Singing and Vocal Instruction in Edmonton, Alberta, Canada.
David Wilson is rapidly becoming recognized across Canada as a leading authority on breathing, support, posture, full-body singing, speech pathology and respiratory health. Mr. Wilson has been singing for over 35 years as a
chorister and soloist. His 13-year experience as a Certified Yoga instructor and Respiratory Therapist gives Mr. Wilson unique tools in helping singers and actors find their free and natural voices. In his vocal instruction, Mr. Wilson works toward a
somatic understanding of the connection between body, mind and
voice, moving toward a healthy speaking and singing
technique. His teaching style includes the exploration of the
ergonimics of physical movement, breathing, and one's internal
dialogue, with a goal towards accessing one's fully-embodied, powerful
voice. This, in turn, leads to the singer's ability to discover one's
full expressive potential.
"There is much to learn about the Art of Singing: Pronunciation, diction, posture, vocal technique, stage presence, to name a few. However, for many of us, the basicability to sing is often about deconstruction; learning to discard the tension-filled muscle-memory, and to refrain from working too hard to breathe. On the most basic level then, singing is about getting out of our own way. This matters because it reminds us that the vocal technique we are attempting to build is already inside us."
DISCOVER YOUR BIG VOICE!
Explore the joy of your open, resonant, body-centered sound!
- Power, instead of push
- Strength, instead of tension
- Support, instead of squeeze
- Expansion, instead of contraction
- Focus, instead of press
- Expression, instead of compression
- Ease, instead of effort
- Stillness, instead of rigidity
I caught the echoes of a word supreme And metered the rhythm-beats of infinity And listened through music For the eternal voice - Sri Aurobindo
The 3 Steps to your BIG VOICE:
Through internal awareness, release habitual stress and learn to let go of those muscles that do not need to be used for singing.
Build up and strengthen the proper muscle groups, and learn breathing techniques that foster safety, joy, and freedom. Learn to build vocal stamina.
Learn music and musicianship with an open, flexible and strong Body, Mind, and Spirit.
Music is not the message. The state of mind of the performer is the message. - Kenny Werner
THE COMPLETE VOCAL SYSTEM
There is no underestimating the importance of understanding the Complete Vocal System when teaching voice, teaching speech, or undertaking voice and speech therapy. The more the student understands herself somatically, the easier and more joyful the process will be.
The Diaphragm, Solar Plexus, Larynx, and Upper Chest must cooperate in order for healthy speaking and singing to take place. If one is out, the entire cardiovascular system will be unable to "support" the voice.
The solar plexus is located in the epigastric region behind the pit of the stomach on either side of the spinal column. It can be found in the 'V'-shaped area where the bottom ribs open (See the Complete Vocal System drawing above: The Solar Plexus is centered exactly where the label "diaphragm" is).
This area is called the "sun center" because it is made up of an extremely crowded and busy center of venation connecting with the sympathetic nervous system. It is the principal storage house for one’s life energy necessary for physical, mental and emotional activity, for feeling grounded, powerful, safe, and centered. All this must be present for singing, but the most important point is this; the solar plexus has everything to do with our ability to relax and soften. What many of us unconciously do when facing fear or anxiety, is tighten the upper abdominal muscles into the solar plexus area, thereby cutting ourselves off from our core energy, or metaphorically, from "who we are". THe diaphragm then begins to constrict, effectively "going to sleep". As it tightens, the Vena Cava (which carries the major supply of bloodflow to the brain) is constricted as well, which will make for, eventually, foggy thinking. This constriction will also incourage unhealthy upper chest breathing (the singer's heave), and will severly truncate your speaking, singing, and expressive abilities. You will also notice that when you tighten the upper abdominals, the throat constricts as well. And so it follows that if the diaphragm is not being allowed to do its job because the clenched upper abdominals have moved into the space, the chest and ribcage collapse, creating a vocally unhealthy pull on the larynx and it's surroundings, making speaking and singing effortful and forced.
