The Singing Flowchart: How Anyone Can Learn To Sing


This flowchart took 3 years, 2,500 hours and a Masters to write. Every singing technique I teach is on there, from breathing and support (top left), tuning and resonance (bottom left) to posture and anchoring (top right). Every bit of it has been researched, recalibrated, turned into analogy and delineated into little circles.

Every arrow shows us the interdependencies of each technique. Singing relies on dozens of muscular activities working together in unison. If one is faulty, the house of cards tumbles. For instance, a poor neck position engages tongue tension, flattening the tone and dismantling the tuning. A tense rectus abdominis engages the false vocal folds, inviting tension and vocal injury.

The act of singing is complicated. Even more so because we cannot, like a guitar, physically hold our instrument as we learn it. Singers have to be trained obliquely: through metaphor, imagery and conceptual understanding instead of rote-learning fingerwork. I have had students stuck on one of these arrows for six months at a time as they battle to make their body understand what their mind is telling it.

But when I look at this flowchart, I see hope. Singing is, in the end, mechanical. I am not a believer in supernatural things – and certainly not in supernatural gifts. Anyone can learn to sing – and sing well – if they are rigorous, imaginative and playful enough.

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2 thoughts on “The Singing Flowchart: How Anyone Can Learn To Sing

  1. Hey Matt,

    Just a question on this. Are you including articulation in the posture and tension section of your flowchart under the lip and tongue flexibility bubble? I feel like you could potentially break this up further. Absolutely love this chart though!

    • mpocock

      Hey Chris,

      Thanks for the love! 🙂 It’s funny, I don’t often spend much time on articulation – the bubble marked ‘filter tuning’ on the bottom half basically looks at the singer feeling the resonance in the mouth. When they feel that resonance, they find it much easier to stay on pitch and the new mobility in the throat (or filter, to use the Estill term!) tends to extend to the lips. This means the articulation comes as a by-product of the singing, not as a goal in itself.

      But there are definitely students who need that focused attention on certain sounds!

      Hope Exeter is spiffing – I’ll be back up there on November 20th, maybe see you then?

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