The Private Studio

Legs to Sing On: A Practical Guide for

Singers and Voice Teachers
It was not until I began exploring careful observation into the causes of
the field of bodywork that I discov- his problems. He discovered that
ered the importance of the relation- within the dynamic relationship
ship of the feet, legs, and lower torso between the head, neck, and torso lay
to the overall support mechanism for the fundamentals for physical reedu-
singing. As a trained Alexander cation that could bring the body into
Technique teacher, I began applying balanced alignment. The vocal prob-
Alexander principles to my studio lems that Alexander was experienc-
teaching and paying more attention, ing as an actor were caused by postural
in general, to students’ lack of aware- habits that interfered with the body’s
ness of the reciprocal relationship ability to fully support the voice.
between the joints of the lower body In his book, The Use of the Self,
to those of the upper body. As a result Alexander described his process of
of identifying and working with prob- observation and thinking that is the
Christine Isley-Farmer
lems in the lower as well as upper basis for his discoveries.1 As he ob-
body, my students began to sing with served himself reciting in front of a
As a singer and during the early more freedom and less tension. They mirror, Alexander noticed that the
years of my voice teaching, I never llegan to learn to support their sounds tightening of his neck muscles, which
paid much attention to the lower parts with whole body awareness. However,
caused the pulling down and back of
of the body, the structural and mus- as I continued to teach, I also looked
his head, registered undue tension
cular framework that extends beneath for practical ways to address bases of
throughout his body as far down as
the lower abdominal wall. Even support issues, especially as I began to
his feet and toes. He stated that this
though I needed feet, legs, and lower give more workshops for singers and
tension caused him to contract his
torso muscles to assist my body in instrumentalists. I wanted to provide
toes and pull them downward, so that
remaining upright, I assumed that ways for nontrained Alexander teach-
his feet were overly arched, and his
they would provide the requisite sup- ers and singers to integrate this mate-
port, because the majority of impor- weight was thrown to the outside of
rial into teaching and performing.
tant movement was taking place his feet. Alexander related that the
Since study of the Alexander
above. At least the breathing move- contraction of his toes began to hap-
Technique had provided the earliest
ment seemed to be focused mainly in springboard to dissolving some of my pen while he was trying to follow his
the upper torso, and wasn’t that what misconceptions about the lower body, teacher’s directions to take hold of
really mattered? It did not occur to this article begins with an exploration the floor with his feet.2 Alexander
me, nor was I taught that my inabil- of lower body problems through the was trying to copy his teacher, and as
ity to sense the duality of gravity and application of Alexander Technique a result developed a bad habit from a
ground reaction force (GRF) in the principles. Practical applications based lack of understanding of basic prin-
feet, legs, and pelvis would affect over- on the Alexander Technique in addi- ciples that could improve his postural
all posture and restrict movement in tion to other bodywork modalities alignment. Without the ability to
singing. I was the proverbial songbird are also included. achieve freedom in head/neck rela-
perched on a branch, puffed up in the F. M. Alexander (1869-1955), a tionship and ease in the feet, legs,
torso and precariously supported by Shakespearean actor, began develop- and pelvis, there was no way that
tiny, spindly legs, feet, and toes. ing difficulties with his voice in the Alexander’s spine could lengthen, so
late 1880s. After unsuccessful attempts that his whole body was available
Journal of Singing, January/February 2005
to find a medical solution to his diffi- to support his voice as an actor.
Volume 61, No. 3, pp. 293-299
Copyright 2005 culties, Alexander began a nine to ten Alexander discovered that all parts
National Association of Teachers of Singing year period of self-investigation and of the body had to be in dynamic rela-

