Sound Direction Blog

What IS Posture Anyway?

We all know that ‘good posture’ is important. It helps us move through the world with confidence. It helps us have presence in performance or public speaking. It’s the foundation of singing. We feel and look better with it.

But if you ask people what good posture is, you’re likely to hear something like the following:

“Well, I know I should use it, but I don’t.”

“Standing as straight as possible like my head is being pulled up to the ceiling with a string.”

“When I was a kid, I was told to pull my shoulders back and lift my chest. But my back hurts after I do this for a while.”

If you ask a group of people to show you “good posture,” and then you are attentive to what each person is doing, you’re likely to notice that everyone has a different idea, and that often, our conception of posture involves a lot of effort and pulling. (If you’re a choral conductor or music educator, be extra attentive to the words you use to talk to your choirs and students about posture over the next few weeks. See what you notice!)

When I was a young singer, I was told I had “great posture,” but that posture didn’t help me sing with ease. I might have looked like I had poise and balance, but the way I was standing was actively getting in the way of free singing.


Because what’s we’re often looking for in “posture” is a correct outer form, but what gives us ease and balance is our inner coordination. It’s not about what we look like, but about how all of us works together.

I teach a course at Indiana University Jacobs School of Music called “Postural Alignment for the Musician.” While I didn’t pick the title, it has been great to work with these concepts because EVERYONE has an idea about what posture is and isn’t.

What is Posture? What is Alignment? Alexander Technique gives us some clues.

On the first day of class we start by sharing thoughts about what “posture” and “alignment” mean to each of the students. They have great ideas! Then I offer one of my favorite definitions of posture:

“Your posture is the ongoing perceptual process by which you orient yourself to gravity and to your relationship with the people, objects, and events in your world.”

  • Mary Bond, The New Rules of Posture, p. 12

Here are some reasons I love this definition.

  1. Posture involves PERCEPTION. It’s not about a fixed, correct position, but about our response to the world around us.
  2. It’s about our orientation to GRAVITY. Our bipedal stance requires both the downward force of gravity and the upward energizing force of our deep postural muscles.
  3. Posture is DYNAMIC, and is influenced by our thoughts (about those people, objects, and events), our goals, and our habits.

We also do a fun brainstorming activity where we compare and contrast two models of posture:

This guy (a posable wooden art model):

Wooden Art Model of a Human

and this, a “Skwish” baby toy (which is also a tensegrity model):Tensegrity Model of Posture

I ask the students to brainstorm ideas in favor of each as a model of posture, and against each as a model of posture. They usually create a list like this:

In favor of the art model: 

  1. It looks more like a human 
  2. It has movable parts 

Against the art model:

  1. It’s rigid
  2. Its joints aren’t really like our joints
  3. If you drop it, it doesn’t bounce

In favor of the tensegrity model:

  1. When you move one part, all the other parts are affected
  2. When you drop it, it bounces. When you squish it, it pops back up.
  3. You could imagine the dowels as our bones, and the elastic as our muscles and connective tissue (see definition of tensegrity here)
  4. In short, it’s springy, dynamic, and resilient

Against the tensegrity model:

  1. It doesn’t really look like a person:

When you look at these lists, what you realize is that the only benefit of the art model is that it fits the outer form of what we think a person’s posture should be. It shows us the “what.” But it doesn’t address how we should get there.

Alexander Technique teachers typically don’t talk about posture for this very reason. We’re not interested in a correct outer form, but in the way that a person organizes themselves. F.M. Alexander called this Use. Your Use is your own, individual way of being in your body, in your thinking, and in your responses to the world around you.

My colleague Hilary King states it nicely in her Alexander Technique glossary:

Use refers to the habitual and characteristic manner in which a person moves and uses their body, all the time, whatever they are doing. Our use is influenced by our thinking and by our emotions and to bring about changes in our use, we need to allow changes to take place in our thinking and in our reactions to things.

“The way we use ourselves affects the functioning of the whole body, our whole psychophysical being. As F M Alexander put it:

‘Talk about a man’s individuality and character: it’s the way he uses himself’ 

So the next time you’re giving someone instruction in how to stand or sit for singing, playing piano, or anything else, remember not to go for a correct outer form. Give them guides for a kind of balance and ease that begins on the inside, rather than things to “do” with different sets of muscles.

Here are some phrases that help me. These are all based in solid biomechanics, and draw on the Alexander Technique in that they start with our thinking and our goals, not a plan for a “correct position.”

“I don’t have to be right.”

“My feet (and if sitting, my sitting bones) are supported by the earth/the surface I’m resting on, and I’m allowing myself to be supported.”

“I let my hip sockets release in the front, my knees release in the back, and allow my back to widen”

“I let my head rest to balance freely on top of my spine (way up between the ears)”

“I let my shoulders release to either side from the center of the chest”

One of my favorite aphorisms from F.M. Alexander is:

“There is no such thing as a right position, but there is a right direction.”

If you’re a teacher, play with these ideas in your next lesson or rehearsal, and see what you and your students discover! I’d love to hear from you!

Constructive Rest – Peace in the Midst of Busy

It’s mid-April. For those of in the academic and music performance cycles, that means BUSY. With concerts, finals, and an increasing number of commitments, it’s easy to feel like there just isn’t any downtime. I try to build periods of rest into my life, but some days, all I can get is ten minutes. What can I do with ten minutes that could possibly have an impact on my overall stress and fatigue?

One of the key concepts of the Alexander Technique is “inhibition,” a word that in this context really just means to stop, to prevent ourselves from making an action, taking the time to think. It’s the small space that gives one the opportunity to choose: do I follow my habitual way of doing things, or do I make a new choice? In that choice, to paraphrase Viktor Frankl, is our freedom – freedom from busy-ness, overwhelm, strain, stress. If my habit is to “push through” these busy times, making the choice to stop and literally lie down is a powerful antidote!

