Images have been used in vocal instruction likely since the beginning of vocal instruction. They can be crucial to learning about the voice because the vocal mechanism is so complex and impossible to see.   Neuroscience tells us that our conscious mind can focus on only one thing at a time (much to the multitasker’s chagrin).   Although our conscious mind can leap from one thought to the next in rapid succession, this process can be fatiguing and stressful.   Mental images allow the vocalist to combine many physical actions of the body into a single sensation, and therefore, can be essential to habituating the voice. 

Mental images are not the same as sensations.   They help singers focus their conscious mind on specific sensations that are themselves the culmination of many muscles and acoustic responses working together.   Some mental images are based in body mapping concepts, some in acoustic feedback, and some translate behaviors into postures that can be helpful for creating sounds.   We encourage you to explore the science behind each of these concepts, and to try out each of the images for yourself to see if they connect with your appreciation of your voice. ​
 
The Challenges of using Images

1. Replacing actual vocal function with mental images
 2. Confusion by the learner as to what sensations an image actually creates.  

The answers to these challenges come in the forms of knowledge, creativity, and learner-focused instruction. 
 
The Goals of this Resource

1. A large and varied collection of images in one location

Images are learner-specific, not everyone will relate to their singing sensations in the  same way and will connect differently to different images. It is important to have a large body of options that the singer and instructor can creatively draw from.

2.  Clear goals stated and explained for each image used

When an instructor understands the body mechanics and physics behind vocal function, they are more likely to be able to explain the reasoning behind the mental image.  

3.  Relating  back to the learner's sensations

When a vocalist has a chance to build their own mental images, they are much more likely to habituate their muscular interaction more quickly, and with greater chance for repetition.  That being said, the images in this master chart are examples of mental images that have helped vocalists achieve their goals for centuries, and are therefore, worth sharing.  Once a vocalist has describe their experience, have them translate their sensations through these mental images, and ask them if it made a difference. 
The content on this page is always growing!

​Would you like to contribute?

Contact us to share your favorite images and we'll post them  on this page.  

Questions?  Have you heard an image used in a voice instruction and wasn't sure what it's purpose was? Let us know!

establishing balance
Images that relate to
​ESTABLISHING BALANCE
  Imagine your spine as a series of bony bowls separated by springy discs.  Think of your spine as a spacer for your torso, it gives the torso volume.
​Visualize the pressure your feet are exerting onto the ground beneath them.  Now visualize that same pressure coming up from ground to meet your feet. Imagine that the earth is springing you up. 
​ Think of your skull being suspended above your spine, floating in a bath of fluid.
​Imagine your neck going all the way from the bottom of your skull to the top of your tailbone
Think of the point where your ankle meets your foot.  Imagine that point being towards the arch of the foot so that you are standing over an upside down 'T' shape instead of an 'L' shape
Replace the idea of "back" bone and imagine the spine going directly through the middle  of the torso
        Imagine feeling fat in your hips and pelvis
Think of your lungs as being suspended and hung from the base of your neck
Imagine that you are a puppet with a string attached to your head, lifting your entire body
Allow your body to go limp, like a rag doll (seated or standing, even bending full to the ground), then slowly return to standing

Rib Expansion/Diaphragm Drop
Images that relate to
RIB EXPANSION & DIAPHRAGM DROP
Imagine  your torso as a 3D space, designed for volume and expansion.  Your diaphragm goes all the way from the bottom of your sternum   to the  front of the spine
​Think about jumping  on a trampoline and your body  needing to go down  before you can jump up. Inhale during the moment of going down.
Think of your ribcage as  a bag of air sitting on top of your  abdomen area, a bag of liquid.  As the bag of air gets larger and descends down, the bag of liquid needs space  to  move   out of the way and  make room for the bag of air
Your top ribs  are designed to  give depth  - they expand front to back,  your bottom ribs are designed to give width - they expand side to side.  Instead of rib "cage" , think rib "wings". 
When you breathe in think of three "lips" opening instantly and simultaneously - the lips at your mouth, the lips at your larynx and the lips of your ribs. 
Think of breath appearing immediately in  your body like a  light in a dark room
       
