My voice teacher used to always say to me, “A tree only grows tall if it has deep roots, and your voice will only flourish if you connect deep in your body.” For me that connection to the body always felt tenuous. I had to really think about it.
 
That is until I started working out in an efficient way that developed my deep core muscles to the point that it wasn’t such a conscious effort any more.  When that core connection is there my breathing becomes more efficient and my sound floats freely and effortlessly. I could sing all day!
 
First of all lets review some of the major core muscles involved in breathing.

• There's the diaphragm, of course, but we don't have direct control of that one, so we have to depend on other muscles to help control the rate of expiration as the diagphragm relaxes.
• The transverse abdominis deepest of the abdominal muscles.
• The external obliques run downward and inward, and are the largest and strongest abdominal muscles.
• The internal obliques, located just under the external obiques, run in the opposite direction of the external obliques.
• The latissimus dorsi is a large muscle of the back that deep muscles of the back that runs for the thoracolumbar fascia up to the upper arm.
• The pelvic floor muscles are a hammock of muscles at the bottom of the pelvis that provide pelvic girdle stabilization. They should move in tandem with the diaphram; relaxing on inhalation and contracting on exhalation.

If you’ve been going to the gym knocking out crunches and planks and still don’t feel the magical quality of that connection, it’s because these aren’t the most efficient exercises to activate the desired muscles.
 
Crunches really only work the rectus abdominus, a very superficial muscle. It’s the one that can give you a great six-pack, but can actually hinder your breathing if too tight. The movement of crunches and sit-ups may also put undue strain on neck and shoulders.
 
Planks can be great, but are really an advanced move. They can be difficult to do without proper guidance to achieve the proper muscle activation, plus they have other limitations and may not be for everyone. I’ve addressed it before here.
 
The following five exercises in the video will hit all the muscles that you need to get great stabilization and activation of the core muscles that will have you singing freely throughout your range in no time.
  

So try them out an let me know how you do with them.

Looking for more exercises designed specifically for singers? Then join our Facebook group ​Vibrant Body Vibrant Voice.

This is a question that comes up often.
 
A big reason many teachers site as for discouraging students from trying to achieve those six-pack  abs is the fact that there is too much tension which interferes with freedom of breath, but it's not really true. (If you don't want explanations and just examples involving shirtless men, then just scroll down now.)
 
Ok, this can be true in an untrained singer who already has developed a bad habit of clenching their abs tightly. Dancers and body-builders are usually the worst offenders. A lot of work needs to be done to re-educate their breathing, but not really much more than the average new student who tends to breath in a shallow manner.
 
What about experienced singers? Really all it takes is to inform them that they should continue to practice their singing breath when they workout.
 
Honestly that’s all it takes if they already have good breathing patterns. In fact, most athletes do practice good breathing technique. My triathlon coach used to tell us that as we rode our bikes. “Breath into your belly!” he’d yell, “Those Tour de France guys look like they’re pregnant when they breathe!!!”
 
And it’s not just on bikes. Running, swimming; they all require that deep breathing that we use for singing. And these athletes hit the gym for strength training as well, so it’s not just about the weights. It about how you breathe when you lift the weights.
 
Let’s take a look at a few examples. I know this is going to be difficult for you ladies, but let’s make the effort to look at the breathing patterns of Chris Helmsworth (as Thor) and Michael Phelps. Try not to get too distracted.
 
Notice how Thor lifts his shoulders with every breath. He is concerned with maintaining his glamour muscles. The tension may be dramatic, but it’s going to affect his fighting capabilities with poor oxygen exchange. Good thing he has a magic hammer.

​Now take a look at Michael Phelps. This is the way you breathe to win! Look at those ribs and abs move. You can have those abs and breath with complete freedom too.

​But I’m not going to leave it there. We also want to see whether a SINGER can have a six-pack and still breathe for singing. So here is your proof with William Burden and Nathan Gunn in the Pearl Fischers duet. You can especially see the working abs at 2 minutes.
 

​So yes, singers, you can have awesome abs and breathe freely. We don’t necessarily build tension from creating those abs, we just have to learn how to keep them flexible.
 
After all our abdominal muscles are important to maintaining our posture – good alignment is always encouraged for singing and those abdominal muscles are part of the  recipe for achieving that. They will protect your back and allow you to move athletically while on the stage (or off).
 
Just remember that as you sing you cannot maintain the lean magazine-cover look. Your belly will expand as you inhale deeply.
 
 It’s also good to note that to be really ripped also requires a low body fat percentage that just is not sustainable and may not be compatible with singing. Bodybuilders and fitness models often get dehydrated to make the muscles pop, so it’s not a look I’d recommend singers go after.
 
If you want to find out more about how you can get your abs and still sing with freedom, join the FREE Vibrant Body Vibrant Voice Facebook group where I share exercises every week.
 
RESOURCES:
http://www.scielo.br/scielo.php?script=sci_arttext&pid=S2317-17822013000400003
https://www.coreexercisesolutions.com/building-awesome-abs/

I've just got back from a wonderful five days in Las Vegas. But I wasn't there to play. I was there for the National Association of Teachers of Singing (NATS) Conference.  This biennial event is a must for any teacher who is committed to professional development. 

