Josh Mooiweer

Reading Assignment #7

1. The three general ideas the exercises in this chapter are based on are that vibrations are

murdered by tension, vibrations thrive and multiply in an atmosphere of relaxation, and

vibrations love to have attention paid to them.

2. In step one, Linklater suggests we search for ways to create and re-create a personal

connection so it's you being released through your voice.

3. Instead of responding mechanically when asked to hum, we should let the vibrations flow

from the middle of your body, through your mouth: close your lips and let the vibrations

gather reinforcements from the sounding board of those lips.

4. Never continue the sound until you run out of breath.

5. Linklater says she wants to condition a combined muscular and emotional release at the

beginning of every sound. So the responsibility for sustaining a breath through a

sentence is relegated to mental activity.

6. If you repeat an exercise only in your habitual speaking voice, you will tend to remain

within your customary range and habitual patterns of inflection and never expand into

unknown areas.

7. If tensions exist in the back of the neck, jaw or throat, vibrations are trapped in contracted

muscles.

8. Three distinct muscle groups of the involuntary breath system are diaphragmatic,

intercostal and inner abdominal.

9. Though external abdominal muscles can control breathing, our goal in this work is to

stimulate and connect with the inner involuntary systems.