This post, the second in a series, will relate vocal technique of the "Alexander Technique" to that of my method "Power, Path & Performance" on the subject of how to keep an open (not tight) throat. I am deeply indebted to Ron Murdock, who has kindly contacted me and furthered my understanding of his article and the Alexander Technique. I have edited my first post based on his communication; you might want to re-read it. http://judyrodman.blogspot.com/2007/05/breath-techniques-of-power-path-and.html
First question to ponder: Why do you need an open throat? Well, among other things-
- To keep from straining or damaging your voice
- To get rich, beautiful resonance
- For pitch control
- To raise lower and upper limits on your range
- To eliminate vocal breaks
- So you can concentrate on communicating, not on hard notes!
Please click the link to Ron Murdock's wonderful article at http://www.cursa-ur.com/articles/BornToSing.htm. Scroll down about 1/5 of the way and begin reading at the paragraph that begins "What, then, is this vast vocal organ?, just before Fig. 1. Continue reading until you come to the paragraph beginning with the words "The breathing organ makes up the other half of the singing instrument."
Now focus on illustration (Fig) 2. Wow!! Do you see all the things that are connected to your vocal aparatus? Let's list them-
- The top of the chest
- The tongue (hyoid) bone
- The jaw (via the tongue)
- The soft palate
- The head
- The gullet (esophagus)
- The shoulder
Allow me to quote Ron Murdock: "All these muscles form what Husler and Rodd-Marling called an "elastic scaffolding" or suspensory mechanism around the larynx."This illustration clearly shows how important it is to balance the stretch connecting the vocal aparatus in all directions.
In "Power, Path & Performance", I use the imagery of a hook-shaped vocal "Path" suggested by voice teacher Jeffrey Allen, which I've found to be an incredibly effective way to get the anatomy working right. The way I teach this path is to get a vocalist to PULL words and sound from a path which begins in the pelvic floor, continues to a point above and behind the head (i.e. the balcony), and then finishes by using the word to pull the sound toward the audience. OK- here's a practical application- imagine you are a hip-hop artist (if you are one, you don't have to imagine:) Use a silly sarcastic attitude and say "Yo, sucker" or "Yeah, right!" That's the feeling of pulling your voice. It's tall, flexible, confident, fearless, powerful and strain-free.
Here are some habits you need to keep your throat open:
- Pull, don't push, your words out
- Stand or sit tall and flexible (yeah, that helps with breath, too!)
- Flexibly balance your head on your top vertibrae
- Don't lean your head forward or stiffly back!! (For help, try singing with your head against a wall)
- Keep jaw loose; use a slight sideways chewing motion if your throat starts to get tight- expecially on "e" and "oo" words
- Relax the base of your tongue
- Keep your chin flexibly level - not lifted or dropped
- Form consonants in the front of your mouth, vowels in back
- Use the feeling of the inner smile
- Let your soft palate "fall up" instead of trying to make it lift to forcefully
Note: One caution I'd like to reinforce is this: Don't try to make your head go straight back. Move it a bit to the side instead. If you do it right, it should actually cause your ribcage to open. Which helps with the breath, of course! Notice how the Power and Path connect for optimal vocal use...Cool beans!
Look for the next post in this series... it will be relate Alexander Technique to PPP on Performance. Alexander was an actor, so this will be good. Again, my thanks to Ron Murdock for his excellent article and his thoughts on these posts. And as always, your comments and questions are welcome!