Exercise scientists have become adept at tailoring sport-specific training regimens for different types of athletes. A great deal is known about how to optimize the body for endurance, power, speed, balance, and so on. While there are notable exceptions, elite athletes in a given sport usually share a common body type and follow a similar sport-specific training protocol.
By contrast, the variety of body types we see on the operatic stage is breathtaking in its diversity. While the basic anatomy and skill set required for singing may be common to all and many of the singers in a given Fach share some physical similarities, many of the things that make a singer exceptional stem from unique anatomical attributes rather than conformity to a physical ideal. Therefore, while there are certainly fitness strategies that all singers are likely to find useful, the training regimen best suited to optimize an individual singer’s body for peak performance will be unique to that singer.
Just as achieving a foundational level of vocal technique is a prerequisite for the performance of classical literature, establishing a fundamental level of awareness, stabilization, and skill is essential for engaging in a fitness program. The exercises presented in this chapter have been chosen to address common postural distortions, establish a balance of strength and flexibility, and promote good exercise form. These movements provide a comprehensive workout in themselves, while also preparing you to eventually undertake a more rigorous strength-training regimen, engage in dance or stage combat training, or excel at the recreational sport of your choice.
Reference the data you gathered from the assessments in chapter 1 in order to craft the fitness regimen best suited to your particular needs, strengths, and challenges. Feel free to explore all of the exercises I have included here while focusing on those designed to promote flexibility in the muscles you identified as tight and strengthen those that are relatively weak.
Here are some general guidelines to keep in mind throughout your workout:
Breathe. Any number of things may incline you to hold your breath while exercising, including the demands of concentration and an instinct to valve off the glottis to stabilize the torso. Continuous, full breathing is essential for good form as well as for ensuring adequate oxygen supply. When performing strength-training movements, it is generally advisable to exhale while lifting weights (or your own body, as the case may be) and to inhale while lowering.
Keep your face and neck relaxed. Maintain a loose, flabby feeling in your throat and avoid clenching your jaw. Never engage in the Valsalva maneuver—the tight glottal closure that results in the grunting you frequently hear from bodybuilders. Keep your chin gently tucked down toward your chest and frequently remind yourself to release the back of your neck and your upper trapezius.
Focus on the functional goal of each exercise. The point of a strength-training exercise is conditioning a specific muscle, not seeing how heavy a dumbbell you can lift; the point of a flexibility exercise is improving the range of motion of a given joint rather than seeing how far you can pull yourself in one direction or another.
Prioritize movements and modalities that emphasize balance and stability. Exercises that require you to stabilize your core and joints and challenge your balance will enhance your ability to execute stage movement while continuing to manage your breath well.
Listen to your body. Any effective exercise regimen is characterized by a degree of effort and discomfort, so it’s important to evaluate whether the effort and discomfort are facilitating or interfering with your progress. While some muscle fatigue and discomfort are to be expected, joint pain indicates a need to adjust your form or discontinue the exercise. When performing a new exercise or engaging a muscle group for the first time in a while, err on the side of doing too little in order to avoid excessive soreness and to speed your recovery time.
Modify movements as necessary. If you find a particular exercise prohibitively difficult or uncomfortable, seek an alternative movement targeting the same muscle groups. I have offered modifications for many of the strength-training exercises to make them simpler and more accessible.
Self-myofascial release (SMR) provides a deep tissue massage for tight muscles, enhancing the impact of subsequent flexibility and strength-training exercises. SMR warms up the web of connective tissue that surrounds muscle tissue and softens adhesions causing chronic tension. When the connective tissue surrounding a muscle group is warmer and more pliable during exercise, growth and adaptations in that muscle group are often achieved more swiftly and effectively.
To perform SMR with a foam roller, position the targeted muscle on the roller so as to place as much of your body weight as possible on top of it while supporting yourself with your arms and/or legs. Slowly roll along the full length of the muscle. Pause at any point that feels particularly tender, continuing to breathe while sustaining the position for thirty seconds.
Sit on a mat with the foam roller behind your hips. Bring your knees up and place your feet flat on the floor. Lie back on the foam roller, positioning your lower ribs on top of it. Using your hands to support your head and neck, lean back and raise your hips off the floor so that most of your weight is on the roller, as shown in figure 6.1. Slowly walk your feet forward so that the roller moves from your lower ribs up toward your neck, allowing your head and shoulders to descend toward the floor. Continue until you feel the roller at the top of your shoulders, then reverse direction until the roller is once again at your lower ribs. If you find a point of particular tenderness or tightness along your back or shoulders, pause in that position and continue breathing until the sensation subsides.
Figure 6.1 Self–myofascial release for the shoulders. Daniel Welch.
