WHY IS IT CALLED ‘ENERGY SINGING’?

The name ‘Energy Singing’ is inspired by the teachings of one of the greatest vocal masters in history, Francesco Lamperti, and his equally admired son, Giovanni Lamperti.

In Vocal Wisdom, the author mentions how “Lamperti never intended his students to relax, but accumulate the outermost energy and then release it as demanded by word and tone”. This concept of energy as breath forms the basis of our vocal technique, as we try to automate as much of the singing process as possible through the use of breath energy, leaving our muscles free to move as they are designed to. The less ‘doing’, the better for our voices.

THE MOST USEFUL VOWEL IN ENERGY SINGING

The Oo Vowel in Bel Canto and Pop Energy Singing

The "Oo" vowel holds a unique place in both Bel Canto energy singing and contemporary pop singing. Across centuries and styles, it has served as a foundational exercise, not merely for tone production, but for training the singer's physiological and acoustic apparatus to operate with maximum efficiency and freedom. When explored through the examples of Mario del Monaco, a dramatic tenor of the Italian operatic tradition, and M. Jackson, the pop icon, the universality of the vowel's function becomes apparent.

 

In Bel Canto energy singing, the primary aim is the cultivation of a free, resonant, and powerful voice that can navigate the challenging passaggi with ease. The "Oo" vowel, by virtue of its rounded lips, high tongue position, and back pharyngeal focus, naturally encourages vertical and horizontal openness in the vocal tract. Vertical openness, in particular - the distance from the larynx to the roof of the pharynx - is crucial, yet often neglected by novice singers. By beginning exercises on the "Oo" vowel, singers establish a relaxed and long vocal tract that prepares them for subsequent vowels and bright tones.

 

Mario del Monaco, despite his dramatic and chest-dominant operatic style, trained using the "Oo" vowel first. This ensured that even the most powerful high notes could be approached without forcing the larynx or shortening the vertical space in the throat. The practice reinforced a long and free vocal tract, enabling him to maintain vocal health while producing dramatic volume and resonance.

 

Similarly, in pop energy singing, the "Oo" vowel serves as a primer for hooty resonance and connected tone. M. Jackson, renowned for his flexibility and expressive control, would benefit  exercises that began with rounded back vowels. The "Oo" vowel encourages a lowered larynx, a high soft palate, and a relaxed tongue root, producing a tone that is both light and powerful, and prepares the singer for agile transitions across registers, including mix voice and falsetto. A critical similarity across these styles lies in the training principle: begin with the smallest, most rounded vowel to establish maximum openness.

 

Beginning with "Ah" or other open vowels prematurely often leads to compression, vertical shortening, and ingrained tension. By starting with "Oo", singers cultivate a reflex for an open throat, balanced fold vibration, and efficient resonance, which then allows for brightening, volume, and style-specific colouration without sacrificing freedom.

 

In conclusion, the "Oo" vowel serves as a cornerstone in both Bel Canto and pop energy singing pedagogy. Through its anatomical and acoustic advantages, it ensures vertical throat openness, fold coordination, and resonance efficiency, forming the foundation for expressive and powerful singing. The examples of Mario del Monaco and M. Jackson demonstrate that despite stylistic differences, the underlying vocal principles remain consistent: training the "Oo" vowel first establishes the physiological habits necessary for long-term vocal health, agility, and expressive capability.

Energy Singing: The Split Between Bel Canto Energy Singing and Pop Energy Singing

Energy Singing: The Split Between Bel Canto Energy Singing and Pop Energy Singing

Introduction

Energy Singing is a contemporary approach to vocal pedagogy that seeks to integrate the physical, energetic, and expressive dimensions of the voice. While traditional vocal training has often emphasised the mechanics of breath and resonance, Energy Singing recognises that the most profound vocal expression arises from the proper management of bodily energy, particularly the energy originating from the Hara, the centre of vitality located in the lower abdomen. Within Energy Singing, two primary branches have emerged: Bel Canto Energy Singing and Pop Energy Singing. Each style approaches the use of the lower abdomen differently, reflecting not only physiological realities but also aesthetic and stylistic demands.