There were so many sessions to learn from. It runs the gamut from really geeky voice science talks to more spiritual aspects such and mindfulness and yoga for singers. There is also so much wonderful singing! The guests artist this year were Christine Brewer and Stephanie Blythe with Craig Terry at the piano. All I can say is WOW!!! 

It's also a great opportunity to network with other teachers, exchanging ideas and making new friends.

One of the highlights of the NATS conference this year was to interview Claudia Friedlander about her newly released book "Complete Vocal Fitness - A singer's Guide to Physical Training, Anatomy, and Biomechanics". 

​Grab a cup of tea, sit back and watch our interview here, then scroll down to find out how you can get your copy with a 30% discount!

You can get "Complete Vocal Fitness" at most major booksellers and Amazon. However, Claudia is giving The Fit Singer readers a special 30% discount by ordering directly from the publisher Rowman & Littlefield. Click here to order and then enter your promo code:  4eNATS18.  This offer is good until September 26, 2018.

​Also check out Claudia's blog The Liberated Voice at claudiafriedlander.com

And don't forget to join our online community dedicated to singers' health and fitness - Vibrant Body Vibrant Voice.

If you don't have time or the background chatter of the conference is too much for you then have a glance through the transcript (you may want to look at the video from 14:30 onward as Claudia give a demonstration of a couple of exercises):

FS: Hi Claudia, So happy to have you here with us.

Claudia: Oh, I'm so excited to be talking to you about fitness.

FS: It's a passion, right?

Claudia: Well, yeah and one of the nice things about having the book out is that I have more opportunities to just nerd out about anatomy of fitness with other people who are interested in singing and body issues.

FS: Can you tell us a bit about your background; what brought you to this?

Claudia: I became interesting in singing and fitness at around the same time. I always wanted to be a singer, but when I was a kid nobody wanted to hear me sing because I had a sort of harsh disorganized voice. I couldn't get cast in any of the school musicals, it was very heartbreaking, so picked up clarinet and became very good at that. Everybody wanted me to play the clarinet, so I just settled for that.

It was around the time that I finished my undergraduate degree that I had the opportunity to do some body work with a therapist who was really good at helping to relieve chronic muscle tension and I found I had all this muscular tension around my breathing, my throat and my articulators that had been keeping me from being able to sing freely and so all this tensions started to go down and I was able to have access to my body and I discovered I did have a pleasing voice.

So I started taking singing lessons and began formal study and I was surprised to discover when I went to graduate school that not everybody had the same expectation that I did, which is that it is possible to affect structural changes in your own anatomy that would then make your voice better. And I found out most voice teachers expect that the voice that the student brings into the room is the instrument that they have, that they will teach them how to use that instrument when I knew that it's possible to improve upon your instrument. In my case it had made the difference between not being able to sing at all to singing well.

As I became more interested in vocal technique I became really interested in finding out ways that I could help singers improve their own instruments, so that they could really optimize their bodies for peak performance in singing the way athletes do for peak performance.

FS: How do you view singers as vocal athletes? It's a very physical, demanding thing that we do with our voices that involves the whole body, so do you feel we need to train more like athletes?

Claudia: We need to train both more like athletes and more like instrumentalists. Instrumentalists learn things about repetitions, motor learning, self-habitualization skills because they have to integrate an external object to coordinate well with their own bodies, so they learn some things about that. They also...instrumentalists generally learn about how their instrument functions and how it's constructed so they know if there's a problem with the instrument they know how to repair it. If I have a missing pad on my clarinet It's not going to play, but I know either how to do that myself or take it someplace where it can be repaired. So I think we have a lot to learn from instrumentalists and we also have a lot to learn from athletes and fitness trainers because we are athletes, what we do is so similar to what elite athletes do because an athlete doesn't stop being an athlete once they step off the court. They view their bodies as an athletic tool at all times, so how you care for your physical health, how you eat, how you sleep is all going to have an impact on how you do your job.

FS: So being a singer is a lifestyle.

Claudia: It's a lifestyle choice.

FS: If you want to optimize performance you do need to make that... I know for myself when I started training for triathlons all the triathletes would say "This is a lifestyle, it's not just the training and doing races, we live it". So similarly singers should be approaching...that we are living it...our instrument is a living instrument, too, so it needs that extra care.

Claudia: It does. I mean we're also hedonists. We're not going to have anything to sing about if we don't have full lives, as well. There is a chapter on nutrition in the book, but I'm not advocating that people adhere to some really stringent diet, so they're always able to... it's not quite what you need to do if your in training. We do need to be mindful of using food as fuel the same as athletes do and making sure we are fuelling appropriately and tending to the health and development of our bodies and our instruments, but we also need to have...

FS: We have to let our hair down...

Claudia: have some crazy experiences.

FS: There are also limits we need to draw, too. Like post-performance going out drinking with your cast-mates when you know you have to perform the next day is probably not a good idea. You need your sleep, you need to make sure your re-fuelled so that you can recover well for the next thing that's coming up.

Claudia: Absolutely! We need to be mindful of what our bodies need to do and I've discuss this in the chapter on nutrition and what best practices are for singers. They moderate what they're eating and drinking. We're in NATS in LAS VEGAS, so...

FS: Of course, Vegas, what happens in Vegas, stays in Vegas.

