Alexander Technique For Choral Singers
Alexander Technique For Choral Singers
Alexander Technique For Choral Singers
Submitted to
The Music Faculty
In partial fulfillment
of the Degree of Master of Music Education
in Studio Vocal Pedagogy
by
Kathy Shay Pearson
Stevens Point, WI
August 2009
Approval:
Brian Martz
Susan Bender
ACKNOWLEDGEMENTS
DeSandre, Dr. Paul Hickfang, Irma Cooper, and Dr. Robert Peavler for their care
and feeding of my voice. I would also like to thank all my choral directors
especially Maurice Casey, Wilbur Held, Sharon Hansen, and Lucinda Thayer.
Thank you for your enthusiasm and for teaching me how to make an exciting
continue my education “later in life”; Dr. Robert Kase, Dr. Gerard McKenna, Dr.
Carol McCart, Dean Andrew Keogh, Marcie Manthe, Ann Huntoon, Ingrid Glurich,
this project. They are my mentors, my advisors and my friends; Dr. Robert
Peavler, Dr. Patricia Holland, Professors Brian Martz, and Susan Bender. Thank
Introduction
vocal studio and choral settings. Understanding the places of balance and the
proper use of the body will allow the voice to sing with freedom, resonance and
clarity.
come from special sense organs in our muscles. Kinesthetic along with auditory
and visual information comprise our inclusive awareness, which contains all the
information needed. In her book What Every Musician Needs to Know about the
Body: The Practical Application of Body Mapping to Making Music, she describes
James McKinney has written about the Alexander Technique in his book,
The Diagnosis and Correction of Vocal Faults: A manual for teachers of singing
This paper will provide voice instructors and choral directors with specific
information on the use of the Alexander Technique and Body Mapping for private
6
performance.
7
F.M. Alexander
and observation, he discovered that movements of his head and neck led to poor
stage he would tilt his head back thinking this would help him project but it only
served to shorten his neck which led to poor breathing. He found that with every
movement he tended to pull his head back and down. This he believed was the
the head, neck and torso.” (Maisel, 1990) This basic scientific method of
change in the use of his body. His voice improved so much that other actors and
singers sought him out to find out what he had discovered. He began teaching
what he had learned from his body-mind investigation. During a six-month tour
his work and what it could become. His pupils were primarily other voice
students, but soon a number of them were patients sent to him by doctors.
breathing and vocal production. Eventually, local doctors sent patients to him
lungs and spinal trouble. Some of the medical faculty members at the University
his work could become well known. By 1910 he began to publish his work so that
presented the principles of his work. The great actors and actresses of this time
flocked to him to learn the technique, as they do today. Later on the film stars
came.
Alexander visited the United States and from then on until 1924 he spent half the
year there and half in other countries. (McCallion, 1988) “Besides John Dewey,
other influential figures in America like Lewis Mumford, Waldo Frank, Leo Stein
and James Harvey Robinson (not to mention J.B. Duke, the tobacco magnate),
which were expanded for his book Human Nature and Conduct. He explained
9
means or mechanism and that wishing for a behavior change would not bring the
and devotes the next fifteen pages to an exposition of the Alexander Technique
Control of the Individual. He established a school for children between the ages
Lytton and the former viceroy of India. By 1930 he had established training
courses so that his work could continue after his death. In 1932 The Use of the
Self was published explaining what Alexander had done to develop his technique.
It was reprinted in 1984. With the onset of World War II, the children‟s school
American children joined the school. (Maisel, 1990) In 1943 he published his
fourth book, The Universal Constant in Living and then returned to England.
(McCallion, 1988)
Alexander continued to work with students until just days before his death
in 1955 at age 86. Even a stroke in 1947 did not prevent him from assisting
others with his technique.” (Maisel, 1990) His work influenced such luminaries as
Canterbury. There are many fully trained teachers in many countries continuing
Sandra Head explains in her article Singers, Singing Teachers and the
her voice along with different remedies that were tried and failed.
teaching skills.