 

The Concept of Hara: The Traditional Energy Centre

In traditional Eastern thought, the Hara is considered the seat of life energy or ki/chi and is located roughly two finger-widths below the navel. Beyond its philosophical significance, the Hara is integral to vocal function in Energy Singing. It acts as a stabilising centre, anchoring the body while facilitating free, coordinated movement of the vocal apparatus.

 

In practice, the Hara serves several functions:

1. Energy Storage and Release: It acts as a reservoir from which the body draws force to support vocal production without unnecessary tension in the neck or chest.
2. Postural Integration: The Hara helps maintain an upright, aligned posture that enables the spine, ribcage, and diaphragm to work in harmony.
3. Dynamic Regulation: By modulating subtle abdominal engagement, the singer can control airflow and subglottic pressure, achieving expressive freedom without strain.

 

In Energy Singing, awareness of the Hara is cultivated through breathing exercises, gentle abdominal release, and meditative focus, forming the foundation for both Bel Canto and Pop approaches.

 

The Role of the Lower Abdomen in Energy Singing

The lower abdomen is one of the most crucial, yet often misunderstood, areas of the singer’s body. In classical pedagogy, the lower abdomen is traditionally kept soft to allow the diaphragm and intercostal muscles to move freely, facilitating pressure release rather than active pushing. In contrast, modern contemporary styles often require a degree of abdominal engagement to generate the more immediate, chest-driven sound characteristic of Pop singing.

 

Within Energy Singing, the lower abdomen functions differently depending on the branch:

1. Bel Canto Energy Singing:

• The lower abdomen is extremely soft and relaxed, allowing the natural release of breath pressure.
• The Hara acts as an energy anchor, enabling the singer to maintain stability while the vocal folds vibrate with minimal muscular tension.
• Pressure is generated primarily through the coordinated engagement of the diaphragm, ribcage expansion, and postural alignment rather than through abdominal bracing.
• This approach supports smooth, legato phrasing, consistent resonance, and the elegant tonal quality associated with classical singing.

 

2. Pop Energy Singing:

• The lower abdomen is often more engaged, sometimes actively firm, to support subglottic pressure for belted, chest-heavy, or percussive vocal styles.
• While the Hara remains a centre of stability, its function shifts from passive release to dynamic energy modulation, providing both force and control for stylistic effects.
• Breath is used more aggressively, and the singer may consciously involve abdominal muscles to push, shape, and project the voice.
• This results in a sound that is bright, immediate, and expressive, aligning with contemporary aesthetic preferences.

 

The contrast in abdominal function between these two branches underscores a broader principle of Energy Singing: the same energy centre can be mobilised in fundamentally different ways depending on the stylistic requirements of the music.

 

Bel Canto Energy Singing

Bel Canto Energy Singing draws on centuries of classical tradition, emphasising purity, legato, and resonance. Its energy principles remain faithful to the original Italian school, which teaches that the voice is optimally supported when the lower abdomen is soft, the Hara is engaged but relaxed, and muscular tension in the neck, shoulders, and chest is minimised.

 

Key Principles

1. Pressure Release Over Generation:Bel Canto Energy Singing relies on controlled release of breath rather than active pushing. By keeping the lower abdomen soft, singers allow the diaphragm to descend naturally, creating a steady flow of subglottic pressure that supports the vocal folds without strain.
2. Hara as a Stabilising Centre:The Hara provides a foundation for postural alignment, enabling the spine, ribcage, and larynx to move harmoniously. This allows energy to flow upward into the vocal tract, producing a resonant, sustained sound.
3. Legato and Resonance:Soft lower-abdomen function promotes smooth legato lines, enabling seamless connection between notes. The energy from the Hara travels upward, energising the vocal tract and enhancing resonance without forcing the sound.
4. Vocal Longevity:By avoiding excessive abdominal tension or forceful exhalation, Bel Canto Energy Singing minimises wear on the vocal folds. This method preserves the singer’s instrument over decades, which is particularly important for professional opera singers.