Claudia: There's a section in the chapter on how to drink reasonably and how to avoid a hangover and I thought about printing out a "Here's a PSA on what to about a hangover" that I thought about leaving in my publisher's booth, but you know, you don't want to presume that your colleagues will be drinking and maybe we won't go there so I didn't...but there's some good advice on how to make sure you're not drinking too much and what to do about it the next day.

FS: Most singers when they talk about fitness, they usually hear, from so many teacher, that they should limit it to yoga and I know there are singers out there are training more and are running marathons and stuff, too, but it still seems to be there's a stigma about working out to hard. What are your views on that?

Claudia: Traditionally voice teachers have been very concerned about having there students workout to much, and I think the reason for that is because when, especially performers, they want to look good on stage. they want to look good in HD, as there are more and more opera broadcasts, and if you have a workout regimen that is limited to pumping up your glamour muscles, you're probably going to throw your whole instrument out of balance because when we think about the muscles that are usually most aesthetic, we're talking about wanting six-pack abs, we want nice well-defined pecs, women want to define their arms, but if you just focus on those parts, rather than looking at the body as a whole and asking how can I optimize my physical structure for peak performance in singing what you end up doing is over-developing the glamour muscles, under-developing the muscles that need to stabilize them and your going to throw things out of whack. For example, if I want to go just pump up my chest a lot, the pectoral muscles are going to get tight and it's going to push my shoulder in like this [rounds shoulder] and my heads going to come forward like that [juts head forward]. and then where is my larynx, right? Whereas, if you go about developing strength in a way that's balanced I can build up my pecs and stabilize my shoulders and I'm going to have a better base of support for displaying my glamour muscles and I'm going to be able to maintain alignment. So what I've tried to do with this book is to explain how sports scientists go about assessing an athlete and noting where do you have some weaknesses, where do you have some overactive muscles, where are there imbalances and then just assigning a program to bring the entire musculature in balance. So the aesthetics are something that you can pursue within a program that is achieving balance and the kind of strength and stability we need as singers, but if you pursue a fitness regimen for the purpose of only aesthetics you might do damage to the voice, if you pursue an athletic regimen with the purpose to optimize your body for peak performance in singing you can also reach your aesthetic goals.

FS: The aesthetics are the icing on the cake. Actually pursuing a healthy lifestyle and balance in the workouts, it's [the body] going to get there, so you don't have to focus on particular things. If you focus on the whole - it's like any other athlete, too, they do cross-training because they need to have that balance. You're going to overwork certain muscles and be more prone to injury, of course for singers, throwing off alignment, it's going to throw off your whole voice.

Claudia: One of my mantras is form follows function, which is that if you do everything you need to do to be a spectacular highly functional vocal athlete, you're going to look the way that someone who was striving to be an athlete looks. It's going to be different for each one of us. Our bodies and our voices are so incredibly unique. This is why I encourage people to really just pursue what they feel is important for their own balance, their own strength and find out what is the aesthetic that will evolve into because if we just take some sort of aesthetic ideal or make ourselves look like "that" is no more useful than saying this is my favourite singer I'm going to try and sound exactly like her. You might be able to mimic that, but you'll never be as amazing as developing your own individual voice.

FS: That's so important, your own individuality involved in all aspects of your instrument. How do you feel that yoga and other somatic bodywork can fit in or complement weight training or resistance training?

Claudia: Yoga's fantastic! Yoga is wonderful. We have yoga teachers out there who are specializing in helping singers, connecting what they're doing with their yoga practice with what they're doing with their singing. Shout out to Mark Moliterno and Sarah Whitten, who are both doing wonderful work in this area. It's not instead or in addition to, it's just another modality. I found yoga to be a wonderful practice. I need to get back to do more of it. It's just a fantastic whole ancient practice that's also good, not only strength and flexibility, but also body-mind integration. It's a wonderful practice for singers to engage in.

What I'm promoting with my book is just more of a sports specific approach to training. What fitness trainers do when they've got an elite athlete that their trying to prepare to win that gold medal or do better for their team of their sport and that's just taking a step back and looking at what are the assets that an athlete needs to do their job well. What movements do they need to excel at, what do they need for strength and flexibility. Do an assessment of that athlete to know where they've got some strengths and some weaknesses, what they need to bring them into better balance, what you need to focus on to make them excel at the movements they need to engage when they're playing their sport. So a bit of an analysis of that for the vocal athlete in the studio and there's a collection of exercises and directions in the book, but you don't need to use these exercises. You can go to a yoga studio or work with a fitness trainer. What I want the readers to understand is that these are the things that I need to work at, these are my goals and so what's the modality, what's the routine, that's going to be the most enjoyable to stick to in order to achieve those goals.

FS: Great! Now I know you said we need to look at the WHOLE body, but if you had to give just three exercises that a singer should include in their workout routine, what would they be?

Claudia: Well as I said in the book, I was reluctant to say this is "the singer workout" because everbody needs such individual special things for the same reason that the voice lesson you get from your voice teacher is not necessarily the same lesson as your other colleagues in the studio are going to get from that teacher. That said, one of the things that I think is most important for singers is to be able to stabilize their shoulders so that they can maintain an open and relaxed ribcage, a dynamically engaged ribcage while they're singing. A common problem I see in singers of all stripes is that sometimes the chest collapses, so it's pressing down to drive air out of the lungs as you sing and this is not going to be great for the biomechanics of the larynx and that's one of the reasons I got into this because I would see students doing this and I would say, "No you need to let your sternum stay high". Well how do you do that?