Lie on a mat on one side with the arm closest to the mat extended in front of you. Place the foam roller under your uppermost ribs close to your armpit. Place the foot of the upper leg on the mat in front of the knee of the lower leg. Use the upper leg to lift the lower hip off the floor so that most of your weight is now resting on the foam roller, as shown in figure 6.2. Push off with your foot and roll your body so that the foam roller moves down your side, then change direction so that it returns to the starting position near your armpit. If you find a point of particular tenderness or tightness along your side or back, pause in that position and continue breathing until the sensation subsides. Repeat on the other side.
Figure 6.2 Self–myofascial release for the latissimus dorsi. Daniel Welch.
Sit on a mat with your legs extended in front of you and the foam roller under your knees. Place your hands on the mat on either side of your hips, then lift your hips up so that most of your weight is on the roller. Cross one leg over the other, as shown in figure 6.3. Roll yourself forward so that the roller moves up the back of your leg to your hip, then roll in the other direction so that it returns to your knee. If you find a point of particular tenderness or tightness along your leg, pause in that position and continue breathing until the sensation subsides. Repeat on the other side.
Figure 6.3 Self–myofascial release for the hamstrings. Daniel Welch.
This version of SMR employs a massage stick rather than a foam roller (see figure 6.4). In a seated position, cross one leg over the other. Beginning at the hip, apply a massage stick with firm pressure to the front of the upper leg. Slowly roll it toward the knee, then back up to the hip. Repeat several times. If you find a point of particular tenderness or tightness along your leg, roll the stick repeatedly over the point of tension until it feels smoother and less tender. Repeat on the other side.
Figure 6.4 Self–myofascial release for the quadriceps and hip flexors. Daniel Welch.
Sit on a mat with your legs extended in front of you and place the foam roller under your ankles (see figure 6.5). Place your hands on the mat on either side of your hips, then lift your hips up so most of your weight is on the roller. Cross one leg over the other. Roll yourself forward so the roller moves up the back of your calf to your knee, then roll in the other direction so that the roller returns to your ankle, repeating this movement several times. If you find a point of particular tenderness or tightness along the calf, pause in that position and continue breathing until the sensation subsides. Repeat on the other side.
Figure 6.5 Self–myofascial release for the calves. Daniel Welch.
The upper trapezius elevates the shoulders, so tightness in this muscle can lead to neck tension. It is therefore particularly important for singers to relax this area. The upper trapezius is difficult to target with a foam roller or massage stick, so I recommend using massage, either with your hand or an electric massager. Focus on the area just to the side of your neck, squeezing it with the thumb and fingers of the opposite arm or holding a massager firmly to the spot (see figure 6.6). Allow your arm to dangle by your side with the elbow extended, then slowly elevate the shoulder, roll it around to the back, and then lower it to the starting position. Repeat this cyclical movement several times, taking care not to rotate the shoulder forward. Repeat on the other side.
Figure 6.6 Massage for the upper trapezius. Daniel Welch.
Static stretching improves flexibility in muscles and connective tissue, increasing joint range of motion. It involves holding positions that encourage targeted muscles to lengthen and gradually help them extend further. In order to perform a static stretch effectively, you must hold it for a minimum of thirty seconds. Stretches should be performed in a sustained fashion rather than by bouncing in and out of position.
Kneel in front of a stability ball. Place both hands on top of the ball and slowly roll it away from you, folding forward at the hip and inclining your head and torso toward the floor so that your arms stretch up and back, as shown in figure 6.7. Continue breathing and hold the stretch for a minimum of thirty seconds. Release the stretch by rolling the ball back toward you and sitting back on your heels.
Figure 6.7 Static stretch for the latissimus dorsi. Daniel Welch.
Stand facing an open door frame or a stable pillar. With your upper arm parallel to the floor and your elbow flexed to a 90-degree angle, place a forearm vertically against the door frame or pillar so that it makes firm contact from your palm all the way to the elbow, as shown in figure 6.8. Lean forward until you feel a stretch in your upper chest. Hold the stretch for a minimum of thirty seconds, then repeat the stretch on the other side.
Figure 6.8 Static stretch for the pectoralis major and minor. Daniel Welch.
The half-angel stretch is a dynamic stretch. Unlike static stretches, which sustain a single position targeting release of a single muscle group, dynamic stretches employ movements that encourage multiple muscle groups to release in order to promote balance between them. Our shoulder blades, or scapulae, provide attachment points for most of the important muscles of the shoulders, back, and chest, so this dynamic stretch is useful for warming up and lengthening them all.
Lie on your back on a mat with your arms extended over your head. Bring your knees up and place your feet flat on the floor, as shown in figure 6.9. Slowly bend your elbows and draw your arms down toward your sides until your elbows are level with your shoulders as shown in figure 6.10, keeping both wrists and elbows on the mat or as close to it as possible throughout. Reverse the movement, slowly extending your arms over your head and returning to the starting position, again keeping wrists and elbows on or near the mat. Repeat the movement four to six times.
Figure 6.9 Half-angel shoulder stretch, starting position. Daniel Welch.
Figure 6.10 Half-angel shoulder stretch, movement. Daniel Welch.
