Sing Yourself Free

Advice for the Redevelopment Of Natural Phonation

Dr. Jaan Karl Klasmann All rights reserved Translation: Serena van Sickle

www.sich-frei-singen.at

My gratitude goes out to my singing teachers Charlotte Sentous, Hugh Beresford, MarieThrse Escribano and Szmosi Edvin (in order of their appearance in my biography) who all contributed to my present understanding of what singing is; to the many masters and pioneers of physical, emotional, mental and spiritual healing which I was blessed to meet and to learn from; and above all to my foremost spiritual teacher Pir Vilayat Inayat Khan who by music and silence taught dimensions far beyond words.

In Search for Gold in the Throat.

A True Anecdote

The world famous tenor Francesco Tamagno (1850-1905) was known to have an amazing voice. He was also known as Verdis first Otello. After his death, a team of doctors dissected his larynx to find out what was unusual about it. They were under the impression that in order to produce such beautiful sounds, it must be different from those of normal people. The results were surprising: The vocal organ is only unusual in the sense that there are lots of cold induced scars on the pharynx wall.1

The vocal miracle Francesco Tamagno was physically no different from anyone else!
In terms of his basic vocal equipment, there was nothing extraordinary about Francesco Tamagno. The only difference was in the way he used his body when he sang. He did not push his voice to sing. Nor did he have a good voice. Voice is simply vibrating air. And nobody can have vibrating air. All we can do is inhale and exhale. The way we exhale determines the quality of the vibration of air heard as the sound of our voice. Tamango simply allowed the air to flow into song without obstructing or manipulating it. In other words, he sang freely and in a way that was natural to the body. We can all (re)learn this. It is never too late to start.

1 quoted from Hustler/Rodd-Marling: Singing: The Physical Nature of the Vocal Organ, Schott Mainz 1965

How to Recognize Natural Singing

With singing freely or naturally, the voice is carried on the breath. (Cantare sul fiato). The stream of breath flows out without interruption or manipulation. (One cannot push a river.) The voice is carried on it like a paper sailing boat on a river. An example of this singing is given by Fritz Wunderlich and Toti Dal Monte. Acid test: Glissando. When breath flows without being held on to, sound can rise and fall with no effort from the muscles. For example, Amelita Galli Gurci; the young Giuseppe di Stefano. With singing freely, the transition between chest voice and head voice is smooth and occurs without sudden changes. A freely sung note occurs without the glottis closing completely and can also fade away without suddenly being cut off. As exemplary there might be certain certain Sephardic songs sung by Marie-Thrse Escribano. What feels comfortable and effortless for the singer is a sign that he is on the right path. Pain or physical discomfort indicates the opposite. The singer should pay attention to areas of tension in the body. They show where the flow of sound is being blocked by too much pressure and effort. (The examples given refer to the discography given on p. 18)

Principles of Singing Freely

Voice is vibrating air. Singing is simply breathing out. No more than this. If singing involves a great deal of effort, then there are mental and physical blocks preventing the breath from flowing out naturally. Therefore, singing freely does not involve doing anything such as pushing ones body and breathing to create certain results with the voice. It simply means allowing oneself to breathe out freely. Apart from the pitch, the quality of sound produced by the singer is not determined and adjusted by what the singer hears, but by feelings of physical and spiritual wellbeing while singing. Therefore it is important to focus on these instead of trying to achieve results.

In detail: Singing is a natural physical ability bestowed upon every human being from the very first breath. Ontogenetically we are singers before we can speak. The best possible form of singing involves the maximum vocal sound produced with the least effort and without any strain on the vocal chords. Ideally, this would occur from the infants first scream onwards if the body was able to continue to use its own inherent phonation programme without interference. Not being able to sing well, beautifully, or right is the result of selfimposed restrictions which can be discarded at any time. The diaphragm is the main muscle involved in breathing, and also the place where all phonation programmes are stored. All other muscular systems involved in the production of vocal sound are controlled by the diaphragm; they do not have a will of their own. Any unphysiological tension of the body between the head and the toes will hinder the diaphragms function and therefore also the production of vocal sound. To sing oneself free involves paying attention to these areas of tension and slowly breathing out to relax them.