 

Pop Energy Singing

Pop Energy Singing, in contrast, often requires direct, expressive projection. The lower abdomen, while still anchored in the Hara, becomes an active driver of subglottic pressure, enabling singers to produce belted or percussive tones that would be unsustainable in classical technique.

 

Key Principles

1. Active Abdominal Engagement: Pop Energy Singing uses a degree of abdominal firmness to control airflow, amplify projection, and create stylistic nuances. The Hara remains central as a stabiliser, but energy is mobilised actively, rather than passively released.
2. Dynamic Energy Modulation: The Hara functions as a centre for expressive force, allowing the singer to switch between chest, mixed, and head registers with stylistic intensity. By varying abdominal tension subtly, singers can achieve a range of effects, from soft intimate phrases to high-powered belts.
3. Stylistic Flexibility: Pop singers often require a wide palette of timbral colours, which necessitates conscious engagement of the lower abdomen and associated muscles. This is particularly evident in modern belting, rhythmic articulation, and vocal effects such as growls or vocal fry.
4. Controlled Force Without Injury: Energy Singing emphasises coordination of the Hara, ribcage, and larynx so that even with active abdominal use, the vocal folds remain protected. This distinguishes Pop Energy Singing from untrained pushing, which can lead to vocal fatigue or injury.

 

Bridging the Gap: The Role of Hara in Both Branches

In both Bel Canto and Pop Energy Singing, the Hara remains the central energy hub. Its function, however, differs:

 

• Bel Canto: Energy flows upward smoothly, with minimal physical tension. The Hara stabilises and anchors rather than actively pushes.
• Pop: Energy from the Hara is actively modulated, supporting dynamic pressure, stylistic nuance, and expressive intensity.

 

Despite these differences, both branches share a common understanding: vocal power is derived not from brute force in the larynx or chest but from coordinated, energetically efficient use of the body. The Hara, as the traditional energy centre, is therefore indispensable, whether in the subtle release of Bel Canto or the expressive drive of Pop.

 

Why Energy Singing is Split

The division into Bel Canto Energy Singing and Pop Energy Singing arises from the fundamental difference in lower-abdomen function and stylistic demands:

1. Physiological Requirements:Classical singing requires softness and pressure release to maintain resonance and vocal longevity. Pop singing often requires firmer abdominal engagement to drive subglottic pressure and support stylistic demands.
2. Artistic Goals:Bel Canto Energy Singing aims for purity, legato, and seamless tonal beauty. Pop Energy Singing seeks immediacy, stylistic colour, and expressive intensity.
3. Energy Dynamics:Though both use the Hara, Bel Canto relies on passive energy channeling, while Pop relies on active energy modulation.

 

This split allows Energy Singing to accommodate both the traditional ideals of classical voice and the practical needs of contemporary performers. By acknowledging the physiological and energetic differences, singers can train in a way that is style-appropriate, safe, and effective.

 

Practical Implications for Singers

Understanding this distinction has profound implications:

1. Training Approaches:

• Bel Canto Energy Singing emphasises soft abdominal breathing, subtle Hara awareness, and postural alignment. Exercises focus on sustaining long legato lines without tension.
• Pop Energy Singing incorporates abdominal engagement exercises, dynamic Hara modulation, and stylistic projection, with careful attention to protecting the vocal folds.

 

2. Injury Prevention:

• By recognising the role of the lower abdomen and Hara in each style, singers can avoid overuse, tension, and nodules, tailoring practice to the physiological demands of the repertoire.
• Stylistic Versatility:Energy Singing provides a framework that allows a singer to navigate multiple genres. The key is not forcing a classical approach into pop singing or vice versa, but understanding how to engage or release the Hara and lower abdomen appropriately.
• Expressive Potential:Both branches maximise expressive potential: Bel Canto through resonance and legato, Pop through intensity and immediacy. The difference lies in how the lower abdomen channels energy.

 

Conclusion

Energy Singing represents a modern understanding of the voice as an energetic instrument, in which physical, postural, and psychological factors converge. Its bifurcation into Bel Canto Energy Singing and Pop Energy Singing is primarily driven by differences in lower-abdomen function and stylistic requirements.

