A COMPARATIVE STUDY ON BODY ALIGNMENT IN SINGING

by

KYLE GRIFFIN

B.A., University of Northern Colorado, 2015

M.M., University of Colorado Boulder, 2021

A thesis submitted to the

Faculty of the Graduate School of the

University of Colorado in partial fulfillment

of the requirement for the degree of

Master of Music

Department of Music

2021

Committee Members: Dr. John Seesholtz, chair Professor Matthew Chellis

by _____________________________________ _____________________________________ _____________________________________ A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of _____________________________________ _________ __________________________________________ Thesis title

__________________________________________ Written by

For a _________________ Degree in _____________________________ _________________________________ _________________________________ ______________ Main Advisor Signature Date _________________________________ _________________________________ ______________ 2nd Advisor Signature Date

_________________________________ _________________________________ ______________ 3rd Advisor Signature Date

The f inal copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards

of scholarly work in the above ment ioned discipline.

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A Comparative Study on Body Alignment in Singing

Master's

Kyle Griffin

B.A. Vocal Performance, University of Northern Colorado, 2015

Kyle Griffin

2021

M.M. Voice Performance and Pedagogy

A Comparative Study on Body Alignment in Singing

Voice Performance and Pedagogy

4/26/2021John Seesholtz

Matthew Chellis 4/26/2021

ABSTRACT

Griffin, Kyle (M.M. Music)

A Comparative Study on Body Alignment in Singing

Thesis directed by Director of Vocal Pedagogy and Associate Professor of Voice John Seesholtz

Proper alignment is potentially the most critical concept for a singer to implement into

their technique. All other facets of singing like breath support, breath management, and laryngeal

stability can benefit from understanding exactly how one’s body should be aligned. This thesis is

a comparative study of the different pedagogical ideas from prominent voice teachers and

researchers on body alignment in singing. Through comparing and contrasting the various

thoughts of healthy alignment and the exercises used to correct faulty alignment, a general ideal

could be defined and reproduced by singers and teachers of singing.

CONTENTS

CHAPTER

I. INTRODUCTION AND PURPOSE 1

II. WHAT IS HEALTHY ALIGNMENT? 4

III. ALIGNMENT FAULTS AND THEIR REMEDIES 14

BIBLIOGRAPHY

21

CHAPTER I

Introduction and Purpose

Body alignment, or posture, as it is sometimes called, is possibly the most important

foundational concept in a singer’s technique. All other elements of technique that singers utilize

such as breath support, breath management, balanced onsets, laryngeal positioning, and general

muscle tensions are fundamentally affected by overall body alignment. However, there have

been varied ideas over the years as to what defines ideal alignment. Scott McCoy summarizes the

problem of finding proper alignment in the studio saying, “My voice studies did not begin until I

was nineteen. Other than the occasional admonition to keep my chest up, posture was never

explicitly addressed.”1 While many singers and teachers of singing understand basic principles of

alignment such as not slumping the shoulders or locking the knees, the more detailed methods

seem rather elusive. This is likely compounded by the fact that society is constantly bombarded

with ideas of healthy posture and alignment, but the reality is that each individual has unique

needs and body structures that will define what healthy alignment is for them.

Thus far, the terms body alignment and posture have been used interchangeably, but there

is a notable difference between the two that can lead to confusion. Julia Davids and Stephen

LaTour detail this by stating, “For some, the term “posture” has negative connotations, conjuring

images of body tension and militaristic, muscular rigidity. Perhaps as a consequence, many have

begun to use the term “body alignment” to refer to an individual’s ideal postural position for

1 Scott McCoy, “Building the Foundation,” Journal of Singing - the Official Journal of

the National Association of Teachers of Singing, 67, no. 1 (September 2010), 44.

2

singing (or for life!). It is important to remember that all bodies are slightly different, and that the

dynamic nature of singing requires flexibility rather than rigidity.”2

The term alignment fits the overall idea of how the human body functions, since it is a

constantly moving and active structure and alignment itself is dynamic. While someone may be

largely static when sitting or standing in place, the muscles and bones are under constant tension

and pressure from antagonistic muscles and the force of gravity. The term posture implies the use

of a specific pose or placement that must be kept at all times, which is problematic when trying

to seek freedom from excessive tension while singing. For the purposes of this thesis, the words

alignment and posture will be referring to the same concept of dynamic engagement and

repositioning of the body during singing.

