Too Much, Too Little, Just Right! The Balancing Act Model

What is the Balancing Act Model?

First introduced by Robert Edwin in the NATS Journal of Singing back in 1999 and updated in 2022, the Balancing Act Model operates on a simple premise: you cannot define the middle without knowing where the edges are. Rather than locking students into a rigid, narrow definition of "proper" technique, the model encourages cross-training across the full continuum of vocal possibilities.

"One size does not fit all. Therefore, the balanced, 'just right' aspect of the model may lean towards hyper, or hypo, depending upon the style of singing."

— Robert Edwin (quoting Jeanette LoVetri)

Exploring the Vocal Continuum

During the session, participants became "extremists for a day," experimenting with how hyper and hypo states apply across key components of the singing system:

1. Alignment & Posture

• Hyper: High chest elevation, shoulders pulled back, pulled-in chin (military stance). Helpful for stiff or authoritarian theatrical characters.
• Hypo: Dropped sternum, slouched shoulders, forward head position. Useful for portraying low confidence or defeated characters.
• Balanced: Lifting arms overhead and bringing them comfortably down to find a natural, relaxed torso expansion.

2. Breathing

• Hyper: High clavicular, tension-filled chest breathing (a technique famously used by Barbra Streisand or used on stage to convey panic/anxiety).
• Hypo: Low-energy, sighing breaths (think jazz icon Chet Baker).
• Balanced: Dynamic appoggio—a comfortable interplay between inhalation and exhalation muscles that releases the abdomen to allow lower diaphragmatic descent.

3. Phonation & Onset

• Hyper: High constriction, tight vocal fold closure (the "Kermit the Frog" or overly pressed voice).
• Hypo: Breathy, unpressed phonation with air escaping (the Marilyn Monroe style).
• Balanced: Tailored closure suited to the style—whether that's full, ringing operatic fold closure or conversational pop/rock tones.

4. Resonation & Tone Color

• Hyper-Oscuro (Dark): Heavy, swallowed, "woofy" resonance with low laryngeal placement.
• Hyper-Chiaro (Bright): Extremely nasal, lowered soft palate twang (essential for country singing, character roles like Adelaide in Guys and Dolls, or comedic musical theater).
• Balanced: A rich chiaroscuro balance adapted to genre demands.

5. Articulation & Diction

• Hyper: Over-articulated, crisp consonants where every syllable is exaggerated.
• Hypo: Slurred, vowel-heavy singing with minimal consonant boundary (common in pop or classical styles where diction takes a back seat to line).
• Balanced: Clear, story-driven communication suited to the venue and musical style.

6. Emotional Expressiveness

• Hyper: Overacting, melodrama, or inauthentic emotion.
• Hypo: Flat, emotionless, robot-like delivery.
• Balanced: Authentic storytelling where technical choices serve emotional truth.

Key Takeaways for Teachers & Singers

• Cross-Training Builds Flexibility: Working on extremes prevents singers from locking into one rigid sound and equips them for diverse demands in contemporary commercial music (CCM), theater, and classical genres.
• Avoid the "Dr. Frankenstein" Trap: Teaching isn't about cloning yourself; it's about helping individual students explore their whole instrument and make appropriate artistic choices.
• Directability in Auditions: Auditions in theatre and opera increasingly demand emotional and vocal flexibility. Being able to intentionally swing