Sit on a mat with your right leg extended in front of you with your knee and toes pointing straight up. Place your left foot against your right inner thigh, keeping the left knee on the floor if possible. Sit tall with your spine in good alignment. Fold forward from the hip over the right leg while maintaining a well-aligned spine. Reach for your right calf or ankle with your left hand, as shown in figure 6.11, and gently pull your chest closer to your leg without compromising your alignment. Hold the stretch for a minimum of thirty seconds. You may find that you do not have to fold very far forward at all in order to feel a stretch, so remember that the point is not to move your chest closer to your knee but rather to stretch your hamstrings. Repeat with the left leg.
Figure 6.11 Static stretch for the hamstrings. Daniel Welch.
Sit on a mat with your right leg extended to the side at a comfortable angle, with your knee and toes pointing straight up. Place your left foot against your upper right thigh. Sit tall with your spine in good alignment. Extend your arms in front of you and fold forward from the hip while maintaining a well-aligned spine, as shown in figure 6.12. Rest your fingertips on the floor. Hold the stretch for a minimum of thirty seconds. You may find that you do not have to fold very far forward at all in order to feel a stretch, so remember that the point is not to move your chest closer to your knee but rather to stretch your hip adductors. Repeat with the left leg.
Figure 6.12 Static stretch for the hip adductors. Daniel Welch.
Stand near a wall or column and place your left hand against it for balance. Stand on your left leg, flex your right knee, and grasp your right foot behind you with your right hand. Align your right knee with the left and draw your knees together. To stretch your quadriceps, gently pull your right foot closer to your buttocks, as shown in figure 6.13. Hold the stretch for a minimum of thirty seconds. To stretch your hip flexors, pull the right leg farther back and up, as shown in figure 6.14. Hold the stretch for a minimum of thirty seconds. Repeat for the left leg.
Figure 6.13 tatic stretch for the quadriceps. Daniel Welch.
Figure 6.14 tatic stretch for the hip flexors. Daniel Welch.
Two muscles comprise the calf; each requires a slightly different position for an effective static stretch. To stretch the gastrocnemius, extend one leg back, keeping the knee straight, the back heel on the floor and the toe of the back foot pointing straight forward rather than out to the side. Keeping your torso upright and in good alignment, place your hands on the knee of the front leg for support. Bend the knee of the front leg until you feel a stretch in the calf of the rear leg, as shown in figure 6.15. Hold the stretch for a minimum of thirty seconds. To stretch the soleus, maintain the same position but bend the back knee slightly, being sure to keep the back heel on the floor, as shown in figure 6.16. You should feel the point of stretch shift a little lower and more to the inside of the calf. Hold this stretch for a minimum of thirty seconds. Repeat both stretches for the other leg.
Figure 6.15 Static stretch for the gastrocnemius. Daniel Welch.
Figure 6.16 Static stretch for the soleus. Daniel Welch.
Static stretches for your rib cage can help remind you to breathe fully throughout the rest of your workout. Include them in your vocal warm-up as well to promote full range of motion for your rib cage while singing.
To stretch the front of the rib cage, sit on a stability ball and walk yourself forward until your torso drapes backward over the ball, as shown in figure 6.17. Take a moment to get your balance; then take a few deep, slow breaths, expanding your ribs all the way up to your collarbone. Then take another full breath, continuing to try to inhale beyond the point you can take in any more air, effectively holding your breath with the continuous engagement of your muscles of inspiration. Sustain for three seconds, then exhale. Repeat three or four times. Return to your starting position by walking your feet back so that you are sitting on the ball.
Figure 6.17 Static stretch for the rib cage, front. Daniel Welch.
To stretch the back of the rib cage, kneel in front of the stability ball. Place your chest on top of the ball and roll forward so that your torso is draped over the ball, with your fingertips and toes on the floor, as shown in figure 6.18. Take a few deep, slow breaths, expanding your ribs as far as possible in the back. Then take another full breath, continuing to try to inhale beyond the point you can take in any more air, effectively holding your breath with the continuous engagement of your muscles of inspiration. Sustain for three seconds, then exhale. Repeat three or four times. Return to your starting position by rolling back until you return to a kneeling position.
Figure 6.18 Static stretch for the rib cage, back. Daniel Welch.
Strength training improves muscle function by working muscles to the point of fatigue. These exercises paradoxically injure muscle cells to their benefit, instigating a recovery cycle that not only repairs but also stimulates growth in the muscle cells. While the process results in stronger, more clearly defined muscles, engaging in a balanced strength training regimen is unlikely to add significant bulk to your profile unless you pursue this as a goal.
Most of the exercises presented in this chapter include a stabilization component, offering a neuromuscular challenge as well as a strength challenge. Exercises that require you to maintain your balance or perform asymmetrical movements help develop optimal length/tension relationships between muscle groups.
When possible and applicable, I have appended modified versions to each exercise to make them simpler, more challenging, more aesthetically impactful, and/or easier to perform in a hotel room with minimal equipment.