January/February 2005 293

 Christine Isley-Farmer

tionship with one another in order key, the singer's feet should be at least teacher should also make sure that it
for the whole to function efficiently. shoulder width apart. The toes should is the back, not the head, that remains
In addition to his discoveries about point slightly outward with knees against the wall; the singer's spine
the importance of balance in the lower slightly bent. This position will give must support the head, not the wall.'
body to overall balance of the body, the singer a sense of release in the hip One must be careful when using mon-
Alexander developed the concept of joints. The teacher will want to ob- key in singing to observe that the
positions of mechanical advantage. serve that the singer does not con- knees do not become overly bent, so
One of these positions is referred to as tract the toes or allow the knees to that the balance of the body is moved
"monkey, "3 a release at the hip joints come inwards towards one another. habitually too far forward onto the
that allows the knees to move forward "Knees forward and away" is a re- balls of the feet. Movement onto the
and away so that one experiences a current direction in Alexander balls of the feet as well as onto the
widening and lengthening in the back Technique; it means that the knees backs is not in itself bad; it becomes
(Figure 1A). it is a concept especially are forward in space, away from one detrimental when one or the other
helpful with singers who tend to another and released forward and becomes a habitual resting place for
hyperextend the back, thereby con- away from the hips. In addition, the the singer.
tracting the upper torso muscles so teacher will want to pay attention to Later Alexander Technique and
that the pelvis becomes misaligned the integrity of the singer's upper body mapping studies with Barbara
and the joints of the lower body locked torso as he moves into monkey. The Conable continued to clarify lower
(Figure 1 B). This shortening of mus- chest should not drop forward, which body support more fully. The stacking
cles and rigidity in the joints severely encourages loss of upper torso space of the ankles and knees under the hip
limit the movement of breathing and for breathing and a displacement of joints produced more freedom of
the ability of the singer to engage the the pelvis. If a singer has difficulty movement. The legs, feet, and pelvis
back muscles for any kind of support. moving from monkey to balanced were no longer a thin and tiny frame-
By guiding a singer into monkey, the standing (Figure 1C), the teacher may work but were mapped as viable sup-
teacher can help release tensions in have the singer lean against the wall porting structures with muscles
the singer's jaw, tongue, lips, and in such a way that the knees are surrounding them to aid them in this
upper limbs as well as open the back slightly bent with the toes pointing work. The knowledge that weight is
and coordinate the use of the back slightly out. The feet should be a few transferred down through the hip
and legs. In order to move into mon- inches away from the wall. The joints into the femurs (thigh bones)
through the bony structure of the
lower legs into the feet aided in the
achievement of more balanced stand-
ing. In addition, Conable's idea of
sensing the tripod of the arches of the
feet helped to sense more accurately
where and how weight should be dis-
tributed through the feet. 5 By finding
the balance of the foot directly in front
of the heel rather than on the heel or
the ball of the foot, stability was more
readily available. Many young singers
want to stiffen the ankles and knees
and lean backward onto the heels,
which encourages the pelvis to push
forward and exacerbates the lumbar
curvature. Finding the neutral bal-
ance of the tripod arch and stacking
Figure 1A: Monkey Figure 1B: Unbalanced Figure 1C: Balanced of the ankle and knee joints facili-
standing/singing standing/singing tates ease in the pelvis and spine.