Constructive Rest is a body-mind practice that gives you time to pause in your busy day, and allows the whole body a chance to release, letting gravity help with the lengthening of the spine and widening of the back. It’s a chance for a “reset.” It’s the next best thing you can do to having an Alexander Technique lesson, and supports the process of change between lessons. Constructive rest is also a great way to begin vocal warm-ups! We do constructive rest in nearly every class in the course I teach for musicians at IU Jacobs School of Music. While it’s “just laying on the floor,” the students say it is one of their favorite parts of the class!

Alexander Technique Constructive Rest, Semi-Supine, or a "lie down"

Constructive rest is one of my places of refuge in the midst of a busy life. After a long car trip, or in the early afternoon while my tea is steeping, I find constructive rest to be amazingly rejuvenating! five to ten minutes on the floor does wonders to alleviate fatigue in body and mind.

To practice constructive rest, also known as Semi-Supine or “having a lie-down,” find yourself a firm but comfortable surface. That can be a carpeted floor, a yoga mat, or a fleece blanket. You need the firmness for support, so avoid beds or other things that sink under your weight. You’ll also want a paperback book to rest your head on. The book thickness that is comfortable for you will be individual: something high enough so that your head is going “forward and up” in relation to your torso, and so the occipital (head-neck) joint is not compressed, but you don’t want the book so thick that you feel tightness under the chin. Many people start with something around one inch thick, and then experiment by raising or lowering the height until they find something that works. Place your feet on the floor, about hip-width apart, with your knees pointed toward the ceiling.

Remain in this semi-supine position for  as long as is comfortable, five to fifteen minutes. It’s a great place to think, or to simply be, though it’s not a nap! Allow your eyes to be gently open, gazing at the ceiling. (If you’re so tired that you fall asleep, just take a nap instead!)

Practicing awareness as you rest, you will gain even more benefit. Here are some things to think and notice:

1. Allow the neck to be free, letting your head rest on the book. Notice the places where you make contact with the floor: shoulder blades, upper arms, elbows, ribs, pelvis, soles of feet. Allow each of those places to rest, and you’ll notice that your back begins to lengthen of its own accord. Let gravity be your friend!

2. Allow the knees to release toward the ceiling, as the top of each femur (thigh bone) rests in the hip socket, and each foot rests on the floor. Feel the muscles in the low back release as you think of the hip joints resting toward the back of the pelvis.

3. Resting your hands on your low ribs, at your sides, or at the top of the hips, notice the width across the shoulder girdle, from side to side across the collar bones in front, and across the shoulder blades in back. Notice the movement of breath as you rest, allowing the ribs and abdominal muscles to move.

4. You might also notice any thoughts or emotions that are in your attention. Notice them; let them shift or change. Are they connected to something you’re observing in your body?

5. Return to noticing each area and the whole, allowing your self to release into length, width, and ease.

Practicing constructive rest on a regular basis can have huge benefits: more peace of mind, more ease in your body, less pain and strain, less fatigue… Try it for several days in a row, and see what you discover!





You Are Your Instrument: The Power of the Breath, part 2

In last month’s blog, I explored the idea of noticing your non-doing breath. Not long after I sent it out, one reader wrote to ask: “Can you give us tips on how to incorporate breathing techniques into daily life?”


First, let’s finish talking about the “Whispered Ah.” if you haven’t recently practiced paying calm attention to your breath, allowing the air to go out, to pause, and then allowing the air to return into your lungs, take a read through the second half my post “The Power of the Breath, Part 1” and see what you notice.

A couple of important notes before we begin:

  • Practicing breath in this way ALWAYS begins with an exhale. Many people find it hard to first let air out of the lungs without taking a preparatory breath in. Pay close attention to how you start, pausing in your thinking to calm the habit of breathing in before you breathe out. It may seem counterintuitive, but unless we have had the “wind knocked out of us,” we always have a little air in our lungs.
  • Your whole-self coordination is always the foundation of breathing. Give yourself time and space, thinking of allowing your neck to be easy, your back to release into length and width.

On board? Okay, here we go! I suggest you read through the process once or twice, breathing neutrally, before trying it.

  1. Allow whatever breath is already in your lungs to go out on an exhale, no matter how much or little, even if it’s only a teaspoon of air. You don’t need to breathe in first!
  2. Close your lips and pause. Don’t “take” a breath. Wait until the air “wants” to come in (your nervous system will take care of this, don’t worry!)
  3. Allow the air to return through your nose.
  4. Think of something genuinely funny so that you smile inside your mouth and a twinkle comes to your eyes. (If you can’t think of anything funny, find a 2nd grader and ask them to tell you a joke – those groan-inducing elementary school jokes or perfect. Here’s a favorite: Q: What did the snail take with her on vacation? A: Her sluggage. Get it? Slug-gage?)
  5. Allow the jaw to release from its joint just in front of the ear, and let the tongue rest freely forward so that the tip of the tongue rests behind the lower front teeth.
  6. Then allow your air to release out of your mouth. It will sound like a whispered “Ah.”
  7. Pause, and repeat from step 2.


Fun facts about coordination that help with whispered Ah and breathing in general:

  • As you exhale, your spine gently lengthens. As you inhale, your spine gently gathers. You do not need to “do” this lengthening and gathering. It will happen if you allow it.
  • You Have Time. You don’t need to rush. But you also don’t need to breathe slowly, or at any particular speed. Don’t make the mistake of trying to “lengthen your breath.” Your speed of breath may change, but that’s not the point. Breathing freely can happen almost instantaneously when we don’t interfere.
  • Free breathing doesn’t “look” like anything. It looks (and probably feels) like you sitting, standing, or lying down in a calmly springy way. You don’t pull or push on your chest, your head, your shoulders, your abdominal muscles, or anywhere else. I just did a search for stock photo images of “breath,” and in every single photo, the people were pulling their heads back, or scrunching their shoulders, or doing yoga poses. I couldn’t find a person breathing while using their head neck and back well. Why? I suppose that while it feels incredibly powerful and liberating, free breath isn’t very exciting to watch. Notice if you try to “do” something with or manipulate your breath based on an idea you have about what “good breathing” looks or feels like.