It is important to note that awareness of alignment and correcting one’s faults should not

be employed solely within the realm of singing. Karen Bauer says that “As important as good

posture is for good vocal technique, its value goes far beyond that. Good posture is an essential

ingredient of healthy living.”3 Oftentimes singers will revert back to old habits in their daily

lives, but the voice is an instrument that one cannot simply place into a case for safekeeping.

Healthy alignment must be something that is practiced regularly both while singing and

throughout daily life.

Ultimately, alignment should be viewed as the basis upon which all other techniques are

built. When running into vocal faults, general alignment should be assessed before moving onto

2 Julia Davids and Stephen LaTour, Vocal Technique, Second Edition: A Guide to Classical and Contemporary Styles for Conductors, Teachers, and Singers (Long Grove, IL: Waveland Press, Inc., 2021) 9.

3 Karen Tillotson Bauer, The Essentials of Beautiful Singing: A Three-Step Kinesthetic Approach (Lanham, MD: Scarecrow Press, 2013), 20.

3

more specific vocal techniques like breath support, breath management, or vowel modification as

these can all be impacted by inefficient alignment. As it stands, voice pedagogues and teachers

alike have written extensively on the subject, breaking it down into two main sections: Concepts

of proper alignment and common faults with exercises to restore healthy alignment. Together,

these notions can help define exactly what the ideal is, and how teachers are able to pick and

choose from the ideas to fit the needs of an individual student.

CHAPTER II

What is Healthy Alignment?

Most voice teachers agree on the fundamentals of proper alignment. Scott McCoy writes

a particularly great article on alignment and says, “I look for posture that is conducive to good

breathing and phonation. We can take good cues from our colleagues who specialize in

Alexander Technique and Yoga in that regard. Posture is upright with a sense of gentle

elongation through the spine and neck. The chest is comfortably open and elevated, the shoulders

relaxed, the head balanced on the occipital joint, the knees are unlocked, and weight is

distributed evenly over the feet.”4 As McCoy stated, healthy alignment usually entails elongation

of the spine, relaxation in the shoulders and knees, balance of the head, as well as a free and open

chest. Delores Gauthier agrees with these concepts, stating, “The head is allowed to move

upward, extending the spine from the top of the head to the pelvis. The chest is given more

freedom and softness to respond to the continual flow of air in and out of the body. The hips are

rolled slightly forward as a result of the alignment of the head and neck with the spine. In this

position, it appears that gravity is not trying to pull the body downward.”5

Extension and elongation are words that are often used when talking about alignment,

since the goal of the voice teacher is to alleviate excess tension in the body. If a student presents

with multiple issues related to tension, it is likely that they are compressing the spine in some

fashion. Gauthier adds an element not previously stated by McCoy, which is the position of the

4 McCoy, 44. 5 Delores R. Gauthier, “Stand up Straight! Posture for Singers. (Choral),” Teaching

Music, 10, no. 1 (August 2002).

5

hips. For some singers, this slight forward roll may be of benefit, but it is best to remember that

healthy alignment is unique to the individual. A singer should not roll the hips excessively either

way, but must find a balance that works for them. Based on this theory, the hips may also benefit

from being rolled slightly backwards.

Ingo Titze, a prominent vocal scientist, offers similar views on alignment, but focuses

more exclusively on the spine saying, “An upright spine, which will automatically bring the ribs

and sternum (breast-bone) into proper position, with head upright and neck-muscles free from

rigidity, is the essential requisite for good singing posture. This torso posture should be

maintained in singing, whether standing or sitting.”6 The major concern with Titze’s thoughts are

the nomenclature he uses to describe “good singing posture”. An “upright” spine is a wonderful

idea in theory, but can easily translate into disaster for the untrained singer or young educator.

This problematic term can also be found in McCoy’s description of alignment. As stated earlier,

the spine should be elongated, but there is a natural curvature of the anatomy that works to our

advantage. Titze is likely referencing this elongation, but using the term “upright” can imply that

the spine should be uniformly linear. A straight spine would be both anatomically incorrect and

harmful to the natural structure of the human body.

