Yoga for Voice Culture

ContentsCh.No. title Page No.1 INTRODUCTION2 ANATOMY AND PHYSIOLOGY OFTHE VOCAL SYSTEM3 CAUSES OF INJURY TO THEVOCAL SYSTEM4 VOCAL DISORDERS ANDVOICE DISORDERS5 VOICE CULTURINGDEVELOPING MUSICAL TALENTS6 VOICE CULTURE FORDEVELOPING ORATION7 YOGA PRACTICES FORVOICE CULTURE

8 | Yoga for Voice Cultureof these two. Om Sahana vavatu, sahanau bhunaktu observethat. ‘sa’ is lower loudness and lower pitch and ‘nau’ is higherpitch and higher loudness,. This is how we start learning tomodulate and start developing the voice that we have.While Vivekananda Kendra enlaunched educational projectsin North Eastern area of Arunachal Pradesh, by setting upPrimary schools supported by Govt. of Arunachal Pradesh, itwas a challenge for us to develop proper speech clarity amongthe tribal children. Even Hindi could not be pronounced properlyin spite of continued efforts by our dedicated teachers foryears. We started searching for speech experts to solve theproblem but they all failed. It was then that Mr. Warnekar, ain Sanskrit renowned professor said to us “ it was the easiestto solve – teach them Sanskrit. “We remarked ‘children can notpronounce even simple hindi words’. How can they articulateSanskrit? So difficult words needing twists and turns of thetongue? Can you come and solve our problem? He agreed andcame in summer to take charge of the students for a month.All other classes were suspended. He has composed about 200Samskrit songs from a short two line poems and slokas to 2page long ones. Every morning after a brief session of yoga, thechildren sat with prof. Warnekar on Harmonium leading thesongs. He lead and children repeated 8hrs a day. Amazinglythey loved to sing and the tongues were trained day after day.Just a month – the challenge was met and the problem wassolved.All teachers also sat with those children and learnt to sing allthose songs which were so tailor made to introduce them fromYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 9easy ones to begin with to end in the quite complicated tonguetwistersas. How did this work? Prof. Warnekar said that it wasthe beauty of Sanskrit. The phonetics and intonations werestructured in the very alphabets of Samskrit and the words,he continued- it systematically trains all parts of the tongue,voice box for tone and pitch of voice production.Latter yoga practices were developed to complement themand a yoga based voice improvement module was developed.Research was conducted to assess these changes to throughmore light on the mechanisms involved in voice culture.We bring out these aspects of yoga in this booklet after introducingAnatomy and Physiology.In this Chapter we are going to discuss about the Anatomyand Physiology. Anatomy refers to the describing and namingof various body parts. Especially in this case we are going tobe concerned with physical parts of the vocal system. In thePhysiology we relate to how these various parts of the vocalsystem work harmoniouslyin order toproduce voice. Creatingsound requiresnumerous muscles,bones and organs ofthe body. It is notjust the vocal systembut the entire bodyresponse. There areYoga in Education for Total Personality Development SERIES - 5

10 | Yoga for Voice Culturethree basic main anatomicalstructure required forthe production of voice. Thefirst among them is namedas Activater i.e., Lungs, Diaphragm,Inter-costal muscles.These organs basicallydeal with breathing or whatwe call air management.Most of the time there is a condition called tuttering where theproblem lies with the air management and articulation. Thesecond part is called Vibrator. That is basically the voice box.This deals with the creation of pitch in the form of a soundwave. The third is the Resonators, i.e., Throat, mouth, lips,teeth, and nose. These deal with modification of the soundinto tones of various colors and timbers. So when we are talkingabout fully throated resonating voice, the entire vocal cavitywill be participating in the production. When we look atthe Activaters, i.e., breathing process, there are various intercostalmuscles in the diaphragm and the lungs participatingin this. In the respiration however the actual breathing willbe referred. But Activatersrefers to organs used in thebreathing process. When webreathe in i.e., inhalation, thediaphragm descends pullingthe ribs apart, i.e., inter-costalmuscles will help in this process.As the ribs move apartair rushes in filling the lungs.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 11Take the example of some kindof a balloon. What happens tothe balloon when we pump inair? So when we breathe outi.e., exhalation the diaphragmand inter-costal muscles actuallyrelax and it will make thelung force air back and out.Again we have to compare itwith a balloon. What will happenwhen you hold the balloon tight and release at end? Theair rushes out producing sound. In the same way the Larynxwill also function. Larynx is the name for voice box. Sometimeswe notice that Adams Apple where the heart part popsup and down in males. The Larynx contains vocal chords andwe call that as Vocal Folds too. The Epiglottis closes off theair way when we swallow the food, so that the food will notenter into Larynx. We have all realized in some part of our lifewhat happens when the food particles try to enter the Larynx.It is the God given natural obstruction so the Thyroid Cartilageis the one which houses the Larynx and protrudes in theneck. That is called Adams Apple. There are various partsof the Larynx but we are not interested in all the anatomicaldetails. We will say Epiglottis is the most important portion ofthe Larynx and then perhaps the artificial folds and the truefolds, these are the three anatomical features that we have tobe concerned about.When we cut the front view of the Larynx into half, we see theFalse Vocal chords and the True Vocal Folds and the VentricleYoga in Education for Total Personality Development SERIES - 5

12 | Yoga for Voice Cultureand the Vocalic muscles and Thyroid Cartilages. Those are theparts which play a very important role. During the respirationi.e., the process of exhalation, i.e., when we breathe out, airrushes up the Trachea and into the Larynx i.e., into the voicebox where it rushes, pass the vocal chords and causes them tovibrate. The Vocal card starts vibrating when the vocal foldswill vibrate and the air will rush in from below and causesthem to make sound. So like when singing, the tighter westretch the card, the higher will be the pitch which again weall observed this phenomenon in the balloon also when we tryto stretch the balloon tighter, the pitch of that sound comingout of the balloon will also be very high. In the same way vocalfolds also function. The vocal chords normally adduct. That isit comes together during phonation. So when you want to talk,the vocal chords automatically come together and that processis called Adduction and the more chords are tightened, that iswhen we become little tensed and tighten our vocal cards, thehigher will be the pitch. The chords vibrate against each othernormally hundredsof times per second.The number of timesthey vibrate is knownas frequency and thisis measured in Hertz.Just like in a piano,when the string is hitby a key, it vibratesat a certain numberof times and thesame thing happensYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 13with the vocal chords. So as a Singer sings or a person talksin various pitch, there will be frequency, modulation which ismeasured in Hertz.. When will adduction happen? The adductionhappens when the vocal chords are spread apart. Thatis abducting means to take away and adduction is happeningonly when the vocal chords are coming together.The Vocal Folds aremade of layers of verydelicate tissues calledMucus Membrane.Very little bloodflow occurs in thesechords. That is thereason vocal chordsare white in appearance.Under normaltalking or singing condition they can withstand quite a bit ofuse, however loud forceful phonation can cause lot of injuryto the vocal folds. Suddenly sometimes, we shout that maycreate lot of injury of the vocal chords. Vocal Folds cannot bereplaced. Though they can be surgically corrected, for lesionsor growth it can never be replaced. It is fairly easy to injure vocalchords. What are the different circumstances under whichwe might injure our vocal chords is forceful singing, yelling,screaming, loud talking can cause vocal chords damage. Forexample, in the cricket match you see lot of girls the teenagersshouting and when they come out of the cricket match theirvoice will be harsh. The reason is that they have injured vocalchords to some extent, but if they give enough rest, it comesYoga in Education for Total Personality Development SERIES - 5

