As a doctoral student, I devoured every book on vocal pedagogy I could get my hands on. However contrasting their approaches were for cultivating skill in breathing, vocal production, and articulation, they all emphasized good alignment as foundational for the development of technique. Some offered extensive physiological descriptions of the healthy spine and others detailed illustrations, but none offered much advice for achieving this crucial aspect of the singer’s instrument. These texts left me with the impression that in order to sing well, I should hold myself in a way that would meet their descriptions and resemble their illustrations.
The concept of an ideal spinal position for singing makes sense when you relate vocal anatomy to musical instruments, nearly all of which are built around a stable base that supports moving parts and vibrating structures. Wind and brass instruments consist of tubes to which valves, rings, pads, and fingers can be appended to vary pitch, and stringed instruments are equipped with wooden necks that serve as stable structures to which strings can be affixed. For singers, the spine is the foundational structure that supports all of the moving parts that facilitate breathing, as well as activities of the larynx, articulators, and resonators. Unlike the stable structures that form the bodies of other instruments, however, our spines are extraordinarily mobile. Even in repose, our vertebrae remain in continual flux by virtue of their participation in the movements of respiration.
Alignment is inherently dynamic and therefore cannot be defined as an ideal position for singers to emulate. What our vocal instruments require are spines free of postural distortions, dynamically stabilized rather than rigidly held, so that we can activate the internal moving parts and vibrating structures that contribute to singing while remaining externally free to dramatically embody our roles.
Whether engaged in highly active operatic staging or the relative stillness of recital, singers must continually restabilize their bodies to support the mechanics of breath management, laryngeal activity, and articulation while accommodating movements of the limbs. The ability to stabilize not only the spine but also the core and major joints is essential for integrating the internal activities of singing with the demands of external movement.
While my later chapters focusing on anatomy are sport-specific to singing, the imperative to cultivate a well-aligned, dynamically stable spine is something we share with athletes of all stripes. A stable spine supports the explosive arm movements needed to pitch or hit a baseball, the strokes and kicks that propel swimmers through the water, and the specialized breath management and laryngeal coordination that classical singers cultivate in order to fill an immense concert hall with our voices. We stand to benefit just as significantly as other athletes do from the techniques developed over decades of sports science research for assessing and optimizing alignment.
The spinal column, shown in figure 1.1, consists of twenty-four vertebrae, the sacrum, and the coccyx. The top seven vertebrae comprise the cervical spine; the middle twenty-three comprise the thoracic spine; the lower five comprise the lumbar spine. A healthy spine has three natural curves when viewed from the side (see figure 1.1).
Figure 1.1 Spinal column. Sandy Escobar.
An anterior curve of the neck, or cervical spine. The cervical spine impacts range of motion for your larynx and articulators as well as the size, malleability, and integrity of your resonating cavities.
A posterior curve of the upper torso, or thoracic spine. The thoracic spine governs range of motion for your ribs and diaphragm and therefore influences both lung capacity and breath management.
An anterior curve of the lower back, or lumbar spine. The lumbar spine also impacts breathing, as the crura of the diaphragm originate in the lumbar vertebrae. It also supports your core and lumbo-pelvic-hip complex and is therefore vital for stabilizing movement as well as breathing.
Rather than stacking in a straight line, our vertebrae have evolved into this curved arrangement, each cushioned by intervertebral disks, in order to absorb the shock of various forces that impact our bodies. When faulty movement or sedentary habits cause these curves to become either exaggerated or straightened out, our internal and external mobility are compromised and our ability to neutralize shock is impeded.
Figure 1.2 represents a “neutral spine,” the spinal column at rest, with all three curves in mutually supportive relationships with one another. A “neutral spine” or “ideal posture” is often described as a position wherein a plumb line descending from the earlobe to the floor would pass through the tip of the shoulder, the high point of the pelvis, and the knee and would reach the floor just in front of the ankle.
Figure 1.2 Neutral spine. Sandy Escobar.
