A Handbook of Vocal Technique - Posture

Singing is an active, not a passive activity.

Correct posture in singing is one of the most basic aspects of good vocal production.  The singer must find a “readiness” to sing:  alertness and vitality. 

Stretching from the back of the head and lifting the entire trunk of the body lengthens the spinal column and brings the larynx into its proper singing position.  This stretching encourages the sacrospinalis muscles of the back to lengthen.  Visualizing that one is a marionette that is lifted from the back of the head on a string helps to achieve this stretch. The chin automatically assumes its correct position:  neither too high nor too low.   The larynx takes on its correct position allowing the throat to be as free and relaxed as possible.  The suspensory mechanism around the larynx is in balance and at its most effectiveness.  The shoulders remain relaxed and are not raised in this process. 

The correct head position is the key to correct body position.  Also, the correct position of the head encourages the lengthening and approximation of the vocal cords, which effectively results in a free and resonant vocal sound. 

Good posture awakens the breathing reflexes, lifting the ribcage (neither too high nor too low) and allows the back muscles to expand to their fullest.  The Italian school of singing has known of the principle of “apoggio” for a long time.  This body preparedness and the keeping of this position throughout singing - “apoggio” - is one of the most important factors involved in correct vocal production.  This position of inhalation must be kept at all times, even when the singer is taking a new breath.  In the beginning, the student will think this is difficult.  However, he will soon be aware of the fact that, drawing his strength from his body, his voice becomes entirely free:  he is rewarded with a free and responsive instrument.

Many young people have bad posture.  In teaching young people who are just beginning, this is, without doubt, the first important lesson.

I once had a ballet dancer in my private studio who wanted to learn to sing for her studies in Berlin, where she planned to concentrate on musicals, requiring her to sing and dance.  She already possessed excellent body posture and strong, well-developed back muscles from her ballet training.  Convincing her that the activation of the body was a necessity to good singing, was not necessary.  Also, her automatic tensing and pulling-in of the muscles of the lower abdomen and expansion of the back, where she drew her strength and endurance for ballet, were integral factors of vocal technique that came easily to her.  When I asked her to activate her body for singing like she activated it for ballet dancing, she immediately comprehended the mobilization of singing preparedness.  Only the position of the head - not looking upward with a high chin, but looking straight ahead in order to allow the larynx to assume its most relaxed singing position - had to be corrected.  These factors, combined with her unspoiled voice, (She had as of yet no vocal instruction, which also meant no “poor vocal instruction”.), resulted in very rapid vocal progress.

I repeat, singing requires continual activation, even between phrases when one is breathing.  It is absolutely necessary for effectual vocal technique.  It is the foundation for correct breath support.

Breath support is a very important and complex chapter of vocal technique.  This will be the next entry.

• Author and date: Brenda Roberts (2008-10-19)
• Permalink: A Handbook of Vocal Technique - Posture
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