13
about their habits so that they can suspend habitual muscular tightening which
and sustained by the body‟s whole complex of postural reflexes, including the
much prized “primary control”, the natural lengthening and gathering of the
of the unity of mind and body. He had been physically awkward and said that he
acted quickly and impulsively without thought. “Thought in this case was saved
for „mental‟ activity, which had always been easy for him. It was a revelation to
between the thought of doing something and putting the thought into action
there is a characteristic preparation or “set” (“ready, on your mark, get set, go”)
which strongly affects the character and quality of the response. You might say
the set determines the response. Sets are difficult to change because they are
unconscious. They are most evident when what you are getting set for doesn‟t
happen – when the suitcase you thought was full turns out to be empty, when
Alexander discovered that using his hands he could instruct his students
by giving them information directly through the kinesthetic sense. He was able to
bring to their consciousness the maladaptive sets they had developed. This
Body mapping assists the teacher and student to communicate terms and
an understanding of how the body is organized and the use and misuse of
various parts which affect performance. “The first step then is to convince the
pupil that his present misdirected activities are the result of incorrect conception
conscious self. “If we grant the unity of life and the tendency of its evolution, it
follows that all the manifestations of what we have called the “subconscious self”
are functions of the vital essence of life-force, and that these functions are
(Maisel, 1990)
Alexander Technique into practice for singers in her book Voice and the
introduction, she relates her lessons with an Alexander Teacher by the name of
Joan Murray. Joan had her mentally sing a song without phonating while she
placed a hand on the back of Jane‟s neck. Joan was able to recognize when
there was tension during the song. She then proceeded to continue to touch
while Jane sang the words. Jane was guided to produce a freer, effortless
approach. Jane now incorporates the Italian bel canto tradition with the
written the forward to Barbara Conable‟s book, The Structures and Movement of
Breathing.
Jordan goes on to say that postural terms may be too rigid and lead to misuse of
the body. Good alignment requires an understanding and correcting one‟s own
Body Map. In understanding the structure of our joints and muscles we can
enhance our breathing mechanism; the lengthening of the spine for singing and
the gathering for inhalation process. He suggests some phrases to remind the
Barbara also explains that the reason the mapping work is so effective in
speeding up the learning of the Alexander Technique is because they bring their
faulty maps to the lesson and then attempt to learn the technique using the old
map. As the student becomes aware and consciously corrects the map the use of
The Core of the Body and the Six Places of Balance (Allen, 2009)
Body Mapping Applied
The most fundamental lesson for any instrumentalist is how to hold and
operate the instrument. For the singer, this includes the entire body. The
alignment of the body and tension in the muscles affects the tone, clarity,
support and pitch of the voice. Poor alignment and unidentified tension can
Understanding the truth about the body‟s structure, function and size will correct
the body map thus giving accurate information to the teacher and the student so
The challenge is how to help the student tune in and understand their
awareness of the body comes easily to some students and is difficult for others.
Barbara Conable has developed the process of body mapping. She states, “If a
singer has the body mismapped, the singer will use the body improperly.”
is happening in the body and how to make adjustments to free it while singing.
are aligned body tension is released. [Figure 2-8] When the body is supported by
the skeletal structure it is light, buoyant, and energized because the weight is
20
evenly distributed. [Figure 2-1] The vocal tone is clear, full, resonant, supported
and flexible. The body is able to gesture and move on stage seemingly without
effort.
The term posture is a concern for the singer. Many teachers communicate
their ideas about posture in such a way that students are stiff and rigid and their
bodies are static rather than dynamic. “Singing is movement, and its quality is as
determined by our Body Map as the quality of our walking is.”(Conable, 2000)
Teachers can use terms that better promote the desired body alignment, such as
order to achieve this sense of balance, buoyancy and resilience. Visual diagrams
are helpful when talking about things internal. Some very good sources for these
diagrams are Albinus on Anatomy - Dover Publications, What Every Singer Needs
to Know About the Body - Plural Publishing, What Every Musician Needs to Know
about the Body - Andover Press and The Body Moveable – Ampersand Press.
Figures from these books may be found in the appendix with permission.
The first of Conable‟s six places of balance is the joint located where the
bottom of the skull (occiput) meets the top cervical vertebra (atlas), more
to map this correctly because balance at this joint releases tension throughout
the neck and body. The head is balanced and mobile, ready for gesturing and
expression. The freedom in the neck allows for the gathering of the spine during
21
inhalation and lengthening during singing. “The head leads and the spine follows
go. (Maisel, 1990) There are various sets that students have before singing. It is
important to notice and correct those sets. Some examples of sets requiring
correction are:
this)
instrumentalists do this)
• pulling the head back and looking up (many choral singers do this)
These sets place the body in a rigid position and inhibit the singing process.
