Lesson 9 of 18SingingBeginner

Your body as a tool

6:12

Rachel Lynes shows how connecting your body and physical expression supports your singing, especially on big notes, using a phrase from 'Funny Girl'.

Part of the courseLearn Musical Theatre Singing with a West End Vocal Coach18 lessons (1h 25m)

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Rachel LynesYour guruRachel Lynes

What's in the course

18 lessons (1h 25m) · 1 free
    • 01. What do I do with my body?

      5:49

    • 02. Primal sounds

      6:30

    • 03. What voice should I use?

      5:21

    • 04. Your body as a tool

      You are here

      6:12

    • 05. Jaw tension

      3:38

    • 06. Hitting high notes - part 1

      6:33

    • 07. Hitting high notes - part 2

      4:07

    • 08. Long notes

      6:40

Lesson transcript

Exploring Body Connection in Singing

In this lesson, we are going to look at how connecting your body or expressing a story through your body can help your singing. All right? And this is going to especially help support your connection to those big notes.

Song Selection

We're going to use a phrase from the musical Funny Girl, one that you may know well. You might even recognize this little vampire!

Lyrics:

"Don't tell me not to live. Just sit and putter.
Life's candy and the sun's a bowl of butter."

Initial Exercise

Before you start, try the phrase without connecting your body at all. Maybe just collapse. Cross your arms. In fact, I'll do it with you here.

  1. Cross your arms.
  2. Lean in.
  3. Sing your best while slumping inwards and letting your ribs collapse.

Let's feel what we don't want to do:

"Chin down."

Now try singing:

"Don't tell me not to live, just sit and putter.
Life's candy and the sun's a bowl of butter."

It's quite hard to get the energy, isn't it?

Building Body Connection

Now let's build this up:

  1. Stand with two feet firmly on the floor.
  2. Try singing:

    "Don't tell me not to live, just sit and putter.
    Life's candy and the sun's a bowl of butter."

Engage Your Body

Just for fun, try bending your knees a little to feel more connection.

  1. Bend your knees as you sing:

    "Don't tell me not to live, just sit and putter.
    Life's candy and the sun's a bowl of butter."

Now let's increase the connection a bit more:

  • Start to feel your core engage with the breath and the song.
  • Push your hands away, imagining you have some kind of resistance there.

Use your hands in your performance:

"Don't tell me not to live, just sit and putter.
Life's candy and the sun's a bowl of butter."

Open Your Body

Take your hands slightly outward:

  • If your hands come inwards, you might collapse your rib cage, which can create too much pressure on your tiny vocal folds.

Let's try it again, one more time:

"Don't tell me not to live, just sit and putter."
"Life's candy and the sun's a bowl of butter."

Strong Body Connection

Keep using this nice, strong body pressing against the floor. Feel the resistance when you press against the floor and note how your core engages while keeping your chest open.

Imagine that if someone couldn't hear you, they would still know you were saying:

"Do not tell me what to do."

Let's try it again:

"Don't tell me not to live, just sit and putter.
Life's candy and the sun's a bowl of butter."

Reflection on Technique

How did that feel? Did it feel stronger?

  1. Keep pressing through those long vowels.
  2. Let's take it up:

    "Don't tell me not to live, just sit and putter.
    Life's candy and the sun's a bowl of butter."

Understanding the Benefits

Now, bear in mind there are always multiple reasons why this might have helped you. It's important to understand those reasons so that you can transfer them into your singing.

Remember:

  • If something worked for you, ask why.
  • Perhaps having your arms up helped prevent your ribs from collapsing.
  • Consider if that feeling of resistance engaged your core.

Adapting for Performance

Can you do something smaller in your performance? You don't need to do the full body movement but can retain that feeling of openness and strength.

Explore Other Physicality:

  • Try star jumps to release tension.
  • Run on the spot.
  • Position yourself in a semi-supine position (lying on your back with your knees up and head on the floor) while singing.

Conclusion

Play around with movement and ask if it worked; then see if you can transfer what you loved into your song.

Practice and enjoy the journey!

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Meet your guru

Rachel Lynes

Rachel Lynes

Rachel Lynes works with singers ranging from recording artists to West End performers. She has been studying the voice for over 20 years, with a particular emphasis on the connection between singing, mental health and well-being. As a performer, she spent 10 years playing leading roles in the West End and internationally, working with everyone from Andrew Lloyd Webber to Tony and Olivier award-winning creatives.

Fondly named "the voice whisperer" by the singers she works with, Rachel's approach is rigorously technical yet accessible, combining the science with the heart.

She is also the founder and coach at the Sing Space, a global online studio open to singers of all levels and home to the world's first Vocal Gym™, offering group classes, one-to-one singing classes, and exclusive opportunities to perform in front of some of the industry's leading creatives, including casting directors, directors, producers and West End stars.

In her MusicGurus course, Rachel brings that same technical-yet-human method to musical theatre singing, coaching you through the very techniques she uses with West End performers.

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