294 JOURNAL OF SINGING

 The Private Studio

Breathing deepens and abdominal

muscles can do the necessary work
of supporting the sound.
In order to introduce the above-
mentioned anatomical concepts to
students, teachers will need to invest
in some visual aids. Conable’s book,
What Every Musician Needs to Know
About the Body, is an excellent source
with its illustrations. Anatomical
charts that depict the skeletal and
muscular systems are available Figure 2.
through Anatomical Chart Company
(anatomical.com). This company also especially helpful for students who of the stride out through the toes.
offers any number of inexpensive habitually bring their feet off the floor, Does that pattern differ from one foot
skeletal models that allow students a lock their knees, and shift the weight to the other? Besides bringing aware-
hands-on and three-dimensional primarily to the backs of the feet. It ness to the feet and stride pattern for
visual experience of the body. The will also help those who have prob- the student, this exercise provides the
use of anatomical and visual aids lems with transferring weight con- teacher with some very valuable infor-
combined with movement concepts sistently to one side of the body. mation. The habit of walking, for
facilitates a more complete learning Width of stance is another prob- instance, on the outside heel usually
experience for the student. lem that is aided by working on the means that the student stands in a
A practical solution that experi- balancing board. In general, students position generally tilted back with
entially allows students to sense more stand with feet and legs either too knees that habitually lock. The other
support and balance in the feet and close together or too far apart. As chil- pattern of leaning too far onto the
legs is work with a balancing board.6 dren, we first learn locomotion skills instep creates habitually locked and
The board can be easily assembled by keeping a wide base of support As torqued knees with undue muscle
and merely requires the purchase of we gain greater muscular control, tension resulting in the thighs and
wood at a lumber/hardware store. experience, and confidence, we nar- hips. In both patterns, the ankle,
One takes a 36” x 12” piece of wood row that base of support in order to knees, and hips are stiffened, and this
that is an inch in thickness (edged find the optimal means of achieving rigidity results in tightening of the
glued shelf lumber is ideal) upon stability.7 Working on the balancing buttocks and abdominal wall mus-
which nonslip lengths of tape are board helps to remedy stability prob- des. The tendency to transfer more
placed. Underneath the sheet of wood, lems and keeps the feet more aligned weight to one foot rather than the
at the center, one positions a 12-inch to the shoulder width. other in walking usually means that
piece of 4”x 4” to create a type of see- Teachers can gain insight into stu- the student, in standing, repeats the
saw (Figure 2). Working on the bal- dents’ balance problems also by look- same pattern.
ancing board helps the singer to avoid ing at their shoes to determine wear After the walking exercise, the
the habit of stiffening the knees and patterns. They will need to observe teacher will want to inquire into the
balancing too far backward or for- the wear pattern on both shoes, student’s awareness as he stands and
ward for any length of time. Either because variances are often signs of sings. Initial questions can range from:
the board will tilt to one side or the weight transference issues that appear do you feel all of your foot/feet con-
other, or the singer will fall off. By in standing. The teacher then can ask tacting the floor, do your knees feel
encouraging the singer on the board the student to walk around and to stiff or easy, are your ankles stiff or
to stack the joints over one another describe what he notices in stride. easy, is your breathing shallow or full,
in a balanced monkey, the teacher is The teacher should have the student is your lower back tight, do your
encouraging the student to sense pay attention to where and how the abdominal muscles feel contracted or
lower support issuing up from the feet strike the floor and should inquire easy? Then the teacher should ask
feet. Work on the balancing board is if there is a pattern to the direction the student to sing and inquire about

January/February 2005 295

 Christine Isley-Farmer

what he observes. Student and teacher However, any force exerted in a plane
can discuss any similarities or dif- other than that of the desired move-
ferences between standing in balance ment direction will detract from the
to coming into singing movement. In achievement of optimal performance
such a manner, the singer and teacher level.9 For this reason, it is important
both begin to understand what habits that the young singer begins to under-
emerge as the student breathes and stand that the feet and legs must be
begins to sing. Experimenting with in a dynamic relationship to one
movement that brings a student from another and all other supporting joints
habit into better balance is a great of the body in order for the reaction
way for the student to identify exactly force of the floor contact to work at the
how the habit feels. Once a bad habit most satisfactory level for singing.
has been identified, a student will Many young singers, as they tighten
want to avoid repeating that pattern. the feet and legs, want to pufi up on the
The student becomes focused on the sternum and tighten the abdominal
goal rather than the process that got and back muscles, especially as the
him there in the first place. In addi- voice ascends in range. Contraction
Figure 3.
tion, students generally want to please of muscles can be alleviated by the
their teachers, and when they dis- application of Newton’s third law and
cover that something they are doing the use of monkey. Sensing the floor the arms are brought into play with
is not in their best interests, they will under the feet and pushing off of this this exercise. This movement can be
generally try to overcompensate. By support right up through the legs will practiced without singing until better
encouraging the student to identify, give the singer what I call a “whoosh” body balance is attained. The teacher
experience, and indeed over-correct upwards right through the top of the can have the student inhale the breath
a bad habit, a teacher can thus allow head. In Alexander Technique, this in monkey pose and then move as he
the student to fully explore his range movement out of contraction is slowly exhales on /f/ or a hiss. This
of movement and to find the balance described as a release from downward exercise also encourages a more
that is best for singing. pull and can assist in alleviating relaxed intake of air and more open-
While standing and singing, singers unwanted muscular tension. One way ness in the back and rib area.
should enjoy the buoyancy and free- to teach this is to have the student Up to this point, balance relating
dom of the feet and lower leg joints. inhale in monkey with arms extended to the overall structure of the legs and
The springy sensation from the foot upwards above the head, elbows soft, feet has been addressed. However,
to ankle to knee and up through the and palms facing one another. (For another problem can occur due to ten-
hips allows for good spine lengthen- yoga enthusiasts, this will resemble sión in the foot area. Earlier in this
ing and engagement of the psoas mus- Chair Pose.) At this point, direct the article, Alexander described his habit
des, abdominal muscles, and muscles student to push down through the of toe contraction. There is a simple,
of the back. This buoyancy from the heels as he begins to sing and move practical solution for making the stu-
floor up reinforces Newton’s third up and out of monkey; this will help dent aware of this habit For this exer-
motion law, which states that for every engage ground reaction force. At the cise, the teacher should have the
action there is an equal and opposite same time, the arms should fluidly student take off his shoes and socks.
reaction.8 When the foot and floor move out to the sides at shoulder At this point, the teacher can gently
come into contact, the force exerted height with palms up and end by com- place both of his hands over each foot
on the floor by the foot must be exactly ing to an easy resting place at the sides and ask the student to come over the
equal and opposite to the force exerted of the body (Figure 3). The teacher tripod arches of the feet. The teacher
on the foot by the floor. In other can use this movement exercise for can lift the student’s toes one by one
words, when a singer makes contact vocalizing or working with repertoire. and lengthen and spread them to the
with the floor with the whole foot, Teachers should be sure to direct stu- floor. The release in the toes can be
the floor will push back in a direction dents to remain free in the neck area monitored throughout a song or dur-
exactly opposite to that of the push. and maintain width in the back, as ing vocalises with the teacher stop-

