Vocal Advice

Mary says: I am trained classically, but I also sing in an a capella ensemble that requires a great deal of straight tone. I feel I do pretty well on the straight tone, keeping it very forward and bright to avoid throat tension, but on several occasions, usually singing a big powerful piece, I become lightheaded and have the sensation I might pass out. I used to think maybe this was due to lack of breathing or good support, but after doing some research, I wonder if it’s a combination of creating too much pressure behind the vocal chords to create a loud sound in straight tone and/or hyper-functional breathing, which I’ve read can affect the nervous system. Do you have any insight? I appreciate your help and have enjoyed reading all of your encouraging answers to other questions!

Answer: Mary, thank you for your encouragement. I don’t consider myself an authority on this – in the way that a well-trained Ears-nose-throat specialist should.  However, let me share my observations: ‘light-headedness’ seems to be triggered by two opposite conditions: first is hyper ventilation – usually caused momentarily by getting more oxygen into the body than the brain can process.  Second, and much more commonly experienced, light-headedness is caused by insufficient oxygen-rich blood getting to the brain.  The first is what a swimmer who is going to test how far he can swim under water will intentionally do before diving into the water – so as to remain under as long as possible.  However, what you describe fits the classic imbalance of exertion and insufficient oxygen, or, the adrenalin rush and insufficient oxygen to balance it going to the brain.

There is a third possible cause, experienced by a few singers, particularly those working on vocal development, in which they experience such a concentration of vibratory sensations in their head when producing clear efficient tone, that it makes them light headed.  I’ve had students tell me that they are experiencing this.

What I would suggest is that you assure yourself that you are breathing deeply and regularly, particularly when you are going to call upon energy resources from your body—as when singing ‘powerfully.’  Exhale thoroughly and inhale deeply.  It is possible for a singer to get caught in the trap oboists have to learn to avoid.  Oboists learn to exhale before they inhale.  If, when singing, quick breaths seem to follow one another while sustaining energetic forte singing, the singer must make sure that she has exhaled sufficiently before inhaling again.  Without proper exhalation, carbon dioxide builds up in the body … and a faint quickly follows.  I’m sure you’re thinking sensibly, and can protect yourself from experiencing a faint, if you keep your mind in gear and perhaps practice (in rehearsal) what you need to do to keep your equilibrium.  Be sure that your standing posture includes keeping your knees flexed (never locked back) so that blood flow upward has smooth passage.  Those are my “2 cents.”

Best wishes.

Answer: I need to preface my answer with saying that what I say below is attributable primarily from a series of my own excellent teachers.  However, my mentor, the late Dr. James C. McKinney put this material most succinctly in his book “The Diagnosis and Correction of Vocal Faults.”

Why defend good posture? Doesn’t everyone believe in it?  The fact is that there are teachers who never mention posture, and there are some notable singers who exhibit poor posture.  It is possible that if posture become a point of emphasis, that a singer could become rigid and tense.  However good posture needs to be taught and reinforced for the following reasons:

In general, the body functions best when certain conditions exist.  The purpose of the skeletal framework is to support, protect and give shape to the body. The main purpose of the muscles is to produce movement and to assist in positioning the body.  It is very important not to confuse these purposes.  For example: standing with the body out of line or with the head hanging or projected forward of the shoulders causes muscles to take over some of the function of the skeleton, resulting in unnecessary tension and eventual fatigue.  When the skeleton is properly aligned, the muscles are left free to produce movement and to assist in positioning the body, thus unnecessary tension is kept to a minimum.  The bottom line is: good posture allows the body to function at its top efficiency.
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Answer: Well, I am pleased that you have a teacher who is careful to insist that you sing with good posture.  But, obviously, if you do not know what constitutes good posture, then you ask an appropriate question.  While I will answer this in some detail, you should not be afraid to ask your own teacher the same.  He or she may isolate specific things that apply to you that are only generally covered below.

I have saved writing about the benefits of good posture for another post – and begin immediately by describing what good posture should look (and feel) like.
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