The Path towards Freedom

The path towards singing freely involves freeing ones breathing. Breath is life energy. The bodys autoregulation organizes itself to create optimum results in as far as life energy can flow freely and work according to its own intelligence. Physiologically this is measurable, e.g. through heart rate variability and electromagnetic potentials in the acupuncture meridians. Our breath is freed when we identify and release all unphysiological forms of tension by which we hold back our energy. This does not mean that we have to do the right thing, but we simply allow our bodies the space to do it themselves. For example, we dont have to focus on forcing breath into the belly, but we should release the tension which prevents our breathing from reaching the abdominal region by itself, into which it flows naturally when it is not hindered to do so by unconscious muscle activity on our part. Fear is the greatest obstacle while letting go of tension. We repress our energies (and therefore also our breathing) in order to conform to what is acceptable in society. We must release this fear. Positively stated: We need the courage to consciously let something happen that we cant control or predict. Luciano Pavarotti said: I never know whether I will reach a high C; I am always curious to see whether it comes! For school teachers this involves creating an emotionally supportive and encouraging environment where no mocking or exclusionary behaviour is allowed. Authenticity comes before beauty and the result will be beautiful.

The Physiologically Pre-determined Sequence of Steps

The basic foundation of singing oneself free correlates with Wilhelm Reichs principles of body work: The letting go of unphysiological tension frees the breathing so that our true selves (will, emotions, intuition) can emerge. At the same time, this enables the bodys self-regulatory system to regain control and re-establish balance wherever needed in the organism, including phonation. However, in contrast to the psychotherapeutic application of these principles, this process of regaining freedom from former conditionings and distortions must occur in a certain sequence of steps when applied to the redevelopment of singing freely: We have to follow the physiological logics of the phonation process.

The First Step: Throat, Tongue, Jaws

The freeing of tension must first occur where sound originates. This is in the throat. There are two reasons for this: A highly energetic stream of breath as for example triggered by the release of blocked energy in the belly region, can damage the vocal chords when pushed against a closed throat. A healthy voice depends on the functioning of the so-called upper mechanic, a subtle activity of the muscles surrounding the throat which stabilize the larynx and enables the tone reach the upper cavities of the nose, the cheeks and the forehead. When it reaches this region, it becomes enriched with overtones which make the voice carry. This mechanism can only work when the throat and surrounding muscles are relaxed.

The Second Step: Chest

We have a fear-induced tendency to control our breathing. This means that we take a breath and keep it in our chest without exhaling properly. We have to become aware of this in order to let a stream of breath flow freely all through the body. A relaxed chest is crucial to continuous, freely flowing exhalation and longer, deeper breaths.
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The Third Step: Legs and Pelvis

The grounding of a person and therefore also of his/her voice takes place in this region of the body. Issues such as lack of trust and fear of being different in the eyes of other people also manifest themselves here. With singing oneself free, it is important to let go of these and not worry about looking odd or silly. This is also the region where the masculine and feminine manifest themselves to give expression in the voice.

1) Throat, Tongue, Jaw

Motto: The most beautiful voice cannot come out if the mouth is closed.
This is the most important area for freeing ones singing and yet we constantly block breathing and voice through the following: Grinding our teeth. This causes tension of the jaw muscles, making the voice sound too hard. . Swallowing downwards, so that the tongue is pulled back, making the singer sound like he has a lump in his throat. Tension of the throat, which includes the muscles surrounding the voice box. The sound that comes out is forced out and flat.

Muscles which must remain free of tension during singing:

Flexible suspension of the throat

Tongue and surrounding attachments

(Illustrations from: Singing - The Physiological Nature of the Vocal Organ, by Husler /Rodd Marling) 9

Practice Exercises Open your mouth. The higher the notes you wish to reach, the wider open it should be. However, it should remain relaxed. Stick your tongue out. Although this may seem strange, it is an excellent warm-up exercise because it loosens the mouth and jaw. Gently massage your throat muscles. They should remain equally relaxed at every pitch.