Here’s an image I chose to show what free breathing looks and feels like to me. I took this on a walk near the Winter Solstice in 2015:



Or maybe these, two pictures of the same winter grasses at sunset, with different exposures. Perhaps these are the breathing phases “exhale” and “inhale” respectively:

Sunset as Exhale. Ease in breathing with the Alexander Technique. Sunset as Inhale. Ease in breathing with the Alexander Technique.

I like to do Whispered Ahs in groups of three. I find that gives me the space to work on my self without pushing, and it doesn’t take too long. After you practice it, you can do Whispered Ah anywhere you are: while walking, while waiting in line at the grocery store, while dealing with a stressful situation at work or home. Here are a few of those ideas for daily life:

  • Spoken Presentations and Vocal Performances. Before you begin to speak or sing, Breathe Out. Exhale first. Pause. Allow the air to return. Use a series of whispered Ahs if you like. You don’t have to make a big deal out of it, and more than likely no one will even notice.
  • Instrumental Performances. Breathing is just as important for instrumentalists, even if you don’t make sound directly with your air. Breathe Out. Pause. Allow the air to return. Then draw your bow on the strings, press the keys on the piano, etc.
  • When you’re stressed. Feeling mental and/or physical tension? Breathe Out. Pause. Allow the air to return.
  • Parenting. See “when you’re stressed.” Before reacting, Breathe Out. Pause. Allow the air to return. I’m still working on this one (and my child just turned 8…)
  • While Waiting. In line at the store, on hold on the phone, while your tea is steeping… Breathe Out. Pause. Allow the air to return.
  • If you’re feeling resistant or sluggish. Try three whispered Ahs instead of “forcing yourself” to go on with an activity you don’t feel like doing. Does your state of being change?
  • Pick an activity. Choose any daily activity – sitting down at the computer, cutting veggies, folding laundry, reading, walking, playing music, exercising. Each time you do it notice if you hold your breath while doing these things. If you are: Breathe Out. Pause. Allow the air to return.
  • Answering the phone/Making a phone call. You have time to exhale before answering a phone call. It may feel strange at first, but the extra time will benefit you (and likely the person you’re going to talk to!) Breathe Out. Pause. Allow the air to return. Then say “Hello.”
  • Conversations. Similar to above. Wait before answering. This similar to “practicing the pause.” You have time. Breathe Out. Pause. Allow the air to return.

Your breath – and the way you choose to use your breath – has immense power. You can access that power any time, any where.

If you explore some of the breathing ideas in this post, I’d love to hear from you about your experience!

May you have peace in each breath. 

You Are Your Instrument: The Power of the Breath, part 1

Earlier this month, I had the joy of partnering in an event at the Spirit and Place Festival, a unique, 10-day long event in Indianapolis exploring the intersection of the arts, humanities, and religion. This year’s theme was “Power.” An ensemble from Indianapolis Women’s Chorus (the chorus I direct) partnered with Shiela Dimof from Santosha Yoga on an event called “Embodied Power: Breath, Voice, Yoga.” It was a yoga class with live choral music, or alternatively, a choral concert where you could also do yoga. It was really rewarding for us as the singers, and I hope the yoga participants had a great time as well!

Here’s an excerpt adapted from our application:

“Breath has power – the power to create life, and to sustain it. It powers speech, allowing us to build bridges of communication. It powers song, that we may express joy and sorrow, love and wonder. Breath powers both shouts of protest and lullabies. By connecting with our breath, we access a deep source of personal power within, which brings us into the present moment and centers us in our selves, allowing us to engage with life from a place of strength and use our breath – our voice, our selves – to power change in our world.”

Powered by the Breath. Alexander Technique for Choral Musicians.

“Embodied Power” ensemble from the Indianapolis Women’s Chorus at the Spirit and Place Festival, singing live for a yoga class!

Singers know that breath has power – in many ways, it IS the thing that powers singing. I often call breath the “engine” of the voice. But breath powers the rest of us, too, and tapping into the centering power of the breath and – importantly – the free use of our breath can have a major impact on general wellbeing.

It goes without saying that breathing is essential to life. Anatomically, your breath is at your center. The primary muscles that move the breath – your diaphragm, deep in the center of your torso, and the intercostal muscles between the ribs – are intimately connected with all the skeletal, muscular, and fascial systems of the body. (You can learn more about how your body moves in breathing from this awesome video by Alexander Technique teacher and Art of Breathing founder Jessica Wolf.)

Neurologically, breath is a deep-brain, semi-voluntary function. You can choose when to breathe, but you can’t choose NOT to breathe. Breathing is one of the first things we do in life, and we do it all the time – even when we’re sleeping.

Problems with breathing tend to start for two reasons. The first is that sometimes, we want to control our breath (perhaps to sing or play a long phrase, a high note, a low note, even to swim). We often think we need to “take a big breath” or use muscular effort in order to do those things. Guess what? You don’t! (read below to explore the idea of the non-doing breath a little more).

The second is poor coordination: when the Use of your Self (your coordination, your “posture”) is out of whack, that malfunction will show up in your breathing. In fact, when F.M. Alexander first began teaching others his methods of psycho-physical re-education, he was called “The Breathing Man.”

Using Alexander Technique to free the breath for great singing!

