Holistic Singing

Engaging Mind and Body in Vocal Pedagogy

Introduction

In this seminar, techniques are demonstrated both from pedagogues I have worked with and from my own experiences in over twenty years as a performing (and teaching) singer, which I have used to develop my own pedagogical path in practice, as well as for my students in the "laboratory" that is my voice studio. The lecture is presented in four sections, with four students to demonstrate the techniques in each section. At each stage input, involvement and questions are encouraged.

1. Breath and Alignment:

One of the first ways I acquaint students with their breath is simply to give them the space to observe it. Seldom do we have the time or inclination to simply lie back and examine our breath, yet this is the first step in understanding it. Holistically speaking, I allow the student to encounter their breath in a tangible, physical way, as well as through visual and aural imagery with the exercises that follow:

• Alexander Technique exercises (Constructive Rest, etc.)
• Pelvis shake out
• Stretching side ribs, pectorals, and hips while lying down - "breathing" into the hand on hip/panting
• Rollovers/ seated breathing
• Opening side ribs while standing, taking 3 inhalations to expand the ribs
• Released knees, pelvis dropped forward - maintaining alignment
• Using "Ha" to release breath at onset; various exercises in the tradition of Carl Stough
• Sustaining the breath: Hissing
• "Diaphragm pump" (using fricatives and plosives)

2. The Sensations of Singing: "Appoggio"

One of the most difficult aspects of singing for students to grasp is the idea of support, or as the Italians call it, appoggio=lean. This powerful physical sensation is somewhat foreign to us. There are various sorts of imagery and exercises that can be used to help a student understand this concept, feeling the subtle but definite sensation of engagement of muscles in the lower body. Using different "tools" and body positions more advantageous to sensory perception of the breath, and in addition, visual and aural imagery, this can be facilitated with the following exercises:

• Seated breathing exercise to feel the engagement of abdominal and lower back muscles at the moment of phonation
• Breath connection: Engagement of abdominal muscles at onset of breath - using "zzz"
• "mm-hmm" gentle moan to feel abdominal muscular engagement
• Use of fricative, voiced and labial consonants
• Sensation of palate lift, tongue extension, stabilized larynx in conjunction with breath (hang-a, la la-ja ja-nga nga) - when these exercises are used while focusing on correct alignment and posture, the student can feel the sense of "column" and connection between the sound and its generator, the support system
• "Going down to go up" - bending knees, using therabands
• Use of physical imagery to feel appoggio - pressing hand along the piano; pushing hands in a downward motion to imitate the displacing of energy ("Plunger Effect"), therabands

3. The Vowel:

Bel canto means beautiful vowels! The most clearly articulated and purest of vowel sounds is an indicator of sound vocal production. Students have various ways of discovering what the ideal sounds are for each vowel. Some can adjust simply by imitation of the instructor, but I often find that students grasp these ideas more readily when they are presented with a visual image of tongue and palate position, as well as with a more tangible idea of what the shapes in their mouths are through manipulation of materials, shapes they make with their hands or drawings they make themselves to describe what they are feeling. It is often the intense physical experience of the vowel shape, which will be the most powerful and enlightening for them, clarifying the feeling of the "forward" vowel sound. The following exercises are examples of the holistic approach:

• Whispering vowels (intense physical sensation of vowel shape and movement of the breath through the vowel)
• Clarity exercises ([i], [e], [a], [o], [u]) - tongue positions - see diagram from John Moriarty’s Diction, Schirmer, 1975
• Feeling of distinct shapes of the vowels through hand movement or use of modelling clay
• Modification (the joy of "uh") - finding the "Back drawer" or "attic"
• The Tube - bringing the vowel forward

4. Integrating learning styles: Imagery and its relationship to movement:

Different ways are explored to show students how to express physically what they are feeling with the sound. Interestingly, physical manifestations of vocal sensation are also extremely telling for the pedagogue: for instance, a student who is releasing their breath support too early in a phrase will generally physicalize their sound to reflect this. In other words, this technique is extremely helpful in determining where the student’s habits are interfering with optimal vocal production. These techniques are an addendum to ideas previously demonstrated and are intended to serve as a springboard for further discovery:

• Physicalization of the sound
• Physicalization of the breath (intake and exhale)
• Feeling the Appoggio
• Sustaining the breath (snowplow, hand on piano)
• Legato (paintbrush)
• Passaggio (suction, back drawer)
• "Drawing" an image of the sound/breath/support mechanism/placement

In conclusion:

By employing a holistic pedagogical approach, we can enhance our own teaching methods, endeavouring to continually discover ways to help our students to employ their entire singing instrument. From a holistic perspective, the possibilities are as endless as the individuals themselves, and these exercises are only a beginning in the discoveries that we will undoubtedly make ourselves. As always, much of my inspiration and insight comes from the students themselves; their own perceptions are key in finding the most innovative pedagogical solutions to their individual and unique vocal challenges. The more we listen to our own students, the more we can begin to discover where their learning strengths lie and then use our own tools and imagination to accommodate those in an all-encompassing way.