Archive for the ‘posture’ Category

Posture and Singing, response to Sally

May 12, 2009

Thank you Sally,

The basics are as you state below. www.themodernvocalist.com/group/detense May I add a few more matters:

How a problem originates and how to solve these may be strangely different. And in dealing with people, we’re also dealing with areas such as compulsion and the subconscious–these affect posture in unexpected ways as well. VocalPosture.com will explain how many of the suppressed emotions are manifested in and can be corrected by posture alignment methods.

Having said this, and agreeing with you on the basics–here’s what I’m suggesting are to be added:

1. Eastern therapeutic arts are good at restoring posture–they’ve been doing this for thousands of years.
2. If the posture is tilted, the sound travels to the ear through the bones and oral cavity differently– one doesn’t hear oneself accurately when the posture is not optimal. You may be correct in that one doesn’t also hear oneself accurately in relation to other people in all cases. I haven’t got to the stage where my posture is good enough that I can hear a recording and say that’s exactly the way I heard myself without the recording. However, as I straighten my posture, my self-hearing accuracy constantly improves.

 

Notice it is not possible to hear accurately just by simply straightening up one’s posture.   The prior posture had excessive tension and looseness– and when one postures up, the tonicity of these change.   The tensions should be gotten rid of first.   At least, this is my current hypothesis.

 

Also, much of hearing oneself is mental.   What I’m suggesting is that by correcting the posture to change one’s emotions, one can even mentally hear better.  In Hindu and Buddhist thought, this is alike seeing reality by getting rid of emotional bagge.  Instead, I’m suggesting hearing reality by getting rid of emotional baggage.

3. I don’t see good singing as comparable to speaking. There are lots of speaking skills used in singing that can create all kinds of effects, particularly subtle effects skills learned from daily speaking.  However, in my personal case, a full voice is rarely used in my speaking. My opinion is to first create a good resonanting cavity, then add singing skills, and then add talking nuances.

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The upper front chest

May 12, 2009

In addition to straightening the spine from the back, the upper front chest has to be pulled up. This also pulls up the rib cage. The result is better lows and the head also better balanced–for better highs.   The side of throat muscles need to be released of tension as well.

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.

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.”

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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

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