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SINGER TIPS
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"It
Takes Two" (Think
of yourself as dancing with air)
by
Mark Baxter
Some
dancers glide across the floor in a weightless waltz
while others love to sweat it out in a sensual salsa.
Whether you prefer to swing, fox trot or rumba,
before you can hit the dance floor ballroom-style,
you have to find the right partner. The image of
two dancers moving in perfect unison is a good way
to think of what goes on inside us when we sing.
The larynx dances with the air. Communication is
a vital ingredient between dancers; the synchronicity
is achieved by eye contact and designating a leader
and a follower. The same is true for singing; the
larynx should always lead the dance. Problems arise
for both art forms, though, when the communication
between partners breaks down.
Just
because there is an established leader and a follower
does not mean one job is easier or more important.
On the contrary, to follow someone in dance requires
the same skills as the leader plus the ability to
adjust to minute changes. As we sing, tiny muscles
within the larynx flex and stretch to create pitch
and dynamic changes. It is the job of the breathing
muscles to follow this microscopic meringue like
Ginger Rogers mirrored Fred Astair. If you anticipate
a move of the larynx with your abs, the result is,
well, like I dance. The reason my salsa step looks
more like a soccer kick is the same reason many
people sing out of tune or become hoarse. Once you
start thinking about what should be reflexive, the
freedom disappears.
You
would think that the muscles inside your body would
automatically be great singing partners. This is
true for some people, but for most of us the breathing
is forced and awkward. In search of vocal control,
we manipulate the air rather than allow it to follow
the lead of the larynx. The result is usually more
pressure than necessary. The larynx, then, has no
choice but to tighten up when paired with such a
heavy-footed partner. The roles of leader and follower
become reversed. This may seem like a minor issue
since both partners should be addressing the same
goal, but it’s huge. Using breath to control
the larynx requires you listen as you sing. It’s
like dancers who constantly watch themselves in
a mirror, the moves may be right but they got no
feel.
Releasing
your breath over to reflex behavior requires trust.
Alcohol is a popular way to reduce inhibitions,
but it also kills the motor control needed to sing
or dance. Translation: only I think my dancing has
improved after I’ve had a few. Practice, my
friends, is the only option if you want to sing
freely. Breaking down the many physical elements
involved in singing is the best way to learn to
trust the whole process. The breath stream should
be addressed separately because it tends to be the
problem partner.
Developing
your breathing is as simple as making a hissing
sound. To coordinate the diaphragm with the abdominal
muscles, sustain the hiss at the lowest volume possible
for sixty seconds. Once you can produce an extended
hiss, add a pitch to create a buzz. The goal, again,
is to sustain a smooth buzz at the lowest possible
volume. The reduced volume is to deny the tendency
to push. Changing the pitch should not disrupt the
buzz in any way. Basically, you’re using the
tongue to monitor your air stream. Remember, the
breath should follow the larynx.
Through
repetition you’ll begin to trust the feeling
of doing less. In time, there will be no need to
think about breathing at all. This reminds me of
the guy who is always practicing tango steps in
the park where I walk my dog. Most people passing
by think he’s crazy, dancing by himself, but
I can relate to his passion. He’s reinforcing
the moves so he won’t have to think when he’s
with his partner. I assume he is the leader. Hopefully,
his follower is practicing as much. You know what
they say. It takes two . . .
Mark
Baxter is a vocal therapist who offers private
and video lessons. To contact him, call: (800)659-6002.
Visit his website at: www.voicelesson.com
(reprinted
with the kind permission of Mark
Baxter)
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