When I work with individual singers, choirs, and instrumentalists of all types, I often teach a practice from the Alexander Technique called “Whispered Ah.” This simple practice, which can be done anywhere, anytime, can help a person free the breath, coordinate one’s whole Self in breathing, and – because body and mind are not separate – bring a sense of calm centeredness to daily life. In addition to finding Whispered Ah to be incredibly helpful as part of my vocal warm-up process and as a teaching tool to get things moving for the voice, I personally use Whispered Ah when I’m under stress, when I feel mentally sluggish, or when I’m resistant to whatever it is I have to do.

Here’s a little taste of Whispered Ah. I’m going to offer it in two parts, so for now, let’s just see what happens when you notice your breath in a non-judgmental, non-doing way.

  1. Sit, stand, or lie down in a supported, springy, balanced, easy way. Constructive Rest is a great place to observe the breath!
  2. If you’re not already breathing through your nose, close your lips and notice the air moving in and out of your nostrils. See if you can observe it without changing it – don’t try to make the breath deeper, longer, calmer, slower, or anything else. Just observe.
  3. As you notice your breath, allow one of your exhales to lengthen. Again, not to push, stretch, or generally “do” anything, just let the exhalation get longer. Notice what this is like: choosing to use your breath without pushing. If you start to use more effort, stop, and return to a neutral breath.
  4. Notice that there is a slight pause at the end of the exhale, and at the end of the inhale. 
  5. At the end of one of these lengthened exhalations, stop. Wait in that “pause” place without holding, but without taking air in. Renew your springy, easy, supported stance or seated position. When the air wants to come in (don’t worry, it will!) allow the air to return. Practice this waiting and allowing a few times.

Give yourself the time to notice your breath, and see what effect it has on your state of being. We’ll return soon to the actual “Ah” part of Whispered Ah, but you may have noticed a change in your mood, quality of breath, and physical tension even in simply paying attention to your breath in a non-doing way.

We’re heading into the winter holidays here in the US, which can be a stressful time for many (including choral musicians). Whispered Ah is a helpful tool to bring yourself back to center, so that you can enjoy life from a place of calm and ease. Try it! I’d love to hear what you discover.  

Under Construction

I grew up in Michigan, where, like much of the northern US, there are two seasons: winter and construction. It’s a joke, of course, but it has some interesting parallels with the speeds and seasons of our lives. I looked at winter in a blog post marking the Winter Solstice in 2016. Today is the Fall Equinox here in the northern hemisphere, so let’s take a look at that other season: construction.

I commute for my teaching position at IU Bloomington 2 days a week, through some serious construction along the new Interstate 69 corridor, currently known as IN-37. There really aren’t other good ways to get to Bloomington from Indy, so I spend quite a bit of time surrounded by orange cones, construction zone speed signs, and big machines tearing up old road and paving new ones. The speed zone signs have the biggest immediate impact on my drive. There have been days I’m running behind in the morning, where I really, really wish I could zoom through that construction at 60 mph, rather than the strictly enforced 45. I just want to get to work!

Construction Barrels and traffic

Have you ever said that about the delays you see in front of you? “I just want to get to work!” In our hurry to get “to work,” whether that’s a project for our job, or to playing music we love, or finishing a 5K, or spreading mulch before it rains, we humans can easily put the goal ahead of the process. F.M. Alexander called this “End-Gaining.” When we end-gain, we’re often willing to ignore pain or stress, to use more effort than we need because we don’t feel we have the time or the option to try a new way. Sometimes, though, it’s necessary to go slow – even to stop – on the way to discovering freedom. This allows us to be more present in the process, and to be open to new possibilities – more creativity, more ease, less pain, less stress.

The process of discovering this freedom is re-education. You have to unlearn the habits of tension, strain, and collapse at the root of your difficulties before you can learn to do things in a  new way. (F.M. Alexander called his work “Psycho-Physical Re-education.”) You could look at it as re-construction. Take the example of IN-37, eventually to be I-69. The road was uneven in some places, with potholes that had been patched, cracks…a typical midwestern road that endures freezing in winter and humid heat in summer. It wouldn’t stand up to the traffic volume expected on the new interstate, and it might not be safe to travel at interstate speeds. The road construction workers are taking it apart where it needs to be repaired, removing sections of pavement, updating the under-structure, adding new lanes and bridges and overpasses… so drivers need to slow down. Why? We don’t want to hit the workers, obviously, and sometimes there are tight or unexpected turns, sometimes bumps or dips in the road.

When you’re in the process of changing your habits, of re-education, there are going to be unexpected turns, tight corners, and plenty of bumps or dips. Metaphorically, you ARE the road, AND the driver, AND the construction worker. So slow down! Take care of your self. Don’t pave over the bumps in the road, no matter how tempting…they’re not going away unless you’re willing to stop and deal with them. 

The other given of road construction is that it rarely runs according to schedule. So to with our re-education (and life!) There is a sign on the way to Bloomington that actually says “EXPECT DELAYS.” Delays are just a part of life. Instead of dreading them, or fighting them when they come up, can we welcome them as opportunities to explore? Expecting that you’ll be able to “fix” or “solve” a problem in a certain number of weeks with a particular goal in mind doesn’t leave room for the amazing result of Alexander Technique work: possibility. So slow down. You have all the time you need.

You’ll enjoy what’s on the other side of this ‘self-re-construction’ zone. 

You Are Your Instrument, pt. 1 – My Singing Journey

When people find out that I am a singer, voice teacher, choral conductor, and Alexander Technique teacher, it sometimes isn’t immediately clear how all of it connects. Some musicians who have heard of Alexander Technique see plainly how the work can help instrumentalists avoid repetitive motion injuries and play without strain, but as players of “the invisible instrument,” it might be less obvious how singers benefit.

So how can the Alexander Technique help singers?