Richard Miller gives perspective on this nomenclature stating, “Concern for straightening

the spine has led to eccentric vocal hypotheses. One is the tilt-and-tuck method, in which the

request is to tuck the buttocks in, and to tilt the pelvis forward, in order to place the spine in a

position appropriate to your four-footed golden retriever.”7 It may seem as if “upright” is an

6 Ingo R. Titze, “Training the Vocal Instrument,” Journal of Singing, 76, no. 1

(September 2019), 44. 7 Richard Miller, Solutions for Singers: Tools for Performers and Teachers (New York:

Oxford University Press, 2004), 38.

6

inconsequential word and Titze’s overarching message is being judged unfairly, but in the world

of singing, it is of the utmost importance to precisely communicate one’s ideas. Titze’s views

will prove helpful for many, but this seemingly innocuous word has the propensity to confuse

others.

Continuing on with Miller’s thoughts on alignment, he defers to Manuel Garcia. Miller

describes ideal alignment as the “Garcia” position or noble posture, saying, “This position

ensures that the sternum is relatively elevated, the shoulders are comfortably back and down,

while an exaggerated military stance is avoided. Then the rib cage remains nearly stationary

throughout all phases of the breath cycle; there is little visible evidence of chest displacement or

abdominal-wall instability during any phase of the cycle… This is called the Garcia position,

because Manuel Garcia advocated its use as a practical device for assuring optimal posture

during singing.”8 After looking through a number of other books by Miller, this was the main

concept he instilled on alignment. Janice Chapman provides some words of caution to noble

posture, arguing that it can potentially lead to the entire body becoming tense and rigid. She does

note that this only happens when “taken to extremes,” so the teacher must be clear when

describing exactly what they want when utilizing noble posture.9

While noble posture is well-defined, it is intriguing that Miller only comments on the

upper half of the body, leaving the lower body to fend for itself. The vast majority of voice

teachers detail the importance of foot, leg, and pelvic alignment. These structures provide the

base to the body, and if they are in poor alignment, this will ultimately lead to problems with the

8 Miller, 39-40. 9 Janice L. Chapman, Singing and Teaching Singing: A Holistic Approach to Classical

Voice (San Diego, CA: Plural Publishing, 2011), 39.

7

upper torso. Miller’s ideas are sound, but a more comprehensive approach is needed to teach the

singer comprehensive alignment.

An effective approach can be found in the concepts put forth by James C. McKinney.

McKinney states, “Good posture allows the skeletal framework and the muscular components of

the body to fulfill their basic functions efficiently, without any undue expenditure of energy.”10

He provides further examples of the power of healthy alignment, such as efficient breath

utilization,11 the release of tension and overall better use of energy,12 as well as the psychological

freedom that comes with the proper usage of the body.13 By giving highly descriptive examples

of his ideals on alignment, it becomes much easier to know what one should be attempting to

emulate in their practice and performance.

Without going into explicit detail of his description of each structure in this essay,

McKinney explains his ideal alignment for the feet, legs, hips, abdomen, back, chest, shoulders,

arms, and head. Many of these individual descriptions share a common theme, which is that there

should be both freedom and flexibility in every bodily structure.14 His intensive look at each part

of the body provides a more complete picture of ideal alignment. For example, when describing

the feet, he says, “The weight should be evenly distributed between the feet, with the toe of one

10 James C. McKinney, The Diagnosis & Correction of Vocal Faults: a Manual for

Teachers of Singing & for Choir Directors (Long Grove, IL: Waveland Press, 2005), 33. 11 McKinney, 33. 12 McKinney, 34. 13 McKinney, 34. 14 McKinney, 37.

8

foot slightly in front of the other.”15 This notion is exceedingly important, due to individuals

often having slightly different leg lengths. When the feet are aligned on an even horizontal plane,

the body can be thrown off balance to the right or the left. Consequently, the rest of the muscles

above must compensate and be subjected to further misalignment. McKinney does include an

interesting and potentially problematic thought on lower abdominal alignment, however. He

states, “You should feel that it is held in comfortably, or that it is being pulled in gently.”16 The

prospective issue with his statement is that tension in the abdominal region can impede

expansion for breath. Compared to the other teachers, he does go to great lengths to convey the

extent of holding and pulling by italicizing his adverbs. The descriptive use of “gently” and

“comfortably” give the inexperienced teacher a reliable frame of reference for how exactly

students should be aligning their bodies.

