Creighton University

"Your voice is your instrument." I'm sure you've heard that one before, and there is truth in it; your singing voice is your vehicle for music making, and has some distinct advantages over other instruments: it's necessarily portable, you can lose it but never forget it, and you never need to change the strings. However, to legitimize this theory completely, I propose to expand it a bit: your whole body is your instrument. Every part of you is involved in some way in the music you make, whether we're talking breath support, pitch, projection and resonance, or diction. A singer's posture is a key element in optimizing vocal ability... so let's talk posture.

The ideal singing posture, known to music educators who feel more at peace when these sort of things have a proper name, is PSP, or Perfect Singing Posture. Here's the rundown:

• standing with feet about shoulder-width apart (you could draw a straight vertical line from tip of shoulder to little toe),
  or sitting in the front half of a chair, feet shoulder-width apart and flat on the floor;
• shoulders are relaxed, back and down; no tension in upper torso (see previous tip, "The Singers' Breath");
• standing comfortably tall (a happy medium between slouching and "ten-HUT!")
• arms at sides (or holding books at chest level, approx. 15-24 inches outward from chest), NEVER crossed or stuffed in pockets (I'll explain)
• generally "level-headed;" singer is facing forward whenever possible, not down at books or the floor

What these guidelines (whether as written or modified to accommodate physical limitations) do is create a tension-free and unobstructed airflow and support system from abdominal muscles to lungs to larynx to sinuses to mouth. It has a psychological advantage too, in that this posture suggests and promotes active interest and engagement in the business of singing rather than passivity, or worse, disinterest.

Speaking of which, let me explain the arms and hands. Anytime you place weight or strain on your chest, you are restricting airflow (and if you ever had an older sibling who sat on you during a fight, you know this all too well). Both the crossing of arms and hands in pockets places strain and/or weight on the chest, either by constricting muscles (arms across chest) or by forcing a tightening extension of pectoral muscles (hands in pockets). There's also a body-language issue, for you and those who might be watching you. What do crossed arms or hands in pockets generally suggest?

This, like the Singers' Breath, is one of those vocal disciplines that may be irritating to concentrate on initially but really does improve the overall ability of a singer when mastered.

if you'd like more information about this or further help in developing vocal technique, let me know.