Sing an exercise before you use any of these suggestions. Then, sing the same exercise a second time, using the suggested activity.

I. RELAXATION: Tension in the instrument means tension in your sound. These are simple exercises to release muscle tension and help you to relax those muscles that could inhibit sound.
A. Shoulder Rolls: Roll each shoulder three times in a circle, first backward and then forward. Then roll both shoulders slowly backward then forward, three times. Do this slowly in order to unwind; doing it quickly will wind you up instead of relaxing you.
B. Neck Rolls: Allow the head to fall forward and then roll to one side, back to the center and then roll to the other side. Repeat the same sequence allowing the head to fall back. Use good judgment about how quickly this is done. You will feel a stretch and release in the neck.
C. Releasing the head and facial tension: Stretch the face in all directions - forward, back and side-to-side. Silently count to ten and exaggerate the facial muscles. Finally, circle the tip of the tongue over the teeth in one direction and then reverse directions. Trill the tongue tip and then touch the teeth with the tip and flutter the back of the tongue. These exercises will invigorate you and prepare you to sing. Memorize how it feels to be relaxed. The goal is to sing without tension.

II. POSTURE: The way the instrument is head is one of the first things a singer needs to learn. The body needs to be in an upright position with the weight of the body centered over the feet. The head should be centered over the body like a bobble head doll. The body should feel buoyant and relaxed not "held in place" but "floating in space."
A. Imagine being suspended like a puppet with the main string through the center of your body up through the top of your head.
B. Assume the position for a Rockettes style kick line. Put your arms upon the shoulders of the people on either side of you. This will lift the ribcage and pull the body into the tall position best for singing. (Another way to accomplish this position is to put your hands behind the head in an old- fashioned glamour girl pose.)
C. Check your stance at the beginning and end of a series of exercises - Do you remain in a good posture throughout? Memorize how your body feels when you stand in a correct singing position. The goal is to stand as tall at the end of a song as you do at the beginning.

III. BREATHING: Singers always need more breath or think they do. These checkpoints will help you understand where you need to improve.
A. Sit with your hands turned backwards on your knees. Breathe in and feel your abdomen fill your lap. You should also feel the air move into the spaces in your back. Exhale and feel the abdomen move toward the backbone, up and in. Are you using all this space when you stand and breathe?
B. From a standing position lean over a chair and breathe. This will engage gravity in the breathing process. It will allow you to breathe properly with no physical effort on your part. Memorize the feeling. The goal is to breathe properly, automatically, with no physical effort on your part.

IV. PHONATION: Actually making a sound, allowing the voice to be free and flow.
A. Initiate sound while moving the hand in a vertical stroke. Then change the hand to moving in a horizontal stroke. The initiation of sound should have a smoother artistic beginning.
B. To improve a choppy, over-dictionized sound, try directing yourself, or pretend to pull a satin ribbon through your fingers as you sing. Finally, rub your tummy in a circle as you sing. The sound will be smoother. Then memorize what if feels like to sing smoothly. The goal is to sing with artistry.

V. RESONATION: This is what makes your sound truly unique. The more resonators you are able to open up and use, the less air it takes to make a truly rich sound.
A. Stabilize the cheeks with the backs of your hands, thus stabilizing the mouth as a resonator and enriching the sound.
B. Sing with your hands on the top of your head, then move them to your chest and finally to your abdomen. The sound will change with each move. An outside ear may be needed to tell the difference between the three positions.
C. To lighten a heavy sound, stroke upwards with your thumbs on your cheeks as you sing. Try reversing direction and feel the difference in the sound. Memorize how it feels to use your resonators. The goal is to sing with a rich and resonated sound.

VI. FREEDOM OF SOUND: A freely produced sound should be the goal for every singer regardless of what style of music they sing. Once again sing a part of a song or an exercise to have a comparison before and after each suggestion.
A. Make circles around your ears with your hands. First make the circles spin forward - then reverse the circle. What difference did you sense? Most singers experience a darker or swallowed sound when they reverse direction of the circle and pull it towards themselves instead of spinning the sound out and away from the body.
B. Simply walk as you warm up or rehearse. Involve other muscles and keep the energy moving.
C. Grandiose gestures pair well with louder vocal exercises. Apply good posture to all exercises. Don't be afraid to move as you sing. When you warm up, develop your own choreography for the vocal exercises. Let the movement be a reminder of what a buoyant instrument feels like and how a freely produced sound comes from an involved and energized instrument. In a choral setting where you are asked to remain still, remember that is simply a quiet body and not a rigid one. Remain relaxed and tall, keeping your movement appropriate to the style of the music performed. The goal is to keep the energy moving and allow your sound to be free.

Your body is a unique musical instrument!
Learn how to make the most of the gift of your voice by appreciating it, protecting it, enjoying it, using it, nurturing it and sharing it, and the RPBPRF become your vocal guide.