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successfully. der technique has proven useful for Breathing and Support
Besides the studio teacher, there vocalists and is recommended for A fundamental part of develop-
are few people who develop voices further consideration. ing voices in a choral ensemble in-
more than choral directors. Those Ann Howard Jones talks to choral volves the pedagogy of breathing
who successfully develop the voices singers about the body’s energy, stat- and support. Gebhardt states that
in their care begin rehearsal with ing that “singing does not come out teaching proper breathing technique
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warm-ups, understand the voice and of a static body.” The singers should is “achievable for all kids, especial-
its capabilities, and constantly ad- stand as if they are about to traverse ly after the age of eight when their
dress vocal technique in the rehears- a tightrope; this pulls the torso up lungs are more fully developed.” 9
al. and lengthens it to give the body the The breath control training im-
feeling of suspension. This active proves vocal ranges, sound intensity,
body engagement should be paired tonal duration, and pitch accuracy
Alignment with an engagement of the mind. If regardless of age.
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Strong vocal technique is found- accomplished, there will be a pos- Inhalation should be silent, the
ed on excellent physical alignment, itive connection between the body muscles of the abdomen should
and many choir directors begin the and the singer’s tone production. be released, and the singer should
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warm-up process by addressing this Though the goal in our alignment maintain expanded ribs and a con-
in some way. Physical motions—like is to be as relaxed as possible, sing- tracted diaphragm for a controlled
stretching, tossing a football, shov- ing is athletic: it requires the action exhalation. Without these elements,
eling snow, or raking leaves—help of some muscles and the release of the singer would not be able to
transition the singers from the bois- others. Muscles in the neck, mouth, sing in tune since pitch accuracy
terous outside world to the calm fo- shoulder, and head should be re- correlates directly with breath sup-
cus needed for rehearsal. From these leased. During inhalation, the dia- port. Cottrell expounds on these

movements, finding the most favor- phragm will be active, and expansion ideas, and cites modern scientifi c
able alignment of the skeletal struc- in the area below the rib cage will be studies and historical literature to

ture for singing is key. Because indi- inevitable. During exhalation, how- confirm three useful principles that
vidual students vary in posture, the ever, each singer will feel diff erent defi ne our breathing pedagogy. The
term “alignment” is preferred over sensations, and each voice teacher fi rst principle is that full use of the
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“posture.” Using the term “posture” will explain the sensations diff erent- chest and abdomen is necessary for
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often causes singers to alter their ly. Because of this, it is recommend- good breathing. An abdominal
body position through muscularity ed that choir directors emphasize approach—with a sole focus on the
(puffing out their chest or excessive- the release of muscles that interfere diaphragm—was a staple of choral

ly pulling their shoulders back). The (i.e., the jaw, throat, neck, shoulders, pedagogy for most of the twentieth
term “alignment” invokes a calm- face) and let the studio teacher em- century. Still popular among choral
er positioning of the body’s bones, phasize the muscular sensations af- conductors, this breathing method
resulting in less muscular tension. ter that. This release of tension can ignores the contribution of the chest
Each singer’s organic alignment be accomplished through physical to a well-supported tone. The science
should reduce the body’s extrane- activity (stretching, moving, swing- of anatomy and historical pedagogy
ous muscle tension to prepare the ing arms) and kinesthetic reminders backs this assertion: the surface area
body for success. Watch for an eleva- (e.g., “Touch your index fi nger to of the lungs attached to the ribcage
tion of the sternum with shoulders your masseter muscle, and let it melt is greater than that attached to the
placed back and relaxed; because of the tension.”). diaphragm. Therefore, using the rib-
cell phones, rounded shoulders are cage to aid in inspiration processes a
the most common ailment affl icting greater volume of air. For optimal in-
our students nowadays. The Alexan- spiration, elite classical singers follow

CHORAL JOURNAL June/July 2021 Volume 61 Number 11 53