The teacher needs to assist the student in understanding the set and finding
The next place of balance is the arm structure. This includes four joints,
the sterno-clavicular, shoulder, elbow and wrist. [Figure 2-23] The release of the
neck allows freedom in these joints. It is common for singers to pull down on the
arms, which creates tension. Pulling shoulders back and down and holding them
down is an example of poor use of the structure. It robs the arm structure of
Pressure in the arm structure interferes with breathing because the intercostal
22
muscles become set and rigid. The arm structure should balance freely over the
ribs.
The thorax in relation to the lumbar spine is the next place of balance.
“The [torso] is the portion of the body that excludes the head, arms and legs. It
begins at the top vertebra (atlas) and continues down to the bottom of the
pelvis.” (Allen, 2009) [Figure 2-8] It includes the thoracic cavity, the abdominal
cavity and pelvic cavity. The balance of the thorax on the lumbar spine releases
the arms and legs. This area, although not a joint, has many kinesthetic
It is important for singers to know the size of the vertebrae. Many singers
underestimate the size of the support structure. If you make a circle with the
thumbs touching and the index fingers touching, this would be an approximate
size of a lumbar vertebra from the outermost most spinous process to the
vertebral body. [Figure 2-6] The vertebrae are smaller at the top of the spine
and increase in size as they move down the spine and then taper slightly at the
The vertebral bodies and the discs are the weight bearing portion of the
spine. This is the front of the spine. The discs between the vertebrae are
approximately 1 inch in diameter and ¼ inch thick. [Figure 2-7] These discs
compress and release as the spine moves. Compression occurs during inhaling
and release happens during exhaling and singing. The vertebral bodies and discs
support and distribute the weight of the body. This gives a sense of strength and
23
support without misusing the muscles to hold the body up. Richard Miller, a
renowned vocal pedagogue, refers to this as “noble posture”. (Miller, 1996) The
spinous process protects the spinal cord and is not capable of bearing weight.
The fourth place of balance is the hip joint. [Figures 2-16, 2-17] Jane
Heirich has students describe where they would divide their bodies in half
horizontally. (Heirich 2005) Most say at the waist. She then asks them to bend at
this point. It is then that they learn that half is at the hip joints. This increases
the understanding that the singing torso extends from the atlas vertebra to the
(Malde, Allen & Zeller, 2009) The weight of the body goes through the hip joints
and is equally distributed to the legs in standing. Many students plant their feet
on the floor which tightens the legs and locks the hip movement. Having
students walk lightly in place while singing will allow them to feel light and free
in the legs and hip joints. Using the sit bones or rockers [Figure 2-18] allows the
The fifth place of balance is the knee joint. The joint occurs where the
thighbone meets the lower leg bone. The knee cap floats in front of the lower
end of the thighbone, and the joint is below this point. There are three
conditions of the knee when standing; locked, balanced and bent. [Figure 2-19]
The knees often lock to protect the discs of the spine when the body weight is
out of balance, such as when the thorax is not centered over the lumbar spine.
24
Learning to balance the head and then the torso should alleviate the locking of
the knees.
The last point of balance is the ankle joint. [Figure 2-21] Many students
map the ankle as the two protrusions of the lower leg. [Figure 2-20] These
protrusions are part of the tibia and fibula where they meet the talus bone which
sits on the top of the heel bone [calcaneus]. The ankle is located where the leg
meets the foot. Lifting the leg off the floor and moving the foot will help students
to understand where the ankle is. Here again balancing the A-O joint and torso
allows the weight to be equally balanced down the legs and through the ankle.
Along with the ankle joint it is also necessary to understand the foot.
There are three arches; medial longitudinal arch (heel to big toe), lateral arch
(heel to little toe) and transverse arch (big toe to the little toe). [Figure 2-22]
This creates a wonderful tripod. Balancing body weight in the center of this
tripod will allow buoyancy and lightness and a sense of being taller. If body
weight is balanced in the center of the foot, it is less likely that the toes will grab
the floor.
information that will allow people to sing at their maximum potential.” (Conable,
2000) Freedom of the body, which comes from having an accurate body map,
allows the natural process of producing clear, resonant and supported sound.