The strategy I have applied throughout this section to accentuate muscle groups considered to have aesthetic appeal involves alternating sets of exercises that promote stability and improved alignment with sets of exercises that target the same muscles but provide for an overload increase. Muscles become stronger in response to overload—the requirement to meeting challenges that are greater than what they are regularly subjected to. If you wish to develop visibly larger, well-defined muscles, it is therefore necessary to increase the demand being placed upon them. You can safely incorporate aesthetic goals into your regimen, provided that you do so in moderation and work to build strength throughout your instrument rather than focusing exclusively on the glamor muscles.
Performing lat pulldowns with good form not only helps to resolve common upper-body posture imbalances but also establishes the shoulder stability singers need for breath management. This exercise targets the latissimus dorsi, rhomboids, middle and lower trapezius, and biceps.
Sit on a stability ball facing a cable machine with arms positioned at ten o’clock and two o’clock and set the weight at a moderately challenging level to ensure good form. Set up your starting position with care, as shown in figures 6.19 and 6.20. Grasp the handles and sit tall with elbows fully extended, being sure to draw your shoulder blades together and down, as shown in figure 6.21. Draw your elbows in toward your sides with palms continuing to face forward, as far as you can without rotating your shoulders forward, as shown in figures 6.22 and 6.23. As you extend your elbows to return to the starting position, continue to keep your shoulder blades retracted so that your shoulders do not elevate as shown in figure 6.24. Perform this movement slowly, about four seconds in each direction, with smooth transitions between lifting and lowering. Exhale as you pull the cables down and inhale as you return to the starting position. Aim for two to three sets of twelve to fifteen repetitions.
Figure 6.19 Lat pulldown, starting position, back view. Daniel Welch.
Figure 6.20 Lat pulldown, starting position, side view. Daniel Welch.
Figure 6.21 Shoulder blade retraction. Daniel Welch.
Figure 6.22 Lat pulldown, movement, back view. Daniel Welch.
Figure 6.23 Lat pulldown, movement, side view. Daniel Welch.
Figure 6.24 Shoulder elevation. Daniel Welch.
Stabilization challenge. Complete the initial pulldown with both arms, as shown in figures 6.22 and 6.23. Sustain the pulldown position with your left arm and return only your right arm to the starting position, keeping your core and both shoulders stable and keeping your weight centered on the stability ball. Pull down with the right arm, hold it in place, and return your left arm to the starting position. Continue to alternate your arms throughout the set.
Lat pulldowns on the go. Lat pulldowns can be performed using a resistance band with handles and a door anchor (see “Additional Resources”). Anchor the resistance band to the top of a door. Position a chair facing the door, far enough away from the door so that when you are seated and grasp the handles of the resistance band with your arms extended there is already a bit of tension in the band. Sit tall on the chair with good alignment and your feet flat on the floor. Grasp the handles with your elbows fully extended and tilt forward from your hips. Maintain a stable neutral spine and perform the lat pulldowns from this position. Your hands and forearms will be closer together for your starting position than when doing this movement with a cable machine, but their position at the bottom of the movement should be the same as shown in figures 6.22 and 6.23.
This exercise targets the pectoralis major, pectoralis minor, and triceps. Assume a split stance with your back to a cable machine with arms positioned at nine o’clock and three o’clock. Your hips, knees, and ankles should align vertically on both sides with knees slightly flexed and both feet pointing straight forward. Your torso should remain upright—take care not to lean forward as you perform the movement. Set the weight at only a moderately challenging level to ensure good form. Grasp the handles and set up your starting position with care. Your upper arms should be parallel to the floor and your elbows flexed at a right angle so that your wrists are aligned with your elbows, as shown in figures 6.25 and 6.26. As with the lat pulldown, keep your shoulder blades retracted throughout the movement. Extend your arms forward and bring your hands together in front of your sternum, as shown in figures 6.27 and 6.28. Return to the starting position. Your shoulders and elbows should move in tandem—avoid straightening your arms first and pulling your hands together second. Perform this movement slowly, about four seconds in each direction, with smooth transitions between lifting and lowering. Exhale as you press the cables forward and inhale as you return to the starting position. Aim for two to three sets of twelve to fifteen repetitions.
Simplified cable chest press. Perform this exercise in a seated position. Place a workout bench set in an upright position in front of the cable machine with its back to the machine. Your torso should remain upright with your shoulders resting against the bench throughout the movement—do not lean forward. Grasp the handles with your upper arms parallel to the floor and your elbows flexed at a right angle; perform the movement as described above.
Stabilization challenge. Sustain the starting position with your left arm and press forward and extend only your right arm so that your right hand is directly in front of your sternum, keeping your core and both shoulders stable and keeping your weight centered between your legs. Return your right arm to the starting position, and perform the movement with your left arm. Continue to alternate your arms throughout the set.
Figure 6.25 Cable chest press, starting position, front view. Daniel Welch.
Figure 6.26 Cable chest press, starting position, side view. Daniel Welch.