296 Journal of Singing

 The Private Studio

ping the student each time the toes Principles of the Alexander Tech- back to balance over die tripod arch.
become contracted. For those teach- nique tirat emphasize freedom in the The next movement will have the
ers less agile or who do not feel com- neck muscles, balance of tire head on student moving the weight slighdy
fortable with touching, a yoga stretch the spine, monkey, and overall align- back onto the heels. This slight flex-
that is a preparation for Mountain ment of the body in standing are ion should bring die hips into an easy
Pose can be incorporated. Removal important for singers as they come release with the pelvis tilted some-
of the shoes and socks also will be into more vigorous movement in the what backward. This flexion phase
necessary for this stretch. The teacher mediums of opera, operetta , and music resembles monkey as the student
should direct the student into bal- theater. However, the majority of allows the knees to move forward
anced standing with the feet shoul- singing experience for younger singers and away while the back widens
der width apart. The student then revolves around concert work. Stand- (Figure 4A). The extension phase
can gently lift the top of one foot, ing in concert is a challenge for most begins as transfer of the weight moves
beginning at the big toe, and stretch young singers, because recital/con- forward onto the balls of the feet.
the space between each toe before cert work is perceived to be primarily Throughout this phase the student
slowly placing the toes back down on nonmobile. For many singers, this will need to push down through the
the floor. Then move to the next foot can prove to be a deadly static situa- floor with the feet to engage ground
and repeat the movement. (If a stu- tion as they lock into all the joints for reaction force and inhale as the whole
fear that any extraneous movement torso extends (Figure 4B). The body
dent has difficulty with this stretch,
will detract from their singing. will lengthen nicely in this phase.
the teacher can suggest that he stretch
To assist singers with the idea that After the extension phase, the stu-
the fingers of the hands at the same
standing on stage does not mean lock- dent should rock back through the
time.) The student can remain bare-
ing the body, concepts of three-dimen- ankles to return to balanced standing
foot throughout this portion of the
sional movement from Aston- (Figure 1C). This movement can be
lesson while the teacher monitors.
Patterning can be extremely helpful.10 done to enhance breadiing with the
As soon as the toes begin to grab
Unique to Aston’s philosophy of inhalation coming during the exten-
again, the teacher should stop the stu-
movement is her belief that human sion phase, moving back into flexion
dent, bring his attention to this situ-
movement occurs in asymmetrical phase on the exhalation of the breath.
ation, and have the student stretch
and three-dimensional spirals. Instead In addition to range of movement
the toes once again.
of stressing the attainment of sym- exploration, the spine is receiving a
Although this article deals primarily
metry in the body that many body- welcome massage as unwanted ten-
with the feet and legs, it is the whole sion is alleviated.
work systems advocate, Aston stresses
that a teacher ultimately wants to
respecting the body’s asymmetries by
address. Alexander knew that neck allowing them to flow into move-
ease and head balance were keys to ment.” Aston’s work with three-
healthy vocalism; he recognized that dimensional movement is the basis
when this relationship was not fluid, for the following exercises. These
there was tension throughout the body. exercises can help singers develop a
Therefore, when working with the broader range of movement possibil-
feet and legs of a student, the teacher Mes in standing and work with weight
should remind him to stay free in the transference issues.
neck area with the head poised on top The movements are cabed Modified
of the weight bearing spine right Standing Arcing and Standing/Rock-
between the ears. The student often ing.12 Tö begin die Modified Standing
will want to look down, especially if Arcing pattern, the teacher should
the teacher is working directly with instruct the student to transfer weight
the feet or legs. A full-length mirror forward and backward through the
can allow the student to remain more ankle joint of each foot. After rolling
balanced as he observes, while the through the foot several times, the Figure 4A: Figure 4B:
teacher works with the lower body. teacher should have the student come Flexion Extension