 

• Bel Canto Energy Singing prioritises softness, pressure release, and smooth energy flow from the Hara, producing classical legato, resonance, and vocal longevity.
• Pop Energy Singing engages the lower abdomen more actively, using the Hara as a dynamic energy centre to produce immediate projection, stylistic effects, and expressive force.

 

By maintaining the Hara as a central energetic hub, both branches of Energy Singing allow the singer to navigate complex physiological and artistic demands safely. This dual approach recognises that vocal technique cannot be universally applied; instead, it must be tailored to the musical style, expressive goal, and physiological realities of the performer.

 

Ultimately, the split between Bel Canto Energy Singing and Pop Energy Singing is not a division of philosophy, but a pragmatic acknowledgement: the same energy source can be mobilised in different ways to serve different musical and expressive ends, ensuring both the power and sustainability of the human voice.

ENERGY SINGING BEGINS WITH STRENGTHENING THE NECK

Neck Strength: The Foundational Pillar of Energy Singing

In the realm of singing, traditional pedagogy has long emphasised breath as the foundation of vocal technique. Diaphragmatic support, ribcage expansion, and controlled airflow are taught as the most critical elements for producing a free, powerful voice. While breath is undeniably essential, the Energy Singing method recognises a deeper, more fundamental truth: neck strength and alignment are the true foundation of healthy, expressive,

and sustainable singing.

 

The cervical spine is not merely a support for the head - it is the central hub of the body, housing the larynx, supporting the jaw and tongue, influencing breathing mechanics, regulating the nervous system, and affecting systemic health. Without a strong, aligned neck, every other aspect of singing becomes limited, inefficient, or potentially damaging.

 

The Neck as the Central Hub of Singing

Anatomically, the neck is at the top of the body's kinetic chain. The deep cervical flexors, extensors, and stabilisers - including the longus colli and longus capitis - maintain head and laryngeal alignment, while superficial muscles such as the sternocleidomastoid, levator scapulae, and trapezius can create tension if overactive or weak. Misalignment or weakness in these muscles directly affects the larynx, pulling it out of its optimal position, restricting true vocal fold vibration, engaging the false folds, and creating tension that propagates down through the thoracic spine, shoulders, and pelvis.

 

A strong neck provides the stability the larynx needs to function freely and efficiently, allowing the true vocal folds to vibrate without interference. It also supports low-back diaphragmatic breathing, because proper cervical alignment allows full ribcage expansion and diaphragm engagement. The jaw and tongue, anchored to the hyoid bone, are freed from tension, allowing clear articulation, vowel shaping, and resonance.

 

Vocal Benefits of Neck Strength

When the neck is strong and aligned, singers experience profound improvements in nearly every aspect of vocal production:

• True vocal fold vibration and reduced false fold engagement
• Pitch stability and control
• Enhanced resonance and tonal clarity
• Ease of onset and effortless attack
• Sustained vowels and longer phrases
• Expanded range - both high and low notes
• Dynamic control from soft to loud singing
• Smooth register transitions
• Controlled, relaxed vibrato
• Increased vocal endurance and reduced fatigue- Freedom from strain-induced voice breaks
• Greater expressivity and effortless phrasing

 

Remarkably, in Energy Singing, these improvements often occur before any direct vocal fold exercises are performed, thanks to the three-month neck-first phase that primes the body for singing. By the time vocal exercises begin, the singer's larynx, jaw, tongue, and posture are already aligned and free, enabling true vocal potential to emerge naturally.

 

Neck Strength and Breath

While breath has historically been considered the foundation of singing, its effectiveness is completely dependent on neck alignment and stability. A misaligned or weak neck restricts ribcage expansion, limits diaphragmatic movement, and forces compensatory shallow chest breathing. Even perfect diaphragmatic technique cannot overcome these physical limitations. In Energy Singing, breath is number two - powerful and

efficient, but only once the neck has provided a stable platform.

