Tan Tien, floating chest, thorax, and abdomen

January 7, 2010

Proper tan tien means proper hip and lower spine alignment.   This affects the entire posture.  3D dynamic movement, so not just 2D.  This part is critical, because it is a 3D dynamic and in several free motions.

After tan tien, the abdomen needs to be strengthened. 

Subsequently, it is the concept that I call “free floating chest”.   This is freer intracoastal (sp) muscles–expanding chest outward, and uplifting upper chest, and the entire chest being uplifted higher.

So, the entire chest is expanded.  Hence, this is also the basis for the Eastern meditation methods’  focus on breathing methods.

Acid reflux, vocal cords, and acupuncture

January 7, 2010

The question is asked how does acid reflux affect singing highs and why a particular singer found that acupuncture worked for him.   See themodernocalist.com’s discussion forum http://www.punbb-hosting.com/forums/themodernvocalist/viewtopic.php?id=447

Acid reflux doesn’t just affect the vocal cords, but the entire vocal tract.   Just a little bit of acid, and I would even suggest acidic fumes, can weaken the entire vocal tract.   This means that acid reflux affects the resonace control and vocal cords.

My opinion is:  if you have major acid reflux, you’ll know quickly–you’ll lose the entire vocal tract control–can’t sing in tune.   Minor acid reflux affects the quality of the control.   Remember that the vocal cords alone sound tinny, and that your resonance creates the full sound, and then you’ll better understand how acid reflux works.  

Knowing this, here’s how Nexium and other proton inhibitors work.   These reduce the amount of acid and possibly acidic fumes that weaken your vocal tract, and hence improve your singing quality control.

One can also reduce acid by changing diet (eat less, less fatty foods that require more digestion time), losing weight (my guess is less pressure on the stomach and vocal tract), and other well-known methods.

Lesser known–one can reduce the acid by manipulating your body posture.  Don’t lie down horizontally (even when sleeping; sleep at an incline), sit straight, try to strengthen the lower esophageal valve, and also the upper esophageal valve (I hope I said these correctly).   These are described in my blog www.vocalposture.com.   Lift up the entire rib cage–not by a deliberate mental lift, but by relaxing and toning the entire spine and thorax and abdomen muscles and myofasica.  Much of vocalposture is about this process.   You’ll sing better and relieve acid reflux at the same time.

As for acupuncture, massage, etc., as mentioned in the modernvocalist.com question    These can work as well.   How, precisely?   One of the comments said earlier is that there is no “scientific proof” that these work.   Indeed, there is little “scientific proof” these don’t work either.   Just because something isn’t proven, doesn’t mean it’s false; though it may be suspect. 

Remember though that there are usually more false methods than true ones, so suspect is suspect.  However, it is not true that suspect is false–some suspect methods may very well work.

There is abundant evidence that acupuncture and massage do affect the circulatory, nervous, and muscular-tension systems.  If one accepts these, then one can view one’s relief through these therapies sensibly.

Acid reflux is primarily due to too much pressure causing the stomach contents to go up to the throat.  

Acupuncture, massage, etc. may be helping by relieving tension (thereby reducing pressure), by relaxing your vocal tract (which may be tense from continous exposure to acid reflux), or by simply improving your vocal tract muscular performance.  Anyhow, all these make sense by understanding the posture of the vocal tract, which is what www.vocalposture.com is about.

I hope this helps.

Look for www.WebBIZcard.com –my new invention!

Tinnitus, hyperacusis, and singing techniques

January 6, 2010

It’s well known that the major cause to tinnitus is loud sounds.   Also, a related condition, hyperacusis (painful amplified hearing), is also affected by loud sound.  Lastly, tinnitus and hyperacusis are often precursors to deafness.

Singing techniques can affect the travel of sound throughout the head, and obviously to the ears as well.  The ways of head resonance amplify these sounds as well.

So, it would seem that singing techniques can affect the degree of affected tinnitus and hyperacusis, and possibly even reduce the likelihood of losing one’s hearing.

Though it is known that some tinnitus and hyperacusis suffers’ singning can cause these illnesses, I didn’t find much research on this topic or how singing techniques can reduce tinnitus or hyperacusis.

Does anyone have suggestions, knowledge, resources for research?

Gravity and the jaw

July 28, 2009

The jaw is a muscle that actually wants to drop automatically. And if one is relaxed, it would do so. This relaxation of the jaw should be used in singing. Let the jaw drop and pull it up. Most of the time, the jaw should not be pulled down strongly using the side of the throat muscles.

In singing, there are no pull-down muscles of the jaw.   When opening the jaw, it is a pull backward.  Gravity pulls down.

So, to sing well, must use gravity together with pulling backward, so as to maximize relaxation.   This is the same as Alan Greene’s concept of a backward jaw.

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.

EV967 microphone

July 20, 2009

Compared to the EV767, the 967 is a muddier mic on the bass, meaning, that it is less precise between each tone emitted.   But, it does sound somewhat nearly as full, and because, in my opinion, the EV767 is frequently too bassy-full, the 937 is actually a better sound frequently for my voice.

The 937 has a roll-off switch, a big advantage.

Nasal and mask

July 20, 2009

The nose muscles must be relaxed and sound sent forward.  This improves head resonance.

singing highs

July 17, 2009

Pull jaws backwards. Decreases tension on throat.   Also send sounds to a more open throat and preferably up through the top of the head (back of the throat)–to increase resonance and thereby cause less stress.

My personal experience though is that deliberately tightening the throat and presumably the vocal cords can create a higher shrill high, but this is more tiring on the throat.   The above mentioned type of highs is more relaxing, but doesn’t sound as “tough”, although close.

Stretch principle and throat

July 13, 2009

The principle of stretching to straighten the posture also applies to the throat and mouth, except here now, it is not necessarily to straighten. It is to additionally expand and sometimes to lengthen.

In practicing singing here, constantly strive to open your back of the throat muscles wider and lengthen the back of the throat. Overtime, these muscles will regain their tone and the more capable sounds created will be available when you are singing.

These efforts also enable for new types of sounds.

Remember that the support structure for the throat and neck will affect these muscles, which will then facilitate for the inner throat muscles to lengthen and expand.

Many people have trouble with the support structure for the throat and neck, and these top of chest, shoulders, and upper back muscles and spinal alignment issues can be difficult to get rid of.

Additionally, these are locked in placed by the excessive tension in the throat.

advanced posture-effect concepts

July 11, 2009

Nose–less strain on nasal muscles (e.g. effort, strain, disgust).    In addition to singing better, this will make breathing easier.

Eyes–less intense around eye muscles. Result will be better 3D perception and more color intensity. Audience perceive singer as less strained and more relaxed. Also ties into nasal muscles

Principles here are the same–more relaxed the muscles, better physiological results and better singing.

The strained efforts seen frequently on singers can have emotional stage impact, but for better range still, more relaxed face and nose can create higher range sounds.