core – Sarah Whitten Voice & Movement

Don’t Suck it in, Push it down or Pooch it out.

January 29, 2020March 27, 2023 Sarah Whitten Leave a comment

Let’s talk about your belly and what it is doing when you move and when you sing.

To start, I want to revisit the concept of core stability: When we have good core stability, we have a balance of strong muscles that live in close to the midline of the body combined with freedom of movement in the joints of the hips, shoulders, vertebrae as well as the knee, ankle, elbow and wrist. Put another way, our axial skeleton (skull, spine and ribs) relates well to our appendicular skeleton (shoulder blades, arms, pelvis and leg bones).

When we have a dynamic sense of coordination and ease of movement in the core we are employing versatility, agility, stability and awareness to get there.

So, what are we doing when we don’t have those elements?

We have compensations. There are three primary ways I see bodies compensate and they all relate to breathing and core function.

Bracing, or sucking it in, is the most common one I see. This can be a vanity issue (ahem), a part of breath holding or even an extension of butt clenching or jaw clenching. It can be an unconscious habit. Like, stop right now and notice if you’re gripping in your belly. Were you? We can also brace as a result of some mis-guided cuing in movement classes. Bracing is something we need to do when we are engaging in a high load activity – like lifting a really, really heavy weight. It’s a less useful strategy when we are walking up the stairs.

The cue of ‘navel to spine’ or even the ‘imprint’ cue that is sometimes given in pilates classes can create a sort of sucking in and bracing that we don’t want. Are they terrible cues that should never be used? No. There’s some value there, especially when you have someone who is needing to either re-connect to their core or connect for the first time. We all know where the navel is and can usually find a way to draw it towards the spine. BUT, this isn’t a long term, viable way of engaging that body to build core stability.

Try moving slllooowwllllyy from down dog to plank – do you grip and brace in your core to get there? If yes, back up and see if you can identify the point where you can go just before you brace.

Bearing Down is another issue. Your core is like a tube of toothpaste. When we squeeze a tube of toothpaste we want the toothpaste to come out the opening, not push down to the bottom of the tube. When we engage muscles in the core we want there to be an in and up motion of everything from the pelvic floor north.

If you are engaging and pushing down, you’ve got load headed in the wrong direction. This can create a drag down effect on the larynx and open up a whole host of problems for the pelvic floor from prolapse to hernias.

It isn’t easy to see bearing down, so you might need to ask someone if they feel any downward motion when they are moving or singing.

I have worked with more than one singer who was suffering from prolapse and it was a lightbulb moment for them to connect that downward motion with why their prolapse felt worse after rehearsals.

NB: Here’s a helpful little hint: we don’t really want to be pushing down hard to get poop out either. So, if that’s you sitting there for 20 minutes and you’re not there because you are escaping your children for 20 minutes, you might need to rethink your poop strategy.

Bulging is the third way we can see that core stability isn’t optimal. I define bulging as an abdomen that moves outward when we are moving or singing. This is very common in folx who have a diastasis recti (this is a widening and thinning of the linea alba that connects the two halves of the rectus abdominus). But even without a diastasis, bulging can happen.

The abdomen does have some outward motion when we breathe in – as the diaphragm descends it pushes on the contents of our abdomen and they will move forward in response. Bulging is not this motion. It is an extension of this motion. It is that tube of toothpaste not moving up or down, but moving out. And it is a moving out that increases when we move or sing.

Ironically, when someone has a habit of bracing, the larger volume breath they take in to sing (primarily in a classical singer), will result in a bulge in the belly that goes beyond what you would expect to see. A refinement of ribcage mobility and core engagement will help remedy that.

Once you’ve identified that one of these patterns is going on, what’s the exit strategy to start building new patterns?

We want to connect with the very local area of the abdomen, then move in ways that we add arms and legs and then start to vary the planes of movement we are using and then start to add load progressively.

Got questions, or want to explore more? Schedule a consult and let’s get you on the road to better function!