Dr. Vladimir Janda’s research in the late 1970s continues to serve as the foundation for the means many medical and fitness professionals use to assess and ameliorate the muscular imbalances responsible for postural problems. Janda identified three major distortion patterns.
In upper crossed syndrome, shown in figure 1.3, the head protrudes forward of the neck and the shoulders rotate in. In lower crossed syndrome, shown in figure 1.4, the pelvis tilts forward, exaggerating the curve of the lower back and usually also leading to exaggerated curves in the upper back and neck to compensate. In pronation distortion syndrome, shown in figure 1.5, the knees rotate internally and the feet turn out, impairing joint mechanics at the ankles, knees, and hips.
Figure 1.3 Upper crossed syndrome. Sandy Escobar.
Figure 1.4 Lower crossed syndrome. Sandy Escobar.
Figure 1.5 Pronation distortion syndrome. Sandy Escobar.
If you consider the impact these three common distortion patterns can potentially have on vocal function, you’ll understand how important it is for singers to be proactive about resolving them.
Figure 1.6 shows healthy alignment supported by optimal length/tension relationships between the muscles of the upper torso and neck that support breathing and phonation. Figure 1.7 shows how the muscular imbalances characteristic of upper crossed syndrome distort alignment in this crucial area. The deep cervical flexors are weak and lengthened, unable to balance out tensions exerted on the neck by a tight upper trapezius and sternocleidomastoid. The rhomboids and middle/lower trapezius are weak and lengthened, allowing the shoulders to rotate internally, the sternum to collapse, and the muscles of the chest to become chronically tight. These conditions cause the head to protrude forward, restricting range of motion of the laryngeal cartilages at the cricothyroid joints; this limits overall range, particularly access to free high notes. The various strap muscles connecting the larynx to the sternum are shortened, which interferes with laryngeal stability. With the shoulders rounded in and sternum compressed, the ribs cannot fully expand, reducing lung capacity as well as strength and coordination in many of the muscles governing breath management.
Figure 1.6 Good upper-body alignment facilitates healthy length/tension relationships between the muscles governing respiration, laryngeal function and articulation. Sandy Escobar.
Figure 1.7 In upper crossed syndrome, tightness in the deep cervical flexors, upper trapezius and pectoral muscles pulls the head forward and compresses the sternum. Sandy Escobar.
Figure 1.8 shows healthy alignment of the lower back and legs supported by optimal length/tension relationships throughout the musculature. Figure 1.9 shows how the muscular imbalances characteristic of lower crossed syndrome distort alignment of the lower ribs, lumbar spine and pelvis. Weakness in the abdominal muscles and tightness in the muscles of the lower back create an exaggerated curve of the lumbar spine, restricting range of motion for the lower ribs in the back; a compensatory tightness in the latissimus dorsi further impedes rib movement throughout the thoracic spine higher up. An exaggerated curve of the lower back also affects movement of the diaphragm, which is tethered by its crura to the lumbar vertebrae. Tightness in the hip flexors and weakness in the gluteal muscles cause the pelvis to tilt forward, creating a muscular imbalance throughout the core and compromising the strength and stability of the entire breath-support apparatus.
Figure 1.8 Good lower-body alignment facilitates full range of motion for the diaphragm and ribs and provides for stability of the core. Sandy Escobar.
Figure 1.9 In lower crossed syndrome, tightness in the lower back and weakness in the abdominal muscles yields diminished range of motion for the diaphragm and rib cage. Sandy Escoba.r
Figure 1.10 shows how the hips, knees, and ankles are supported by optimal length/tension relationships between the leg muscles. Figure 1.11 shows how the muscular imbalances characteristic of pronation distortion syndrome impact these joints. Tightness in the hip adductors and calves and weakness in the gluteal and tibialis muscles result in an anterior pelvic tilt, internal rotation of the knees, and a turnout of the feet. The legs provide a base of support for the spine, so these impaired joint mechanics undermine postural stability in both stillness and motion. Well-balanced leg musculature is essential for securing breath management and maintaining vocal stability during stage movement, particularly when contending with a raked stage, heeled shoes, and/or challenging choreography.