Speaking and singing involve a mechanism that is composed of four interconnected systems:
1. Air pressure system Involves the primary respiratory muscles (abdominal muscles, intercostals, the diaphragm and lungs), and the secondary respiratory muscles (scalenes, sternocleidomastoid, trapezius, and pectoralis minor). This system provides and regulates air pressure that causes the vocal folds to vibrate in the >
2. Vibratory system This system includes the Larynx and the Vocal folds. The main function of the Larynx is to open and close the glottis (the space between the two vocal folds). As the air passes between the Vocal folds, they rapidly vibrate, changing the air pressure (known as the Bernoulli effect) which creates sound waves: this produces a sort of buzzing. There is no actual voice until the brain and the ear become involved, working in tandem. They send signals that vary the pitch, which then meets with the >
3. Resonating system The Vocal tract (made up of the throat (pharynx), oral cavity, upper and lower nasal cavities and the chest), changes the buzzing into one's recognizable voice. Then, the >
4. Articulation System The vocal tract articulators (tongue, soft palate, cheeks and lips) modify the voiced sound to produce recognizable utterances we call "words".
POSTURE
In posture it is important to learn the difference between "Support" and "Tension". As you stand, you should feel light and strong at the same time, as if the various section of your body are stacked on top of each other.
Meditation for posture:
- Stand with feet and toes same distance apart from each other. Rock forward gently onto your toes, then rock gently back onto your heels. Now find center. Keeping this, bend your knees slightly. Keeping that, drop your tailbone just a tad. Keeping that, lift your middle back a little. Keeping that, lift your ribcage upwards. Keeping that, lift that back of your neck and head. Finally, keeping that, proud chin.
Continue standing, breathing diaphragmatically, and notice how many muscles you actually need to flex to remain standing; that is, activating muscles only as checks and balances (whatever aches during the initial attempts at this process, is probably weak, tense or asleep, or all three. Spend some time stretching and using that muscle area or group). When you arrive at the "stacked" posture, you will feel light and powerful, as if there is an invisible core of energy running up from the earth, right throught to the top of your head. Be patient with yourself, this will take weeks or even months - you will learn much about yourself during this process, which is as much, if not more important, than the goal.
This is stillness, this is power. From this place you can sing with Joy, Confidence, and Freedom.
SUPPORT
True support happens naturally when out body and mind are both in alignment, we, as singers, do not "DO" the support. Support happens naturally when we feel: 1: Emotionally supported by something - it may be God, the Universe, our parents, our friends, ourselves. 2: That we are out of our own way - that is, we stop holding back, or pushing forward, whether it be with the emotions, the body, or the breath and voice. 3: that we have found center - the Zen of the voice; just as the hyoid bone should float at center, so should the rest of the body, mind, and spirit. We have to trust that we are enough - we don't have to DO a whole bunch of extra stuff in order to sound "good". There is a lot of hard work and training that has to go into high-level singing; however, basic SINGING is a whole bunch easier and more joyous than many of us think. The Magic Ten below seems at first difficult to manage. Really, though, feeling support is a natural position for us - it simply takes consistent practice. Once we find it, and feel the accomanying freedom of joy and ease of singing, support feels very natural.
The Magic Twelve of Support
Tailbone down Larynx down Shoulders down
Ribcage up Lower Back up Base of the skull up Solar plexus open and soft Back open and soft
"The more breath you release, the more breath you will have on which to sing."
This is because many singers attempt to "save their breath"; this is admirable, however many do this by mistakenly tightening the solar plexus, upper chest, neck, cheek and jaw muscles; this succeeds in taking their breath away, not saving it. This, then, usually leads to the thought "I must be not inhaling enough" which leads to the "Singer's Heave", or turning diaphragmatic breathing into a Belly Fetish.
Many of us, in our society, are very surprised to discover how life affects our breathing patterns. Many of us hold our breath when we speak. We hold our breath when we bend over to tie our shoelaces, or to get out of our cars, or to reach up to get the cereal on the top shelf. This tired us, makes us think our bodies are falling apart, and that life is hard; it ages us faster. It is a sign, I believe, on some emotional level, of not trusting ourselves to go with the flow. I was once hired to teach yoga and breathing at an "Old-folks home"; several ladies could not manage stairs anymore, blaming age, pain, and general discomfort. After learning how to breath for the first time in... well, probably 50 years, they could all traverse a set of stairs without mechanical assistance. It is no different in singing; we must feel strong, joyous, full and confident when we inhale - and safe, trusting and free as we exhale. How many of us are concious of how our breathing is affecting our emotions, and vice-versa? In singing, strength and emotion rides, and relies, on the breath. So many issues that I see singers struggling with, including diction, line, vowel and consonant placement, and stamina, are drastically improved when they let go of their breath.