William Vennard offers many of the same ideas as teachers previously discussed. Of note

is his in-depth description of abdominal alignment, providing some clarity on McKinney’s ideas.

Vennard states, “A certain amount of tonicity of the abdominal muscles will be needed to keep

the pelvis upright, but there must not be so much that deep breathing is impossible. This aspect

of posture should be ignored if it prevents abdominal breathing.”17 Vennard is acknowledging

the fact that not every singer will respond well to this suggestion by saying that it should be

ignored if it makes breathing into the abdomen more challenging. However, it is necessary to

have some level of engagement in the core to align the pelvis correctly. If the abdominal muscles

15 McKinney, 37.

16 McKinney, 38. 17 William Vennard, Singing: the Mechanism and the Technic (New York: Carl Fischer,

2012), 19.

9

are completely slack, the pelvis is likely to tilt forward, resulting in excessive curvature of the

spine. Vennard’s suggestion to keep the pelvis upright is in contrast to Gauthier’s idea that the

hips should be rolled slightly forward, and his thoughts are more inclined to keeping the entire

body in a healthy alignment.

Both Barbara Doscher and Janice L. Chapman continue the dialogue of alignment by

relating ideas to specific parts of the body, similar to the format McKinney used. However, they

add on to this approach by looking at alignment through a holistic lens. Doscher proposes that

Alexander Technique is an adequate way to achieve body awareness, thus leading to healthier

alignment. She says, “At the heart of the Alexander Technique is individual responsibility to

consciously choose, the belief that inner freedom is expressed through self-discipline.”18 The

Alexander Technique teaches that people are constantly working against downward pull, or the

effect of gravity on the body. Over time, one can develop inefficient habits that result in excess

tension, and one must relearn how to use the body as it was intended. Chapman clearly agrees

with Doscher’s assertion, saying “I find the underlying premises of the Alexander technique are

the best we have although I am not a trained Alexander teacher myself.”19 Holistic approaches

can provide a singer with more than just a generically prescribed version of proper alignment.

Instead, the singer is empowered to find the healthiest alignment for them as an individual, rather

than holding their body in uncomfortable positions because they are told it is “correct.”

This holistic approach to technique is beginning to take hold in many newer manuals of

singing, and will likely continue to encourage the conversation on proper alignment moving

18 Barbara M. Doscher, The Functional Unity of the Singing Voice (Metuchen, NJ:

Scarecrow Press, 1994), 74. 19 Chapman, 46.

10

forward. Both Barbara and William Conable are foundational presences within this newer

approach, specifically involving Alexander Technique. The pair assert that, “Many singers

struggle in intense frustration against the effect of downward pull on their bodies.”20 They also

go on to state that many teachers do not know how to relieve tension because it is not merely an

issue of specific body structures, but rather an error of the way in which the entire body is

operated.21 Clearly, in their view, alignment must be understood as something that affects not

only the specific muscle in question, but the whole body. Theoretically, tension beginning down

in the foot could move upwards through the body into the hips, then through the spine traveling

all the way into the neck and muscles of the larynx. If healthy alignment is to ever be reached, it

must be attained through intense scrutiny of the body as a singular unit.

Of importance are the ideas regarding alignment within the contemporary world of

singing. Teaching contemporary commercial music (CCM), a designation that includes pop, jazz,

country, rock, musical theatre, soul, and other modern styles of singing, has become increasingly

important in the modern voice studio. It is imperative that voice teachers be versed in the science

and teaching tools for both classical and contemporary techniques in order to assist a broader

range of students, especially as the music landscape continues to change and evolve.

Fortunately, many ideas of healthy alignment work broadly across the spectrum of styles,

with small variations depending on the particular needs of the singer or music at hand. Karen

Hall states:

The alignment of the body for singing in music theater is just as important as classical singing. Proper alignment (free of tension) of the head, neck, torso, arms, legs, and feet is

20 Barbara Conable and William Conable, How to Learn the Alexander Technique: A Manual for Students (Portland, OR: Andover Press, 1995), 139.