January/February 2005 297

 Christine Isley-Farmer

ning of a lesson. The teacher may

want to keep a log for each student,
which includes not only a record of
vocalises and literature, but also a list
of movement concepts with which
the teacher is working. A log allows
the teacher to review what was done
with a student the previous week and
can serve as a guideline for the next
Figure 5A Figure 5B Figure 5C
lesson. The teacher may also suggest
In Standing/Rocking, the student for this misalignment elsewhere. In that the student keep a log of obser-
will hinge through the ankle joints to addition, shoes that are pointed should vations based on practice sessions and
create different types of movement never be worn, since this shoe type invite the student to share these. A
patterns. The student begins by mov- further encourages contraction of the student log can be especially helpful
ing from front to back over the foot toes. Open-toed shoes and sandals as for those students experiencing any
as in the Modified Standing Arcing performance footwear are usually kind of chronic pain issues.
sequence (Figure 5A). The teacher inadvisable; rounded-toe flats and In writing this article, I have tried
can then have the student move from sensible heels are the best choices. to address, from a practical stand-
side to side (Figure 5B). The student A question remains as to how point, some of the challenges that
should feel the ankle joint articulat- teachers can incorporate movement singers face with regard to establish-
ing, as the knees remain easy. The work into lessons. Voice teachers may ing the feet and legs as a flexible base
third movement is to have the stu- only have a half hour to an hour a of support for singing. Of course, I
dent move in a diagonal pattern week with a student in private ses- have focused on only a part of the
(Figure 5C). After the third move- sión. It is important to introduce this anatomical structure that is used for
ment, the teacher and student may material slowly and in small inere- the singing experience. It is not my
explore other patterns including ments, always repeating the new intention to isolate the feet and legs
U-shapes, spirals in clockwise and material at the next lesson and ask- without calling attention to whole
counterclockwise patterns, circles, ing for student feedback about any body awareness that is the ultimate
rhomboids, and crosses. This move- information that was taught and/or goal for each singer. However, I have
ment work, once experienced, can be the use of exercises in practice ses- drawn from my experiences as a body-
combined with singing to encourage sions. The teacher will not want to worker, singer, and teacher ways in
the student to sense the variety and proceed until satisfied that the stu- which I think singers can be helped to
range of movement in the ankle joints dent has intellectually and experien- become more free and flexible in the
that helps promote fluid movement tially processed the older material. lower areas of the body. The songbird
while standing. Anatomical information and many can then, with full-throated tone, sing
All of the movement exercises are of the movement exercises can be with an awareness of the full range
useful for men and women, but done in a studio class and then of motion and balance available in
women are faced with an additional worked on an individual basis in the the legs and feet while remaining
challenge in concert in that they are private lesson. It is important to beautifully poised on that tree branch.
expected to wear fashionable high remember that each student comes
NOTES
heels. A female singer should never with his own set of problems, and
wear heels any higher than an inch both teacher and student must remain 1. F.M. Alexander, The Use of the Self,
and a half to two inches. Wearing high patient and aware of what is hap- 8th ed. (London: Victor Gollancz,
heels encourages overarching of the pening in the body. Most importantly, 19951,21-48.
feet, contraction of the toes, and an teachers can gain much information 2. Ibid., 33.
overall stiffening of the joints of the about a student’s body awareness by 3. Pedro de Alcantara, Indirect Pro·
ankles, knees, and hips. As soon as asking questions and allowing the cedures, A Musician’s Guide to the
one segment of the body is displaced, student to process information Alexander Technique (Oxford:
there will have to be a compensation through verbal exchange at the begin- Clarendon Press, 1997), 100.