14 | Yoga for Voice Cultureback to its normal position automatically. Excessive amountof phonating can also lead to injury like vocal over use in singersand teachers. Teachers will have to be talking for a longperiod of time; Singers who will be singing for a long period oftime may abuse their voice unless they are using right kindof fundamental frequency and optimum frequency. There aretwo frequencies which is very important for a person when weare using, when we are singing or when we are talking also.One is called the Fundamental Frequency and the other one iscalled the Optimum Frequency.Let us see how these things would work in maintaining vocalhygiene. We will discuss about Fundamental Frequency andOptimum Frequency and how it is important to use these twofrequencies in the next Chapter.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 15CAUSES OF INJURYTO THE VOCAL SYSTEMWe will discuss about the variouscauses which may injure our VocalChords which come on the way of maintainingvery good hygienic voice. Oneis Nodules. We know about Nodule ofthe vocal chords, Polyps and Laryngitis and Hemmorrhage ofthe chords which are the possible effects of lot of vocal abuse.Laryngitis we have all seen that condition where the Larynxgets affected and there is infection in the Larynx. Nodulesis a common injury that is essentially a small growth foundon both Vocal Chords and Nodules are very common, in veryyoung Children, Singers and Teachers who will be constantlyspeaking so the Vocal Cards are coming together constantlybeing in touch with each other. So that is the point whereNodule appears. Polyps are also like Nodules but they are agrowth on the chords that keep the chords from closing. Sothere will be lot of soft lesions, the voice will be sexy in nature.A kind of very hussy voice so where the air escapes betweenthe Vocal Cards will be not completebut not also completely closed will beproduced. Polyps may be on eitherside or just on one card. Apart from vocalabuse, another common cause forpolyps is smoking. A HemmorrhagedYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 17for example, you own a violin, you take care of it so much, thesame way Larynx have to be taken care of. We have to drinklot of water because water is the best fluid for the body andminimum we have to drink at least 64 alms a day i.e., abouthalf a gallon. The vocal chords need constant lubrication whilesinging. That is very important. The body should be alwaysproducing about one liter of mucus a day to keep the vocalchords lubricated. However, it needs lot of water to producemucus. So to keep the mucus thin also we have to drink lot ofwater. Foods like grapes, melons, cucumbers have lot of watercontent and it is very beneficial to singers also and peoplewho are in the profession where they need to talk a lot. Alcohol,caffeine, smoking, anti-histamines all dry the body andalso the vocal chords. Even the humidifiers in some dry areasin the bed room may also be beneficial for vocal health. Forsingers especially try not to sing forcefully or for long periods.Let your music director know if you are experiencing a vocalfatigue. Try to avoid singing hard glottal attacks. Glottal attacksmeans singing throaty voice Kha, Gha. When you startsinging, start with little bit of vocal relaxation exercises whichwe call it as Warm up Exercises also. The Larynx should getincreased blood flow and you stretch it before singing by goinginto a lower pitchwhen you start singinggo to lower pitch firstand then slowly warmup and go to the higherpitch. That is what exactlymost of the singerswill be doing. WhenYoga in Education for Total Personality Development SERIES - 5

18 | Yoga for Voice Cultureyou are about stop alsolighten your Larynxby giving downwardglides, lot of downwardglides and wormup exercises. Thereare three groups ofmuscles basically involvedin vocal, whenyou are singing. Thatis the Breathing muscles, the Phonatial muscles and Pitchchanging muscles. This understanding helps in knowing howYoga works on the vocal system especially while performingYogic exercises and Yogasanas. In spite of all this care, if aperson is feeling that he is having some kind of a voice problem,the best thing is to do certain instrumental analysis likestroboscope. Analyze your fundamental frequency and youroptimum frequency which the instrument will automaticallytell you. The instrument gives your optimum frequency whereyou can start and what is the pitch range which is very importantto know and what is the pitch range that you can take togo up and to come down. This is an instrument analysis whichmost of the voice labs in and around India can analyze.Now we will move on to exercises which is the key componentfor maintaining vocal hygiene. Frequently, even the bodyexercises can help, can promote a strong circulatory system,efficient lungs and good immunity towards sickness which weall realize. The same principle will hold good to maintaininggood vocal hygiene also. Try to get eight hours of sleep. ThatYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 19is very important. Do not grown when you are lifting weights.That is something very important to weight lifters. It createslot of Pressure against vocal cards. When you are talking onphone, don’t try to hold the phone with your shoulder which isagain important as the position can put a lot of strain on theLarynx and the neck muscles. When you are singing the lasthours it should be without any discomfort and if there is anyharshness, you are experiencing any harshness or discomfortor lack of range in the phonetia, it is an indication that aproblem is growing and you should try to stop slowly comingdown to the lower end. Let us discuss about this in the nextchapter.Yoga in Education for Total Personality Development SERIES - 5

20 | Yoga for Voice CultureVOCAL DISORDERS ANDVOICE DISORDERSSmoking can create dramatic changes in tissues in andaround vocal chords and is the primary cause for the cancerof the Larynx. It drops the vocal cards of full flexibility becauseof its drying affect. Singers should never smoke. Singersare normally not smokers. There are basically three differenttypes of voice disorders. The one is functional in naturecaused by faulty use of normal vocal mechanism. The secondis organic where it is related to physical abnormality in the vocalchords or in the structure of the whole vocal mechanism.The third is Neurological in nature caused by some neurologicaldysfunction that impairs coordinating of the mechanismsinvolved in the voice production. Now, we discuss go to certaingeneral clinical terms used to describe voice problems.One is called Disphonia, the other could be Aphonia, the thirdtype would be Mesality. Now let us discuss Organic Voice Disorders.There may be various conditions which we describedearlier like Polyps, Vocal Nodule, Ulcers, Laryngitis which willall lead to husky breathy voice. People should not mistakethis for having a sexy voice or attractive voice. The moment aperson develops a husky or a breathy voice for a period lastingfor more than fifteen days, he must immediately consult anENT specialist to rule out any organic problem which is longlasting. So as far as organic voice disorders are concerned, asurgical removal of the problem or the medical treatment ofYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 21the problem will take care of the voice disorders.For the functional voice disorder,once when the organicdisorder has been set right, stillthe person have to go througha form of voice therapy in orderto hit their optimum pitchand to assess and come to anunderstanding of their vocalrange and the pitch variation that their vocal system is capableoff. The third predominant area that we will notice is peopletalking with nasality. When they talk their voice sounds verynasal. So again, we have ruled out organic problems of cleftpallet, cleft lip but still there will be what we call Nasal escapeof air. Lot of physical exercises and lot of Yogic exercises willhelp the person to reduce the nasality in the voice.There is another aspect of voice disorder which we call Aphonia.Aphonia could be psychological too. There are certain incidentsof people suffering from various conditions like schizophrenia,depression, suddenly say I will not be able to talk. Myvocal chords are not functioning and I don’t have any voice.There is absolutely no reason why the person cannot speak.The vocal chords are functioning fine. They can cry, they canlaugh but when it comes to talking, they will not be usingtheir vocal chords. So these people can be treated by a VoiceTherapist and also by a Psychiatrist and with lot of meditationtechniques and other yogic exercises which will be discussedfurther can also help these people to get over from functionalYoga in Education for Total Personality Development SERIES - 5