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2) Chest
Motto: Its good to die with a heros chest but bad to have one in life. Or: Give the air away, Fritz! Dont keep it in! With air it is the same as with love. The more you give, the more you receive! (Margarethe von Winterfeldt to Fritz Wunderlich.)
Most people take a breath and hold it in their chests without releasing it. This is caused by feelings of vulnerability and fear of selfexpression when our heart is open. We restrict our energies according to what society considers acceptable forms of expression, but in doing so we create barriers around our hearts which restrict the flow of energy and feelings to and from them.

Muscles which should remain free of tension during singing:

Muscles which raise the ribcage and should remain passive after inhalation.

The intercostal muscles and their healthy reflex-controlled functions.

(Illustration left, from Hustler/Rodd-Marling, see above; illustration right, East Tennessee State University.) 11

The arrows show areas in the upper body crucial for loosening tensions in the chest.

Practice Exercises: Do not hold your breath after inhaling. Continue to breathe. Sigh, and out of sighing, slowly begin to sing without pushing your breath out or making it go faster. Dont worry if you feel that you are using too much air. This is part of the transition between sighing and singing. Ask yourself what you are tempted to change or manipulate during this transition and resist doing it. Tap your chest, paying particular attention to the upper end of the breast bone, the outer ends of the collarbones, and the intercostal muscles. This will help loosen any stiffness in this region. Make wing beats by swinging your arms open and closed in front of your chest. Do this is in a different rhythm from that of the music. This exercise helps loosen the chest muscles so that breath can flow more freely.

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3) Pelvis and Legs

Motto: You have to sing from your pussy! (This was the advice of a female black gospel singer to one of my (male) clients.)
The point is that the entire body must be involved in the process of singing. Any unphysiological (unnatural) tension between head and toe will inhibit it. The pelvic region is where feelings of basic self-worth and acceptance in the world manifest themselves. We are often only valued according to the things we have achieved or whether we fit in. Little respect is achieved from simply being there. Therefore, energy blocks are common in this area. The pelvic area is often closed off from receiving breath and freedom of expression. This comes from a feeling of being unwelcome on earth, and also from being taught that sexuality, the primal energy from which all life originates, is inappropriate or dirty. This belief materializes itself in a stiffness or heaviness which makes the person stand with too much pressure on his/her knees. Practice Exercises
The arch (see illustration) involves standing with legs shoulder width

apart, fists touching the back at the height of the solar plexus, knees bent,

(Illustration from Bioenergetics by Alexander Lowen. )

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and head and neck tilted back slightly. Then breathe freely. Your body may start to tremble or feeling uncomfortable at many spots. This is OK and inevitable for the first weeks of this exercise: Whatever pulls or causes discomfort in this position is the repressed energy this exercise is designed to release. Caution must be taken not to take a breath and then hold onto it. Let it out again, and in, and out, let it pervade your body and do its job of chimney sweeping. Imagining roots. Stand with your legs shoulder width apart, with knees slightly bent, pelvis vertical, (not leaning backwards or forwards,) and free your breathing. Imagine tree roots reaching from the soles of your feet to the middle of the earth. Then bend your knees until you feel your thighs pulling. With every inhalation, visualize raising warm, reddishbrown energy up through your imaginary roots to your feet and legs, and then into your pelvis and lower stomach. Breathing should remain free and deep. You should also picture the tension in these regions growing warm and dissolving into energy flowing all around the body. Lie on your back with your knees raised with and your feet close to each other on the ground. Then allow your knees to part. Breathe deeply into your pelvis, then pull your knees up to your chest, and once again breathe deeply into your pelvis.

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Sequence of Exercises for Warming Up

(To be understood as an example, subject to adaptation according to the concrete needs and situation): 1) Releasing the load of the daily grind: Stand with your legs shoulder width apart, slowly bend your knees and then slowy straighten them again until you feel a trembling which, if allowed, will travel through your whole body. Let your head hang relaxed and allow this trembling to occur for 3 to 5 minutes. 2) Grounding (The Arc): Stand with your legs shoulder width apart, place your fists on your back at the height of your solar plexus. Then bend your knees and push your pelvis forward. Your back should be slightly arched. Breathe freely. Trembling also often occurs in this position. The sensation of pulling in the muscles shows where tension is being released. (See illustration, page 10) 3) Opening mouth, jaws and throat: With your mouth open and your tongue hanging out, you should talk to your exercise partner, or a mirror about your day. (Your mouth should only open downwards, but not wider!) Gently massage your throat with your hand to check for tension. Direct your breathing to where it feels tight. A loud and free breath usually springs forth. (For most people this exercise automatically encourages breathing into the belly.) 4) From sighing to a tone: Breathe in deeply several times, and then without stopping, sigh out. Shake your upper body slightly to make sure you breathe out fully. Then gradually turn the sigh into a note without changing the outward stream of breath. 5) From a tone to toning: Allow this note to gently drift up and down on your breath. This should be done with ease and without straining your diaphragm. 6) From toning to singing: With ease, start to vocalize these notes. Consonants such as p, s, t, m, innervate the diaphragm, but while pronouncing them, it takes some practice to keep the glottis open while. Exercises to help this are vocalizations of the following: Chrachra-chra, ,chre-chre-chre-, chro- chro- chro.

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Learning to sing freely involves regaining a natural ability by allowing it to develop according to its own laws. It is similar to planting a seed and letting it grow. Would you pull or wrench a sprout to make it grow faster? Or would you provide it with space, light, nourishment and love?

PATIENCE
accelerates.

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Literature on the freeing of repressed biological energy, for example breathing: Alexander Lowen: Bioenergetics, Paperback, Penguin Arcana NY 1994, ISBN 0140194711 Alexander Lowen: The way to vibrant health A manual of bioenergetic exercises , The International Institute for Bioenergetic Analysis 1992, ISBN 0963303406 (In addition, everything that Alexander Lowen has written: The Betrayal of the Body, Joy, Fear of Life...) Literature specifically on natural physiology, such as free phonation: Paul Bruns: Minimalluft und Sttze Press Walter Gritz, Berlin 1929 Louis Bachner: Dynamic Singing A New Approach to Free Voice Production, Dennis Dobson London, 1944 Frederick Husler, Yvonne Rodd-Marling: Singing The Physical Nature of the Vocal Organ. A Guide to the Unlocking of the Singing Voice, Hutchinson 1976, ISBN 0091268605 Kristin Linklater: Freeing the Natural Voice, Quite Specific Media Group, Canada 1976, ISBN 0-89676-071-5 Romeo Alavi Kia: Stimme Spiegel meines Selbst, Aurum Braunschweig 1991, ISBN 3-591-08297-X Maria Hller-Zangenfeind: Stimme von Fu bis Kopf, Studienverlag Innsbruck 2004, 3-7065-1933-X At greater depth: Wilhelm Reich: The Discovery of the Orgone I; The function of the orgasm Paperback, Pocket Books New York 1975, 0671788647 Wilhelm Reich: The Discovery of the Orgone 2 The Cancer Biopathy Welcome Rain Publishers 2000, ISBN 1566491290 Wilhelm Reich: Character Analysis, Paperback, Pocket Books New York 2000, ISBN 0671802593 Film: As it is in Heaven, Director Kay Pollak, Paramount Pictures

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A small discographic choice of exemplary singing: (in alphabetic order)

La Gloria DItalia - Mattia Battistini, Vol. 1, Pearl GEMM CD 9936 Giuseppe di Stefano The Unreleased Treasures; 1944: His First Recordings, Grammofono 2000, AB 78635 The Art of Willi Domgraf-Fassbaender Austro Mechana Historic Recordings 89228 Amelita Galli Curci - The unforgettable recordings, Vol.1, Vocal Archives VA 1103) Cantigas Sefardes Gruppe Alondra (Marie Thrse Escribano u.a.), Extraplatte EX 4312 Toti dal Monte - the most famous recordings, Vocal Archives VA 1191 Grandi voci - Cesare Siepi, Decca 440 418-2 Cesare Siepi sings Cole Porter and Italian Songs, Myto Records MCD 983.188 Francesco Tamagno - the complete recordings, Opal CD 9846 Luisa Tetrazzini - the London recordings, Vocal Archives VA 1122 Fritz Wunderlich - Lieder, Deutsche Grammophon 429 933-2

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