First, let’s be clear on three things:

  1. You – all of you, your muscles, bones, thoughts, emotions – are an indivisible unity that we might call the “Self.”
  2. Singers: your Self IS your instrument (yes, all of you – not just your larynx, mouth, and breath, but your legs, back, toes, shoulder blades AND your thoughts, expectations, and judgments.)
  3. The Alexander Technique is uniquely qualified to help you learn to mindfully coordinate your whole Self, unlearning harmful habits and finding ease and freedom in whatever activities you do.

So it follows: Anything that helps you use your whole Self better – both mind and body – will help you sing better, and will give you skills to care for your voice and your self in even the most challenging vocal situations.

What does this look like?

Here’s my story.

I’ve been singing since I was a young child, though I started first with piano as my primary instrument, beginning to focus on voice in high school. I sang fairly freely, getting roles in the school musical, scoring well at competitions, and getting into the college I wanted to attend as a voice performance and music education double-major. I had this nagging problem of jaw tension, but at that point in my career, it wasn’t holding me back.


2002, in a performance of Barber’s opera, “A Hand of Bridge.”

In college I continued to do well. Between my junior and senior year, though, things began to shift. I reached a technical plateau in singing that my old, un-mindful coordination and tension couldn’t help me get past. Because I wasn’t singing as well as some of my peers, I chose to distinguish myself by singing “hard” music, and using a whole lot of strain to produce my sound. I loved intellectually challenging music (still do!) especially music written in the 20th century, and I had no patience for what I considered “simple” music. (Truth is, those “simple” pieces were too difficult for me to sing well and freely, so I avoided them whenever possible because they exposed my technical flaws.)

In spite of solid technical instruction from an experienced and creative teacher, I was making my own problems worse, not better, by efforting my way through singing. I overcame difficulties in all the other areas of my life by “working hard,” and my habit was to do the same with singing. My vocal production was tense, my sound was often heavy and inconsistent. No matter how adventurous and avant garde my programming was, or how unusual my audition pieces were, during my last year in college, I didn’t make the choir I had planned to sing in, and then I didn’t get into the graduate schools I had hoped to attend.

What to do?

I did end up getting my master of music in voice performance, but these experiences of failure showed me that there were a bunch of things I needed to change. A good bit of that change was in my thinking. I was finally ready to work on my technique and sing the “simple” music I’d avoided. (Spoiler: I really love a lot of this music now. It can be elegant and glorious.) I worked with another teacher who is an excellent vocal technician, and who also sympathized with my desire to sing challenging music, but still made sure I learned to sing well. For the first time in many years, I started to enjoy the act of singing all by itself.

But importantly, another piece started to fall into place: during my undergraduate career, I had been exposed to the Alexander Technique. I was fascinated that the same process that helped me learn to “float” up stairs without strain also helped me sing with more ease. I did some research into Alexander Technique and some other somatic modalities, like the Feldenkrais Method, and found that my learning style really matched the AT. I loved the idea that I could practice it anywhere, any time – while washing dishes, going for a walk, singing, or simply sitting and thinking. So I started taking private Alexander lessons, in conjunction with voice lessons.

Things started to shift.

A few years later, I began training to become a certified teacher of the Alexander Technique. My voice improved more over the three years of Alexander Technique teacher training (with no “voice” lessons) than it had in several years of vocal study in school. Why?

In addition to vocal and emotional maturation (I was 15 years older than when I started, after all), this is what I think: I learned how to use my whole Self well. I unlearned my reliance on the tension that had been the base of my technique since I was a teenager. When I learned balanced coordination in my whole Self, my breath was more powerful, my vocal tract was more free. I had a mental library full of the great technique that my undergrad and graduate school voice teachers had given me, and I FINALLY HAD THE COORDINATION TO USE IT. At the end of Alexander Technique teacher training, a fellow trainee (who was also a classical singer) and I did a vocal recital together. It was thrilling to get to use so many pieces of my life-work at one time! I sang well, and enjoyed myself, not getting so bogged down in the struggle. I sang music that was melodically simple and music that was quite complex, but I had learned how to navigate each challenge by coordinating the use of my whole self.


Side-by-side comparison: It’s subtle, but you can see the change from my junior year of college (left, in the purple gown) to about half-way through my Alexander Technique teacher training seven years later (right, in the black). I’ve always had what appears from the outside to be “good posture,” but the balance in my head-neck-back is more held and compressed “down” in the picture on the left, and more freely “up” in the picture on the right.

While it’s a visually subtle difference, it was a monumental change in my ability to sing freely, using my breath efficiently and powerfully, allowing the whole vocal tract to ring without effort.

Does this story sound familiar? Every singer has a different path, and every road has bumps. But the Alexander Technique, rather than trying to fix a specific bump, gives you the skills to navigate over and around the bumps, or even stop and decide to take a side road.

When your Self – your instrument – is in tune, you’ll be on the road to realizing your potential, and making the freest, most enjoyable, and most artistically gratifying music you can make.

You. Have. Time.

Today is December 21. Perhaps your email inbox has been like mine: every retailer from which I’ve ever purchased anything needed to remind me that there are only a few more days until Christmas, and that I needed to buy something today for it to arrive in time. There is an urgency afoot…not only now, during this holiday gift-buying frenzy, but also in our rapid-response news cycle, our text-message-laden social lives, and even our business dealings that seem to require immediate responses to email.

Maybe you’re someone who says: “I just don’t have enough time!” I know I’ve said this. And I know what happens when I think that way: I feel anxious. My muscles tighten. The importance of whatever I need to do next spirals out of proportion, and I lose perspective and a sense of the big picture.

When we believe that “there isn’t enough time,” we can act rashly, and bring a lot of unnecessary tension and strain into our thinking and our bodies.

Let me tell you three of the most important words I know. Try saying them to yourself:

I Have Time.

What did you notice? Did anything change in your body, in your thinking?

When I tell myself “I have time,” I often feel an abrupt slowing down, a sense that whatever I need to do next is less urgent, though often not less important. I know that approaching my next task with a sense of time and space will allow me to do it with more ease, and do it more completely, effectively, and mindfully.