 

Neck Strength, Posture, and Muscular Freedom

A strong neck naturally aligns the cervical spine, allowing the head to sit over the shoulders and spine. This correct head position reduces forward head posture, rounded shoulders, and thoracic collapse. Posture improvements cascade through the body, creating better support for the diaphragm and more efficient energy transfer during singing.

 

Neck stability also frees the jaw and tongue. Misaligned or weak cervical muscles pull on the hyoid and mandible, restricting jaw mobility and tongue placement. By stabilising the neck, singers experience relaxed articulation, free vowel shaping, and clear consonant formation - all essential for tone, resonance, and intelligibility.

 

Neck Strength and the Nervous System

The cervical region houses critical pathways of the nervous system, including the vagus nerve, which regulates parasympathetic activity. Weak or tense neck muscles perpetuate sympathetic overdrive, leading to tension, anxiety, stress, and even reflux - all of which directly interfere with singing. Strengthening and aligning the neck improves vagal tone, calming the nervous system, and creating a relaxed, responsive body capable of

producing free, effortless sound.

 

Systemic and Physical Benefits

Neck strength extends beyond voice production, affecting the broader physical and systemic health of the singer:

• Relief from neck and shoulder pain
• Reduction of TMJ and jaw tension
• Freedom from tongue tension
• Improved swallowing mechanics
• Reduction of reflux (acid/GERD)- Enhanced airway clearance and sinus drainage
• Relief from headaches and migraines
• Reduction in inflammation
• Improved sleep quality
• Optimised circulation of blood and lymph
• Increased energy levels and stamina
• Better cognitive clarity and focus

 

Consequences of Skipping Neck Training

Attempting to skip neck strength training is like trying to build a house on sand. Without a stable neck, even the most carefully practised breath or fold exercises become inefficient and potentially harmful:

• Laryngeal instability causes strain, false fold engagement, and tension
• Breath support is shallow and inconsistent
• Jaw and tongue remain tight, restricting articulation
• Posture is compromised, creating energy leaks and fatigue
• Nervous system remains dysregulated, increasing anxiety and stress
• Vocal range, power, and resonance are limited
• Risk of vocal fatigue, injury, and chronic tension rises

 

The Three-Month Neck Phase of Energy Singing

Energy Singing begins with a dedicated three-month neck phase, where students focus exclusively on:

• Strengthening deep cervical stabilisers
• Releasing tension in SCM, levator scapulae, and trapezius
• Aligning the head and larynx
• Increasing jaw and tongue freedom
• Improving posture and ribcage mechanics
• Enhancing nervous system regulation

 

The Energy Singing Hierarchy

1. Neck Strength and Alignment - The foundation of voice, posture, jaw and tongue freedom, nervous system balance, and systemic health
2. Breath - Low-back diaphragmatic breathing, ribcage expansion, and airflow control, now fully effective because of neck stability.
3. Vocal Folds - Expression, resonance, dynamics, and articulation, accessed efficiently only after #1 and #2 are in place.

 

"Neck first, breath second, voice unleashed."

 

Conclusion

Neck strength is the master key of singing. It stabilises the larynx, frees the jaw and tongue, supports posture, regulates the nervous system, improves breath efficiency, and influences systemic health, including reflux,inflammation, and sleep. Every measurable aspect of vocal function - pitch, resonance, range, dynamics, articulation, endurance, and expressivity - depends on a strong, aligned neck.

 

In Energy Singing, neck training is not an optional warm-up or minor preparatory exercise; it is the first, essential pillar upon which all other vocal skills are built. By focusing on neck strength first, singers unlock true freedom, power, and health in both their voices and their bodies, making subsequent breath and fold training far more effective, sustainable, and transformative.

 

In short, neck strength is everything: the foundation of Energy Singing, the voice, and the body itself.

LEARN TO PHONATE WITHOUT THE FALSE FOLDS

True vocal folds vs False folds

All struggling singers tend to have the same recurring problems, and the best way of fixing them is by learning to distinguish the role of the true vocal folds from that of the false folds. When singing incorrectly over many years, singers tend to recruit the use of the false folds when making sounds, when in fact only the true vocal folds should be utilised. As such, the internal map of this type of singer is likely distorted in such a way that they sense their phonation begins higher up in the throat than it really is. Doing a Müller manoeuvre (inhaling against a half-closed glottis) can quickly help the singer locate where the true vocal folds are. Alternatives include snoring or gargling with water as both of these also help the singer gain a somatic awareness of where their true vocal folds are located. Once learnt, the singer should never deviate from using only the true folds when singing.

