Three Rules for Singers.

Rules? In Art?

Quite right, and I’m sure you’ll consider these three with the pinch of salt they deserve. And yet…

Advice for singers is labyrinthine: theories, exercises, scientific discoveries tempt us this way and that: hope pulls us around too many corners.

Many get lost in the labyrinth, looking for, but not finding, a centre: perhaps rules can offer us a thread out of the maze, and back to path for good singing.

These Three Rules, I think, are always true of good singing, and good learning. I can think of very few times, if any, when breaking them would be beneficial: observing them might keep us from breaking other things.

So, what are they, these “rules” for singers?

They are three, and they are:

• The Rule of Full Height.

• The Rule of Quiet Eye.

• The Rule of the Future.

I know: no secrets here, no technical wizardry. But, perhaps these rules can shorten the odds, and the paths, to good singing. I have seen them work a certain magic.

The Rule of Full Height.

Full, natural, height, all the time.

So many caveats and cautions could be added, but this isn’t the time, and rules aren’t the place.

We can simply remember that full height does not mean tense, held, or any other unpleasant proprioception. The full height we are looking for is natural, comfortable, and yet, still, full height.

We can acknowledge that seeking perfect postural balance is the work of a lifetime: there is always more to discover. This needn’t trouble the rule. We might simply say: full height, as currently understood, all the time. Further postural improvements will profoundly help the singer, and should be sought with urgency, but we must, in the meantime, sing.

For that singing, the rule of full natural height, at all times, can help.

Why?

Limiting our options.

The Rule of Full Height is a positive limit on our technical explorations.

Full height keeps us in line. When we are comfortably full height, and remain so at all times, fewer distortions to our physicality are possible, as we explore some new technical suggestion.

Theories of breathing, in particular, can beckon us down unhelpful paths. Belly walls are pushed wildly out, and then pulled firmly back in; shoulders round, chests collapse, chins lift, necks strain, as if we are wrestling an unwilling steam-engine. We can easily misunderstand what is meant by a theory, and corrupt our physicality, and sound, in pursuit of its secrets.

The excesses of these explorations distort our posture, reducing our height. If the Rule of Full Height is observed, however, we cannot pursue these excesses. The limitations it imposes free our singing from unwise choices and unsound techniques.

Improving the odds.

The Rule of Full Height does more than prevent us misinterpreting, and mis-embodying, technical advice: it improves our chances of hitting the vocal jackpot.

It has been suggested that the number of possible coordinations of the muscles involved in speech production is more than one nonillion. The chances of self-coordinating ourselves, piece by piece, to find the one required for good singing are…low.

However, if we follow the Rule of Full Height, and then motivate ourself with a true “Intent to Sing”, we reduce the odds from Galactic Lottery to Local Bingo.

The Rule of Full Height gives our body a chance to be motivated in sensible, helpful ways: it removes most of the balls from the Tombola drum, leaving us odds-on to win at good singing. We might take some examples:

• Full Height during the breath means we are much more likely to access and engage the musculature required to “support” the sung tone.

• Full Height during the onset means we are much more likely to start the phrase “on the body”, with the acoustic and physiological advantages that entails.

• Full Height during the peaks of phrases means we are much more likely to avoid straining and reaching, and instead be surprised with the ease of singing.

Breath, onset and peak (and more) are most often spoiled by our own deliberate, but unwanted, actions, actions that nearly always break the Rule of Full Height.

If there were only one Rule, Full Height would be it. It is easy to implement for both singer and teacher, and yet a powerful tool for change. It limits poor choices, and promotes good ones: what’s not to love?

The Rule of Quiet Eye.

Quiet Eye is a calm, level gaze: in the room, in the moment, and on receive.

Correlation is not causation, but as sure as the sun will rise tomorrow, if our gaze is darting wildly as we sing, the sun has not yet risen on our singing.

Quiet Eye has been the subject of considerable research: it can be a powerful way to improve outcomes. The theoretical underpinnings are not yet known, but expert performers in many fields exhibit a quiet and calm focus under pressure, and that focus improves their performance.

A fluctuating gaze, on the other hand, often accompanies troubled singing. It is a sign of internally-focussed attempts at manipulation that congest singing. It indicates analysis rather than intention, doubt rather than confidence.

As with the Rule of Full Height, insisting on the Rule of Quiet Eye can have an instant effect, an effect that can appear almost miraculous. The troubled singer, involved in self-assessment, manipulation and worry, can promptly be transformed into a confident and communicative performer. Their singing can become free, expressive and natural. Quiet Eye overrules unwise choices, and promotes healthy ones.

Quiet Eye also engages listeners. It allows a strong, honest connection to be built between us and the audience, minimising distracting movements or hidden thoughts, promoting direct communication.

As with Full Height, the Rule of Quiet Eye is easily implemented. We take a responsive and calm focus to a point or person in the room, and maintain it all points during our singing. We know when it is there, and when it is gone.

Full Height and Quiet Eye both liberate through restriction, gently discouraging the singer from unhelpful paths, and from excessive self-management. In preventing the unhelpful, they promote the positive.

The Rule of the Future.

Intertwined with Quiet Eye, perhaps paradoxically, is the Rule of the Future. Whilst Quiet Eye is in the room, in the moment, the Rule of the Future reminds us that our intention, our plan, our imagination, must be in the Future, running nimbly ahead.

The Rule of the Future covers the rear-view mirror, boots us out of the backseat, and asks us to drive. Looking back simply spoils the future: no one is deciding what happens next. Attempting to adjust the present, back-seat driving, is just…too late: singing becomes sluggish, sticky, as we interfere with what’s already happening. And meanwhile, who’s driving? A singer without a committed, forward-running plan is a vulnerable singer, prone to weak, doubtful singing, easily misled, cracking and creaking along.

The Rule of the Future firmly hands us the responsibility for what is coming next. We are in charge, and we need to plan. What is to be sung must first be intended, else how can articulators and breath be motivated? If there is no intention, there is no strength in the future, no motivation, no activation. The Rule of the Future demands our intention, the real, neural network that motivates and coordinates our singing. The Rule insists we form an intention and then carry it through.

The Rule of the Future blocks unhelpful behaviours and issues a clear directive: commit to something, and carry it out. Over-the-shoulder analysing, sticky interfering, hope-for-the-best singing: all are banished.

Intend and do.

The Freedom of Restriction.

The Three Rules liberate through their restriction.

• The Rule of Full Height limits the ill-effects of attempted technical contortions and promotes the chances of successful Intentional Embodiment.

• The Rule of Quiet Eye opens the senses, focusses the mind and brings us into the room. It prevents internal manipulation, promotes external communication, and connects us to our voice and to our listeners.

• The Rule of the Future asks us to form an Intention and stick to it. It boots us out of the past, pushes us out of the present, and makes us plan the Future.

All three rules are in line with Intentional Singing and in line with the Principles of Motor Learning: they have evidence and experience at their back.

The Rules save us from ourselves, from our desire for novelty, wizardry and the easy fix. So much of learning to sing is not learning what to do, but learning what not to do. So many ideas are unhelpful, leading us deeper into the labyrinth: these rules shorten the odds, and the paths, to vocal freedom.