ENERGY vs FORCE and STILLNESS vs WEAKNESS
These terms often take some time to get used to from the inside out. We are asked to "support", and so we, understandably, "push" and "force" in order to create our "big sound". It may be important to remember that the diaphragm, and the throat muscles, are responding muscles, not doing muscles. We do not "do" support by physically engaging the upper end of our rectus abdominus muscle. We do not want to push the tummy out on the inhalation, nor clench the tummy in during singing (pulling it in toward the spine, taking away the space where the diaphragm needs to descend). These muscles will engage, but this happens naturally when we get the ribcage floating, and the proper muscles working efficiently. As we begin to release our breath, because we have confused "energy" with "force", often we end up taking our strength away as well, and we feel weak, attempting to find the middle ground where both "release" and "support" work together. With a good teacher, this will straighten out eventually.
RESONANCE, or "the MASK"
Allowing the sound to sit forward in the nasal cavities is part of correct placement. However, like support, care should be taken as to how the sound arrives there. If we force our sound forward in order to achieve "the buzz in the mask", we may be using the neck, cheek and jaw muscles to do so; these are the very same muscles that need to remain neutral for a relaxed sound. Trying to "put it forward" will often result in a pushed, strident sound, a lack of flexibility, a lack of breath, and eventual vocal exhaustion. Instead, we need to find the "column of spin" in the center of our skull - when we add this to finding our "Yawn throat" (relaxed larynx, not lifted up or pressed down), and proper posture, the high-notes drop down into our "anchored" collarbone and larynx, and the voice naturally releases forward into the proper resonance chambers of "the Mask."
BODY and MOVEMENT
Our body is our instrument: We have heard this before, but what does it mean?
How will a 'cello sound if it is full of wet, muddy towels, and bowling balls? Not so good, I would imagine. But this is exactly what many singers are dealing with if their bodies are stiff, and their resonating chambers are full of fluids. This may often lead to the idea that singing is hard, unhappy, and that performing is therefore full of anxiety. At some point during everybody's process we must find a way to release tension in the abdominal muscles, upper chest, upper back, jaw, neck, cheeks and tongue. Once we find our balanced, full-body breath without over-breathing, and find the suspension, we learn to manage our air with ease and freedom; this is "support". I have developed several series of stretches and movements for singers to: encourage physical strength, increase internal awareness, free up the resonation chambers, find true vocal support, release the breath in an unhindered manner, all moving toward a joyous unleashing of a singer's "Big Voice".
ATTITUDE and EMOTION
Often, people who tend to be anxious will sing sharp, and those whom are chellenged with some depression, will sing flat. Think of a tire; if overfilled with air/energy, the tire will be straining at the edges, feel like they will burst at the seams and be lifting the car too high, while wearing itself out very quickly, because of having no "give" to it. An underinflated tire has not enough energy/air to sustain itself, is flabby, listless and, over time, gets squished out of shape as it carries such a huge burden on its' back.
THE CREATIVE PROCESS
There are many things that will not release in a healthy manner, if the breath is not free of tension. One; the feeling of confident power surging through your body and voice. Two; the sensation that your body, breath, and voice are intrinsically connected and working together in balance and harmony. Three; the sense that you are completely safe in your personal ability to express yourself to the utmost of your potential. In other words, the ability to be a dynamic, healthy, creative being often depends on a stable and unhindered breathing mechanism.