ENERGY SINGING IS BASED ON INHALING THE VOICE

Learn ‘inhalare la voce’ (to inhale the voice)

Singing is not simply the exhalation of air against a closed glottis; it is in fact a delicate combination of inhalation muslces and exhalation muscles working in tandem to produce the beautiful sounds that we like to listen to. In terms of eliminating tension, the inhalation is actually far more useful to us than the exhalation as it helps to open the throat, loosen the tongue, and invoke the sensation of ‘space’ in the body amongst other benefits. Exhaling is a constricting action that tends to tighten various muscles and creates narrowness in the throat. It is therefore necessary to develop a suspended state in the breathing muscles when singing so that the inhalation effect can be maintained; for the singer this can be imagined as though they are inhaling whilst singing - ‘inhalare la voce’ (to inhale the voice). To practice this technique, it is recommended to inhale strongly against a partially closed glottis to stimulate a reaction in the lower sides and back which should make them jolt outwards slightly. Doing this exercise will draw the larynx downwards so as to take all possible strain away from the throat area. Then try to imitate this sensation of the glottis whilst singing. This will also help you to remap your somatic awareness of the true vocal folds as opposed to the false folds. There should be no action in the front of the body, but only in the lower sides and back to achieve total freedom in the larynx.

LEARN THE REVERSE VALSALVA MANOEUVRE

The reverse valsalva manoeuvre helps singers avoid the nose

For singers that are having trouble identifying the different placing spots mentioned in Energy Singing, it can be very useful to practice a reverse valsalva manoeuvre to gain a somatic awareness of the space. This can be effective for singers as it blocks the middle ear to temporarily reduce the amount of outside sound, thus increasing the sensation of bone conduction and therefore allows the singing to better feel the resonance in and around the skull.

 

HOW TO DO A REVERSE VALSALVA:

1. Equalise - Valsalva - by plugging the nose and exhaling. (This instruction is for those whose ears are always partially blocked)

2. Reverse valsalva by plugging the nose and inhaling strongly. It does not work whilst lying down; always be upright.

3. The ears should feel as though they have been squeezed and outside volume should be greatly reduced.

4. Try to ‘buzz’ different parts of the face, particularly around the nasal cavity and internalise the different sensations.

5. Now try to greatly reduce the nasal resonance by resonating parts of the face in front of, above, below, and behind the nose.

6. Once finished, swallow and/or equalise through a normal valsalva manoeuvre to return hearing to its normal state.

HOW TO SING

All tone originates in the centre of the skull

When singing, we always want to feel that our voice as a whole resonates in the centre of the skull. In order to achieve this sensation we must build a well-rounded voice that is delicately balanced and therefore does not invoke strain or tension of any sort. To achieve this, we will have to awaken different parts of the vocal tract; for singers who do not consider themselves to have a 'natural' singing voice, this is especially important as it will rouse dormant muscles.

THE VOCAL PLACEMENTS

Placements are key to unlocking the human voice

'Placing' the voice means to direct the focus of your phonation to a certain part of the body in order to create different vocal qualities. This is because the muscles in the larynx respond to the focusing of the voice in certain areas in order to stimulate a variety of muscles in and around the vocal tract.

 

Below is a diagram of a human skull from F. Husler's book Singing: The Physical Nature of the Vocal Organ. A Guide to the Unlocking of the Singing Voice.

Each number corresponds to a specific 'placing' spot that singers can direct their focus towards when singing to create a certain tonal quality.

 

1. Edges of the teeth. Helps to bring the tone 'forward' by firmly closing the glottis (space between the vocal folds) and shuts off the nasal cavity.

2. Upper breast bone. Keeps the glottis closed and draws the larynx downwards to allow for more space in the throat. Middle voice quality.