The importance of core training for singers

April 8, 2018March 27, 2023 Sarah Whitten 11 Comments

Many singers will avoid doing any core exercises in the interest of having total flexibility of their abdominal area. Other singers will do core exercises in an attempt to strengthen musculature that they know is connected to vocal production. And, still a third group considers what they do as classically-trained singers to be adequate work for the abs and leave it at that.

For many of us, the voice works well even though our core isn’t as well coordinated as it could be. However, when the voice and/or breath aren’t working well or you go through a physical change that results in a negative shift in the functioning of your voice or body, core training is a key element of making a change for the better. A well functioning core is crucial not just for pain-free movement, but also for the voice to perform optimally.

There is an important distinction that needs to be made between ‘core exercise’ and ‘core training.’ Core exercise involves doing a set of repetitive exercises without contemplating whether they are contributing to the functionality of the entire body. Core training, on the other hand, addresses functionality in the whole body: your breathing and your muscles, your existing patterns of engagement, resting tension and how you put all of that together (particularly as it relates to your voice) to establish a synergistic relationship throughout the body.

What are the signs of a core-voice connection that could be improved?
” Tension in the shoulders, neck and throat/jaw region.
” Bracing of the abdomen at the onset of sound.
” A held abdominal area that lacks freedom of movement.
” Low back pain.
” A sound that isn’t well supported.
” Weight loss and loss of support of the sound.
” Reports of the voice being effortful to produce.
” Reports of breathing issues that are elusive to resolve.
” Negative vocal and physical changes post-childbirth.
” Hernias of any kind.

What is the Functional Reflexive Core?
The foundation of healthy movement and singing comes from the deep layer of the Functional Reflexive Core (FRC). The part of our body that makes up the FRC is our entire trunk located between where the head attaches to the neck and where the arms and legs attach to the torso.

It has two layers. The deep layer of the FRC is made up of the throat, the diaphragm, the transverse abdominus, the psoai, the multifidi and the pelvic floor musculature. The outer layer is made up of all the other muscles that fall within that central part of the body. We want stability of the muscles in the outer layers of the core, and imbalances here can create problems when it comes to voice production, but when we talk about the core-voice connection, we are most interested in the functionality of the deep layer of the FRC. And, the relationship of the muscles here is heavily influenced by how we are breathing, how we are moving (or not) through our lives and our tension levels in the upper and lower body.

Why do we have these issues to begin with?
Modern life has left us with bodies that are ‘casted’ by sitting, wearing shoes, and moving through a limited range of motion. The good news is, our bodies are relatively plastic and have an amazing capacity to change. We just need to know how to make the change effectively and be consistent in our efforts.

Patterns in the body and breath that indicate an imbalance in the FRC are:
Abdominal Holding – As a result of sitting in chairs our whole lives, our backsides get weak, the abdominal musculature gets recruited to do work it shouldn’t be doing and we carry resting tension in the abs. Second, there is the cultural message that we are somehow more valuable if our abs are flat. That can result in people sucking the stomach in chronically or over-exercising the abs, creating a flatter but definitely not more functional mid-section.

Abdominal Bracing – When the deep layer of the core isn’t functional, we can over-recruit and use the outer layer muscles to make up for the lack. Bracing can be observed in both movement and singing when there is a very visible hook up in the belly at the onset of moving or singing and then it often appears as a static hold – as though you are bracing to prepare for someone to punch you in the stomach.

Bulging – This can occur on inhalation and/or on phonation and movement. If we bulge on inhale, seen through a distended belly, we overload the musculature of the deep FRC. Once overloaded, the muscles lack the relationship they need to the breath and don’t fire effectively. This type of increase in intra-abdominal pressure can lead to things like hernias and pelvic floor problems. Bulging during movement means the belly pushes out when we are doing something like lying on our back and bringing both legs up into reverse table (see below). Bulging during phonation will also show up as a belly that is pressing out in a rigid, fixed way when singing.