21 Conable, 139

11

directly related to breathing technique in the music theater and classical singer. One exception to classical alignment is the position of the head. In belting, often the larynx rises and music theater singers tilt their head up slightly to facilitate the upward movement of the larynx. In classical singing, the female also tips her head upward when singing in the whistle register.22

Slight movements of the head up or down can be advantageous for singers of all styles, but the

emphasis on slight is of utmost importance. If there are intense movements in either direction,

the alignment of the neck and thus the larynx can become inefficient, leading a singer into

tension over time. A default or “neutral” setting of alignment must be found for each style that

the singer performs so that health and longevity can be maintained.

Other teachers of CCM back up the notion that alignment between styles really isn’t all

that different. Anne Peckham believes that healthy alignment is critical because it uses the full

extent of the lungs and eliminates excessive tension.23 She does provide a word of caution on

alignment, saying “posture that feels “natural” to you, even if relaxed, may not provide a high

enough chest position for effective singing.”24 As with nearly every other teacher, Peckham

advocates for a relatively high and open chest, preventing any collapsing of the ribs and

consequently the lungs. Peckham does make an interesting observation of CCM singers, saying,

“Singers of pop and rock music sometimes resist good posture habits because they are afraid of

appearing formal or “classical.” But since contemporary music can be strenuous to voices, it is

22 Karen Hall, “Musical Theater Vocal Pedagogy and Styles: An Introductory Teaching Guide for Experienced Classical Singing Teachers” (D.Ed. diss., Teachers College, Columbia University, 2006), 136-137.

23 Anne Peckham, The Contemporary Singer: Elements of Vocal Technique (Boston, MA: Berklee Press, 2010), 11.

24 Peckham, 11.

12

especially these singers who need good posture to reduce tension and increase breath capacity.”25

Due to the higher subglottal pressures and stronger usage of the thyroarytenoids, singers must be

especially mindful of the ways in which they are using and supporting their bodies. Hopefully as

more research is done and the literature on the similarities between classical and contemporary

styles evolves, students will be less hesitant towards adopting a healthy alignment for all types of

singing.

An additional component that differs between the classical and contemporary singer is

the level of movement that occurs while onstage, oftentimes during singing. While modern

classical singers are increasingly required to move more than their twentieth century

counterparts, many contemporary singers are expected to dance and move their bodies rather

intensively onstage. Wendy LeBorgne and Marci Rosenberg state, “In the realm of musical

theater, choreography provides an added dimension to the physical demands placed on

performers while engaging in high-level singing. Depending on the skill of the dancer and the

intensity of the choreography and singing, compensation in alignment may result in a

compromised vocal output.”26 Fortunately, the human body is meant to be in motion and is

capable of adapting to these types of environments. However, in order to maintain healthy

alignment and singing, the individual must be aware of potentially detrimental vocal changes that

may be occurring as they add movement. If vocal efficiency appears to be compromised, the

25 Peckham, 12.

26 Wendy D. Leborgne and Marci Rosenberg, The Vocal Athlete (San Diego, CA: Plural Publishing, 2021), 10.

13

singer must be able to quickly modify their alignment to find the most optimal positions or

postures during any kind of choreography.

CHAPTER III

Alignment Faults and Their Remedies

The general consensus on healthy alignment is fairly consistent across the board, and

common faults that teachers see tend to follow this trend. The variable within alignment usually

comes down to the exercises each teacher uses to correct these faults. Because every singer has

learned a unique set of maladaptive habitual behaviors over their life, most of these exercises are

not a miracle fix-all. However, as is the case with many facets of vocal technique, the teacher

should employ a variety of different exercises to find the one that best suits their student. For

each teacher, it is best to look at their personal views on what the most common alignment faults

are and how they go about correcting them.

Perhaps the most rampant fault seen in the voice teaching studio is not one of alignment,

but rather a lack of addressing it at all. McCoy confirms this, saying “My first voice teachers

were gifted singers, but they spent their time teaching me what to sing, not how to sing. Based on

my observations of the singers who audition at our university, my own experiences in learning

posture and breath management are far from atypical.”27 If alignment is never taught in the first

place, the student is left to fend for themself. This is clearly a huge problem since alignment

affects every part of a singer’s technique. As such, it is critical that all voice teachers implement

some forms of alignment training into a student’s routine, even if it comes down to something as

basic as stretches and body awareness tactics at the beginning of a lesson. Luckily, most manuals

27 McCoy, 44.

15

of singing include some level of discussion on the subject, giving both teachers and students at

least one or two exercises.