22 | Yoga for Voice Culturedysaphonia. So whatwill we do when a personcomes with voicedisorder? First casehistory will be taken,then clinical evaluationwill be done. Theclinical evaluation willbe both functional aswell as instrumentalin nature and then we take a voice sample. Voice sample willbe taken when they are talking in ordinary environment andalso when they are using their voice professionally . There willalso be a diagnosis plan and pragmatic indicators will also begiven. Basically we try to analyze what are the voice abusingfactors. We can give the suggestions to the patient in order tonot to abuse their voice. But still use the voice projecting it.That is one part and exposure to lot of laryngal irritants thatwill advice to them to lessen that irritants. Otherwise they mayend up with infection.Let us now discuss about Yogic exercises for voice disorders.One would be with breathing exercise. The first basic componenta person has to learn is to how to breathe and how tovoice. How to coordinate this process. What are the differenttechniques? So we go to breathing exercises where we pay lotof importance to hands stretch breathing and then we breatheTiger stretch oral motor exercises and head and neck exercises.Those things will be explained in the next few chaptersand then we go to yogasanas. What are the different kinds ofYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 23yogasanas which might help a patient with voice disorder, oreven to maintain your voice culture. Ardhakati chakrasanahas a very important role. Padahastasana, Bhujangasana,Shalbasana, Sarvangasana and Halasana. The physiologicaleffects of all these asanas will be explained to you in the latterchapters. So basically the way it affects your body and themind, the same way it affects the voice also. Let us go to thePranayamas again the sectional breathing which is very important.Especially the abdominal breathing, thoracic breathingwhich plays a very important role in the sectional breathing.One has to practice sectional breathing. Then Kapalabati, Nadishuddhipranayama, ujjayi Pranayama, Bhastrika pranayamaand even the Bramari that will help a singer and a professionallike a teacher to maintain their voice. Meditation,Nadanusandhana and the Om meditation will also help. InKriyas, Jalaneti, Sutraneti and Vaman dhouti will definitelyhelp to maintain voice culture. So here we have tried verybriefly to you an input about yoga and how yoga can help evenyoung children, middle aged and geriotric patients who havebeen suffering with voice disorders and people who would liketo maintain their vocal culture and voice culture. The area ofneurogenic voice disorders has been not discussed. This isseen in a geriatric patientwith upper motor neuronand lower motor neurondiseases called SpasticDisaphonia. You mighthave heard many eldersspeaking with a voicewhich keeps breakingYoga in Education for Total Personality Development SERIES - 5

24 | Yoga for Voice Culturewhich is very shaky like an old person. This is called SpasticDisaphonia. Even this can be treated with yogasanas and lotof yogic exercises.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 25VOICE CULTURINGDEVELOPING MUSICAL TALENTSVoice culture through Yoga. Particularly people who are specializingin music need a very accurate full and embellishedvoice. Some have gifted voice. They are very rich in contact.But most of us do not have that gifted voice. Then how do wedevelop that? Is it possible to develop? That is the questionthat we take up. Yes, it is possible to develop the voice to suityour musical excellence. Sound wave moves in the form ofvibration, in the form of waves. Depending on the media thespeed can vary. They are essentially moved through compressionsand rarefractions that is Ahatashabda. What then whenwe have is Anahatashabda, that you don’t hear. They can beclassed under electro magnetic waves. These electro magneticwaves can travel in great speed. So we have two types, one isthe sound, another is the electro magnetic radiation. Now thevocal card that produces sound has to be properly trained withall its supporting aircushions and by doingso you will be ableto develop your voiceeffectively. What isthe mechanism bywhich there is developmentof the voice?When you go on do-Yoga in Education for Total Personality Development SERIES - 5

26 | Yoga for Voice Cultureing the pranayama known as the Bramari Pranayama, then youcould see that Bramari vibrations will resonate throughout thebody. Resonating throughout the body will bring deep relaxationto the body mind complex. There is wonderful relaxationthat comes up at the end of this whole practice. So we normallyrecommend that every day you practice enough so thatyour voice is going to blossom. The technique we normally useis called as Bramari, the humming sound of a bee. But thenwe have the reverse of that. Breathe out fully. During inhalationwe produce sound is called the Bramara. The sound thatis produced by male bee is called Bramara. When we start doingthat then wonderful blossoming of the voice occurs. Thesmall, limited range is now expanded to more and more, andwe will be able to reach the longer audience, the distant audienceand the sound will start blossoming. Therefore the pitchand the loudness both have to be worked through when we dothis. Then you start producing the patterns of resonant wavesdepending on the type of music that you want.The people who do vedic chanting is all set into three notes.Udatta, Anudatta and Swarita. Anudatta is the normal, thelower. Udatta is the upper pitch and Swarita is a combinationof these two. Om Sahana vavatu, sahanau bhunaktu observethat. ‘sa’ is lower loudness and lower pitch and ‘nau’ is higherpitch and higher loudness,. This is how you start learning tomodulate and start developing the voice that we have. Particularlywith the musicians the pitch is very important. TheShruti how far we are able to go. In the lower pitch how muchdown you can take and in the higher pitch how much moreyou can take. We should be able to do the entire spectrum.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 27Then bring the Bhava into the whole thing and bring that Bhavain the feeling related to the music. You start wondering theblossoming of the voice and hundreds of musicians have havelearnt this voice culture and they are able to perform well inday to day music concerts that they give. This is the wholeprocess of developing the voice through the useful Bramara,Bramari and other techniques.Yet another thing that is required both for the musicians andalso for orators essentially is development of the vital capacityof the lungs. The vital capacity of the lungs can be developedby inhaling and holding the breath. Allow the breath to spreadthroughout the chest region. But there is another way of developingthis by to directly handling the entire dimension andsee that you grow continuously. You can use either of thesetechniques to see that we have our voice enriched by this process.Higher loudness lower loudness higher pitch lower pitch.The normal range of pitch will be expanded, normal loudnesswill be expanded and reduced by so doing you will be able todevelop your voice. The Bhava has to come within when youstart singing that Bhava, the Bhava will automatically modulateyour voice manifesting that particular Bhava. The Bhavacan be Tamasic, Rajasic, Satvik. Depending on that the RajasicWould be fully dynamic but can cut others, beat othersand can go straight into the hearts of others. In Satva youstart doing good. Such vibrations will continuously developand bring about changes and new dimension to life. So thisis how we start developing the voice culture for the musicians.The Raga aspect of it, the Tala aspect of that all are taken intoconsideration when we developed this integrated yoga modulefor developing the voice particularly.Yoga in Education for Total Personality Development SERIES - 5