Bearing Down – This is just as it sounds. When we move or phonate there is a sense of bearing down – almost like you are trying really hard to go to the bathroom. This is, in fact, the reverse of the motion we want to experience when we are singing or moving. We also don’t particularly want to be bearing down hard to go to the bathroom, but that’s another post for another time!

Here are a few assessments you can do to test the functionality of your FRC

Do you carry resting abdominal tension?
Resting abdominal tension means we are carrying higher than optimal levels of tension when we are at rest. For many of us, we have a lifetime of constantly sucking the stomach in to help it appear to be flat. Some of us grip in our abdomen due to stress. Both of those can result in abdominal muscles that tend to grip and have a hard time releasing. When we breathe and carry high resting tension we can feel the pressure of the breath more and when we release the excess tension and breathe it can feel like we aren’t getting a good enough breath.

Do you have a diastasis recti (DR)?
Both men and women can experience DR. It is a separation of an unnatural distance between the two rectus abdominus muscles and the connective tissue, called the linea alba, is stretched and thinned. DR is caused primarily by excessive intra-abdominal pressure. To check your body for a DR, lie on your back with your knees bent, feet flat on the floor. Exhale normally and pick your head up off the floor. With the head up, use your fingers to palpate down the midline of your rectus abdominus muscles from sternum to pubic bone. See if you can feel both sides of the muscles and see if there is a gap between the two. The gap is measured by finger widths. It is also measured by depth. It may be normal for you to have some separation between your muscles, but a width of 2 fingers or greater or a depth of a knuckle or more, may indicate you have some issues with too much intra-abdominal pressure.

Do you have a hernia?
Most men are probably familiar with the turn your head and cough test to see if you have an inguinal hernia. Inguinal hernias can also present as swelling or a bulge in the scrotum. A hiatal hernia, which is often associated with GERD will require an x-ray study to diagnose. Umbilical hernias are usually diagnosed through physical exam and present with swelling or a bulge around the belly button. All 3 hernias are associated with excess pressure and weakness in connective tissue.

What do we do about our imbalances?
Our answers to these issues lie in an approach that addresses the whole body, including alignment, breathing and movement mechanics. When we tune in to how we are moving and where our body is compensating for our limitations we can make gains quickly. Here are some simple movements to begin to explore your current patterns and function. To bring balance, strength and stability to the whole body a more complete practice is needed, but these will give you a sense of where you are in this moment and perhaps inspire you to explore more!

Abdominal Release –

Come onto your hands and knees and let your belly sag toward the floor without allowing the back to sway excessively. The pelvis is untucked.
Breathe normally and notice if your belly releases each time you inhale. Focus on letting everything release – diaphragm to pelvic floor on the breath in.
Stay here for about 5 minutes and really tune in to the space from the bottom of the ribcage to the pubic bone.

Notice if you find tension returning and continue to release it each time you notice it. Try singing a few phrases in this position and notice what your body does as you breathe in and as you phonate.

Waking up the Deep Layer of the FRC –

Lie on your back with your knees bent, feet flat on the floor. Bolster your head on a pillow so the lower ribs are on the ground. The pelvis is untucked, with space behind the low back.
Place your hands on your low belly. Take a breath in and notice what moves more on the inhalation –the belly or the ribcage – ideally the ribs will move more.
Begin a long slow exhale through pursed lips or on a hiss.
Midway through the exhale see if you notice the deep part of your core activating in a corseting action this is NOT navel to spine.
On your next breath in, release all engagement and exhale again through pursed lips or on a hiss. Do this 5-7 times. If you do not feel things engaging, don’t worry, keep practicing and the deep FRC will wake up.

Notice if you flatten your back to the floor when exhaling. Notice if you tense in your shoulders or throat when you are exhaling. Notice if your lower ribs pull away from the floor when you breathe in. Be aware that it is easy to engage the obliques more than the transverse abdominus (TVA) muscle in this exercise. Don’t force the engagement of the TVA, allow it to happen organically.