Having high sternum means that you are able to stabilize your shoulders [brings out resistance band, 14:30 on the video], the rhomboids, the middle and lower trapezius are those muscles that are between the scapula and stabilize your shoulders. You can try this yourself. Slump forward a little bit then bring yourself back up into good alignment. You're going to feel how those muscles between your shoulder do that. Though I don't recommend doing exercises in isolation this is one I do in the studio, which is to engage those muscles and I would put my hands on a student's shoulders to feel it going. [Holds resistance band out in front with both hands shoulder width apart]. And have them exhale and vocalize while pulling on the resistance band so that those muscles in the back stay engaged. My sternum actually gets pulled up as I do this. So focusing on engaging, strengthening, stabilizing the scapula the muscles between the shoulder blades, the rhomboids, the mid and lower trapezius and also massaging the upper trapezius. There's another thing I can recommend. We all tend to be overactive with our upper trapezius and if I'm elevating my shoulders all of this is encroaching on space that I need around my neck for my vocalizing, so being able to release that muscle is important.  One good way to do that is take a small massager and I can hold this on my trapezius [demonstrates massager on trapezius], going around to the back and I'm going to elevate my shoulder a roll it to the back and down and then straight up, I'm not going to come forward, while I'm massaging it. That's going to help the trapezius release so it will be easier for me to engage my shoulder stabilizers and avoid having the shoulders come up to my ears. 

I think that's a pretty good example. These are a couple of things I think are important for most singers. I don't think you have a teacher who wants you to elevate your shoulders while you're singing. If they do that's ok, I can help you strengthen that too, but I rather that we didn't. [Laugther] Just being able to release that muscle and stabilize the shoulders, there are certain things I can't really help you to do withing the context of a voice lesson, but if I take you to the gym I can show you how to work on these muscles and do things that can keep your sternum elevated very easily while you sing so you don't have to think "keep the sternum up, keep the sternum up", it will just stay there.

FS: Thank you so much for being here this has been a lot of great information. 


Want to work on your vocal fitness? Then join our online community at Vibrant Body Vibrant Voice.

There is one exercise that seems to be VERY popular with singers. It’s the plank. This isometric exercise is supposed to engage all your muscles of posture.
 
If you’ve been looking at fitness challenges, you may have seen the now ubiquitous plank challenge where you progressively hold it longer and longer.
 
There is even a plank challenge for singers to sing while planking.
 
However, the plank may not be all that it’s cracked up to be. Staring down at the floor while up on your hands and toes at the top of a push up for five minutes may not have the benefits you are hoping for.
 
Is the Plank the right exercise for you?
 
Let’s start by examining who should not be doing the plank. Anyone who fits the following criteria risks injury.
 
If you have diastasis recti you should avoid the plank. This is a separation of the muscles of the mid abdomen usually associated with post-partum women, but really can affect anyone man or woman. It can be caused by obesity, rapid weight loss, weight lifting and improper form in abdominal exercises. Planks can exacerbate the problem.

If you are in the final trimester of pregnancy.
 
If you suffer from back pain you should avoid planks, though short interval holds may be possible with correct form. More on form later.
 
If you are obese, aside from the possibility of diastasis recti, the extra weight on the back, shoulders and wrists may be too much and can cause injury.
 
Watch the short video to find out alternative exercises to strengthen your abs.

How long should I hold it?
 
So you’ve decided to get on the floor and plank. How long should you hold it for? Well, that depends. The current consensus is that 10 to 60 seconds is sufficient and no more than 120 seconds. What really matters is: HOW LONG CAN YOUR KEEP GOOD FORM?
 
As singers we are mainly doing planks to improve our alignment and core strength. There is a difference between alignment and posture. As singers we usually like to talk of good alignment over posture because posture implies holding statically, which can mean tension.

Guess what? We hold planks statically. When we sing or for that matter in anything we do in day to day living, we seldom hold ourselves statically, so a long duration plank really does not fit the bill as a transferable skill.
 
Shorter bursts of 10 to 30 seconds of holding with 5 second rests in between are more representative of what you would do in life. So if you can't hold a full minute, then go with 6 sets or 10 second planks or 3 sets of 20 seconds, etc.
 
Long duration planks are more about mental toughness and bragging rights, though the longer you hold the plank, the more likely you are to relax form and end up hurting your back.
 
For the record, before I knew any better, I once held a 6 minute and 20 second plank and had a very sore back for days afterwards, though my triathlete friends were duly impressed. Longer does not necessarily mean stronger.
 
What is good form?
 
The common advice given for planking is to keep a straight line from head to heels, keeping alignment. Instead of thinking a straight line from head to heels, think more of keeping your back flat, with a slight incline, so a ball could roll all the way down from head to heel without getting caught in a curved back.

​The usual straight line cue can result in hyperextension of the back or a slight dip in the hips for many people. Of course, a flat back may cause a table top surface, which isn't desirable either.

Here are a few more tips to add to the checklist:

• Don’t let the hips rise too high or sag.
• Squeeze the glutes, abs and thighs.
• Keep your head in good alignment - eyes should be focused 6 to 12 inches ahead of the fingertips.
• Keep your arms in line with your shoulders.
• Push your arms into the floor and towards your toes so that you feel more contraction in your abdominal muscles.