28 | Yoga for Voice CultureVOICE CULTUREFOR DEVELOPING ORATIONVoice culture for developing oration, the speech. In the lastchapter we saw how our voice can be cultured, developed fordeveloping musical talent. There is emphasis on the Bhava,the particular musical concert that you are giving, the songthat you are singing. Everything essentially is based on thepattern of resonate waves that are produced.In oration, when you want to give a speech, it is really differentfrom the music and the corresponding techniques that wehave to use to develop the music. Here, there is greater needfor developing the voice a very rich voice and to have a longreach. It should be able to modulate. If the people are verynear to you or people are very far away, you should be ableto change and modulate what you want to do. How you canuse the loudness in the pitch of the sound to reach a longerdistance or a shorter distance? Therefore here in oration theemphasis is to develop a master voice, the rich voice, a voicewith full of inner vitality and dynamism and that is how weall start developing. Some people are born gifted. About theirvoice they have such a wonderful rich voice and those of theones who have selected are having gifted voice. They are usuallyselected for different types of debates, for different typesof announcements and presentation and so on. The questionis whether we can develop that faculty? For this, the typeYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 29of oration that comes up is to be embellished with increasedvital capacity of the lungs, increasing and decreasing pitch,increasing and decreasing the loudness and thereby your orationbecomes more effective. I remember one of our Teachersused to have a monotonus voice and therefore it was somethinglike a lullabi and people will nicely sleep. But there are greatorators, by looking at the audience, they are able to increaseand decrease the loudness, the pitch and also the speed. Ifthe people are feeling little bored, then you increase the pitch,increase the loudness. Therefore it breakes the sleepiness,drowsiness, leathergy and increasing pitch also helps in shatteringthe tamas and while so doing, we will be able to cultureand develop our voice, very rich voice.The richness of the voice is featured by the resonate wave factors.Increasing loudness, decreasing the loudness. Increasingthe pitch, decreasing the pitch, increasing the speed of delivery,decreasing the speed of delivery. For that we have thepranayamas. You could also use Kapalabati to some extentto increase and decrease the speed. The difference betweenBastrika and Kapalabati you should understand. In Bastrikathere is thorasic breathing inhalation and exhalation both areactive. But in Kapalabati you have abdominal breathing onlyexhalation is active, inhalation is automatic. But in Bastrikayou expand the chest and contract the chest uniformly likebellows. You go on doing that, then you develop the vital capacityof the lungs and that helps us to have the modulationof the voice as needed; either lower loudness or higher loudness,lower pitch or higher pitch and the speed. Some peoplecan speak very fast with all clarity. Some people do not haveYoga in Education for Total Personality Development SERIES - 5

30 | Yoga for Voice Culturethat clarity. When they speak they don’t use the sound andit gets mixed up and it gets mumbled up. The clarity is notthere. Therefore it is very necessary you start using thesetechniques which are available in Yoga to see that you developa rich voice. That richness of the voice is the key essence fororaters and it is possible that everyone can develop this richnessof the voice by the techniques of voice culture by using anIntegrated Yoga Module. We will be able to develop our voicevery effectively.Voice culture for developing oration, the speech. Nada andAnusandhana. It is very important in voice culture to understandthe dimensions related to the sound. We have seen howanatomical structure is so designed within us to produce thesound. Nada is sound also known as Shabda. On its subtlestform is called Nadabrahman. Nadabrahman is the firstprimordial sound “OM” that emerged from pure consciousness,from Brahman and then it grossified itself. So whatis Shabda? Shabda Taranga is vibrations, waves and thereare two types of Shabda. One is Ahata Shabda and anotheris the Anahata Shabda. Ahata Shabda is the one that we allhear. Today modern physics has understood the Shabda, thesound with great depth. It is known that the sound travels toa media through compressions and rarefractions. Now air isthere during talking, there is continuous compressions andrarefractions of the air. So it starts moving and it is throughthis media that the sound moves. Why? Does it mean thatif we don’t have media, the sound cannot move? Yes. Thefamous bell jar experiment. You have a glass bell jar. Insidethere is electric calling bell. Outside we have got a switch.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 31When you switch on, the calling bell starts vibrating and producingthe sound and you can hear that from outside. Nowyou completely evacuate the entire bell jar and close it. Thereis no medium there. Air has been almost removed. Now againyou press the button and you can see the calling bell vibrating.But you don’t hear any sound outside. Therefore for thepropagation of the sound, medium is is very necessary. Dependingon the type of medium, you have, the speed of soundvaries. If it is air, you have certain speed. If it becomes someother gas, you can have a different speed. If it is very dense,then speed will be less. This is how the speed of sound varies.When we speak, the vocal card produces that sound by vibrationof the membrane. When it vibrates, it sends away thecompressions and rarefactions in the air and it will move andwe are able to hear at a distance. Now how long the sound canreach depends on two factors. One is what we call as the loudnessand another is pitch. So how loudly you speak, so thatwe will be able to hear for a distance or you can have a verysoft sound hardly you can hear. Loudness can vary. You mayhave a sound wave represented like this. Then the amplitudeis the one that measures the loudness. The loudness of thesound is represented by the amplitude.There is yet another factor is called the pitch. Normally womenhave higher pitch compared to the males. Male voice haslower pitch. What is the difference between the pitch. Thereis a famous thing Sa, Ri, Ga, Ma, Pa, Da, Ni, Saa. This Saa isthe highest pitch. The bottom Sa is the lowest pitch. This representsthe frequency of the waves. What is frequency? Numberof waves in a second is called the Frequency. So, if theYoga in Education for Total Personality Development SERIES - 5

32 | Yoga for Voice Culturefrequency is more, then in one minute you have more numberof waves. If the frequency is less, then the number of waveswill be less. The wave length and the frequency are inverselyproportional. This frequency is what we call as pitch. Now,higher the pitch, longer the distance it travels and Greater theloudness, longer the sound travels. Therefore, women havinghigh pitch, If they speak loudly, it can go a long way. Wecall it as shrilled voice. It can move far. Because the energycontent of that is quite high. Now, in voice culture, you mustdevelop this capacity of increasing and decreasing the pitch.Increasing and decreasing the loudness. That forms the essenceof the voice culture.The second is Nadanusandhana. How to contemplate on thesound aspect on the Shabdabrahma aspect? Contemplationessentially is to tune your mind. Allow the mind to completelytune itself to a particular frequency band, then a resonancetakes place and there is going to be a propagation of the wave.Therefore Anusandhana is to dwell on that particular soundand the sound pattern and sound waves and allow that toflow freely. Every day you sit there and go on repeating thesound like an Omkara a primordial sound. Om, Om. So youcan initially start with the loud sound and the nada will startgetting resonating and when there is resonance, the frequencyof the external sound matches with the natural frequency ofthe body. With that matching of the natural frequency, thereis going to be a wonderful resonance. That resonance buildsvitality, energy, freshness, dynamism and that is one that alsogives the calmness, peace, harmony, love, bliss. Therefore wehave both the dimensions. That is one side the pitch. AnotherYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 33side is the loudness, the amplitude and the frequency and youmust learn how to do both. Can we increase and decrease thepitch? Can we increase and decrease the loudness? Thenyou start getting the whole mastery and control. Thereforethe process of voice culture is essentially by dealing with yourpitch and the loudness. That is how there is going to be acontrol that starts coming up at the voice level. That will startbringing lot of dividends in terms of usefulness.Yoga in Education for Total Personality Development SERIES - 5