3a. Bridge of the nose. Chest voice speech resonance on the lowest pitches to build strength in the main muscle of the vocal folds; the tensor.

3b. Top front of the jaw or hard palette. 'Mezza voce' (half voice) tonal quality on lower pitches by vibrating only the edges of the vocal folds. 

4. Middle or top of the head. Stretches and thins the vocal folds whilst opening the throat more to allow for resonant head voice pitches.

5. Top of the frontal sinuses. Almost completely inactivates the tensors and raises the larynx slightly due to phonation at the highest pitches.

6. Nape of the neck. Anchors the larynx even further down and stretches the vocal folds to extend the range of the voice into higher pitches.

All the vocal placements are the same for each singer with no exceptions. The only individual differences relate to which placement(s) each singer prefers.

 

If there is to be a favourite placement then let it be the 'mezza voce' (half voice) placement at the top front of the jaw or hard palette. This is because only the minute muscle bundles at the edges of the vocal folds vibrate; allowing the singer to maintain this tonal quality for a considerable amount of time without becoming fatigued. It is also predominantly where healthy soft speaking habits are formed and helps with reducing excessive nasal tones. Furthermore, F. Husler writes that "In all schools of any standing this focal point is practised from the beginning as it provides a bridge to other tonal qualities." Always make sure that when doing 'mezza voce' your tone is specifically placed beneath the nasal cavity so that no trace of nasality occurs.

 

The aforementioned reverse valsalva manoeuvre helps particularly with identifying the placing spots, specifically with those around the nose. For example, the bridge of the nose placement is in front of the nasal cavity which is often misunderstood to be a nasal placement; it is not. The same goes for all others.

BEFORE SINGING, PLEASE UNDERSTAND:

The abdominal muscles must contract inwards when singing

When singing at any volume or pitch, the abdominal muscles must contract inwards as the main instigator of the voice. It increases subglottic air pressure for phonation and allows for the relaxation of the diaphragm, which should be mostly or completely deactivated when singing as it is a muscle of inhalation.

 

The abdominal muscles are also recruited when making primal sounds such as laughing, crying, etc. which helps to place the voice in the middle of the skull. Singers who have had trouble with nasal singing will find this to be an immediate fix as it shuts off the nasal cavity by raising the soft palette.

ENSURE FREEDOM OF THE DIAPHRAGM

Free the diaphragm as the primary muscle of inhalation

The diaphragm must be devoid of all tension in order to be of use when inhaling prior to singing. If the diaphragm is not free then its vital connection to the vocal folds and the rest of the singing mechanism will be affected. Most people in Western society have developed shallow inefficient breathing patterns which result in a locked diaphragm. It is therefore necessary for the singer to dedicate practice to exercising the diaphragm so that it can move freely.

 

There are a number of ways in which the singer can exercise their diaphragm in order to improve its elasticity. The first is to breathe out fully so that the diaphragm relaxes completely and recoils to a neutral state once air is allowed to flow back into the lungs. The second is to breathe into the belly so that the diaphragm contracts and descends to a lowered position, then release the tension so that it reverts back to neutral - this is called abdominal breathing. The third is to breathe once again into the belly to a contracted state, except this time exhale while maintaining the belly-out position - this is a modern version of ‘Hara’ breathing where the belly is always protruding and the exact same abdominal pressure is maintained the entire time whilst inhaling and exhaling. The fourth is to breathe not simply into the belly, but predominantly into the lower back which brings the diaphragm to its most descended state which allows for a bigger intake of breath. This is the traditional version of ‘Hara’ breathing and is the same method as prescribed by the Bel Canto opera singers.

 

To recap:

1. Breathe out fully = diaphragm relaxes, then recoils to neutral.

2. Abdominal breathing = diaphragm contracts, then relaxes to neutral.

3. Modern ‘Hara’ breathing = diaphragm contracts and remains contracted during exhalation.

4. Traditional ‘Hara’ breathing = diaphragm contracts to its greatest extent, allowing for a large intake of air.

 

Number 4. (Traditional ‘Hara’ breathing) can be practised either with a completely relaxed exhale or a similar exhalation to the modern ‘Hara’ breathing where the exhalation involves keeping the diaphragm in a descended state with a belly-out sensation. Bel Canto singing is akin to the second instruction.

