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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 . . .
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