34 | Yoga for Voice CultureYOGA PRACTICESFOR VOICE CULTURE7.1. ASANA• Janusirsasana• Prasarita pascimatanasana• Vakrasana• Ardhamatsyendraasana• Matsyasana• Prasartia halasana7.2. KRIYAS• Gargling• Ushäh Päna• Jalaneti• Kapälabhäti alternate nostrial,• Kapälabhäti both nostrial• Vaman Dhouti7.3. PRANAYAMA• Bhastrika• Ujjayi,• Sitikäri• Sadanta• Bhrämari in shanmukhi mudra• BhramaraYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 357.4. BREATHING EXERCISES: Tiger stretch7.5. SHAKTI VIKASAKA: Karana Shakti Vikasaka7.6. RELAXATION• Instant Relaxation Technique (IRT)• Quick Relaxation Technique (QRT)• QRT with chanting• Neck Relaxation with bhramari• Simha mudra7.7. NAMAVALIS: Speech: Intonations7.8. VOICE SPECIAL TECHNIQUE• Matching the Voice to ‘OM’• Tongue massage• Blowing cheeks• Twisting the lipYoga in Education for Total Personality Development SERIES - 5

36 | Yoga for Voice Culture7.1. ASANA1. JÁNU SIRSÁSANASthiti: DandásanaPRACTICE• Bend the right leg along theground, placing the heelagainst the perineum and thesole touching the inner side ofthe left thigh. Place the palmsby the side of buttockskeeping the spine erect.• While inhaling raise the hands to the shoulder levelkeep them horizontally.• With further inhalation raise the hands further to take themabove the head. Stretch up fully.• While exhaling slowly bend forward from the lower back andhook the big toe of the left foot with the index fingers. Pressboth the thumbs on the big toe. In the final position try totouch the forehead to the knee. The elbow joints touch theground. Back flat as much as possible. Maintain the finalposition for one or two minutes with normal breathing. Feelthe relaxation in the throat region. Chant Bhramari.• Then return to the starting position through the samesteps.• Relax in Ùithila Daïãásana.• Repeat the same practice with the left leg.Note• The knee of the bent leg should be on the floor.• Do not bend the straight leg while in the final position.• Bend forward and try to touch forehead to the knee as far asYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 37comfortable.• In the final position keep the back muscles relaxed and usethe arm muscles to hold the toe for maintaining the position.2. PRASARITA PASCIMATANASANASthiti: Dandásana.PRACTICE• Separate the legs by spreading them as much as you can.• Inhale, raise both the arms sideways at shoulder levelparallel to the ground. Turn the palms facing upwards.• Continue to inhale and raise the arms further up verticallybiceps touching the ears and stretch the trunk from the coccyxregion. Now turn the palm forwards.• While exhaling bend forward from the lower back bringingthe chin to the ground. Feel the stretch of the neck muscles.Hold the big toes with the hands. Maintain the position forabout a minute with normal breathing.• Return to sthiti reversing the steps and the breathing• Relax in Sithili Dandasana.Yoga in Education for Total Personality Development SERIES - 5

38 | Yoga for Voice CultureNoteDo not allow the knees to bend.Benefits• Helps to stimulate the spine thereby developing voice.• Gives flexibility to the back bone. Stimulates the spinalnerves and back muscles. Improves digestion, Energises thewhole body. Removes constipation.Limitations• People with severe lower back problems like slip disc andsciatica.NoteDo not allow the knees to bend.3. VAKRÁSANASthiti:DandasanaPRACTICE• Bend the right leg at the knee and place it beside the leftknee.• Straighten and twist thewaist towards the right asyou exhale. Bring the leftarm around the right kneeand catch the right big toe.Take the right arm backand keep the palm on theYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 39ground in such a way that the trunk is kept erect with aproper twist. Neck and throat muscles relax well in final position.Maintain for about a minute with normal breathing.Chant Bhramari.• Return to sthiti through the same steps.• Relax for a while in Sithila Dandásana.• Repeat the same on the other side.BenefitsTwisting reduces bulk and tones up muscles in throat andhelps in voice culture.Lateral twist gives flexibility to the spine, tones up the spinalnerves. Prepares the spaine for Artha Mátsyendrásana. Helpsto cure constipation, dyspepsia, stimulates the pancreas anduseful for diabetes. Improves the lung capacity.LimitationsPeople who have recently undergone abdominal surgery mayavoid.4. ARDHA MATSYENDRÁSANASthiti: DaïãásanaPRACTICE• Bend the right leg at the knee by drawing it along the ground.Place the sole of the right foot against the inner side of theleft thigh. Keep the right heel about 4 to 5 inches away fromthe perineum.• Bend the left knee and place the left foot on the outer sideYoga in Education for Total Personality Development SERIES - 5

40 | Yoga for Voice Cultureof the right thigh near theright knee. Do not sit on theheels.• Inhale, raise the right arm upvertically and stretch up theshoulder. Exhale, twist thewaist to the left and bring theright arm over the outer sideof the left knee. The left kneeacts as a fulcrum for gettingmaximum twist of the spine.Catch the left big toe with theright hand. The right tricepsrests on the outer side of theleft knee.• Now take the left hand behind the back and try to touchthe right thigh. Look back over the left shoulder keepingthe trunk erect. Maintain for about a minute with normalbreathing.• Come back to Sthiti retracing the same steps.• Relax for a while in Ùithila Daïãásana.• Repeat the same, on the other side.BenefitsNeck gets a good stretch.Twisting reduces bulk and tones up muscles in throat andhelps in voice culture.Lateral twist gives flexibility to the spine, tones up the spinalnerves. Prepares the spaine for Artha Mátsyendrásana. Helpsto cure constipation, dyspepsia, stimulates the pancreas andYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 41useful for diabetes. Improves the lung capacity.LimitationsPeople who have recently undergone abdominal surgery mayavoid.5. MATSYÁSANASthiti: Supine PosturePRACTICE• Take the right leg andplace it on the left thigh.• Place the left leg on theright thigh as in Padmásana.• Place the palms on either side of the head with fingers pointingtowards the shoulders.• Taking the weight on the palms, lift the head and the back,off the ground as you inhale. Bring the center of the crownof the head to the ground by bending the dorsal and cervicalspine backwards. Exhale and release the hands after theweight is well balanced on the head and catch hold of thebig toes hooking the index fingers around them. Press theelbows on the ground to bear the weight of the upper half ofthe body. Maintain this position for one minute with normalbreathing. Chant Bhramari.• Come back slowly step by step to supine sthiti.• Relax in Ùavásana.Yoga in Education for Total Personality Development SERIES - 5

42 | Yoga for Voice CultureNotePeople with neck pain low back pain and hyper tension shouldavoid this posture6. PRASARITHA HALÁSANASthiti: Supine PosturePRACTICE• Inhale, raise the legs together slowly and gracefully (withoutbending the knees) till it forms about 45Deg. to theground.• Continue to inhale and raise the legs further to 900 positionand simultaneously bring the arms down placing them nextto the buttocks.• Exhale, raise the buttocks and the trunk without lifting thehead. Support the back by the palms. Rest the elbows onthe ground firmly to get better support to the back. Maintainingthe legs parallel to the ground, straighten the trunkby pushing it up with the hands till the chin is well set inthe suprasternal hollow. Inhale in this position.• Exhale, bring down the toes further to touch the ground.Release both hands and rest the arms straight on theground parallelto each otherwith palms facingthe ground.And separate thelegs by about 2to 3 feet. Main-Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 43tain this position for one minute with normal breathing.• Come back slowly step by step to supine sthiti.• Relax in Savásana.NoteMake sure that you have achieved perfect balance before yourelease the hands supporting the trunk.BenefitsStretches and stimulates the back muscles, spinal joints andlumbar nerves. Enhances blood flow to the neck, activatingthe thyroid and keeps spine flexible.LimitationsPeople with any problem with the spine, hypertensives andthose with the cardiac problems, hernia must avoid this ásana.7.2. KRIYAS1. GARGLINGSthiti: TadasanaPRACTICE• Put luke warm salt waterin the mouth. Allow it to goupto the throat and gargle.Throw out this water.• Repeat for 10 times.Yoga in Education for Total Personality Development SERIES - 5

