Do you reliably do what you think you are doing? Have you ever had the experience of doing an activity (like singing or performing) and discovering afterwards that you’re not doing it the way you thought you were?
It’s a disconcerting experience. The last time I experienced it most forcibly, I was playing recorder and preparing for a concert with my group Pink Noise. We were playing a rather lovely piece called La Lusingnola by Merula, and we wanted a sound at the beginning that was not legato, but not spiky either – more a sort of portato articulation. So we played and rehearsed, and thought we were doing rather well.
As part of my rehearsing process, I began using my iPad to tape my practice sessions. I taped the Merula, and then listened back to the recording. Imagine my surprise when I found out that I wasn’t playing portato at all! What sounded to me like portato as I played was coming across to an audience far more like staccato. It was too spiky.
I wasn’t doing what I thought I was doing.
As an Alexander Technique teacher, I see a lot of actors and singers with a similar issue. They have a lesson with me because when they open their mouths to speak or sing, they feel tension in the back of their neck that troubles them and affects their voices. Typically, I will ask them to sing a little bit for me, or at least do everything that they would normally do to begin singing and then just not sing.
And what do I most often see?
They aren’t doing what they think they are doing.
They are not opening their mouths to sing.
They are leaving their jaw still and ‘opening their heads’ to sing instead! In other words, rather than just let the jaw drop and leave the head alone, my students are trying to leave the jaw completely still (using muscular tension) and then use muscles at the back of the head to pull it back.
In both cases the mouth is open, but the result is very different.
- small number of muscles used
- relationship of head to body is left alone
- breathing mechanisms left free to do their job
- muscles activated to hold jaw in place – bad for singing
- muscles activated in back of neck – more muscular tension than needed
- relationship of head to body altered for the worse
- combination of various tensions likely to upset breathing and singing mechanisms
If ‘opening the head’ is so unhelpful, why do we do it? How is it that this happens?
According to FM Alexander, often we have never spent time thinking about HOW we go about most of our activities – we just do them. We get into the habit of performing a certain act in a certain way, and we experience a certain feeling in connection with it which we recognize as “right.” (CCCI, p.296.) If we even think about how we are going about an activity, we tend to assume that we are doing exactly what we think we are doing – that intention and results will be perfectly aligned.
So even if we notice that we aren’t quite having the success we want, or worse, we experience discomfort during the activity (like a tight neck while singing), we keep going because we don’t associate it with our manner of going about our activities.
When we go to an Alexander Technique lesson, or see the video that shows us what we are actually doing, we realise that, in FM’s words, “what we have hitherto recognized as “right” is wrong.” (CCCI, p.296.) We have to change our conception of the activity. We have to make a decision to do something different.
Next time you are singing, or playing flute, or even doing the dishes, just remember to take the time to stop and question: are you really doing what you think you are doing? Are you sure? And what will you change to make it even better?