Figure 6.27 Cable chest press, movement, front view. Daniel Welch.
Figure 6.28 Cable chest press, movement, side view. Daniel Welch.
Glamor factor—pecs. Alternate sets of this exercise with either barbell bench presses or seated machine chest presses. When performing any variety of chest press, position your hands at shoulder’s width apart; when your arms are extended at the top of the lift, they should be in front of your sternum, not in front of your face. Do not increase the weight beyond your ability to keep your shoulders stable throughout the movement, as anything that encourages your shoulders to elevate or rotate internally will be counterproductive for your singing.
Cable chest press on the go. Chest presses can be performed using a resistance band with handles and a door anchor. Anchor the resistance band to a door. Position a chair facing away from the door, far enough away from the door so that when you are seated and grasp the handles of the resistance band in the chest press starting position there is already a bit of tension in the band. Sit tall on the chair with good alignment and your feet flat on the floor. Grasp the handles with your upper arms parallel to the floor and your elbows flexed at a right angle so that your wrists are aligned with your elbows, as shown in figures 6.25 and 6.26. Extend your arms forward and bring your hands together in front of your sternum; then return to the starting position.
This exercise promotes stability of the core and lumbo-pelvic-hip complex and targets the rhomboids and middle and lower trapezius.
Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and arms resting at your sides. Retract your shoulder blades and slowly raise one leg, bending your knee, until the knee is level with the hip, as shown in figure 6.29. Take as much time as necessary to get your balance and avoid collapsing into the hip or locking the knee of the standing leg. Raise your arms up at a 45-degree angle until your hands are level with your head, as shown in figure 6.30, keeping your balance and continuing to retract your shoulder blades. Then lower your arms to the starting position while continuing to balance on one leg. Keep the knee and foot of the lifted leg pointing straight forward rather than allowing your hip to turn out. Perform this movement slowly, about four seconds in each direction, with smooth transitions between lifting and lowering. Exhale as you lift your arms and inhale as you lower them. Aim for two to three sets of twelve to fifteen repetitions. This movement can be performed with or without dumbbells. When using dumbbells, light weights are enough to make this exercise sufficiently challenging.
Simplified scaption. Perform the arm movement with both feet on the floor.
Glamor factor—delts. Alternate sets of this exercise with sets of dumbbell lateral raises. Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and arms resting at your sides and a dumbbell of moderate weight in each hand. Keeping your shoulder blades retracted and elbows extended, turn your palms to face forward and slowly raise both arms up so they are level with your shoulders. Lower your arms to the starting position and repeat. Exhale as you lift your arms and inhale as you lower them.
Single leg scaption on the go. You can perform this exercise using a light resistance band with handles. Grasp both handles of the resistance band and step on it with the leg you intend to balance on. You may need to loop and shorten it in order to set up a starting position with tension in the band. Perform the movement of the exercise as described above. This modification also provides an increased stabilization challenge.
Figure 6.29 Single leg scaption, starting position. Daniel Welch.
Figure 6.30 Single leg scaption, movement. Daniel Welch.
This exercise promotes stability of the lumbo-pelvic-hip complex and targets all major muscles of the legs.
Assume a split stance with the knee of the front leg flexed, the back leg straight, and your arms extended by your sides, as shown in figure 6.31. Your hips, knees, and ankles should align vertically on both sides with feet pointing straight forward—avoid allowing the toe of the back leg to point out to the side. Your torso should remain upright with your shoulders aligned over your hips—take care not to lean forward as you perform the movement or allow your lower back to arch. Lower toward the floor by increasing the angle at which the front knee is bent, but do not descend far enough to allow the back knee to touch the floor, as shown in figure 6.32; then return to the starting position. Try to keep your hips square throughout the movement rather than allowing the hip of the front leg to elevate. Perform this movement slowly, about four seconds in each direction, with smooth transitions between moving down and up. Inhale as you squat and exhale as you raise yourself up. Aim for two to four sets of twelve to fifteen repetitions, alternating front and back legs between each set. This movement can be performed with or without dumbbells. Adding dumbbells increases the intensity of the exercise while making it easier to balance in this asymmetrical position.
Simplified split squat. Substitute a curtsy squat. This is a movement that may prove directly applicable in performance. Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and arms resting at your sides. Keeping your torso upright with both hips and shoulders facing forward, step back with your left leg and place your left toe behind and to the right of your right leg; bend both knees and squat toward the floor. Push off with your left foot to return to the starting position. Repeat, alternating sides.
Glamor factor—glutes. Alternate sets of this exercise with sets of leg presses. Leg press machines enable a squat movement from a seated position and provide a measure of stability in order to perform the movement with increased load. Sit on the seat and adjust the footplate so that your ankles, knees, and hips are aligned with one another at 90-degree angles. Extend your legs to push the footplate away, then smoothly reverse the movement and return to the starting position. Exhale as you press and inhale on the return.
This exercise promotes stability of the lumbo-pelvic-hip complex and core and targets all major muscles of the legs.
Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and arms resting at your sides. Place your left hand on your hip and raise your right leg an inch or two above the ground, by bending your right knee; allow the right foot to dangle close to the left foot without actually touching it, as shown in figure 6.33. Take as much time as necessary to get your balance, avoiding collapsing into the hip or locking the knee of the standing leg. Maintaining good upper-body alignment, squat down by folding from your hips and bending the left knee, reaching your right hand toward the left ankle, as shown in figure 6.34. Keep the right and left ankles aligned rather than allowing the right foot to move back. Try to keep your hips square throughout the movement rather than allowing the hip of the left leg to elevate. Slowly come all the way back up to the starting position, taking a moment to stabilize your balance before beginning the next repetition. Perform this movement slowly, about four seconds in each direction, with smooth transitions between moving down and up. Inhale as you squat and exhale as you raise yourself up. Aim for two to four sets of twelve to fifteen repetitions, alternating left and right legs between each set. This movement can be performed with or without a dumbbell in the hand of the reaching arm. Adding a dumbbell increases the intensity of the exercise while making it easier to balance in this asymmetrical position.
Figure 6.31 Dumbbell split squat, starting position. Daniel Welch.
Figure 6.32 Dumbbell split squat, movement. Daniel Welch.
Figure 6.33 Single leg squat touchdown, starting position. Daniel Welch.
Simplified single leg squat. Return to standing on both feet in between repetitions, then once again slowly and carefully get your balance on one leg before continuing.
Integration challenge. Perform the squat while holding a dumbbell. As you ascend, bend the elbow of the arm holding the dumbbell into a biceps curl; when you are fully upright, extend the arm straight up over your shoulder into an overhead press. Bring the arm back down into a biceps curl, and then reach with it toward the standing leg as you move into the next squat.
Figure 6.34 Single leg squat touchdown, movement. Daniel Welch.
Glamor factor—calves. Alternate this exercise with sets of calf raises. Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and arms resting at your sides. Slowly lift your heels off the floor so that you are balancing on both toes. Sustain this position for two to four seconds, lower your heels toward the floor, and then without returning your weight to your heels, reverse the movement and balance on your toes again.
This exercise promotes stability of the core and lumbo-pelvic-hip complex. Stand tall with good alignment, with feet about hip width apart, toes pointing straight forward and hands on your hips. Slowly raise one leg, bending your knee, until the knee is level with the hip. Maintain your balance and extend the leg straight in front of you, as shown in figure 6.35, and then return to the starting position with the knee bent in front of the hip. Repeat the movement, extending the leg at a 45-degree angle as shown in figure 6.36, then return to the starting position with the knee bent in front of the hip. Repeat the movement, extending the leg to the side as shown in figure 6.37, then return to the starting position. Avoid locking the knee of the standing leg. Repeat the movement while balancing on the other leg. Perform the full cycle three to six times for each side.
The concern about exercise I most frequently hear from singers is whether, and how intensely, they ought to work out their abdominal muscles. A strong, balanced core musculature provides exceptional support for your singing technique. My advice is therefore to develop as much strength and flexibility throughout your core muscles as you can, making sure to take a comprehensive and balanced approach. Residual tightness in your abdominal muscles only results when you emphasize some muscle groups while neglecting others and/or fail to stretch properly. Here is a core workout designed with balance in mind.
This exercise promotes core stabilization. Kneel on a mat and then move into a tabletop position with your forearms on the mat in front of you. Align your hips with your knees and your shoulders with your elbows. Establish good alignment of your spine in this position, being sure to avoid pulling your head up, humping up your shoulders, or either arching or straightening out your lower back. Draw your navel in toward your spine to stabilize it, then step your feet back so that your legs are straight with your toes on the floor. Slowly lower your hips so that your back and legs form a straight line, as shown in figure 6.38. Continue to breathe while holding this position for as long as you can without compromising form. Then return to the starting tabletop position, on your elbows and knees. Repeat three to five times. Aim to hold the position fifteen to thirty seconds.
The plank can be tricky to master because it’s difficult to see and feel what you’re doing. Try to position yourself by a mirror where you can turn your head a bit to the side to evaluate your alignment. One common compensation is humping the shoulders up, as shown in figure 6.39. If you find yourself doing this, try to drop your shoulders down while keeping your hips from also dropping. Another compensation is to arch the lower back, as shown in figure 6.40. If you observe this, tilt your pelvis forward until the curve of your lower back is no longer exaggerated.
Figure 6.35 Multiplanar balance/reach, extension to the front. Daniel Welch.
Figure 6.36 Multiplanar balance/reach, extension to a 45-degree angle. Daniel Welch.
Figure 6.37 Multiplanar balance/reach, extension to the side. Daniel Welch.
Figure 6.38 Plank. Daniel Welch.
Figure 6.39 Plank with shoulder compensation. Daniel Welch.
Figure 6.40 Plank with arched lower back compensation. Daniel Welch.