44 | Yoga for Voice CultureBenefits• Cleanses the throat.• Develops the stamina of the throat.2. USHAH PAANASthiti: TadasanaPRACTICE• Drinking the water through the nose is called Ushahpaana.• Blow the nose and clean the Nasal passage.• Take drinking water in a glass. Keep the rim of the glassunder your nostrils and inhale very slowly and gently tillyou feel the water in your throat. Take away the initial waterfrom the mouth and then go on drinking the water in theusual way.PRECAUTION: Don’t inhale forceably.Benefits• Cleanses the nasal passage.• Makes the breathing comfortable.• Excessive sensitivity can be removed.• People with tension and Migraineheadaches will behelped.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 45• Acidity will be reduced.• Good exercise for the throat muscles.• Relaxes the mind.• Removes stresses and anxieties.Limitations• Persons suffering with cold and cough at that time.3. JALA NETI (Cleaning the nasal passage)Sthiti: TáãásanaPRACTICE• Add about half a teaspoon of salt to a neti pot full of sterilelukewarm water.• Stand with the legs apart• Hold the neti pot in your right hand.• Insert the nozzle of the Neti pot into the right nostril.• Keep the mouth open and breathe freely through themouth.• Tilt the head first slightlybackwards, then forwardsand sidewards to the left sothat the water from the potenters the right nostril andcomes out through the leftby gravity. Allow the flow tillthe pot is empty.• Repeat the same on the leftside.Yoga in Education for Total Personality Development SERIES - 5

46 | Yoga for Voice Culture• To clear the nasal passages of the remaining water, blow outthe water by active exhalation through alternate nostrils asin Kapálabháti.BenefitsIt helps to clear nasal passages. Removes cold, hypersensitivity,headache, sinusitis, bronchitis and stimulates olfactorynerves.LimitationsNeti should be avoided if you have had a recent ear infectionor nasal septum operation. Also avoid neti for a few days aftera bleeding nose.4. CLEANSING BREATH (KAPÁLABHÁTI KRIYA)Sthiti: Daïãásana• Sit in any meditative posture.• Keep your spine and neck erect perfectlyvertical to the ground.• Close the eyes and collapse the shoulders.• Relax the whole body completely.PRACTICE• Practice rapid breathing with active andforceful exhalation and passive inhalation.• During each exhalation, blast out the air by vigorous flappingmovements of the abdomen in quick succession.• Inhale passively by relaxing the abdominal muscles at theend of each exhalation.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 47• Repeat the exhalation as quickly as possibleat the rate of 60 strokes per minute.• At the end of one minute, stop the practice.• Now observe an automatic suspension ofbreath resembling kevala kumbhaka, enjoyit. In fact, there will be no urge for breathingfor a few seconds.• Simultaneously the mind may experiencea deep state of silence. Enjoy this state ofdeep rest and freshness.• Wait until the breathing comes back to normal.Note• Throughout the entire practice the spine must be kept erectwithout any movement of the trunk, neck or the face.• It is important to learn to allow the inhalation to happenautomatically by relaxing the abdominal muscles at the endof each quick exhalation.• Kapalabhati can be practiced through alternate nostrilsby alternately closing the right and left nostrils in Násikamudrá.• In the beginning it may not be possible to practice continuouslyat the rate of 60 strokes per minute. Therefore, onecan start at the rate of 10 to 20 strokes per minute andrepeat it 2 to 3 rounds with normal breathing intervals ofa few seconds. With regular daily practice you can increasethe speed to 60-120 strokes per minute.• Persons with high BP, heart problems, vertigo, epilepsy,hernia, slip disc and spondylosis should avoid this prac-Yoga in Education for Total Personality Development SERIES - 5

48 | Yoga for Voice Culturetice. Women during menses and later months of pregnancyshould also avoid this practice.Benefits:PhysicalBrain cells are envigorated. It brings brightness to the facewith regular practice . It balances and strengthens the nervoussystem. It removes the drowsiness from the body.Brain cells send signals not only to improve memory, but alsotone up the voice.Alternative nostril Kapalabhati balances Ida and Pingala Nadis.TherapeuticIt provides a nice massage to all the abdominal organs. Peoplewith digestive problems are highly benefited. It cleansesthe lungs and also the entire respiratory tract. It is good forasthmatics and for other respiratory disorders.SpiritualIt removes the distractions of the mind and prepares it formeditation. The practitioner achieves a state of Kevala Kumbhaka,i.e. automatic cessation of breath.Limitations• Practice of Kapalabhati is to be avoided in case of moderateand severe High Blood Pressure Ischemic Heart Disease,Vertigo,• Epilepsy, Hernia, Gastric Ulcer, Slip Disc and Spondylosis.Women during menses and advanced stage of pregnancyshould avoid.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 495. VAMANA DHOUTISthiti: TáãásanaPRACTICE• Drink about one and a half litersof lukewarm saline water (about1% saline) as quickly as you canuntil you feel like vomiting it out.• Churn the stomach by twisting exercises.• Stand with feet apart at shoulder width and bend thetrunk forward forming an angle of about 80 degrees to theground.• Now with the help of the middle three fingers of the righthand, tickle the back of the throat to vomit out (vaman) allthe water.• Repeat the process of tickling the throat until no more watercomes out which may mean that all water has been vomited.• With continued practice one can stimulate the vomitingsensation and vomit out the water without using the fingersat the throat.• Relax completely in DRT for about 15 to 20 minutes.• Have a bland breakfast after about half an hour.Note• This is to be done early in the morning on an empty stomach.• A bland breakfast could preferably consist of Indian kichadi.(rice and lentil-dhal, cooked with or without salt), alongwith a tea spoon ful of pure ghee. Avoid coffee or tea forYoga in Education for Total Personality Development SERIES - 5

50 | Yoga for Voice Culturebreakfast.• With long practice one can learn to vomit all the water as ifit is a continuous jet. This is called Gajakaraïi.Benefits• Vaman dhoti or kunjal kriya removes hyper acidity, good forflatulence and dyspepsia (indigestion), cleanses the stomachof all its contents, promotes proper functioning of the stomachand prevents hyper acidity. Dhouti Kriya is extremelyuseful for gas trouble, high acidity in stomach and for curingAsthma also. Useful for asthma and bronchitis to clearthe air passages through reflex stimultaion of udána Práïa.Limitations• Avoid - in case of severe abdominal pain, abdominal surgery,tonsilitis, hypertension, ischaemic heart diseases andduring menstruation.7.3. PRANAYAMA1. BHASTRIKA PRÁÏÁYÁMASit in any meditative posture.PRACTICE• Here both inhalations and exhalations arevery active. So inhale and exhale throughboth the nostrils by expanding and contractingthe chest (thorax) forcefully.• The chest is expanded and contracted likethe bellows of the blacksmith.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 51• Stop after ten strokes.• The breath remains suspended automatically. Promote stoppageof breath as long as you can. Enjoy the whole process.Stoppage of breath is also a part of Bhastrika.• After normal breathing resume & go for the next round.• In this way, repeat three rounds.• To help chest movements, use hands. Keep hands in frontof chest. While inhaling take the hands away and back sothat cheast expands. While exhaling bring the hands to thechest.Note• While Kapálabháti uses abdominal breathing, Bhastrikauses thoracic breathing.• Keep the entire track i.e. the trachea, throat and the nasalpassage relaxed and see so that there is no friction at allduring the practice.• With continued practice, when you become proficient, youcan go up to 120 strokes per minute. But not more thanthat.Yoga in Education for Total Personality Development SERIES - 5