 
IT can sound pretty convoluted and it is actually quite technical. Without seeing yourself and/or having a trainer help you with your form, it can be very difficult to get the proper form and contract the abdominal muscles correctly.
 

Watch the short video on plank form to see how to get the form you need.

Beyonce said that when she was 10 years old her father would make her sing while running on a treadmill to build stamina for her stage performances as part of the group Destiny’s Child. Apparently she still does it and so do many other pop, rock, musical theatre performers and even some opera singers.
 
There was an interesting thread on this subject recently in the Professional Voice Teachers Facebook group - some espousing it and some dubious of the health of undertaking such a vocal training regimen.
 
Singing while running is not new. The military does it with their running cadences.  However, as a training tool for singers it seems to be taking off.
 
Today I’m going to discuss the pros and cons of this form of training, how to decide if it’s right for you and steps to implement it.
 
Pros and Cons of Running and Singing
 
Pros:
 

• Cardiovascular training is absolutely a must for singers on so many levels. From improving your voice to improving your health (and since you are your instrument any health gains to your body carry over to the voice) . You can read more about why every singer should do cardio training here.

 
From my own personal experience, when I took up triathlon my vocal stamina and power increased tremendously and I was already a fairly active person going to the gym 2 – 3 times a week and taking 3 dance classes a week, but the cardio training of triathlon made a significant difference.

• Running while singing trains your body to resist the impulse to gasp when inhaling and to stabilize the core (ribs, abs, back) muscles to allow for controlled exhalation while phonating.

 

• It trains the larynx to perform dual roles as an airflow regulator and as the oscillating sound source of phonatory function.

 

• It trains your body to function under conditions of less oxygen. Much like with swimmers, you are training to move with less oxygen in your system. The average breath intake of a dry land athlete at maximum effort is 50 – 60 breaths a minute. Swimmers cannot breathe that often without compromising their stroke rate. Similarly, when singing we breath less often and if you are dancing and singing on stage you need to adapt your body to keep moving optimally with less oxygen.

 
Cons:

• If done improperly., it can lead to phonotrauma and hyperphonically-induced (loud/strained phonation) voice problems.

 

• It can put you at greater risk of bodily injuries such as knees, calves, shins, ankles, and feet.

 

• It can leave you light-headed, either from lack of oxygen or hyperventilating, which can put you at risk of passing out and/or physical injury.

 

• Musical phrases will be shorter.

 

• It requires a training plan. It absolutely should not be attempted if you are not already physically fit.

 
And that brings me to:
 
Is It Right for YOU?
 
Yes you need to be already physically fit. If you can not run, I mean JUST run, for at least 30 minutes, you should not attempt to run and sing as part of your training. This holds true of any cardio and singing – ellipticals, bikes.
 
However, you may be able to WALK and sing and this can have some of the same benefits if you don’t need to do much movement, which brings me to the second point in deciding if this is right for you.
 
Does your singing require a lot of stamina and involve moving while singing? If you are a show choir singer, a musical theatre performer, have an active stage performance of any kind, then YES, you need to develop the stamina and the sound stability that this will provide.
 
My first taste of the necessity for this control came when I was in my high school musical production of Anything Goes and I had to tap dance and belt out my solo over orchestra and chorus (this was before headset sound systems, so no adjusting sound balance). I’ve since had to deal with this many times from dancing and cartwheeling through the Can-Can while singing in Orpheus in the Underworld, to sustaining a high B while being lifted up and perching on a dancer’s shoulder for the big finish after singing and dancing my way through Not Since Nineveh in Kismet.
 
If you just stand and deliver (or sit and deliver) then probably you don’t need to do this type of training.
 
 
Steps  to Safe and Effective Run/Sing Training
 
Now that you’ve decided you want to attempt this type of training. Here’s what you need to know:

1. Develop healthy singing breathing patterns, that is low diaphragmatic breathing, first. If the breathing technique isn’t there yet, it will not be aided and actually could be made worse by running and singing. Actually running or any cardio activity should be undertaken with the same kind of breathing that we are taught as singers. Many athletes have to unlearn their poor breathing habits.
2. Start your cardio training without singing. As mentioned before you need to be able to sustain your movement for at least 30 minutes at a moderate pace. If you are new to running, start building up your stamina doing the following workout: Warrm up with a 5 minute walk. Then alternate 1 minute running with 1 – 2 minutes walking, do this a total of 10 times. Cooldown with a 5 minute walk. Work up until you can run 30 minutes non-stop at a moderate tempo (this would be where you can get out a few words to speak, but not much more). If you want more information on how to run or would like to develop a customized training program feel free to contact me here.
3. Do resistance training, including core exercises, to develop a strong body  that will make you a better runner and reduce your risk of injury, plus develop the muscles you need to stabilize your sound when moving. 
4. When you have reached the minimum endurance required, you can start your voice training on the treadmill. All the following exercises should be done at a very easy pace. Whatever you establish as your easy pace (an easy pace is one at which you can keep up a conversation), go about 10% less (for example if my easy pace is 6 miles/hour then I would do the exercises at 5.4 miles/hour). Be sure to warm up both vocally (a few minutes of straw exercises is great) and physically (5 - 10 minutes walking or running). At first you may only be able to do one repetition of an exercise with time in between to catch your breath. Be sure to stop if you feel lightheaded or weak.

 

• Start with breathing patterns – inhale 2: exhale 5, inhale 2: exhale 7 and so on.
• Sing descending 5 note scales on an oo sound [u] or an ee sound [i]. One note per step you take is usually a good place to start.
• Work on sustained notes on closed vowels and really feel the antagonistic fight in your ribs.
• Once these are mastered with little recovery breath needed, then you can start working on more open vowels, longer passages and phrases of songs.

  
Just like any other training, if you do it in a slow progressive manner, you will reduce your chance of injury and soon enough will have the stamina, endurance and vocal power that you require for the most demanding vocal athletics required of you.
 
You are a vocal ATHLETE!
 
Need support and guidance, then join our community at Vibrant Body Vibrant Voice.
 
 
Disclaimer:
The Fit Singer is not a medical service. All physical activity carries the inherent risk of injury.  It is your responsibility to choose which activities are right for you and to consult with medical professionals as you deem prudent or necessary. You are solely responsible for your health care and activity choices. 
 
 
Resources:
 
https://scholar.google.com/citations?user=mvbkppAAAAAJ&hl=en
 http://www.thisisyearone.com/beyonce-on-independence/
 http://theraceclub.com/aqua-notes/breathing-in-a-swim-race/

​As singers we are always striving to release tension for a freer singing voice. Jaw tension, tongue tension, shoulder tension, breath tension...
 
What exactly do we mean by tension? According to the Oxford English Dictionary:

​ten·sion
ˈtenSHən/
noun
noun: tension
1.  the state of being stretched tight.
"the parachute keeps the cable under tension as it drops"
synonyms:
tightness, tautness, rigidity; More

• the state of having the muscles stretched tight, especially as causing strain or discomfort.

"the elimination of neck tension can relieve headaches"

• a strained state or condition resulting from forces acting in opposition to each other.
• the degree of tightness of stitches in knitting and machine sewing.
• electromotive force.

2. mental or emotional strain.
"a mind that is affected by stress or tension cannot think as clearly"

Though stretched muscles and mental and emotional strain can play a part (more on that later), this is NOT the tension we are usually talking about. What we usually mean by tension in terms of the body and singing is MUSCULAR tension:

 ​muscular tension
​Etymology: L, musculus + tendere, to stretch
the force that results from muscular contractions. Internal tension is produced when cross-bridges form between the actinand myosin filaments within each muscle fiber. The force generated by these contractile elements is transmitted to the bones via tendons and connective tissue. The bones move and produce external tension.
Mosby's Medical Dictionary, 9th edition. © 2009, Elsevier.

So we are looking at muscles in a state of contraction that impede the freedom of other muscles, movement of joints, and breath flow.
So let’s start with muscular tension and look at some of the causes and solutions.

​1. Improper alignment and muscle imbalance. Our day-to-day lives leave us ripe for poor alignment and muscle imbalances. Sitting too much shortens our hip flexors. Hunching over computers, desks or even pianos allows our shoulders to round. Phones and computers cause text neck. Wearing heels affects the whole body shortening calves and throwing our hips forward, cause hyperextension of the back, and all the way up to your neck. 

The typical solution in a voice studio is the teacher sees the misalignment and instructs the students to pull            themselves into alignment. Let’s take rounded shoulders for example. The usual instruction is to pull the shoulders back. Unfortunately, this may cause more problems than it solves or at best is a momentary fix. You have now crossed into the Oxford definition of tension as you have elongated and stretched muscles, which is not correct medical term that we want to use. The contracted pectorals and neck muscles are now being stretched out beyond their current capability, which will cause discomfort to the student and have limited influence on the sound in this state.
 
The teacher may have advised to undergo a course of stretching exercises for the pectoralis major (chest muscle), but that is of limited use unless strengthening of the antagonistic muscles (Infraspinatus, teres minor, middle and posterior deltoid, latissimus dorsi, teres major) is also undertaken. Joint alignment of the shoulder must be taken into consideration, too.
 
Solution: If possible see a personal trainer or physical therapist proficient in postural assessment. They will be able to target where imbalances are and give corrective exercises. Do full body- conditioning exercises – do not focus on just one body part or muscle group. The Total Singer Challenge offers programs that can help with better alignment and strengthening, I am also trained in postural assessment.
 
2.   Injury: If you have an injury, whether a broken bone or a sprained finger, it can affect your whole body, which can affect alignment and cause tension. Even the smallest injury can make you compensate with other muscles. Also the pain mechanism can cause clenching of muscles. Let’s take a not so obvious injury and see how it can affect the body – a sprained index finger of the dominant hand. The pain may cause tension in the shoulder, neck and jaw from clenching. You will be favouring use of other fingers that are not as strong, so the unfamiliar grip will cause fatigue of muscles not usually used, which can lead to more tension.
 
Solution: If it is a newer injury then you should be under the care of a physical therapist to aid with recovery. When singing try to position yourself in a way that will minimize tension. If you have a lower body injury, this may mean sitting (always observing good sitting practices). If it’s an older injury that has scar tissue involved you may need to seek other forms of therapy such as deep tissue massage or active release technique. Also see the solution to point 1.
 