 

For thousands of years, ancient Eastern martial arts have spoken of an energy centre for every human located at the lower abdominal area. This is known as ‘Hara’ in Japanese circles, the lower ‘dantien’ in Chinese, or the sacral chakra in yogic traditions. The idea is that the lower abdomen is precisely where the individual’s energy and power should originate. This is vital in singing as it allows the singer to withdraw from the throat area and feel as though their voice is centred in a way that could be maintained for many hours at a time. Any kind of tension ruins the lower abdomen coordination, which is why inhaling into the lower back prior to singing is so effective - it prepares the human body’s energy centre for a release of breath energy.

This image from Kenneth Kushner’s book One Arrow, One Life: Zen, Archery, Enlightenment demonstrates the location of the lower abdomen in relation to a traditional Japanese sport of Kyudo (archery). I highly recommend reading the Hara Development blog on his website.

COMBINING ABDOMINAL PRESSURE AND DIAPHRAGMATIC ACTION

Abdominal pressure must be kept to a minimum during inhalation

In The Technics of Bel Canto, legendary teacher Giovanni Lamperti has a diagram of the correct diaphragmatic action that has caused both controversy and confusion for well over one hundred years amongst teachers and students alike. Lamperti’s idea was for singers to direct their inhalation into the lower back to bring the diaphragm to its lowest position and most contracted state whilst reducing abdominal pressure to a minimal level. The abdominal pressure can only reach this point when the abdomen is pulled inwards by the transverse abdominis muscle. The abdominal pressure is now lower than it is when at rest.

 

When singing the abdominal pressure rises as the abdomen moves inward internally. However, to the singer that already has their abdomen drawn inwards via the work of the transverse abdominis muscle, it may feel as though the abdomen is moving outwards. Meanwhile the diaphragm, which was at its most contracted state during the inhalation into the lower back, remains contracted but at a slightly higher position in the belly region in a ‘Hara’-like exhale.

This diagram from Giovanni Lamperti shows the movement of the abdomen inwards during the inhalation into the lower back and the subsequent exhalation which appears to show the abdomen moving outwards, although internally the abdominal muscles actually contract inwards as abdominal pressure rises.

CREATE A RICHER SOUND WHEN SINGING

Learning ‘appoggiare la voce‘ (to lean the voice)

One of the aforementioned placements (No. 2) instructs singers to ‘place’ the voice at the upper breast bone in order to create a richer sound. The increase in chest vibration when focusing the voice in this way is a result of increasing subglottic pressure which allows the vocal folds to vibrate with more energy. It also keeps the glottis (space between the vocal folds) closed all the way up to the highest pitches and is therefore necessary when projecting the voice. Lastly, it helps to draw the larynx down to create more space in the throat so that the singer can better create an ‘open’ and supported tone.

MAKING THE LOUDEST SOUND POSSIBLE

Massive amounts of air results in a bigger sound

There is a limit to how much volume and colour a singer can create without deliberately breathing into the lower back and inflating the lungs to their maximum. Any breathing method that doesn’t allow the singer to inhale in this way will always inadvertently be preventing the singer from finding their proper volume potential. Strong caution is given to students precisely because excess air can easily result in unwanted tension if not managed properly.

 

Therefore, breathing in the lower back with utmost energy should only be attempted once the singer can correctly demonstrate their understanding of all the placements throughout their entire range, including ‘mezza voce’ (half voice), ‘appoggiare la voce’ (to lean the voice), as well as showcasing their ‘inhalare la voce’ (to inhale the voice) technique. If done right, a singer should be able to easily sustain notes in all parts of their range without any visible strain or considerable effort. More importantly, it will prove the singer to be more than capable of hoarding massive amounts of air without causing an unhealthy glottal attack at the vocal folds. Singing becomes extremely gratifying once these various vocal skills have been successfully acquired.