Simplified plank. Begin on your hands and knees with your arms extended and your hands aligned underneath your shoulders, rather than down on your elbows and fists.
Stabilization challenge. Establish your plank position with good form, then slowly lift one leg off the floor so that all your weight is on the other foot. Continue to breathe while holding this position for ten seconds, then slowly switch legs and repeat.
This exercise targets the spinal extensors, gluteus maximus, gluteus minimus, and hamstrings.
Lie facedown on a mat with your arms extended slightly out to the side near your hips, palms down, as shown in figure 6.41. Engage the muscles in your lower back and butt to simultaneously raise your upper body and legs as high off the mat as you can, as shown in figure 6.42. Tuck your chin down toward your chest. Continue to breathe while holding this position for as long as you can without compromising form. Then lower your body and legs to the mat and rest for a moment. Repeat three to five times. Aim to hold the position fifteen to twenty seconds.
Strength challenge. Rather than beginning with your arms by your sides, extend your arms over your head with your palms facing down. This is the position from which the exercise takes its name, and it increases the load placed on the muscles of the lower back. Raise your arms in this overhead position as you perform the movement, continuing to reach up and forward as though flying like Superman.
Figure 6.41 Superman starting position. Daniel Welch.
Figure 6.42 Superman movement. Daniel Welch.
This exercise targets the transversus abdominis, internal and external obliques, and deep core stabilizers.
Facing a cable machine at the cable’s point of origin, assume a split stance with your right leg forward and your left leg behind. Adjust the cable so that the point where it emerges from the machine is level with your sternum. Grasp the handle with both hands with arms extended, as shown in figure 6.43. Your hips, knees, and ankles should align vertically on both sides with knees slightly flexed and both feet pointing straight forward. Maintaining good upper-body alignment, keeping your arms extended and your hips square, pivot to the left using only your abdominal and core muscles as shown in figure 6.44, then return to the starting position. It should feel as though the cable is attached to your midsection rather than your arms. Perform this movement slowly, about four seconds in each direction, with smooth transitions between rotating to the left and returning to the right. Exhale as you pivot left and inhale as you return to the right. Aim for two to four sets of twelve to fifteen repetitions, alternating sides between each set.
Figure 6.43 Trunk rotation starting position. Daniel Welch.
Figure 6.44 Trunk rotation movement. Daniel Welch.
Simplified trunk rotation. Perform the movement from a seated position. Sit on a workout bench facing the cable machine at the cable’s point of origin. Adjust the cable so that the point where it emerges from the machine is level with your sternum, and grasp the handle with both hands with arms extended. Keep your feet flat on the floor with your knees aligned with your ankles. With arms extended and your hips square, pivot to the left using only your abdominal and core muscles, and then return to the starting position. Decrease the weight if you find that your knees counter the movement by pivoting to the right. Alternate sides between sets.
Trunk rotation on the go. Trunk rotations can be performed using a resistance band with handles and a door anchor. Anchor the resistance band to a door in a position that is level with your sternum. Step back until you feel the desired level of resistance in the band and perform the exercise as described above.
A strong rectus abdominis, aka “six-pack,” supports the lower back and contributes to breath management. However, crunches are much maligned by singers because when performed improperly or in the absence of other abdominal exercises, they can do more harm than good. Remember that the point of this movement is to bring your rib cage closer to your pelvis by flexing the lower back, not to sit up. My recommended arm position, with fingertips behind the ears and elbows out to the sides, will help you avoid the temptation to pull on your neck. Performing the movement on the stability ball keeps the muscles of the core engaged, promoting more balanced abdominal development. Keep your chin tucked gently to your chest throughout the movement.
This exercise targets the rectus abdominis and stabilizes the lumbo-pelvic-hip complex.
Sit on a stability ball and then walk your body forward while leaning back until your hips and lower back are on top of the ball. Keeping your core and leg muscles engaged to stabilize your position on the ball, lie back on the ball and place your fingertips behind your ears, pointing your elbows straight out to either side, as shown in figure 6.45. Begin to draw your lower ribs closer to your pelvis by slowly curling up the vertebrae of your lower back, as shown in figure 6.46. Continue until you are sitting nearly all the way up, as shown in figure 6.47, and then reverse the movement by gradually uncurling your vertebrae until you have returned to the starting position. Keep your elbows pointing straight out to the sides throughout the movement and your chin tucked slightly toward your chest. Do not pull on your neck. Perform this movement slowly with smooth transitions between curling up and uncurling down. Exhale as you come up and inhale as you lower. Aim for two to three sets of twelve to fifteen repetitions. When you are finished, lie back over the ball and breathe deeply for a few moments as described in the rib cage stretch to give your abs a stretch.
