This ebook, An Alexander Technique Approach to Singing (Singers’) Technique, is published on this website in a PDF format. It is very detailed and practical, and it will give you the physical tools you need to take the limits off of your ability to create the accurate singing technique you want without sacrificing your body.
This ebook is also for sale on all AMAZON websites in a KINDLE format.
Located in Albuquerque, New Mexico, U.S.A. (MOVEMENT THERAPY)
WHEN YOU ARE FULLY WILLING TO SENSE THE SUPPRESSED ACHES AND PAINS IN YOUR BODY, YOU ARE READY TO MAKE CHANGES TO THE ELEMENTS OF YOUR SINGING TECHNIQUE THAT CAUSE THESE ACHES AND PAINS.
The above statement may seem rather obvious, but for so many hurting singers it has been long term aches and pains that the singer has pushed away like a bad headache. There are only three cures for a long term headache. Sit down and observe the headache until it passes, take an aspirin, or both.
There are three cures for the aching singer. Sit or stand and observe your technique, change your technique, or both.
When the singer truly observes his or her technique, he or she is sensing what is happening whole body and where there are consistent aches and pains as the singer sings. Does this mean the singer needs to make major changes to his or her singing? Not necessarily. If the singer can release any excess tension from head to toe, and the singer has good posture, then the singer may realize that he or she has been singing with excessive tension throughout the whole body, and this has been what’s causing the aches and pains.
What I just described is the observing part. Simply, you cannot observe your technique and sense whether you’re hurting without making or causing change to your technique and posture. To make sure it is good change, you want to release the excess tension rather than tense even more against the aches and pains you’ve brought to consciousness.
Once you’ve brought to consciousness where you’ve been hurting and begin to release the tension, you will probably become aware of a whole new level of discomfort in your body. That discomfort is the extra physical work you are doing unnecessarily to support a body slumping over overarching as you sing.
Now would be a really good time to bring balanced whole body posture to your singing. Because if you stand or sit with an overarched back or hunkered down slumping or head pushed forward as you sing, then you can never truly release the excessive tension out of your head, neck, jaw, diaphragm, and shoulders. When you are fully upright using the minimal amount of musculature with a free neck and a head released leading a lengthening spine, then you can truly release the tension throughout your whole body through observation and intention.
What I just described is doing both. You are observing your technique and applying the Alexander Technique principles of good body use to your whole body, so that observation and intention come together to help you sing without hurting.
Now, not having any aches or pains when you sing is a very good thing, but it may not be enough. IF YOUR POSTURE IS BALANCED AS YOU CONDUCT, BUT YOU CANNOT SING WHAT YOU WANT WITH EASE, THEN YOU HAVE NOT FULLY CREATED A SINGING TECHNIQUE THAT WORKS.
To create a singing technique that truly works, a technique that brings ease to singing the difficult vocal music, you have to bring the Alexander Technique principles of good body use to the specifics of your singing technique. This means you really have to explore if what you do with your jaw, shoulders, and diaphragm works as you sing.
This means, you want to see if how you use your jaw, shoulders, and diaphragm is truly to your loving advantage, as you sing. So, explore how you use your whole body as you sing, and examine what you have believed is the right way to sing and keep what works and release what doesn’t.