I have time. Mindfulness through the Alexander Technique.This is one of my two favorite tea mugs. (I drink a lot of tea). I got it at the very first annual conference that I attended of American Society for the Alexander Technique, in 2007, at the end of my first year of teacher training. You can see it’s slightly battered, scarred, stained. I use it almost every day. The message “I have time” is printed on one side. (While not unique to the Alexander Technique, this phrase was used in the teaching of Walter Carrington, an influential 20th century Alexander Technique teacher and trainer of teachers.)

One of the reasons I love this mug is that I can identify with it. Sometimes life seems to get the better of us, and we feel run down, a little battered, especially as the air gets colder and time seems to close in. We feel like we have to rush, or effort our way forward. Reminding myself that “I have time” takes the pressure off, helps me to be more present and more aware of what I really need to be doing. Sometimes that’s continuing with my work, and sometimes that’s taking 60 seconds to just drink my tea.

Often, taking that time requires intentional work. It takes discipline. The scratches on the mug remind me that I’ll come through the work strong and resilient.

Another thing I love about this mug is that it’s huge. It takes almost a full 16 ounces of tea. Not only do I have time, but I have a LOT of it!

Now, I can almost hear the dialogue in your thinking. (I know, because it’s in mine, too.) “That’s all very well to say that I have time, but I have X, Y, Z to get done before 4:00 today, and then I have a deadline tomorrow and we’re leaving town on Friday afternoon…”

But here’s the secret – Taking time doesn’t take very long. It can just be a micro-pause, where you remind yourself that you don’t have to rush. You can just notice the space around you, allowing your Self to gently expand into the air above you, behind you, in front of you, and to either side of you.

I have time. Mindfulness through the Alexander Technique.I have my students at IU practice this in class. We intentionally build micro-pauses into every-day actions, things like opening their instrument cases, moving a music stand, reaching for their school bags, or taking a drink of water or coffee. I made some stickers for them during the 2nd-to-last week of class, as part of their “Alexander Technique Toolbox,” using printer labels, and I asked them to place the stickers somewhere they would see it frequently. One of my students said that this phrase had been revolutionary in the way that they thought about music, and about their career.

So often we think we have to rush into the next thing… but we don’t.

We. Have. Time.

Today is December 21, which is also the Winter Solstice here in the northern hemisphere. It’s an opportunity for us to notice how the natural world rests, taking time during the winter months, preparing for the seasons of rapid growth and renewal that wait just under the snow. The world seems to slow down, and we can slow down with it.

When you recognize that you have time, you have that potential for growth and life-giving action, you can be as quick as you choose but not rushed, you are calmer, and you are more free to enjoy your days, both your work and your play.

Say it with me again: I have time.

If you’re wondering how this idea of taking time fits in with postural coordination, or why freeing my neck has anything to do with my approach to my career, come in for a lesson or schedule a free phone consultation and we’ll chat. I’ll make some space for you to take time, and you’ll recognize that you already have it.

Did you just say to yourself, “That sounds nice, but I don’t have time to come in for an Alexander Technique lesson?”

If you did, remember:

You. Have. Time.

The Confines of Fear – Politics, Media, and the Fear Response

“I’ve been worryin’ that we all live our lives in the confines of fear.” – Ben Howard

I started writing this post in July. It got put on the back burner, but resurfaced this week for two reasons. One, if you haven’t heard yet, Donald Trump was elected president, in a turn of events that many people I care for see as a direct threat to their lives and freedom. Two, the lecture I had already scheduled for my music students at IU this past Thursday, two days after the presidential election, was about performance anxiety – specifically, the role of our nervous system and its fear response. It’s been a week since the election now – an epoch in the rapid-response, 24-hour “news” cycle, the share and re-share culture of social media.

But I wanted to take my time, because I want to be very clear as I’m talking about fear. If you feel afraid right now, I am not commenting on the validity of your fear. You have a right to feel afraid if you feel threatened. I am not commenting on the validity of the threat, and I am not telling you to “calm down.” I’m not here to foster political and social divides, but to help you be more integrated in your Self, which will give you tools for power, non-judgmental processing of information, non-reaction to stimulus, and freedom of thought and movement.

Here’s something I know from experience: you have a choice whether you want to remain in a state of physiological fear response. You have a choice that starts with how you use your musculature, which will have ramifications through your nervous system, and which may allow you a little more space in your thinking. My personal response since last Wednesday morning has been that I need to grow in my ability to love and be present and compassionate to others, and to take action with a clear head. I can’t do that if I’m locked in fear.

When I started this post in July, there were videos of senseless violence, vigils, protests, funerals, pictures of courage and conflict, and if one chose, one could fill one’s hours watching and sharing these on social media, reading and viewing over and over. This presidential campaign was the most negative campaign in memory, with each side afraid that the other’s candidate would strip them of cherished rights and freedoms (I’m not saying either side was wrong, I’m simply saying that they were afraid). For the last week, media sources have reported an uptick in hate-related crimes against people of color, women, immigrants, members of the LGBTQ community. People I care about are afraid for their families and their safety. There are articles pondering whether Trump will follow through on the most hateful of his campaign promises. Again, you can read, share, watch, comment to your heart’s content…or discontent, perhaps. The media cycle during this presidential campaign has become a chain of instant reactions to startling news, which people consume on repeat.

