I am always looking for new exercises and technical warm-ups to include in my daily practice routine, so I decided to try the 28-day challenge of isotonic and isometric exercises as discussed in last month’s article by Ian Howell: Vocal Technique: Boring Exercises That Will Make You a Better Singer.  Over the past four weeks, I have noticed an improvement in my breath control, developed a greater sense of my intercostal muscles and the role they play in breathing for singing, and have strengthened the lower part of my range (B3-D4)…

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That exercises are non-musical/non-expressive could be obvious. How can one compare the expressive potential of a Bach Passion aria with an ascending and descending major triad? Dig a little deeper, though, and I hope that you will apprehend my point: It is technically valuable to exercise the voice without the imposed layer of an expressive construct, specifically because the desire to express something often engenders unnecessary layers of muscular tension.

With this in mind, this month I present a series of exercises initially designed by voice scientists to help rehabilitate the voices of non-singers. These exercises not only serve a “non-expressive” function, but also fill a likely gap in your practice routine, namely isometric exercises. Scientifically measured benefits to the inclusion of these exercises in a regular practice regimen includes increased awareness of breath control, increased sense of relaxation during both inhalation and exhalation, decreased rate of airflow while singing (and decreased sub-glottal pressure), increased phonation volume, increased maximum phonation time, and many more…

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Since my previous articles in this series on countertenor relevant singing technique have been rather general in nature, I wanted to write this month about a specific exercise. Building on the information introduced in April’s article Countertenor Technique: An Introduction to Concepts, the exercise I outline here, called the flex, is one that reveals hidden mental prejudices that work against countertenors, builds stability and an authentic sound into the lower range of the countertenor voice, and eventually helps to bridge the transition (a shortening of the vibrating portion of the folds even as the folds remain stretched) that should take place between Bb4 and B4. My hope is that the inclusion of audio examples in this article will help to explain any questions that arise, and spark an conversation about what the countertenor voice is capable of and how it might be trained.

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