.

Face and nostrils relaxed.

Freedom in singing–through Zen

June 17, 2009

Please refer to 6-16-09 posting on freedom in singing and 5-19-09 posting on Zen and bondage.  

Recall Zen Buddhism is Indian in origin.  Yoga asanas (stretches) are the initial steps to meditation– yoga to still the body before sitting meditations that still the mind.   Stilling the mind diminishes craving (similar to compulsion).  

Hindu and Buddhist spiritual leaders thus answered on vocal freedom–stretches and meditation. explains that simply stretches (without vocalizing or singing exercises), can be used for learning singing.   Alan Greene’s book, the New Voice, is a series of silent exercises to stretch, detense, and establish or the proper vocal structure.   Alan Greene, , was a singing instructor endorsed by Harry Belafonte and Walter Matheau who developed such a silent stretches for his students.    Yes, for 10+ years, he taught students how to sing without their singing.  (A Zen riddle for you). supplements Alan Greene’s work in that focus is that proper posture will great faciliate proper vocal structure.

VocalPosture believes that stretches, alike asanas, are the first steps to gaining singing freedom, alike how yoga asanas are the first step to meditation.   Unlike the ultimate goal of meditation, VocalPosture is less concerned with freedom or vocal freedom, but is interested in the journey.

This journey means that while one is trying to attain vocal freedom (a long journey), one should utilize rather than free one’s bondage.   In psychology, this means, sublimation of one’s suppressed emotions.

Blues, sorrowful songs–these are examples of sublimation of sorrow (and Zen and Buddha know a lot about sorrow).  

One should, in VocalPosture’s view, use stretches to attain a perfect vocal structure; but before achieving this, utilize the improvements in stretches coupled with sublimation of the suppressed emotions.

Chen Sun

What is freedom in singing?

June 16, 2009

Freedom and singing.

What is freedom in singing? To me, this means, being able to express any desired sound that one is capable of, at will.

How can one attain this? Zen explains much of this.

Please now refer to the section on Zen and bondag–May 19, 2009.