52 | Yoga for Voice CultureBenefits• Extremely useful for voice culturing.• Done with ease, the power of voice increases.• The vital capacity of the lungs and the Peak Flow Rate increases.• The stresses packed up in the throat are effectively releasedby this pranayama.• Burns up toxins.• Removes diseases of Doshas(kapha,pitta and vata)• Good for those suffering with lung disorders.• Alleviates inflammation in the throat and any accumulationof phlegm.• Balances and strengthens nervous system.• Induces peace, tranquility and one pointedness of themind.Limitation• People with high BP, heart disease, hernia, gastric ulcer, epilepsyor vertigo should not practice it. People with asthmaand chronic bronchitis are recommended to practice onlyunder expert guidance.2. UJJÁYÈ PRÁÏÁYÁMASTARTING POSITIONSit in any meditative posture.PRACTICE• To start with exhale completely and empty the lungs. Thenstart inhaling slowly and with awareness through both nos-Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 53trils with the glottis partially closed.• Because of the partial closure of the glottisair flows in and out with frictionthereby creating a sibilant (s) sound inthe throat. This resembles very much tothe hissing sound of a snake.• Exhale very slowly with the same hissingsound.• Make the exhalation as long as possiblealways longer than the inhalation.• This is one round. Perform nine rounds.Note• Bend the neck slightly to facilitate partial closure of theglottis(in the beginning).• Hissing sound is produced at the throat both while inhalingand exhaling.• Because of the hissing sound, Ujjáyi is also known as HissingPráïáyámal• The inhalations and exhalations should be slow, continuous.• Partial contraction or closing the glottis can be learnt bymaking a swallowing movement and feeling the gentle pressurein throat region.Benefits• Voice culturing takes place.• When we produce hissing sound, throat muscles get wonderfullymassaged.• It starts bringing changes needed for relaxation of throatYoga in Education for Total Personality Development SERIES - 5

54 | Yoga for Voice Culturemuscles.• It is a tranquilising pranayama.• It soothes the nervous system and calms the mind.• It helps removing insomnia.• Useful for people with high BP.• Alleviates fluid retention.• It is also called as psychic breath as leads to subtle statesofmind.Limitation• Introverted people should avoid.3. SÈTKÁRI PRÁÏÁYÁMASthiti: VajrásanaPRACTICE• Place the palms resting on the thighs.• Fold the tip of the tongue such that ittouches the root of the teeth on thetop. The folded tongue slightly comesout between the two rows of teeth andprovides a narrow opening on bothsides.• Slowly suck the air in through the twosides of the tongue.• Feel the cool stream of air diffusingthroughout the mouth and throatinto the lungs.• Exhale slowly through both nostrils.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 55Feel the warmth of the exhaled air.• This completes one round of Sètkári.• Repeat nine rounds.4. SADANTA PRÁÏÁYÁMASthiti: VajrásanaPRACTICE• Place the palms resting on the thighs.• Let the upper set of teeth touch thelower set of teeth.• Keep the tip of the tongue just behindthe teeth.• Inhale through the crevices of theteeth and feel the cool air movingslowly and continuously i n t othe mouth and passing down thethroat into the lungs.• The warm air is exhaled out slowlythrough both the nostrils. Feel thewarmth of exhaled air.• This completes one round of Sadanta.• Feel the changes in throat, head and through out the bodythat relaxes the whole body.• Repeat nine rounds.Benefits of both Sadanta and SitkariPhysicalThey induce muscular relaxation and an over-all cooling ef-Yoga in Education for Total Personality Development SERIES - 5

56 | Yoga for Voice Culturefect. They soothen the eyes, ears and purify the blood. Theyquench the thirst, appease hunger and generate a feeling ofsatisfaction. The taste buds and the mouth are sensitised.TherapeuticAllergies due to cold can be effectively overcome by prolongedpractice. They help in reducing tensions and stresses and inducemental tranquility. Sètkari and Sadanta keep the teethand gums healthy. They help reduce blood pressure and acidityin stomach.They cure chronic dyspepsia (indigestion), various chronicskin diseases, and releases even very subtle tensions.SpiritualExpansion of awareness - a facet of spiritual growth - takesplace as you move from sitali (linear awareness) to sitkari (surfaceaware-ness) and then to sadanta (3-D awareness).Limitations of Sitkari and Sadanta:People with Low Blood Pressure should avoid. People sufferingfrom cold, sore throat, bronchitis etc. should avoid. Practitionerswith sensitive teeth, missing teeth or dentures shouldavoid sitkari and sadanta. Instead they can practise sitali.Generally, avoid in winter or in cool climates.5. BHRÁMARÈ AND BHRAMARA IN SHANMUKHI MUDRASthiti: VajrásanaPRACTICE• Assume Cinmudrá.• Inhale slowly and deeply producing a sound resembling theYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 57humming of a male bee. This is Bhramara.• Exhaling, produce a low pitchedsound resembling the humming of afemale bee.This is Bhramari.• Feel the vibrations in the entirethroat and head.• This is one round.• Repeat five rounds.• Remove Shanmukhi mudra.• Repeat Bhramara and Bhramarisimilarly. This timewhile inhaling raise thehead up with Bhramaraand while exhaling bringthe head down with Bhramari.• This is one round.• Repeat five rounds.Note• During the practice of Bhrámarè use ‘N-kára’ and not ‘Mkára’.• Touch the tongue to upper (hard) palate.• Initially the sound vibration is felt more at the throat regiononly.• With long practices try to feel the strong vibrations in theentire head region along with its resonating effect throughout the body.Yoga in Education for Total Personality Development SERIES - 5