Some Tips for Singers:
1. Choose a voice teacher who is not only a good singer, but enjoys teaching 2. Healthy Lifestyle: Stay hydrated, well rested and well fed 3. Posture and alignment: Take a yoga, pilates, Alexander, or tai chi class 4. Learn how to Practice: Feel what you are doing, listen without judgement 5. Speaking is singing too: Energize your speaking voice 6. Singing, if you wish to take it seriously, is not a 9-5 job, it is a way of life 7. Attitude: Sing for the joy of singing, and for the joy of who you are
What we must bring to every note of Music:
- Energy and Enthusiam
The Three Goals and Results of Music:
- Joy, Confidence and Freedom
SOME THOUGHTS FROM STUDENTS
"David Wilson helped me find a very natural air movement in my singing that gave both incredible freedom and incredible power to my voice that I had never before experienced." Kristin Hoff - Soprano, Montréal, Quebec
"Classes with David Wilson were among the most valuable things for me in the Opera NUOVA 2007 program! In his sessions I was able to find and release tension I hadn't noticed before, and the result was more complete breathing and freer, easier singing. Thanks David!" Heather Macnab
"Working with David enabled me to get past some persistent physical blocks that were inhibiting my sound. By opening up my breathing I was able to reach a level of relaxation that has given me more confidence and enjoyment when I sing." Neil Reimer - Victoria, British Columbia
"David Wilson's work is unlike anything I have yet encountered. As singers, we spend so much time working on the vocal mechanism, that we often forget the integral role the body plays in healthy vocal production. David's approach is a full-body approach. This angle, especially when applyed to the breath, completely changes the world in which you create your sound. Suddenly you are no longer attempting to put your voice in a box, so you are able to finally produce the sounds that you aspire to. The yoga is fantastic, the breath work is freeing, the voice is powerful, and the result wonderful. His work is helpful for singers at every level, regardless of age or experience. David's method for teaching voice allows you to free the artist within, releasing your true voice and your true expression." Chris Enns - Winnipeg, Manitoba.
"The different breathing exercises used by David were exactly what I needed to move forward in my singing. I was able to really use my breath and discovered how much more powerful my voice could be, and how effortless it was at the same time! It unlocked my lower AND my upper register, and allowed me to simply become one with the music..." Marie-Josée Goyette, mezzo-soprano - Montréal, Quebec.
"All I have ever wanted to do was sing. As I am over 60 years of age, and could not match pitch; I was told by my last teacher to "take up knitting". Together, Mr. Wilson and I discovered that I was not tone-deaf after all, but that I had learned to shut off my ears and reverse my breathing, due to emotional abuse I suffered as a child. Mr. Wilson led me through a process that helped me move past these troubles, joyfully, and safely. I can now breath powerfully and match pitch, and recently I passed my Grade 3 Toronto Conservatory Exam." Stella - Calgary, Alberta
"I had never done any form of yoga before taking David Wilson's class at Opera Nuova 2007. During his class I was able to access my breath capacity which has had an enormous positive affect on my overall sound. I also found that the way Mr. Wilson integrates vocal technique, breath, and body enables each part to be completely warmed up by the end of class. This meant that I could easily sing at 9:30 am after one of his classes. It was amazing!" Kelly Coubrough - Garibaldi Highlands, British Columbia
“Dear David. I really wish to share just how profoundly affected I am from working with you during the 3-Day Nuova Intensive 2008. It has only been a few days since leaving Edmonton but I have been working on the techniques you gave me and I really do feel a difference, and my teacher has noticed a shift in me. I am amazed at how the breath can touch on one’s emotional state; I have now found that a way to release these emotions is through breathing techniques. I have also noticed where I hold and most importantly I have discovered why, in both singing and everyday life - thank you from the bottom of my heart. You have imparted just a tiny sampling of your wisdom and it has empowered me to continue on the journey.” Elisa Righele - Vancouver BC.
"Daring to live means daring to die at any moment, but also means daring to be born, crossing great stages of life in which the person we have been dies, and is replaced by another with a renewed vision of the world, and at the same time realizing that there will be many obstacles to overcome before we reach the final stage." - Arnaud Desjardins
"With stammering lips and insufficient sound I strive and struggle to deliver right that music of my nature." Elizabeth Barrett Browning
"There is much to learn about the Art of Singing: Pronunciation, diction, posture, vocal technique, stage presence, to name a few. However, for many of us, the basic ability to sing is often about deconstruction; learning to discard the tension-filled muscle-memory, and to refrain from working too hard to breathe. 
I caught the echoes of a word supreme
What we must bring to every note of Music:
