Singing in any posture

A lot of singers connot sing sitting down and you see them there in orcs rehearsals
and when it comes time for them to sing the ants to stand up and why do you have to
stand up if you think about it it limits you as an artist as an actor it means that
every time I stand I sing id stand up .
What if sometimes you want to sit down so first of all if the sing sitting down is
very easy and there's no reason why if I'm Laura her soul and I'm very attentive on
the conductor and I'm sitting like this look where my look reminds chest is uh-huh
why not why can't I sit up but what if I have to lean back what if I'm sitting like
this at all I mean I've never played a role in a rocking chair but I can imagine
that it would be possible without any problem at all I might want to sit like this
or the stage director might want me to sit like this or some singer one of you out
there but why can't I sing like that something to eat how are you today I'm fine
how are you let's go down and get something to eat there's no reason why you can't
sing sitting down.
The whole secret is to know how to breathe if you breathe in a way that frees the
throat and vibrates the air in your lungs inside the chest cavity what some singers
have called the air bucket or the drum Huebner oscillator was a great yogi so it
was Robert Merrill they were very advanced Yogis and both of them talked about the
air bucket in developing the air bucket and keeping the air bucket free so if I
take a breath and I'm sitting down I breathe back here like my buttocks are
balloons when I go and when I do that I can sing in any posture. Now that a
diaphragm has been its in a state of contraction the back half that I from goes
down and the front hands and I for him hold still while the back of it goes up and
down like this so take your breath then I can send it any posture I want.
Why shouldn't I be able to sing in any posture then I like thats a stage director
like and certainly this type of thing where you want to look very casual and very
relaxed have a deck of cards I used to do real leather all the time and on the last
note of they're not the only motor they ask throw the cards up in here all of I
thought was this is such a great actor well the truth is its just a gimmick that
you're free to use because of the way your body works and your breath works so
where should the chest be breathe and there's the chest right there its completely
stealing still if I were to stand up it would be absolutely in front of me right
here and Richard Tucker said any one time breathe behind you and say in front of
you so I'm breathe behind me and I say in front of me oh but not out in front of me
but in my front right there .
Now go play rugby senator masterclass and Juilliard is a here doctor baby push push
so when you go you take the breath and go huh and you hear that the glottis is
absolutely free huh now my glottis is now my whole throat everything is free but
that pressure is still sitting in my diaphragm thats what I'm afraid of cross cold
keeping the tension in his diaphragm at all times breathe it Louisa check Rossini
called it keeping the pressure of the breath against the sternum at all times and
literally Damon called it keeping the pressure of the breath against breath ,
against the chest at all times and already on oh fabulous said to keep the breath
against the pectoral muscles at all time .
So I think that that generally everyone is doing pretty much the same thing they're
supporting the voice they used to call it breath support and that sort of got
convoluted everybody thinks the breath is supporting the voice thats not really
whats happening breath support means that I am doing something in my body to
support the function of the breath so if I breathe and my rear end I'm now ready to
sing all I have to do is stop what loser they've been called the breath stop so if
the breath is coming up when I stop it with a glottal pleasure and I go every
action has an equal and opposite reaction so there's a reaction down here in my
diaphragm.
So if I want to use a breath stop method I can do this then I'm using the glottal
closure for right now I can move that action and do down here go and now the
glottis is free and unaffected.
Breath stop

(5:30) So people use different points of Leaning I can use a point of Leaning
anywhere that will give me a breath stop method so that my breath does not leak
they asked other in your putti what do you think about when you sing considering at
the time she was the greatest singer in history and some people still think she was
the greatest singer in history and most of her colleagues of the day thought she
was the greatest singer in history and her answer was don't be breathy so one of
the oldest exercises in the whole history of singing is to not blow air not leak
air I don't have any let's see let me get a Kleenex if I don't leak air now go Oh
the paper doesn't move why because I put a breath stop off
thats the audible breath stopped but now what I do is I release it I go home and
now relax my glottis but I maintain the other end of that process it said there's a
high end and a lower hook and I maintain that what my team is teeny and tech
Cassini calls the pressure of the breath and I press my breath as so Montillo by
Cassini what do you think about when you're singing he said I press my chest so you
take your breath and go and you press the breath up against your chest if if you
have a leaky sound you go and the breath is leaking like crazy and I go and I stop
the leak its so easy to do all you have to do is have a concept and you can sit in
any position you like and you can sing anything there's a reason why cats in
anything in this posture by stopping my breath its nice to take a breath.
There's a reason why I can't use a breath stop all the time whather im singing
lightly or whather im singing with heavy music you know you think of time Heisers
roll narration and if starts off so heavy he goes wrong strip herald-sun.
I'm still going but except I'm not using the gloves the glove is to create a stop
I'm using the pressure on my diaphragm , and that means I can lie down and sing
"whoa" I can do anything I want to and you know what stage directors love you for
it because they can ask you anything it'll ask you to do anything that occurs to
them they can ask you to do physically and you can do it I had one student who used
to do cartwheels across the stage when one audition she did she cartwheeled on the
states and yeah Heidi and when she stops the cartwheel stood like this the the
fellow said okay you're hired next please and he hired her just the fact that she
could do anything physically and still sing extreme high notes
so it would be nice if everyone could find this breath stop concept and not feed
the breath into the voice some singers are agitating they're using Quivers
Tremeloes wobbles all kinds of stiffness and activity you know you think about what
you have to do the Wobble how you have to hold only because I don't know better huh

Why would I quiver why wouldn't I wiggle why would I annotate when I just talk take
your breath with the stopping function on the diaphragm and say bla bla and ill
have to rethink breathe I breathe like way down and my lower back as low I can I go
smile a little bit and gives me a very very efficient position this Oh breathing
throat resonance some people will do this are then put in their nose to compensate
for the throat so we go oh oh thats a soft palate oh
If you create a form let's say you lift yourself palate no you're frozen and every
action has an opposite reaction and that frozen form you've created all of that
tension is going to cause a reaction in in your reading system in the diaphragm
risk' so if I do this all of a sudden I have a rough control technique so I could
seem like that kind of soldiers or hardwood align their focus ha ha ha you're a lot
of that way of singing Germany because of this language which is difficult and yet
to separate before a word to begins with a vowel so you hear a lot of this
priesthood of formation and they use very often this all and if you if you are a
nice full tenor and you go order dark of the voice don't start telling you that you
should be singing as a held in tenor which is of course catastrophic the idea of
Richard Trucker said to me always say in light you want to keep the voice as light
as you can the German word to that is shrunk slender so I don't want to go (12:28)
and that has to be a male voice and you know what if I can't sing whatever
Lohengrin with that amount of voice then I shouldn't seem longer but there's no
place where I were in the text where I should be yelling anyway I should be just
speaking but speaking lightly and in his case reverently when he sings a couple of
his artist he sing you

https://www.youtube.com/watch?v=p7VPVJr5ufg