What happens when we’re startled by something? Whether it’s an unexpected loud sound, distressing news, tripping over something on the floor, or even an unwelcome idea, we often respond by tensing the muscles at the base of the skull and raising the shoulders up and in. This is a protective response, initiated at a physiological and neurological level by the sympathetic nervous system (SNS). The SNS is famous as the origin of the Fight – Flight – Freeze – Faint Response. In animals, it’s very clear:

The Startle Pattern. Photo: Peretz Partensky. Licensed under Creative Commons BY-SA 2.0

The Startle Pattern. Photo: Peretz Partensky. Licensed under Creative Commons BY-SA 2.0

Have you ever watched two dogs that were jockeying for status? An angry cat? The head pulls back, the shoulders and neck tense, all in preparation for attack or defense. It’s also the system that gets a creature ready to run from a bear, from a tree about to fall. It’s the “deer-in-headlights” response of freezing in place, seemingly without the ability to move. It’s the “play dead” response used by animals to protect themselves from predators.

The same response is evident in humans. After a lesson a few months ago, a student and I who are on the same page politically were discussing some developments in the US presidential campaigns, which she viewed as troubling. I watched as my student – who had been using herself marvelously with a free neck and easy back just minutes before – contracted her neck and pulled her head back and down, her chin jutting forward. I drew her attention to this, and with my hands gently guided her head and neck back into a balanced coordination.

This is exactly the same response I noticed in my Facebook feed on Wednesday morning. Some were ready to Fight. Some were ready to move to Canada (Flight). Some were simply stunned (Freeze). Some were in such despair that they couldn’t process (Faint). The SNS response is physiological, and again, I want to say that however you responded to these events, your response is okay.  I just don’t want you to be confined by your feelings of fear.

When we are bombarded by startling or distressing news, we are reinforcing this fear response. Say there is a bear. The SNS helps us get ready for a fight, or to run, or to play dead, or stand perfectly still and hope the bear won’t notice. Our SNS response starts in the spinal cord, below the level of cognitive thought. The SNS causes the release of norepinephrin (adrenaline), which raises our heart rate, contracts the bloodvessels in the limbs, contracts the pupils of the eyes, etc., which prepares us for action. Since we know the body and mind are not separate, there are mental components to this SNS response – anxiety, worry, fear. If there is just one bear, and we escape or the bear leaves, we then let the other branch of the autonomic nervous system take over. The parasympathetic nervous system (PSNS) is the “rest and digest” response, lowering heart rate, releasing blood vessels, dilating the eyes, and redirecting blood flow to our digestive organs. But if there is more than one bear, or if we keep focusing on the bear to the exclusion of all other stimuli, we can be physically and mentally confined in a Fear response.

Your body has this response on its own time, regardless of what the threat is. If you perceive it as a threat, you will likely have an SNS response. If that SNS response is not fully released, we can get stuck. F.M. Alexander wrote in his books nearly a century ago about “unduly excited fear reflexes,” meaning that he saw the people of his day (without television, computers, or twitter) as overstimulated, locked into a head-back, shoulders-up defensive posture. What about us? Are you raising your shoulders, tensing your neck, in defense against what you are reading in the news? Are you tightening your abdominal muscles, or the muscles of your legs, in preparation for flight? You may be doing these things below the level of cognitive thought, but that doesn’t mean you don’t have a choice about it.

Try an experiment. Turn away from your screen. See the wall across the room, or look out a window. Notice where you’re sitting. Allow yourself to meet the chair, or get up for a walk and notice how you’re standing. Check in with your neck – is it free? Tell yourself, “My neck is free.” Say it enough times that you start to listen to yourself. Check in with your hip joints – are they free? Tell yourself, “My hips are free,” enough times that it starts to make a difference. Notice if you’re holding extra tension in your shoulders, arms, hands, legs, or feet. Identify it, don’t judge it, and see if it’s necessary. You have a choice. Do you feel different than you did a moment ago?

Now, go back to your news, or your social media feed. Look at the article, and read its title. Tell yourself, “My neck is free.” Notice if you are being drawn to your computer screen. If you are, come back to your hip joints and abdominal muscles. Are they free? As you read, keep part of your attention available to your Self. Are you using a free neck, free hip joints, free shoulders and arms? If not, you can choose to do so.

I don’t want you to be confined by your fear. I want you to be free to wrestle with it, to understand it, to empower your whole Self to move into the next moment as you choose. Each of us has choice. I can choose to read the article or not. You can choose HOW to use your Self while you read the article or not. This is power, folks. You are letting your Self be free of the physiological fear response, which gives you more choice in what you will do, how you will do it, and it also gives you more clarity of mind. Instead of being reactive, you become responsive. You can choose what stimuli you will respond to, and what your response will be. You haven’t eliminated the threat, and you haven’t judged the threat or your own fear (or anyone else’s), but you have made a choice to control what you can control – your response to it.

Wednesday morning, I had to apply all of the skills I’ve learned through my practice of the Alexander Technique in order to move through and process the news in a way that didn’t pull me down into despair. It was hard work. Choosing your reaction to troubling stimuli is not always easy, but in the long run, it allows you to be more effective in the work you do and more present to those around you.

As individuals who are part of both a nation and of local communities, we can choose to live in fear of one another, or we can choose to use our Selves well so that we are not reacting with a Fight/Flight/Freeze/Faint response to each piece of news, however troubling. Our freedom of movement and thinking will allow us to take action in ways that are life-giving. If you are reeling from this election, regardless of who you voted for, I offer you a space that will be compassionate. We’ll work together to quiet the nervous system response that might keep you in fear. Please contact me if you have any questions or comments – I look forward to hearing from you and hope to see you soon.


A Proven Approach to Self Care

The idea of Self-care has been abuzz in the world around me these last several weeks. For those of us attuned to the academic calendar, whether as teachers of university or grade school students, or parents of children in school, the mid-fall rush has gathered. We’re tired. We’re over-extended. We’re doing too much for others, with less time for ourselves.


That’s a word we use a bit in Alexander Technique circles to refer to the whole person (though the idea of mind-body unity is certainly not unique to our work, nor is the word “self.”) The “Unity of the Self” means that we are not a body and mind, two entities to be treated and trained in two different ways.

Even more than that, it means there isn’t even a mind-body “connection.” They are the same thing – Us!