3.   Unawareness of bad habits: Every singer knows about the “terrible tongue”. It seems to have a mind of it’s own at times; retracting on high notes, tensing, pushing down on the larynx, etc. Most of this happens just because it hasn’t been trained properly. A good teacher can usually bring awareness to this and with diligent training the problem will be solved. There are other bad habits that can occur from no obvious reason. For me, as a young singer, I tended to sickle my foot while I sang. I finally managed to get rid of it, but then discovered the tension had moved to my butt cheek, which liked to clench. My teachers were unaware that this was taking place. It took a while by my own conscious efforts to get rid of it and there was really no obvious technical reason that it should have been happening.
 
Other areas of tension can be the wrinkling forehead, clenched fists, splayed fingers, and other manifestations or tension. Now some of these may be just a bad habit, trying to help with technique – all sorts of things happen in singers hitting high notes, for example, even singers with good technique have been caught rising on toes or wrinkling foreheads; possibly vestiges of a time before their technique was mastered.
 
Solution: Constant awareness. If this has been a longstanding problem you may need to address any issues as with point 1. If it is a technical issue see point 5.
 
4.   Stress: Now some of the above types of tension can also be caused by stress. Mental and/or emotional strain is, after all, the second definition of tension listed above. This can manifest itself physically, sometimes as chronic tension when certain muscles in your body stay in a semi-contracted mode for long periods of time. When you are worried about something it can be difficulty to breathe correctly, you may remain in a tense position without realizing it, and find you can't relax and let go. A voice teacher or coach is not necessarily able to help with the root cause, but they can identify that it is impeding the freedom of the voice and advice the singer to get appropriate treatment if they are not already doing so.
 
Solution: If it is just the stress of daily life a meditation practice, yoga, or a good massage may be all that’s needed. It could be a fear of messing up - "Here comes that high note", which requires work on confidence and secure technique. If it is a more deeply rooted problem, such as anxiety or depression, then the care of a medical or mental health practitioner is recommended. Voice teachers often reflect on how their lessons can sometimes feel like therapy sessions, but it really is outside of our scope of practice and should be deferred to the professionals in this area.
 
5.  Poor technique: Poor technique in breath management will especially have an effect on tension. An insufficiently deep breath and inconsistent airflow can cause throat and jaw tension.  Breathing into the wrong area, whether from the incorrect instruction to sing from the diaphragm or over focusing on belly breathing, can throw out alignment. Insufficient lift in the soft palate can cause tension in many parts of the kinetic chain of singing as the body tries to compensate. And of course, there can be other aspects of poor technique.
 
Solution: A good voice teacher should be able to identify and address issues of poor technique. Your own diligent work must do the rest. Poor technique over many years can cause muscle imbalances, so again, see point 1.

​In conclusion, to have a free vibrant singing voice we want a body free of unnecessary muscular tension. Finding the root cause of the tension and giving it the proper treatment is important, otherwise the cycle of tension will continue. However, a daily course of self-massage and foam rolling, plus a good full body workout can go a long way in aiding the management of tension until the root cause is addressed. 

If you are looking for ways to improve your alignment and release tension then join our next Total Singer Challenge where you will get one-on-one attention to target your specific needs. Click here for more information.

​This topic is one that I’ve been meaning to write about since last January, but there always seemed to be something that came up. Now with back-to-school time looming I figured it was about time to tackle it.
 
By now most people have heard this term. Text neck is a condition caused by looking down at your cell phone, tablet, or other wireless devices too frequently and for too long. It can be the cause of neck pain and damage. It also contributes to poor postural form, which for singers, of course, means less freedom in the instrument. It will affect breathing and constrict the larynx.

​As you can see in the diagram the greater the angle of looking down the greater strain is placed on the neck. This can cause the vertebrae to slide out of alignment.  It shortens and tightens the muscles at the front of the neck and chest. Meanwhile the muscles at the back of the neck and spine become stretched and weak.  When standing in an upright posture you can often see an excessive lordotic curve of the neck and kyphotic curve of the upper back.
​
Spinal alignment can be temporarily achieved through methods such as chiropractic. However, the pull of the tight muscles and weakness of the stretched muscles will only cause the vertebrae to slip back.

 We took some time to discuss his health and fitness journey.​

​TFS: How did you start your health/fitness journey?
 
MA: I would have to give credit to my dad to helping me start on my fitness journey.  As a child I was not terribly active; I enjoyed reading and academics and games.  My dad made a point of giving me physical challenges like push-ups and sit ups, 3-5 mile runs, etc. to boost my mental toughness and physical ability.  As a reward, I would play badminton with my sister and my dad.  Gradually I started to really enjoy the challenge and sense of accomplishment and now need very little encouragement.  I am usually at the gym a little too often! 

​TFS: What does your normal fitness routine consist of?
 
MA: I have 4-5 weight workouts scheduled throughout the week with 3 quick ab workouts as well.  I plan for cardio 2-3 times a week and, as time permits, attend a Chen Tai Chi class on Sundays for about an hour and a half.

​TFS: Do you have a favorite exercise or activity?
 
MA: I can’t say that I have a favorite exercise; I like each part of my workout plan for different reasons.  That being said, I do enjoy lifting weights and tai chi perhaps the most.  I generally dread going for a run because cardiovascular activity has never been my favorite activity.  That being said, it is good for me and builds character.  And it is rewarding to finish a run and feel great afterwards.

​TFS: What do you typically eat? Do you have a specific diet or nutrition plan?
 