Reverse Table –

Repeat steps 1-3 above.
Midway through the exhale, when you have felt the FRC engage, slowly bring the right leg into reverse table.
Breathe in again. And exhale, returning the leg to the floor.
Repeat the above but this time bring the left leg up.

Notice first if one side feels easier than the other. For each side, notice if your belly bulges while moving the leg into the air, or if you are bearing down as you bring the leg up. Notice if your hips wobble or shift or if your back flattens to the ground as you bring the legs up. Those are all signs you have some work to do to improve function.

For an advanced version of this pose, bring one leg up and then on the next exhale, bring the other leg to meet it. If you have any of the above issues, back up to the phase before.

Waking up the deep layer of the functional reflexive core can feel like slow, small work, but the payoff is huge. Having a body that supports you as you move through your life on stage and off, providing you with a solid foundation for the voice to be produced, is an invaluable tool for a singer.

If you have questions or would like some help waking up your FRC, you can book a 1-on-1 session or join the Singer Synergy Movement Series where we address this in a 9 week movement program.

The connection between your upper and lower body tension

July 26, 2017March 27, 2023 Sarah Whitten Leave a comment

What is going on in your lower leg is also happening in your neck and shoulders.

Are you working away at reducing tension in your neck and shoulders, but not seeing a difference? Calf stretching every day, wearing shoes with no heels, but STILL have tight calves? Trying to improve your core function, but not seeing things change? Perhaps it is time to look at the whole body and get a better understanding of how the tension at one end of the body impacts the other, and all the tissues between.

Here’s one reason why your lower leg is impacting your neck…

Shoes

Yes, even those cushy, comfy, ‘supportive’ shoes.

Why are they involved?
1. They have a heel which puts the ankle into constant plantarflexion (toes pointed).
2. Toe bed is elevated, keeping the toes slightly lifted off the ground
3. Stiff soles prevent all the small joints in the foot from moving well
4. Narrow toe box forces the toes together (bunions anyone?).

The degree to which 1-4 happen varies depending on the type of shoe, but it isn’t limited to high heels. It happens in those $150 running kicks you got from a shoes expert at your local running store.

Think about the shoes you wear most often…running shoes, dansko clogs, 2″ heels from DSW, etc.

When you are wearing stiff soles, heeled footwear with a narrow toe box you create adaptation in the joints of your feet and ankles. Adaptation isn’t a positive shift. It means less mobility.

Tension in the Calves

The connection between tension between the lower neck and the shoulder neck, continuing…muscles in the calf.

Not only are our feet impacted by shoes, but our calves are as well. Heels (of any kind, remember, not just high heels) create a shortening in the calf muscles.

Sitting also creates a shortening in the muscles.

We ALL have chronic shortening in the muscles of the lower leg.

This shortening impacts our gait (how we walk). For many of us, our short calves mean we have what is called a ‘negative stride length’, meaning the heel of the foot of the leg that stays behind when you step forward can’t stay on the ground long enough to allow you to push off posteriorly (using your glutes and hams). Instead, you are doing a process of falling forward and catching yourself when you walk.

Why a wave can help explain things

This picture shows a wave in the distance where the water is moving at the same (or close to it) speed. Then it shows waves at the shore that are breaking – the top is moving over the bottom as they crash forward.

The waves break at the shore because the lower part of the water is encountering the rising shore line which slows it down. That slow down creates a whip-like effect at the top of the wave propelling it forward until the top part of the wave falls forward and crashes into the shore.

Our bodies are like these waves. The tension, stickiness (highly technical term!) and lack of mobility in the joints of our feet and ankle make our lower body move more slowly as we walk. Our upper body should be propelled forward by that slow down BUT we know falling forward is a bad idea SO we create extra tension in the upper body to keep ourselves upright. You won’t be aware that you are doing this it is happening on a pretty subtle level.