Figure 1.10 Good length/tension relationships between the leg muscles support joint function and overall stability. Sandy Escobar.
Figure 1.11 In pronation distortion syndrome, problematic length/tension relationships between the muscles that govern lower-body joint function can impact both breathing and movement. Sandy Escobar.
With the possible exception of some hard-core child athletes, everyone develops postural distortions and muscular imbalances. No one develops a perfectly balanced musculature by accident. Your body is the sum total of your habits and experiences. Distortions and imbalances can develop from holding static positions for significant periods of time. For example, maintaining the seated position necessary to drive a car long distances or work at a computer for hours can lead to the glutes becoming weak and the hip flexors tight; the resulting problematic muscle length and tension relationships can affect your gait.
While minor distortions and imbalances may create no problem whatsoever for the average human, serious athletes must strive to resolve them in order to achieve peak performance. A baseball player whose shoulder rotates internally will not be able to throw the ball as far or as fast as he or she would under more optimal conditions. A swimmer with weak gluteal muscles will not be able to kick with full range of motion through their hips. A singer who fails to address such muscular imbalances is essentially playing a dysfunctional instrument. The dysfunction may manifest visibly as only a subtly exaggerated spinal curvature or asymmetry, but it will almost certainly impact his or her singing in one or more ways.
Janda’s three distortion patterns are useful examples of how common patterns of use can throw alignment out of balance. Resolving these distortions is key for fulfilling athletic potential of any kind. As each body is the result of a unique history, we are more likely to develop aspects of one or more rather than exactly conforming to any one pattern.
The musculoskeletal system functions like a highly sophisticated, animated suspension bridge; our skeletal structure is like the towers that serve as the bridge’s supports, while the muscles are like the cables that absorb the tensions of forces exerted on the bridge by gravity, vehicles, and wind. Muscles serve as levers that initiate joint action by contracting and moving the bones to which they are attached. We are able to accomplish this most efficiently when we enjoy optimal length/tension relationships between our muscles. Postural distortions are the consequence of imbalances in these muscular length/tension relationships—in other words, if one muscle that acts on a joint is tight while another is weak, the resulting imbalance will contribute to the kinds of postural distortions detailed in Janda’s syndromes.
Here are two simple assessments that will help you check your alignment for muscular length/tension imbalances. The first assessment is static and the second dynamic. You can either have a friend photograph and film you or film yourself. Be sure to frame your whole body in each shot.
Photograph yourself from the front and from the side. Stand with your feet about hip width apart, arms resting by your sides. Avoid the temptation to strike a pose based on any preconceptions you may have about good alignment—doing so will interfere with the accuracy of your assessment.
Figures 1.12 and 1.14 exemplify healthy alignment, while figures 1.13 and 1.15 demonstrate a variety of ways that postural imbalances can manifest. The horizontal and vertical lines shown in figures 1.12 and 1.14 indicate the checkpoints I recommend that you apply when observing and assessing your alignment.
• Is your head position neutral, or does it tilt toward one side or the other?
• Are your shoulders level with one another, or does one sit in a higher position than the other?
• Are your hips level with one another, or does one sit in a higher position than the other?
Figure 1.12 Balanced alignment viewed from the front. The head is centered; shoulders and hips are level; hips, knees and ankles align with each other; feet are parallel. Daniel Welch.
Figure 1.13 Distorted alignment. The head inclines towards the right shoulder, which is elevated relative to the left; the left hip is slightly elevated relative to the right; there is imperfect hip, knee and ankle alignment; the feet turn out. Daniel Welch.
Figure 1.14 Balanced alignment viewed from the side. The ear, shoulder, hip and ankle line up with one another. Daniel Welch.
Figure 1.15 Distorted alignment. The ear is forward of the shoulder while the hip is well behind. Daniel Welch.
