Singers have specific requirements, to produce high notes, to sing long phrases in a single breath, and to have clear articulation that does not interfere with smooth flow of the singing line. With all these requirements vocal apparatus should work without strain that contributes to the deterioration in the quality of singing and can lead to vocal chord complications.


             Our first research project (1985-1996) focused on the explanation of the precise work of muscles during piano playing. Once the most effective muscles were identified, the resulting piano technique without tension was demonstrated by exercises with the piano device, “Hand Guide” (patented in 1991 by Mikhail Niks). The essential principles discovered during this period were applied to subsequent vocal research (1993-2014)1


             In the process of said research the principles of singing without tension (i.e. no throat spasm or excessive engagement of lower jaw) were explained by the modern language of muscle work. The same precise approach to muscles was applied to the training of specific for singers breath control. This approach resulted in a short training course taking into account that vocal teachers of the golden era (working empirically) taught similar principles over a period of several years. Also, the problem of clear articulation was simplified when a single principle for the various languages used in singing was identified. Furthermore, we evaluated the impact on voice quality of various muscle groups in the mouth and pharynx. In the process, we identified a pharyngeal muscle(s) whose activation lead to security of high notes, effective blending of registers and effortless technique.


             Our concept of vocal resonance is analogous to the use of “covering” described by vocal pedagogues going back at least as far as the 19th century (for a brief historical survey see our history page). A recent example of “covering” to obtain more security in the high register comes self-described from Luciano Pavarotti2.


             For a copy of our course syllabus, please visit our contact page.



1 The principle of independence— when one group of muscles is activated, while adjoining muscles remain at rest and the principle of muscle force— when motion based on muscle contraction ceases, yet a light force remains.


2 How to Sing Bel Canto: Sutherland, Pavarotti and Horne, an interview with Richard Bonynge, 1981 (available on YouTube)