Imagine creating an  open empty space inside your torso
Imagine feeling buoyant when you breathe in, like your torso is an inflatable inner tube
Think about being scared or surprised  and silently gasp to  create the inhale
Imagine that you are a diver, diving up into the air, and lift your arms upward to dive, and inhale
Place your hands on your head and imagine your elbows are a bellows: as they move close together, exhale, and as they move apart, inhale
Do a "standing sit-up" (hands on the back of your head), coordinating inhale and exhale with your up and down motion

adduction/Sound Focus
Images that relate to
ADDUCTION/SOUND FOCUS
Imagine a  needle out in front of you and that you are sending your sound through the eye of the needle
While humming, put one hand  in a closed fist to  represent your focused sound.  As you open  your mouth into a full vowel,  allow your other hand to  open along with it, but keep the "focused sound" fist  intact.  
Imagine creating your sound being tiny and easy  (pairs well with imitating a kitten mewing)
Think of your sound being delivered by tiny narrow  tubes traveling up along the roof  of your mouth out to your canine teeth
Placing one index finger upward in the air, and the other hand cupped over that index finger, imagine that air is flowing up from the finger (air flow) to the hand (vocal folds) and try and match the sensation. . .push your hand against you finger (pressed) and lift it far away (breathy), etc.

breath energy
Images that relate to
BREATH ENERGY
Imagine a stream of air coming out of your mouth as you create sound. Next, imagine the stream of air coming out even faster and notice if that affects the energy behind the sound. (especially useful when doing a large leap, low to high)
Imagine your exhale starting a foot away from your face
Imagine  your breath exiting your body in a spinning, circular motion like a drill
Hold your finger in front of your face, and imagine there is a candle burning at the tip.  Try not to blow the candle out.
Imagine that you are blowing a candle out in one quick breath
Pant like a dog
Imagine that you are smelling a flower
Imagine that you are breathing with your back

LARYNX height/
​pharynx width
Images that relate to
LARYNX HEIGHT/PHARYNX WIDTH
Imagine the beginning of a yawn that you are trying to politely stifle. Breathe into this space.
Imagine drinking a glass of air  as you breathe in
Visualize champagne bubbles  floating up the back of your throat
Think of silently snoring when you breathe in
Imagine an un-kinked hose running from the top of your pharynx to the bottom
Imagine your back molars  rotating  outwards so that they are facing the back of your skull
Think of a softness behind your jaw
Imagine creating a 3D shape for each vowel

stability in the vocal tract/
​phrase connection
Images that relate to
VOCAL TRACT STABILITY/PHRASE CONNECTION
Imagine each vowel as a column out in front of your face. Try to keep every vowel within that column.
Imagine each word sliding from  one to the next like molasses
Notice if the vowels are decaying in volume when they transition to consonants like a link of hotdogs
Imagine the vowels building enough energy that they energize the production of the following consonant

Tongue position
Images that relate to
FORWARD TONGUE POSITION
Imagine your tongue is falling out of your mouth
Imagine you have just gone to the dentist and your tongue is numb in your mouth
Think of the tongue as fat and almost pouring out over the bottom teeth
Imagine your tongue in the shape of a slide, high in the back and then cascading down
Feel like your tongue is dancing with your lips
Imagine singing  through ​ your tongue
Imagine the back third of your tongue is asleep
Imagine the sound ringing back down behind the tongue
Think of the tongue as living curled up above the chin

SOFT palate/nasality
We are still building this area and we need your help! Contact us to  contribute images relating to the  Soft Palate

transitioning low to high
We are still building this area and we need your help!  Contact us  to  contribute images relating to Transitioning from Low to High

"sound placement"
​We are still building this area and we need your help!  Contact us  to  contribute images relating to Sound Placement