• Are your knees aligned with your hips and ankles, or do they rotate in toward each other or bow out to the sides?
• Are your feet parallel with toes pointing straight forward, or do they turn out to the side?
• Do your ears, shoulders, hips, and ankles align vertically?
• Is your head position neutral, or does your chin jut forward?
• Do your shoulders round forward?
• Is your lower back excessively arched, with your pelvis tilting forward?
• Are your knees neutral, or do they lock back?
Record your observations and evaluate your results:
• If your head tilts to one side, or if one of your shoulders is elevated relative to the other, this indicates an imbalance between the muscles on either side of your neck and shoulders.
• If your chin juts forward, this indicates tightness in your upper trapezius and levator scapulae and weakness in your neck flexors.
• If your shoulders rotate forward, this indicates tightness in your pectoral muscles and latissimus dorsi and weakness in your rhomboids and middle and lower trapezius.
• If one hip is elevated relative to the other, this indicates a muscular imbalance between the muscles of the lumbo-pelvic-hip complex on the left and right side.
• If your lower back is arched and your pelvis tilts forward, this indicates tightness in your latissimus dorsi, erector spinae, hip flexors, hip adductors, and calves, and weakness in your gluteus maximus, gluteus minimus, transversus abdominis, and internal obliques.
• If your knees rotate in toward one another and your feet turn out, this indicates tightness in your hamstrings, hip flexors, hip adductors, and calves, and weakness in your gluteus maximus, gluteus medius, hip external rotators, anterior tibialis, and posterior tibialis.
The movement for this assessment is called an overhead squat. Stand with your feet about hip width apart and your ankles, knees, and hips aligned. Raise your arms up in alignment with your ears, your elbows extended and palms facing one another, as shown in figures 1.16 and 1.18. Maintaining the raised arm position and a neutral spine, slowly squat as though you were about to sit down, as shown in figures 1.17 and 1.19. Only go as low as you can comfortably keep your balance, then smoothly reverse the movement and return to your starting position. Repeat this movement several times while filming yourself from both the front and the side. View your movements and record your observations.
Figure 1.16 Overhead squat, starting position. Sandy Escobar.
Figure 1.17 Overhead squat, movement. Sandy Escobar.
Figure 1.18 Overhead squat, starting position. Sandy Escobar.
Figure 1.19 Overhead squat, movement. Sandy Escobar.
• Do your knees remain aligned with your hips and ankles throughout the movement, or do they move in toward the center or out toward the sides?
• Are your feet parallel, or do they turn out?
• Does your weight appear to be evenly distributed between your feet throughout the movement, or do you shift your weight to one side?
• Does your spine remain neutral on the descent, or does your lower back arch or round?
• Does your spine move parallel to your lower leg on the descent, or does your torso excessively lean forward?
• Do your arms remain aligned with your ears, or do they fall forward?
Evaluate your results:
• If your body shifts to one side on the descent, this indicates an imbalance between the muscles of your core and legs on either side, as shown in figure 1.20.
• If your knees move in toward the center on the descent, this indicates tightness in your hip adductors and calves and weakness in your gluteus maximus, gluteus medius, anterior tibialis, and posterior tibialis, as shown in figure 1.21.
• If your knees move out toward the sides on the descent, this indicates tightness in your hamstrings and gluteus minimus and weakness in your gluteus maximus and hip adductors.
• If your feet turn out on the descent, this indicates tightness in your calves and hamstrings and weakness in your gluteus maximus and gluteus medius, as shown in figure 1.21.
• If your lower back arches on the descent, this indicates tightness in your latissimus dorsi, erector spinae, and hip flexors, and weakness in your gluteus maximus, hamstrings, and core, as shown in figure 1.22.
• If your lower back rounds on the descent, this indicates tightness in your hamstrings, rectus abdominis, and external obliques, and weakness in your gluteus maximus, erector spinae, latissimus dorsi, hip flexors, and core.