MA: I tend to eat protein rich meals with a moderate amount of carbohydrates and fats.  Generally, my meals are larger at breakfast and lunch, and taper down in size as the day wears on.  I eat 5 times per day.  For supplements, I use a whey protein powder, a greens powder as I find it a challenge at times to eat enough greens, a CLA supplement and Korean Red Ginseng.

TFS: What advice do you have for other singers?
 
MA: Keep studying and reflecting to understand your voice.  Incorporate activity into your life to help keep stress at bay and keep the body healthy and fit.

​TFS: Where do you see yourself in 5 or 10 years from now?
 
MA: An interesting question.  Currently I am starting to perform again and also work in the hospitality industry.  I enjoy both for different reasons.  I would be happy to still be doing both within 5 to 10 years with a great amount of performing as a part of my days.  Perhaps also teaching voice?

​TFS: What have you found to be your most physically demanding performance?
 
MA: My most demanding performance was during a staging rehearsal at the University of Manitoba’s Contemporary Opera Lab; I was singing Zizi’s Lament and had to do it while doing a series of cartwheels.  How or why I was asked to do this escapes me at the moment but the memory of trying to support the voice while my body was supporting itself and spinning upside down to right side up and back again was a ridiculous challenge!

TFS: Thanks so much Michael! It's been a pleasure to talk to you and, of course, work with you again.

​​TFS: How did you start your health/fitness journey?
 
NE: I think my attention to cleaner eating really started around the time that I was finishing my degree at University.  Between a busy school schedule and my teaching and performance schedule, I had really started to neglect my body.  I was having ongoing stomach issues and found that I was often eating unhealthy “comfort” foods and not making any time for exercise. As a result I was carrying some extra pounds and overall, just felt like my energy was not what it should be.  The desire to pursue a performance career post university really helped me to focus in on what my body needed - not only was I in poor physical shape, but I was also compromising my heath, making me more prone to the virus of the day. Being sick makes my job nearly impossible, and traveling can sometimes make those goals harder to achieve. With a good plan, some research and a commitment to making a change I found that the pounds came off and I  felt so much better and stronger.  I even started craving the healthy foods and snacks that I had incorporated in to my diet.

TFS: What does your normal fitness routine consist of?
​
NE: I try to move my body in some way every day for a minimum of 30 mins.  I have a number of exercises that I enjoy and I rotate them throughout the week to make sure that I am getting a good total body workout. My workouts also are also portable so that I have no excuses.  Body resistance training  for strength and conditioning, running for my longer cardio days and yoga for recovery seem to work best for me. Best of all, I don’t need a gym membership to do it. I just have to wake up in the morning and commit to getting it done.  Sometimes that means getting up a bit earlier, having one of my daughters follow me on a bike, or shutting off the media distractions earlier in the evening to decompress with some yoga. It’s me time, and I always feel better after doing it.

TFS: ​What impact have you noticed on your voice from your healthy lifestyle?

NE: Staying healthy is key - especially with two young girls who both go to school and have brought home some nasty viruses.  If I am eating healthy my body has a better chance of fighting of those virus.  I also take supplements daily such as Wellness and B vitamins to keep my immune system in top form.  It is not always possible to get the best nights sleep or to avoid stress, but fueling your body with nutritious foods and supplementing wisely can help you stay on track.

​TFS: How do you maintain your lifestyle while traveling?
​
NE: I am committed to finding the healthiest non processed foods no matter where I am. Often asking locals where the best produce or organic selections are will help to make sure that I can cooking or eating healthy on the go.  Otherwise, I can always simplify what I would normally cook in my own kitchen by cooking with whole ingredients and using  jarred spices to add flavor.

TFS: ​What do you do on a performance day?

​NE: I try not to do anything to different from a normal day, except that I will try to relax and meditate in the afternoon before heading to the performance venue to hit the “reset” button.  Having two young girls who often travel with me means that I am still on duty during the day and I although they know that we won’t be doing any big activities on work days, we still spend time together and sometimes even share a meal before I leave. I still workout on performance days and find that a good sweat will open up the body and make my vocal warm up faster.

TFS: ​What’s your guilty pleasure?   NE: Chocolate - dark chocolate and a glass of white wine.
 
​
TFS:What advice do you have for other singers?
​
NE: Treat your body with respect and it will perform for you. Be realistic about your goals, both personal and professional and don’t compare yourself to others. 

TFS: ​Where do you see yourself in 5 or 10 years from now? 

NE: I plan to just keeping doing what I am doing for as long as I can.  I love being a mom, and Music is such an integral part of my life. I can’t pinpoint anything too specific that I hope to have achieved, but I know that the health and happiness of my family is very important to me and I will strive to hold that as my goal as the years go by.

TFS: What have you found to be your most physically demanding performance?

NE: I recently performed in a “Beethoven Marathon” performance with the SF Symphony Orchestra, which was the combination of two concert programs, one beginning at 7:30 and the second beginning at 9:30 wrapping up around midnight - the challenge, however, was that I got up at 5am the next morning to run a Half Marathon and still somehow managed a sub 2hr pace. :)

TFS: That is amazing! ​Thank you so much Nikki. Hope the rest of the run of Mice and Men goes well. The opening night performance received great reviews!

​If you happen to be in Winnipeg you can still catch performances of Of Mice and Men on Tuesday, April 26 at 7 pm and Friday, April 29 at 7:30 pm at the Centennial Concert Hall.