We are more than the sum of our “parts:” our thoughts, our muscles, our bones, our organs, our emotions, our spirits. Try to separate out any of those things into its own category, and you have problems. Science is continuing to show that our ‘minds’ and our ‘bodies’ are not separate. (For example, here’s a fascinating article about how skeletal proteins in mice have direct correlation to what we usually think of as “mental” health. Our bones effect our brains!)

So what is self-care, when your self is all of you?

Here’s my take:

A quality self-care activity gives you:

  1. time during which you can be mindfully aware of and pay attention to your Self in positive ways
  2. nourishment for your whole Self (remember, body/mind/spirit)
  3. peace for your whole Self (again, body/mind/spirit) – peace is defined as “freedom from disturbance; quiet and tranquility.”
  4. well-being that extends after the activity is over.

Using these guidelines, what are self-care methods that might work for you?

  • Some people enjoy a run or walk, especially outdoors. This is wonderful, and I do it as often as I can!

Ask yourself: Is your walk/run giving you whole-body-mind peace, as well asWalking with Alexander Technique - Mindful Self Care nourishment (exercise, fresh air, time in nature) and time to pay attention to your Self? Or do you “check out” and just run “with your muscles,” unaware of what you are doing? Does the benefit extend back into the rest of your day?

  • Some people enjoy the occasional massage. (I do too!)

Ask yourself: Are you able to take this peace of body with you into the rest of your life, or do you find that the tension creeps back in as soon as you return to ‘business as usual’?

  • Some people find that connecting with others to share a laugh, or reading something uplifting can help you put your burden down for a little while.

Ask yourself: What if you carried less tension around with you in every activity you do, putting that burden down more and more often, and supporting your Self instead with ease?

Ask anyone who has taken an Alexander Technique lesson, and I think they will agree that a lesson gives you all of these things: Time for calm, non-judgmental attention, nourishment for your Self, and peace of body/mind/spirit that can be accessed by you, on your own, throughout your day regardless of what activities you’re doing. The Alexander Technique is mindfulness embodied.

The American Society for the Alexander Technique explains our work in this way:

“A proven approach to self care, the Alexander Technique teaches how to unlearn habitual patterns that cause unnecessary tension in everything we do. It’s used by people of all ages and abilities to enhance the performance of every activity and relieve the pain and stress caused by everyday misuse of the body.”

In our culture, we tend to push our Selves to the limit, and only when we reach our limits do we “indulge” in Self care. What if you were caring for your Self in an ongoing way, and made opportunities for time, nourishment, and peace throughout your busy days, instead of waiting until you are in “crisis mode”?

In this context, you often hear the analogy of the talk given by flight attendants about aircraft emergencies: put on your own oxygen mask first before assisting others.

When I am under considerable stress – deadlines, family needs, emotional and mental preoccupations – teaching the Alexander Technique is what brings me back to a calm center. In order to be able to teach well, I have learned to put my Self first, and I MUST pay attention to my own Use to have a chance of assisting the person in front of me. I recently had a difficult morning, where I couldn’t “think” myself out of an emotional/physical funk, but teaching four Alexander Technique lessons took me back to a way of being that was poised, free, and light. I still remember what I was stressed about, but it no longer weighed on me. I could move through my days with the grace and ease that is the potential of every person. I am more effective in my work, I am a better parent, and I just feel better in my Self.

The next time you say to yourself, “I really need to do some self-care,” consider trying an Alexander Technique lesson. I’ll even offer you a discount: 25% off your first lesson if you’re a new student. Just mention you read this blog (promo code: SELFCARE) and we’ll make a space for you: for time, nourishment, and peace that you can take back out into your life.

I look forward to hearing from you!

Self Care Promo Code

Permission to Not be Right

Take a minute and think through a typical day. How many times during the day do you feel that you have permission to not be right? By that, I mean you are not expected to: know the answer, build it so it works the first time, even wear socks that match… in general, do you have the freedom to not worry about a set of expectations you feel you’re supposed to meet?

Those expectations come from everywhere. I teach Alexander Technique at a university, and the students are bright, talented, dedicated individuals. But many times in our learning environments, there is a fear of being wrong, of needing to know the “right” answer immediately, and a constant background level of tension and stress that accompanies the living up to these expectations. In order to be “successful,” we think we have to be “the best,” which often leads to becoming afraid of being wrong.

Frequently, when I work with a new Alexander Technique student, they come in with an expectation that there is a “right” way to be in themselves: a “right” way to stand or to sit, a “right” observation to make about what’s happening in their Use. In my work at the university, I give a lot of very short chair turns, and I’ve started reminding my students as a class and as individuals that they have permission, at least for the time they’re in my class, to not be “right.” Many times, a major pattern of holding will drop away simply upon taking in those words.Permission not to be right Alexander Technique

When children are young, they learn through trial and error. There isn’t judgment attached to learning, the way that often happens with older children and adults. It’s possible to continue learning without judging whether our efforts are right or wrong, but sometimes that seems rather counter-cultural.

What is it in your life that you feel you have to be “right” about? Following the “right” career trajectory, with no room for missteps? Living the “right” life-style, espousing the “right” views? What about the seemingly simple question of “right” posture?

You have the power to give yourself this permission to not be right, and if you go to an Alexander Technique teacher, they’ll hopefully remind you! Often, the “right” expectations we place on ourselves keep us from realizing our potential – whether that is the potential of a back without pain, or the potential of singing freely, or the potential of trying a new path in life we didn’t think was open to us.

What would happen if you gave yourself permission to not be right in just one activity or setting? How would it change the way you engage in that activity? Would you enjoy it more?

Try it out and let me know – I look forward to hearing from you. And if you need a reminder, I’m happy to tell you that you have the permission – which you really give yourself – that you don’t have to be right.

%d bloggers like this: