Archive for the ‘0 VocalPosture philosophy’ Category

Emotions, posture, and microexpressions

May 13, 2009

I agree, Judy, posture and emotions are interrelated. This is why in meditation there is such an emphasis on a straight spine–because a straight spine gently pulls all the tensed and loose muscles into alignment. This is also why yoga has pose and counterpose. The objectives of both of these practices are to reach a spiritual level where the “soul” isn’t affected by the emotions. In modern terms, we can think of this as “detensing” the muscles to achieve mental and emotional flexibility and stability.

There was a U. of Chicago scientist Eugene Gindlin (sp?) who wrote a book titled “Focusing”, which described a term now known as “microexpressions”? These are subconscious emotions, usually not visible to outsiders, that express true emotions. This gives a clue as to how emotions work–they are bound up with the muscles.

Thus, I’m suggesting, unless suppressed microexpression emotions are gotten rid of, it is very difficult to sing the songs that the feel is counter to the emotions. It is possible though to sing songs that the feel is consistent with these emotions–this can also be a form of sublimation.

Microexpression emotions cannot be gotten rid of by forcibly getting one into good posture–it takes a long time to get rid of these emotional muscular miniscule tensions.

Anyhow, these ideas are being blogged in my VocalPosture.com website.

questions to ask about posture

May 10, 2009

Additionally, I’d like to ask how is it that the posture isn’t naturally good? And why is it we don’t hear ourselves accurately? Lastly, why we don’t automatically express our feeling lyrically and musically?

My suggestion is that Zen Buddhist concepts are very similar to these. If we observe meditation, much of the work itself is a straight spine posture. The sound waves we hear are inaccurate in part because without good posture, it travels through the bones in a different way. And without good posture, the body’s emotions remain bound in certain taut or over-relaxed muscles—hence, the expression is always different.

What I’m suggesting is that Eastern concepts of restoring the divine and then taking this and focusing on meditation and its straight spine, is basically analogous to—restoring the misaligned divine voice within by straightening the spine.

Yin Yang, balance, yoga, singing

May 5, 2009

This makes sense–that proper vocal structure is a balance of yin yang, constrictor-anti-constrictor (Alan Greene), posture and counter-posture (yoga). For such is the harmony of the Taoist symbol.

This blog is primarily concerned with dealing with the constrictors (because the blogger is mostly a constrictor); however, I think it’s possible certain singers’ difficulties are more in the anti-constrictors difficulties–this has been casually mentioned in some of my readings.

Chen Sun

www.WebAndNet.com

What’s the best yoga pose for slouches singers

May 5, 2009

Cobra, because cobra counteracts the slouch and achieve a straighter vocal tract.  Lots of people have slouches, and most aren’t aware of it.  Very few people stand straight.

Yin and Yang

May 2, 2009

Alan Greene describes singing vocal structure training as releasing the constrictors and enabling the anti-constrictors. Yoga is pose and counterpose. I’m reading a book on autism that traits as a balancing of the male and female genes, with normal in the middle.

The Taoist Yin and Yang sages must have seen these in people as well as nature. I  suspect that the yin and yang has not been fully explained in the vocal structure process, and perhaps not fathomed in all its implications for modern society

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 VocalPosture.com 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.

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 http://www.punbb-hosting.com/forums/themodernvocalist/viewtopic.php?id=250 .

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

www.WebAndNet.com

FAQ–Mixed voice

April 15, 2009

The question is what is a mixed voice?

 

Form a standing wave with the vocal tract’s resonating tube-cavity.  The result is that most of the amplification is through resonance and standing wave.   If you form the standing and resonating wave correctly, it will automatically have the mixed or full sounds—because the entire vocal tract is resonating.

 

To “mix” this sound, it is more a matter of subtraction—put a barrier to muffle or absorb the head or chest voice.

 

The question now is—how does one form the standing wave resonating tube cavity to begin with?  Obviously, if your posture isn’t correct, it won’t form correctly.   And if you have back of mouth obstructions it may not form the highs correctly.   So, the first step is to get your posture correct and then your vocal structure correct, which is what is described extensively in Vocalposture.com.  

 

From a “ZenSinging” perspective, the question should be, why don’t you already have a mixed voice?  The Zen answer is that you lost it.  So, the focus should be on restoring what was lost, instead of getting the mixed voice.   The restoration techniques are different from standard singing training techniques.

 

Restore vs Exercise for voice training

April 13, 2009

A key philosophical difference between standard singing exercises and VocalPosture.com’s restore concept is that VocalPosture.com emphasizes ridding muscular tension, instead of exercising muscles. 

Muscular exercise can reduce some muscular tensions; and thus so can standard vocal exercises.   But, just as we see many people needing massage therapy, yoga, shiatsu, chiropractic, and, in particular myofascia release of trigger points, we can understand comparably that there are additional treatment modalities for taut posture muscles.  If any muscle is not in tone, the entire body’s posture is thrown off.  Each body part not in alignment affects the tone and other body muscles. 

For most people, this proper body alignment is within them, and thus, their natural muscle and singing tone is within.  So, we have to examine what causes muscle tone to be lost, and then fix these–this is the major goal of VocalPosture.com

Chen Sun

www.WebAndNet.com