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.

Yoga humor

April 20, 2009

So, here I am working on my innovative method to learn singing called VocalPosture.com.   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 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

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.