This is a valuable strategy for the voice studio and choral rehearsals.
26
Appendix
27
Spinal vertebra ~
Spinal disc
Figure 2:.4_ Side view. Spine with Discs. From the Body Moveable. (4th ed., Section I, p. 46), by D.
Gorman, 2002, Ontario, Canada: Ampersand Press. Copyright 2002. Reprinted with permission.
29
FRONT
Vertebral body - - - -
Foraman
BACK~
Spinal process
Figure 2-6. Vertebral Body. From the Body Moveable. (4th ed., Section I, p . 47), by D. Gorman, 2002.
Ontario, Canada: Ampersand Press. Copyright 2002. Reprinted with permission.
Spinal Disc
Vertebra
~
/ D isc
Vertebra ~
Figure 2-7. Spinal Disc at Rest and Compression. From the Body Moveable. (4th ed., Section I, p . 5 1),
by D. Gorman. 2002. Ontario, Canada: Ampersand Press. Copyright 2002. Reprinted with permission.
30
A-0 Joint
Arm Structme
Thorax in relationship
to lumbar spine
Hip Joints
Figure 2-8. Places of Bal-
ance Skeleton, side view. By
T. Phelps. Copyright 2008.
Used by permission.
Knee Joints
Ankle Joints
31
Occiput
Occipital Condyle
Figure 2-9. A-0 joint, back view of Skull with Cervical Vertebrae. From The Body Moveable (4th
ed., Section I, p. 153), by D. Gorman, 2002, Ontario, Canada: Ampersand Press. Copyright 2002.
Reprinted with permission.
32
Figure 2-16. Hip Joints and Pelvis, front view, Weight Delivery. By B. Conable. Copy-
right 2001. Used by permission.
Iliac Crest
----Greater
Trochanter
Sit Bone
Figure 2-17. Hip Joints and Pelvis, front view. From The Body Moveable (4th ed.,
Section 3, p. 16), by D. Gorman. 2002. Ontario, Canada: Ampersand Press. Copyright
2002. Reprinted with permission.
33
Sit Bone
34
Fibula Tibia
Figure 2-20. Ankle Joint, front view, Toes Excluded. From The Body Moveable (4th ed., Section 3,
p. 103), by D. Gorman, 2002, Ontario, Canada: Ampersand Press. Copyright 2002. Reprinted with
permission.
36
Ankle Joint
Heel Bone
Big Toe
Figure 2-21. Foot, side view. From The Body Moveable (4th ed., Section 3, p. 100), by 0. Gorman,
2002, Ontario, Canada: Ampersand Press. Copyright 2002. Reprinted with permission.
37
Figure 2 - 22. Foot Tripod. From The Body Moveable (4th ed., Section 3, p . 151), by D. Gorman, 200'2,
Ontario. Canada: Ampersand Press. Copyright 2002. Reprinted with permission.
38
Collarbone
Shoulder blade
Wrist bones
Hand
Sources Consulted
Conable, Barbara. (1998, 2000). What every Musician Needs to Know About the
Conable, Barbara, & Conable, William. (1991, 1992, 1995). How to Learn the
August, 1991. Bondi, Australia: Direction. Retrieved March 16, 2008 from
http://www.bodymap.org/articles/artmaporigins.html
Gorman, David. (2002). The Body Moveable (4th ed) Guelph, Ontario,
Head, Sandra. (1996). Singers, Singing Teachers and the Alexander Technique.
From her Thesis for University of British Columbia M.Ed. entitled “How
Jones, Frank Pierce. (1976, 1997). Dewey and Alexander; a chapter from
http://www.alexandercenter.com/jd/alexandertechniquejones.html
Singer Needs to Know About the Body. In Allen, MaryJean The Core of
the Body and the Six Places of Balance (pp.11-45). San Diego: Plural
Publishing Inc.
41
Miller, Richard. (1996). On the Art of Singing, New York: Oxford University Press.
Murdock, Ron. (January 1, 2000). Revised. Born to Sing. First published in 1996
http://www.alexandercenter.com/pa/voice.html
McGraw-Hill.