Is this the only reason you have upper body and lower body tension? No, definitely not, but if you are working on it consistently and not seeing any changes, this is an important factor to investigate!

The Core-Voice Connection

December 5, 2014March 27, 2023 Sarah Whitten Leave a comment

In my opinion, the core-voice connection lies at the heart of a voice that is easy to produce. There is a close relationship between the pelvis, ribcage and throat, through all of the tissues that span from the pelvic floor to the larynx.

The deep core is the deepest layer of muscles and includes the pelvic floor, the transverse abdominus as well as the diaphragm, the psoas, the multifidus and the muscles of the throat. We can extend this farther using Tom Meyer’s Deep Front Line and exploring fascial connections that run from the soles of the feet up to the tongue and neck. Truly the whole body is connected!

When vocal technique isn’t solving your voice issues, we often need to look at the rest of the body and the deep core is the first, most important place we can explore.

Habits that we have in the body can interrupt how well these parts relate. These include:

Sedentary living – none of us move as much as our body is designed to move.
Excess tension – we all carry extra tension in various parts of the body – bum, back, neck/shoulders belly, etc.
Stress Level – never underestimate the ways stress shows up in the body – usually it is our body trying to get our attention, but most of us are experts in disconnecting from the body to keep moving through our lives.
Breathing patterns – gripping in the belly and being a belly dominant breather can both have a huge impact on how the core and voice work together.

When we think about the core-voice connection we want to consider:

How the ribcage is stacked over the pelvis.
How well integrated the deep layer of the core is.
How the ribcage moves when we breathe – are we missing one or more plane of movement?
How the deep core responds to resisted airflow.
How the deep core responds to vocalizing.
How the deep core responds to movement.

A few very common patterns I see in singers bodies include excess tension in the shoulders, neck and throat/jaw, a belly that moves first and most when breathing, a ribcage that is thrust forward (like a bell that is rung forward), and a pelvis that tends to live in a tuck or a duck position and has a hard time finding neutral. Any or all of those tell me we could stand to do a little work on the deep core.

To get you started here’s an exploration to connect the pelvic floor and throat.

Pelvic floor – Throat Connection

Lie on the floor in constructive rest or sit quietly in a chair and stay for several cycles of breathing, letting the body release into the ground or chair.
Bring your attention into your pelvic floor (every body has a pelvic floor, you can either focus on the vaginal opening or where the testicles are). Continue to breathe easily and notice the pelvic floor.
Grip the pelvic floor and release it a few times.
Now bring your attention into your throat. Keeping your attention here, grip the pelvic floor. Can you feel the corresponding grip in the throat?

Let’s try it another way:

Lie on the floor in constructive rest or sit quietly in a chair and stay for several cycles of breathing, letting the body release into the ground or chair.
Bring your attention into your vocal tract. Continue to breathe easily and notice the vocal tract from vocal folds up and out to the lips.
Strongly purse the lips and release them a few times.
Now bring your attention to your pelvic floor. Keeping your attention here, purse the lips strongly. Can you feel a response in your pelvic floor?

Evolutionarily, the throat and belly work together because a secondary function of the throat is as a valve that can close to give us leverage when lifting very heavy things (called a valsalva maneuver). That action helps increase intra-abdominal pressure (pressure inside the abdomen). And, a big part of singing with ease is managing pressure.

If your deep core isn’t well integrated, the muscles in the shoulders, neck, throat and jaw get recruited in to try and help you when you breathe, move AND produce your voice. What they are actually doing is getting in the way of your optimal sound.

To work towards an integrated deep core we want to address elements of our alignment, our breathing and begin to move in ways the help the body to work well.

To explore more about the deep core please see the post The Importance of Core Training for Singers, visit my Instagram page for a series of reels on the Core-Voice Connection, and when you are ready to address your deep core, the Singer Synergy Movement Series a 9 week movement class series focuses on this exact issue for singers!