Gauthier presents two basic inefficient positions that she tends to see in students. The

first is the “slump position,” and she describes it as such: “The chin is thrust forward and the

head is tilted back on the neck, causing the neck to be contracted at the upper spine. The chest is

collapsed. The shoulders are typically rounded, and there is considerable downward pressure on

the hips, resulting in the hips tilting forward.”28 In terms of breath efficacy, it is easy to see how

this alignment would be harmful. With a collapsed chest, the lungs and ribs are not able to freely

expand. The same can also be said for the abdominal region. When the hips are rotated too far

forward, the abdominal muscles are extended and in a state of extension, keeping the muscles

from being able to expand outward with inhalation. Gauthier goes on to describe the “military

position,” which is equally harmful: “Students often push their bodies to the opposite extreme

when asked to stand up straight…[This] causes the chin to be tucked too far in toward the neck,

forcing the neck to contract in the front. The chest is overextended, and the hips are generally

forced backwards. The shoulders appear tense and squeezed.”29 Chin tucking is detrimental to

both the muscles of the neck and vocal tract resonance. The anterior neck muscles are forced into

contraction when singing, placing undue pressure on the larynx and its surrounding structures.

This will muffle the voice, creating what many call a “knödel” or “Kermit-like” sound. The other

tensions in the body largely affect the ability to take in a full, relaxed breath, similar to issues

described in the first position.

28 Gauthier.

29 Gauthier.

16

Gauthier offers a few helpful exercises for restoring a healthy body alignment and

awareness in the head and neck. Here is the first exercise she provides:

Pretend you have a paintbrush on top of your head. Gently roll your head as though you

were trying to make tiny circles of paint on the ceiling. Do not involve your neck. Allow

the head to float on top of the spine, and move only the head. In rotating the head, you may

begin to feel how the head is balanced on top of the spine.30

Of course, it is impossible to move the head without involving the neck in some fashion, but the

focus here is building awareness around the weight of the head and how the muscles work to

balance it on the body. Through building this awareness, singers are able to find a place of

balance where there is minimal muscle involvement. Her next exercise proves useful for finding

this balance as she states, “Recall the sensation of nodding off during a lecture, or when you

have fallen asleep in the car. As you relax, your head falls off balance forward toward your chest,

and muscles in the back of the neck will try to hold the head upright.”31

This exercise uses some principles of Alexander Technique. The body naturally knows

the most efficient way to align itself, but over time, one can develop habits that can override this

efficient behavior. For example, if you watch how your parents sit in a chair, you may notice

specific qualities to their alignment. They may collapse their shoulders, hunch their back, jut the

neck forward, or one of many other possible maladaptive habits. However, when the body is left

to do things on its own without our conscious input, it can return to healthy behaviors. Gauthier

30 Gauthier.

31 Gauthier.

17

uses this exercise to bring about the body’s natural tendencies, thus reteaching the student

through their own innate instincts.

Karen Bauer echoes many of Gauthier’s thoughts on poor alignment, saying, “Poor

posture might be manifested in a collapsed chest, rounded shoulders, swayed back, lowered

head, or any other misaligned body part, any of which will negatively affect the singing voice.”32

In her view, good alignment is important not only for healthy singing, but also for a healthy

lifestyle in general. She suggests that a singer should try to implement new habits into their

normal lifestyle, that way alignment becomes second nature.33 The exercise she uses to

encourage healthy alignment is broken up into three steps:

1. Stand against a wall, with your heels just a few inches from it.

2. Tip your head back so its crown is touching the wall. You have to do a bit of a back

bend to achieve this position, and it rightly feels awkward. This is not the end product,

but for some reason, singers tend to achieve a better stretch beginning in this strange

position.

3. Slide your head up the wall pulling your whole body up with it. Maintain head contact

with the wall, but the point of contact will gradually change from the crown to the back

of the head, due to the head’s forward rotation as it pulls up. When you get to a position

here you feel that your spine is stretched, your abdominal area broadened, and your

32 Karen Tillotson Bauer, The Essentials of Beautiful Singing: A Three-Step Kinesthetic

Approach (Lanham, MD: Scarecrow Press, 2013), 21.

33 Bauer, 26.

18

height increased…In this upright position, eyes looking straight ahead, you will be on

your way to proper alignment.34

This is a relatively simple exercise, but it is particularly effective for lengthening the spine. The

key to this exercise is to allow the body to find an organic point of balance when reaching the

end of the final step. This will likely feel odd at first if the singer is used to standing with

improper alignment, but with time, they will adjust to the new normal. This exercise is a great

starting point for a singer, and is more universally applicable than Gauthier’s selective neck

exercises.

McKinney calls for a minimalist approach to teaching alignment and remedying faults.

He states, “Most of these alignment faults can be corrected by calling them to the student’s

attention and insisting that he or she practice in front of a mirror, both in the teaching studio and

in the practice room.”35 He does not offer any specific exercises or tips to restore healthy

alignment outside of building the student’s awareness. In theory, this practice is great because

the student is responsible for keeping their body in healthy alignment and fixing issues as they

happen. However, beginning singers could become overwhelmed by the substantial amount of

information on healthy alignment and practice incorrectly on their own. As McCoy stated earlier,

alignment is not typically addressed at all in the studio. McKinney does address alignment, but

his approach should include a few more basic exercises to help the student succeed.

CCM teachers agree with the usage of a mirror for correcting faults while providing a bit

more guidance on the subject. Peckham says, “Sometimes singers shy away from the mirror

34 Bauer, 23.

35 McKinney, 41.

19

because they are embarrassed to look at themselves, or become distracted and critical of their

appearance. Try not to focus on your hair or face, but see your body, posture, and expression in a

more detached way, as your instrument. We cannot see the inner workings of our instruments

while we are practicing, but we can observe tension in the face, neck, and jaw, which indicates a

problem.”36 By actively paying attention to any signs of tension or inefficient muscular effort, a

singer is better able to see exactly what must be corrected. The mirror is also a very effective tool

for increasing overall body awareness. Davids and LaTour state, “Body movement and other

indicators of inappropriate tension such as strained neck and facial muscles often fall outside of a

singer’s awareness. Singing in front of a mirror is a helpful way to create awareness of them.”37

A common fault that many singers come across is a lack of general awareness to exactly what

their bodies are doing. This can lead to confusion when trying to correct a fault, as the singer

may feel as if they have moved their body excessively, when in reality only a minor change may

have occurred.

Both Vennard and Doscher offer a similar exercise for restoring healthy alignment.

Vennard states, “It helps to imagine that you are a marionette, hanging from strings, one attached

to the top of your head and one attached to the top of your breast bone.”38 Doscher describes this

exercise with slightly more detail, saying, “If one imagines strings attached to the skull behind

each ear and to the top of the sternum, like a puppet, the rest of the body does not have to be

pushed and pulled into place in bits and pieces.”39 The imagery that is used here helps the student

36 Peckham, 60. 37 Davids and LaTour, 15. 38 Vennard, 19. 39 Doscher, 70.

20

achieve natural alignment by taking active placement of their bodies out of the equation.

Oftentimes, students are told to hold their body in a certain posture and to never stray away from

it. This is done with the best of intentions, but can lead to unnecessary tension building up in the

body. Miller asserts that this is true, arguing that it is impossible to maintain a static posture with

dynamic arts like singing and dancing.40 Puppets may have static structures, but their bodies are

able to move and bobble about without sustaining a specific pose. This concept can be applied to

practically every student of singing, since they are able to easily envision this relaxed, but

healthy alignment.

It is clear that the ideal concepts of alignment are widely agreed upon by almost all

teachers of voice. An elongated spine, appropriately engaged musculature, and whole-body

awareness are the mainstays of healthy alignment. While many students will have similar

alignment faults, there will always be exceptions that need specialized exercises to help them

restore healthy alignment. This is likely the reasoning behind the varied exercises found in

manuals of singing, since some teachers will find their own unique solutions through trial-and-

error. As the field of voice pedagogy and science goes forward, it is imperative to continue to

explore the ramifications of healthy alignment to best serve the needs of every singer and teacher

of singing.

40 Miller, 35.

21

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