298 Journal of Singing

 The Private Studio

4. Ibid., 102-103. 9. Haywood, 97. 11. Ibid., 49.

5. Barbara Conable, What Every Musi- 10. Judith Aston, “Aston-Patterning,” 12. Joani Gelinas, “Modified Standing
cian Needs to Know About the Body, http//: www.aston-patterning.com. Arcing and Standing/Rocking”
rev. ed. (Portland, OR: Andover Press, Judith Aston, Aston-Patterning ere- (Presentation, Aston Therapeutics
2000), 27-33. ator, originally trained to become a П, Bend, OR, February 27,2004).
Rolf practitioner. During her train-
6. Tom Mark, “Basic Concepts of Body ing period with Ida Rolf, she was
Mapping” (Lecture, Andover Educa- asked to develop some of the exer- Christine Isley-Farmer is Professor ofMusic
tors Conference, Willamette Univer- cises that Rolf gave for maintaining at Middle Tennessee State University where
sity, Salem, OR, June 6, 2003). Rolfing work into a movement-main- she teaches voice and the Alexander Tech-
7. Kathleen M. Haywood, LifeSpan and tenance program. Aston developed nique. Isley-Farmer has been a certified
Motor Developmen t (Champaign, IL: Structural Patterning, which she practitioner of the Alexander Technique
Human Kinetics Books, 1986), 98-99. started teaching in 1971. By 1977, anda member ofthe Alexander Technique
major differences between Aston and International since 1997. Since certifica-
8. Marian Williams and Herbert R. Rolf had evolved; as a result of those
Lissner, Williams and Lissner’s Bio- tion, she has conducted numerous Alexán-
differences, Aston left to form her
mechanics ofHuman Motion, 3rd ed., own organization. Jeffrey Low, “The der Technique workshops throughout the
Barney F. Le Veau (Philadelphia: W. Modern Body Therapies,” Massage southeastern region of the United States.
B. Saunders Company, 1992), 24. Magazine 16 (Oct/Nov 1988): 48. In addition, she is licensed as a massage
therapist. Isley-Farmer’s singing experi-
ence includes opera and concert. She per-
formed forfive years in Innsbruck, Austria
at the Tiroler Landes theater, and while in
Call for Presentations
Europe she guested in theaters in Switzer-
land, Italy, England, and Ireland. Oper-

NATS members and friends are invited to submit

atic experience in the United States includes
various regional opera companies, and her
proposals for special sessions to be presented at
concert work consists ofrecitals and orches-
the 49th National NATS Conference
tral appearances throughout the country.
She has been a frequent performer with the
Northern Lights Stones River Chamber Players, a chamber

New Directions in Song ensemble based at MTSU that tours nation-

ally and internationally. Isley-Farmer also
Minneapolis, Minnesota performs with the Crescent Trio, a cham-
June 30-July 4, 2006 ber trio consisting of voice, clarinet, and
piano that specializes in performances of
Proposals related to the following topics
musicfrom the seventeenth century to mod-
are particularly encouraged:
ern day. She holds the Bachelor and Mas-
Teaching in the Private Studio
ter ofMusic degrees from the University of
Alternative Singing Styles
North Carolina at Greensboro and the
Voice Repertoire
DMA in Performance and Literature from
Vocology & Voice Science the University of Illinois at Champaign-
Urbana.
Send proposals to:

NATS 49th National Conference Proposals

4745 Sutton Park Court, Suite 201

You gain nothing by imitating
Jacksonville, FL 32224
another. Your physical machin-
or
erg will finally rebel against a
proposals@nats. org
foreign idea.
(electronic submissions are preferred)

Deadline: June 1, 2005

Maxims, Giovanni Battista Lamperti

January/February 2005 299

Isley-Farmer, Christine, "Legs to sing on: A practical guide for singers and voice teachers", Journal
of singing: The official journal of the National Association of Teachers of Singing, Inc. 61/3
(Jacksonville, FL: January-February 2005), 293-299.

Copyright © 2005 by National Association of Teachers of Singing. All rights reserved. Content
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