Simplified crunch. Perform only the descending portion of the crunch movement, on a mat rather than on a stability ball. Sit with your feet on the floor and knees up. Place your fingertips behind your ears and point your elbows straight out to the side. Round your back forward. As slowly as possible, tilt back from your hips and gradually uncurl your spine, placing it on the mat one vertebra at a time until you are lying on the mat. After a brief rest, use your hands to push yourself back up into the starting position and repeat the movement. Keep your neck relaxed and continue to breathe. You may find that you are unable to perform a continuous descent, suddenly dropping all the way down halfway through the movement. This will improve with practice, but in the meantime be sure to protect your head and neck on the way down.
Glamor factor. Add load to the movement by holding a weight plate or medicine ball against your chest, being sure to keep your elbows pointing straight out to the side as you do so. Performing the movement more slowly, increasing repetitions, and/or increasing sets will also augment the impact of the exercise. While developing a well-defined six-pack is not in itself detrimental for your singing, it can restrict your breathing if you fail to stretch adequately and/or build balanced strength throughout your abdominal muscles and core. Take it slowly, and be mindful of the impact your abdominal routine has on your breathing and vocalizing.
Crunches on the go. Perform your crunches on a mat rather than on a stability ball. Lie on your back on a mat with your feet flat on the floor, heels close to your buttocks and knees up. Place your fingertips behind your ears and point your elbows straight out to the side. Keeping your neck relaxed, curl your spine up off the floor one vertebra at a time, starting with the upper back and moving down, bringing your lower ribs as close to the pelvis as possible in the front. Return nearly all the way to the starting position by uncurling your spine, making contact with the mat one vertebra at a time without releasing the tension completely, then reverse the movement and curl back up.
Figure 6.45 Stability ball crunch starting position. Daniel Welch.
Figure 6.46 Stability ball crunch movement. Daniel Welch.
Figure 6.47 Stability ball crunch end position. Daniel Welch.
Any activity that sustains an elevated heart rate for a period of time will improve your overall level of cardiorespiratory fitness. It’s important to choose an activity you enjoy—one that makes you feel good and provides you with enough of a challenge to stay engaged without causing frustration or intolerable discomfort. Walking, running, cycling, and swimming, as well as any cardio machine available at your gym, are all terrific for improving your stroke volume and oxygen consumption.
You can tailor your regimen to boost oxygen consumption by engaging in interval training. Interval training is an approach to cardiorespiratory exercise that involves repeatedly alternating levels of intensity. For example, you could walk briskly for five minutes, jog at a faster pace for five minutes, and repeat the cycle a number of times. When you alternately challenge your heart and then allow it to cool down, it encourages your body to adapt so that you are able to meet intensity challenges more easily and recover from them more swiftly.
It is helpful to identify and target specific heart rate zones for yourself and keep track of your heart rate while performing intervals rather than just depending on a subjective sense of exercise intensity. You can track your heart rate using a heart rate monitor or one of many available devices designed to go around your wrist. Here is a simple equation for determining your target heart rate zones:
Subtract your age from 220. The result represents your maximum heart rate. Use this result to calculate your heart rate within the following three zones:
• Zone 1, 65%–75% of maximum, improves overall aerobic ability.
• Zone 2, 76%–85% of maximum, increases endurance.
• Zone 3, 86%–95% of maximum, builds aerobic capacity and stamina.
If I subtract my age, 53, from 220, my resulting maximum heart rate is 166. I can then multiply this number by the percentages required for each zone to find my recommended ranges. For example, 167 × 65% = 109; 167 × 75% = 125. If I wish to keep my cardio within Zone 1, I will sustain my heart rate between 109 and 125 beats per minute.
Interval training sessions of fifteen to twenty minutes, two to three times a week, often yield a swift improvement in oxygen consumption. Using the ranges you calculated for Zones 1 and 3, start off by alternating intervals of one to two minutes at each level of intensity. Begin by elevating your heart rate up to your Zone 1 parameters, and sustain it for one or two minutes; then push yourself until your heart rate enters Zone 3 and try to sustain it for one to two minutes; if this feels too uncomfortable, sustain it for as long as you can, as this can take some getting used to. Then allow your heart rate to cool back down into Zone 1 range; sustain it for one to two minutes, and continue alternating.
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When I began offering anatomy and fitness workshops for voice departments and conferences, the first question I’d receive from voice teachers was usually “What should we do?”
They wanted a workout program that all their students could follow. For a long while I was reluctant to design one, given the importance of customized program design. I wanted to provide each singer with a specific routine that would bring their unique instrument into balance.
Then it occurred to me that I could teach the singers themselves to do the customizing.
You don’t have to be a certified fitness trainer to perform the simple self-assessments included in chapter 1. Just follow the guidelines to figure out where you are tight and where you are weak; then choose those stretches and exercises from the assortment presented in this chapter that will best meet your needs.
You may find that you would still benefit from some instruction and motivation, in which case any trainer who holds similar qualifications to mine will be able to help you, particularly if you share this book with him or her. I also hope that more voice departments will add fitness resources to their curricula, and I hope that those at universities with strong athletics programs explore collaboration possibilities.
The exercises presented in this chapter have been selected to help you embark on your fitness journey. Once you do, I hope you find it as enriching as I have.