• If your torso leans forward excessively on the descent, this indicates tightness in your abdominal muscles, hip flexors, and calves and weakness in your erector spinae, gluteus maximus, transversus abdominis, and anterior tibialis, as shown in figure 1.23.
• If your arms fall forward, this indicates tightness in your pectoral muscles and latissimus dorsi and weakness in your rhomboids, middle and lower trapezius, and posterior deltoid.
Figure 1.20 Overhead squat: weight shifts to one side on the descent. Sandy Escobar.
Figure 1.21 Overhead squat: knees rotate internally and feet turn out. Sandy Escobar.
Figure 1.22 Overhead squat: lower back arches. Sandy Escobar.
Figure 1.23 Overhead squat: excessive forward lean. Sandy Escobar.
The term “corrective exercise” refers to fitness program design strategies aimed at assessing and resolving imbalances in order to improve overall function, as opposed to programs emphasizing muscle gain or weight loss as ends in themselves. The assessments and strategies offered in this chapter have been adapted from the corrective exercise protocols developed by the National Academy of Sports Medicine. NASM advocates a four-step procedure for addressing muscular imbalances:
1. Release muscles that are relatively tight.
2. Stretch muscles that are relatively tight.
3. Strengthen, in isolation, muscles that are relatively weak in order to activate them.
4. Integrate the movements of these newly activated muscles by training them in the context of whole-body movements.
If you want to improve your alignment, you must improve mobility in the various structures that hold you in your default position. This is most effectively accomplished by releasing tight muscles prior to performing static stretches. The muscular release technique I advocate throughout this book is called self-myofascial release, a method employing a foam roller, ball, or massage stick to loosen and restructure the web of connective tissue that surrounds muscles and connects them to one another and to the skeletal system. Static stretching has been shown to be more effective after a muscle group has first been released by applying this technique.
Muscles can develop weakness from being underutilized and/or as a result of synergistic dominance. Synergistic dominance is the result of learning to perform movements not with the muscles best positioned for the job but rather with their “synergists”—smaller muscles that are positioned to help with the movement in question that readily compensate when the primary mover fails to do the lion’s share of the work. For example, if you want to push something heavy, the large pectoral muscles in your chest are the ones best equipped for the assignment. But, if they are underdeveloped, then your triceps—their synergists—will take over. In such a case, it is important to perform isolated strengthening movements to activate your pectoral muscles, because if you attempt a more complex movement such as a push-up, your triceps may do the work instead. Once your pecs have been activated, it becomes important to engage them within the context of more complex movements, perhaps involving your core and legs as well as your triceps.
One of Janda’s major innovations in postural rehabilitation was the introduction of stabilization training to restore muscular balance and functional movement. One of the principles of an effective corrective exercise protocol is the directive to perform movements in as unstable an environment as one is ready to handle. This includes such things as engaging limbs independently from one another, rather than both arms or legs simultaneously; prioritizing exercises employing body weight and free-moving tools like dumbbells and cables, rather than stable weight-lifting machines; and performing movements on an unstable surface or while standing on one leg. These strategies are key for evening out strength imbalances not only around each joint but also between your right and left sides.
Stabilization training is of particularly high sport-specific value for singers. The ability to stabilize the shoulders and core is essential for breath management, as I will discuss in chapter 2. The ability to stabilize the lumbo-pelvic-hip complex confers an ability to engage in stage movement without allowing leg movement to interfere with breath management or crucial activities in and around your throat.
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Alignment plays as significant a role in singing as it does for every other athletic endeavor. If, despite diligent and sustained technical work, you find that you are still unable to access your full range, manage your breath adequately, or achieve balanced resonance, it may be due to postural rather than technical imbalances. Fortunately, these imbalances can be systematically resolved. You will find that doing so not only supports your singing but also improves overall wellness and mitigates the challenges that can attend the frequent air travel, unfamiliar sleeping conditions, and interesting staging choices that often end up being part of your job.