'The Six Fundamentals' - methodology in progress
Singing is a confusing thing - the only instrument you can’t hold in your hand: it is connected to our state of mind as much as our physical body (much of it is autonomic, meaning it moves unconsciously, connected to our nervous system) and made of 100's of different muscles.
So how to we train something so complex?
As a coach, people come to me seeking answers but I was aware that this is a costly way to approach practise. What if I could put my singers back in the driving seat of their own voice and give the awareness and knowledge to guide their own practise?
The problem was, there was too much information out there: expressed in too many different ways, some conflicting, some subject to an easily misconstrued Chinese whispers of advice. This information overload was getting in the way
My quest was to find some indisputable truths that we could base our practise on, to discover the aspects of our voice that are fundamental to optimum vocal production. Once we know what these six fundamentals are, we can base our singing practise around them: creating free, powerful, balanced voices within any register or style and, more importantly, informed, knowledgable singers who are in control of their instrument
I had two rules:
These fundamentals cannot be misinterpreted, misconstrued or neglected.
They must remain true inside any new methodology, practise or exercise.
THE SIX FUNDAMENTALS OR THE SIX INDISPUTABLE TRUTHS (METHODOLOGY IN PROGRESS)
1. An awareness and understanding of air in relation to sound and its connection to the body. Area: breath support.
'Singers must have a consistent stream of air connected to the body.'
2. An awareness and understanding of resonance and what sound feels like in your body in relation to range, tone and power. Area: resonance.
'Singers must have an awareness of the feeling of sound in their body.'
3. An awareness and understanding of vocal cord adduction (closure). Area: Adduction.
'Singers must have an awareness of vocal cord closure to create a full tone without breathiness or tension.'
4. An awareness and understanding of the jaw hinge and the muscles that connect the jaw to the larynx. Area: Jaw release for singing.
'Singers must have a free Jaw hinge.'
5. An awareness and understanding of the tongue’s effect on tone. Area: tongue release for singing.
'Singers must have tongue awareness/a free tongue root'
6) An understanding of the larynx and tilt’s role in lengthening vocal cords. Area: The larynx in singing.
'Singers must have a free larynx awareness and freedom.'
Watch the video below for a warm up which works all of The Six Fundamentals.
Book a singing lesson now with Rachel at her Southfield's studio or join her weekly Musical Theatre choir and singer's development programme, including technique, harmony work and 121 support, plus free Masterclasses and termly open mics and group trips.
So how to we train something so complex?
As a coach, people come to me seeking answers but I was aware that this is a costly way to approach practise. What if I could put my singers back in the driving seat of their own voice and give the awareness and knowledge to guide their own practise?
The problem was, there was too much information out there: expressed in too many different ways, some conflicting, some subject to an easily misconstrued Chinese whispers of advice. This information overload was getting in the way
My quest was to find some indisputable truths that we could base our practise on, to discover the aspects of our voice that are fundamental to optimum vocal production. Once we know what these six fundamentals are, we can base our singing practise around them: creating free, powerful, balanced voices within any register or style and, more importantly, informed, knowledgable singers who are in control of their instrument
I had two rules:
These fundamentals cannot be misinterpreted, misconstrued or neglected.
They must remain true inside any new methodology, practise or exercise.
THE SIX FUNDAMENTALS OR THE SIX INDISPUTABLE TRUTHS (METHODOLOGY IN PROGRESS)
1. An awareness and understanding of air in relation to sound and its connection to the body. Area: breath support.
'Singers must have a consistent stream of air connected to the body.'
2. An awareness and understanding of resonance and what sound feels like in your body in relation to range, tone and power. Area: resonance.
'Singers must have an awareness of the feeling of sound in their body.'
3. An awareness and understanding of vocal cord adduction (closure). Area: Adduction.
'Singers must have an awareness of vocal cord closure to create a full tone without breathiness or tension.'
4. An awareness and understanding of the jaw hinge and the muscles that connect the jaw to the larynx. Area: Jaw release for singing.
'Singers must have a free Jaw hinge.'
5. An awareness and understanding of the tongue’s effect on tone. Area: tongue release for singing.
'Singers must have tongue awareness/a free tongue root'
6) An understanding of the larynx and tilt’s role in lengthening vocal cords. Area: The larynx in singing.
'Singers must have a free larynx awareness and freedom.'
Watch the video below for a warm up which works all of The Six Fundamentals.
Book a singing lesson now with Rachel at her Southfield's studio or join her weekly Musical Theatre choir and singer's development programme, including technique, harmony work and 121 support, plus free Masterclasses and termly open mics and group trips.
Rachel is an incredible singing teacher. Not only is her singing teaching second to none, she has a personableness to her that makes singing exciting and fun" Cassidy Janson, WEST END LEADING LADY (Carol King, Beautiful)
"Anyone seriously considering a career in Musical theatre, or a professional hoping to improve their skills, I urge you to have a lesson with Rachel." Gina Beck, WEST END LEADING LADY (Glinda in Wicked, Christine in Phantom of the Opera)
"One of the best singing teachers in London. No seriously... Amazing!" Sarah Bowden, (Cassie, A Chorus Line, The Hollywood Bowl)
"Anyone seriously considering a career in Musical theatre, or a professional hoping to improve their skills, I urge you to have a lesson with Rachel." Gina Beck, WEST END LEADING LADY (Glinda in Wicked, Christine in Phantom of the Opera)
"One of the best singing teachers in London. No seriously... Amazing!" Sarah Bowden, (Cassie, A Chorus Line, The Hollywood Bowl)