58 | Yoga for Voice CultureNote• In the beginning, 5 to 10 rounds of Bhramari is sufficient.Slowly increase to 10 to 15 minutes.• It can be practised at any time to relieve mental tension.BenefitsPhysicalCreates a soothing effect on the nervous system. Cultures thevoice and increases the melody.TherapeuticRelieves stress and cerebral tension. Reduces anger, anxiety,insomina and blood pressure. Good for all psychosomaticproblems as it reuduces the stresses and tension. Eliminatesthroat ailments (tonsils, pains etc.) Speeds up healing of tissueand so may be practised after surgery.SpiritualDevelop the diamentional 3-D awareness. It aids in expandsthe mind towards all pervasive awareness. It induces a meditativestate by harmonising the mind and directing the awarenessinwords.7.4. BREATHING EXERCISE1. TIGER STRETCH BREATHINGSthiti: DaïãásanaPRACTICE• Bend the right leg at the knee and sit on the heel.• Bend the left leg at the knee and sit on both the heels(sit inYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 59Vajrasana).• Lean forward and place the hands flat on the floor in linewith the shoulders with fingers pointing forward. Arms,thighs and heels should be about one shoulder width apart.The arms and thighs are perpendicular to the floor.• While inhaling raise the head and look at the ceiling.• At the same time, depress the spine making it concave.• While exhaling, blast the air and make a quick movementarching the spine upwards and bend the head downwardbringing the chin towards the chest.• This constitutes one round of tiger breathing.• Repeat 5 rounds.Note• Before starting the practice ensure that you are comfortablewhile standing on “all-fours” (i.e., two hands and twoknees).• Co-ordinate the movements with breathing.• Keep the eyes closed and practice with awareness.• Do not bend the arms or move the thighs forwards and backwards.Yoga in Education for Total Personality Development SERIES - 5

60 | Yoga for Voice CultureBenefits• Spinal flexibility increases.• Flexibility of neck muscles increases.• The whole body gets activated.• Awareness and mastery over all three sections of the chest.• Empties the lungs fully.• Harmonize the muscles of respiration.• Calms down the mind.• Tones Pancreas.• Feed back of airway status by sound in case of asthmatics.Limitations• Severe back pain, slip disc, cervical spondylosis.• Hyper Tension and heart problems.7.5. SHAKTI VIKASAKA1. KARNA ÙAKTI VIKÁSAKA(Improving the power of hearing)STARTING POSITION:Sthiti: DandasanaPRACTICE• Bend the right leg at the kneeand sit on the heel.• Bend the left leg at the kneeand sit on both the heels (sit inVajrasana).• Plug the ears with thethumbs.Yoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 61• Close the eyes with the secondfingers.• Inhale and close the nose withthe middle fingers.• Now holding the breath andrest the chin on the chest (JalandharaBandha).• Close the lips with the last twofingers sets.• Feel what you are hearing inthe ears.• Bring the head up.• Release the lower fingers.• Release the middle fingers.• Release all fingers bringing the arms down.• Relax and feel the vibrations.• Inhale and chant Bhramari while exhaling and feel the vibrationsin the ear.• Repeat five times.NOTE• The Jalandhara Bandha which forms part of the whole processensures stimulation of the endocrine glands as the nervouscomponents situated in this region.• Can be done in sitting position also.BENEFITS• It will cure many ailments of the ear and also impaired hearing.Yoga in Education for Total Personality Development SERIES - 5

62 | Yoga for Voice CultureLimitations• Pus in ears.7.6. RELAXATION1. INSTANT RELAXATION TECHNIQUE (IRT)Sthiti: ÙavásanaPRACTICE• Bring your legs together;join theheels and toes togetherand placethe palms by theside of the thighs.• Keep the face relaxed with a smile all through the practice.• Start tightening from the toes.• Tighten the ankle joints, and calf muscles.• Pull up the kneecaps.• Tighten the thigh muscles.• Compress and squeeze the buttocks.• Breathe out and suck the abdomen in.• Make fists and tighten the arms.• Inhale and expand the chest.• Tighten the shoulders, neck muscles and compress theface.• Tighten the whole body from the toes to the head.• Tighten…tighten…tighten…• Release and let go the whole body instantaneously.• Legs and arms go apart with the open palms facing theYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 63roof.• Collapse the whole body.• Enjoy the instant relaxation.Benefits• Relaxes the body instantaneously.Limitations• Hypertension and Heart problems people should do part bypart tightening and relaxation.• Slip disc and Cervical Spondylosis people should not tightenthe part of problem.2. QUICK RELAXATION TECHNIQUE (QRT)Sthiti: Ùavásana.PRACTICEPhase IFeel the abdominal movements.Observe the movements of abdominalmuscles going up and down as you breathe in andout normally. Observe 5 cycles.Yoga in Education for Total Personality Development SERIES - 5

64 | Yoga for Voice CulturePhase IISynchronize the abdominal movements with deep breathing.The abdomen bulges up with inhalation and sinks down withexhalation. Observe 5 cycles.Phase IIIAs you inhale deeply and slowly, energize the body and feel thelightness. As you exhale completely collapse all the muscles,release the tension and enjoy the relaxation.Observe 5 cycles.• Chant ‘AAA’ in a low pitch while exhaling. Feel the vibrationsin the lower parts of the body.• Slowly come up from either the right or the left side of thebody.SIMHAMUDRASthiti: DandasanaPRACTICETechnique• Bend the right leg at the knee and siton the heel.• Bend the left leg at the knee and sit onboth the heels. Separate the knees byabout 45cm.• Place the palms on the floor in betweenthe knees. Lean forward resting thebody on the straight arms. Arch theback and gently tilt the head back soYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 65that there is comfortable amount of tension in the neck.Open the eyes and gaze at the eyebrow center.• Inhale slowly and deeply through the nose. Open the mouthand extend the tongue out as far as possible towards thechin. While slowly exhaling, produce a clear, steady ‘aaah’sound from the throat, keeping the mouth wide open. At theend of exhalation close the mouth and breath in.• Repeat five rounds.• Come back to sthiti and relax.• Benefits• Throat and tongue muscles become flexible.• It develops a strong and beautiful voice.• Alleviates diseases of throat, nose, ears and mouth.• Tension is removed from chest and diaphragm.• Useful for people who stutter or who are nervous and introverted.LimitationsHeart problems.7.8. VOICE SPECIAL TECHNIQUE1. MATCHING THE VOICE OF OM WHILE BREATHING INAND WHILE BREATHING OUT:Chant OM while breathing in and while breathing out synchronizingwith the whole class.2. TONGUE MASSAGINGStarting Position :• DandasanaYoga in Education for Total Personality Development SERIES - 5

66 | Yoga for Voice CulturePractice• Bend the right leg at the knee and sit onthe heel.• Bend the left leg at the knee and sit onboth the heels (Sit in Vajrasana).• Open the mouth wide and push the tongue forward.• Give a massage while you are pulling the tongue as if youare mulching. With your right and left hands alternatelywith the thumbs below the tongue and the index fingers onthe tongue.• Practice twenty rounds.• Stop the practice, close the mouth and relax for some time.Note• Keep the tongue stretched out but relaxed.• Initially you may find it difficult but with a little practice youget used to it.Benefits• Very good for voice culturing. Improves the flexibility of thetongue muscles which is helpful in voiceculturing.3. BLOWING THE CHEECKS:Starting Position: DandasanaPractice• Bend the right leg at the knee and sit on the heel.• Bend the left leg at the knee and sit on both the heels (Sitin Vajrasana).• Inhale and blow the cheecks and maintain for a minute. FeelYoga in Education for Total Personality Development SERIES - 5

Yoga for Voice Culture | 67the pressurized blowing of the cheeks.Exhale. This is one round.• Repeat five rounds.Benefits• This increases the power of the cheekand lip muscles.Twisting the lipsStarting Position: DandasanaPractice• Bend the right leg atthe knee and sit on theheel.• Bend the left leg at theknee and sit on boththe heels (Sit in Vajrasana).• Twist the lips left toright and right to left.This is one round.• Repeat five rounds.Benefits• This increases the flexibility of lip muscles.Yoga in Education for Total Personality Development SERIES - 5