An Interview with Leslie Harrington, Master Singing Teacher
By
Barbara U. Jones PhD
April 2007

Barbara Jones has a Ph.D. from the Institute for Transpersonal Psychology. Leslie Harrington has been her singing teacher for four years. Together, they have a goal to teach the world to sing. In late July they are offering a five day singing workshop in Taos, New Mexico. The intention of this interview is to acquaint the reader with how Mr. Harrington’s singing methodology can lead people to enlightenment, as well as to introduce him/her to the structure and format of the workshop itself.

Leslie Harrington: Before you even ask me any questions, I want to tell everyone that singing is such fun! It is the most fun I know, the most fun I’ve ever experienced. It’s better than sex. Singing is the ultimate act of playing!

What is meant by the title of the workshop, “Come Build a Stairway to the Stars?”

LH: The opportunity exists to experience reality in its eternal glory by capable use of the voice. Some cultures call that reality nirvana, others call it enlightenment. One of the benefits of singing is that enlightenment can occur within a relatively short period of time for those open to it. The stairway is learning the steps that will erect the voice for singing. The voice singing is the stars.

I can understand why a person might want to sing, but why should they spend their time studying singing?

LH: Learning to sing is even more fun than singing itself! I have more fun preparing music than performing it – always! The real joy is in the preparation.
Because the body is designed to sing in any event, the joy must be a psychic requirement. Singing is not necessary for normal existence, but for spiritual enlightenment vocalization with inspiration is very useful. The most fun I know is singing with inspiration.
All of the emotional experiences of humankind can be clearly expressed in song. When a person sings, they touch the fundamental core of their being and access their deepest emotions. Singing is a vital element of the experience of oneself.
The vocal process is a complex system that is best served by conscious understanding of the involved reflexive structures of the body. Through recognition and control of the locations of triggering points that facilitate the operation of the reflexes that make the voice, one learns to realize the pleasure of being the instrument of the words and music. Though vocalizing is an instinctive reflexive function, our socialization process can establish habitual vocal patterns that oppose the core instinctive posture and processes of the voice.
As a result, our singing voice can get covered up with the stuff of life, rather than being a true expression of who we are. Studying singing can override old habits and restore a measure of a person’s instinctual freedom. The impediments that culture places upon the voice can be corrected and controlled by learning vocal technique.
Being confident in the use of the voice to express your pleasure and intent is the result of this effort.

What do you mean by vocal technique?

LH: Vocal technique is using the voice with control. The method used here employs the reflexes of the tongue, and the breath. The breath is the source of inspiration, which means breathing in. The tongue is the reflexive control center. Learning and controlling the reflexive triggering mechanisms of the breath and the tongue provides conscious control of the voice. This is vocal technique.

How does it work?

LH: The body is a system of erectile or vertical functions. For example, we erect our spine to stand. The voice erects in much the same fashion. When a person sings, the voice erects the body into vocal posture. This is reflexive in nature.
There are three master vocal reflexes: conversation, screaming, and calling. Conversation is the one most commonly used. Screaming is often used as a warning, and calling is a beckoning. Calling is the reflexive structure used in singing and orating assembled from three fundamental reflexive vocal qualities: falsetto, stretto, and squillo. Falsetto is commonly used and understood, the other two are stress and squeel. When all are used separately and concurrently, the complete tonal range of the voice is available.
Remarkably I found that the tongue, the palate, and the torso contain the reflexive points of the tonal musical scale. These structures are assembled with coordination for vocal projection. Because of this, the ability to inflect intent in melody is available to all. Joy, grief, ecstasy, astonishment, all the greatest emotions now become our tools of grace.

Is there a therapeutic benefit to singing?

LH: Culture and society instill inhibitions that block our instinctive responses. Singing restores our instinctual abilities, which can then over-ride cultural/societal habits. Learning to sing thus can provide a means of accessing our emotions, which themselves are also reflexive. As a result, singing can help create emotional balance in the singer.
Singing also teaches another order of time, which is an emotional relief. Time is an artificial construct, from which it is hard to escape. The reality is that everything is now. Rhythm, tempo, and speed changes results in a “reordering” of time. Music also exists in another order of time, which reconstructs our experiences and memories and allows us to temporarily exist out of time.

Through the process of singing, a personal core value structure can be established. This happens in part through the resurrection of the instinctive expressive function. Singing also develops self-awareness, as the singer must tune into the deepest parts of his/her body in order to coordinate the reflexive functions needed for singing.
Increased self-esteem is another therapeutic benefit of singing. This occurs as the singer perfects the means to use the vocal function as it was intended to be used. The singer can respect him or herself more for what he/she can do as a result of mastering the use of the vocal process.

You mentioned that singing can lead to spiritual enlightenment. Would you please say more about that?

LH: In my view, the voice is ultimately the center of awareness. It is our first expression at birth, when we first utter a sound. That first utterance, which is usually a scream, is made because we want to breathe. That scream is the first expression of self, and of self-awareness. Through this, we tap into the power of the universal utterance of existence. Enlightenment may be achieved by learning to become the instrument of the universal utterance in song.

How did you discover this method you teach?

LH: I was gifted with a fully functioning singing voice. As a result, singers who were not as facile in the use of their voice regularly came to me and asked how I did what I did. I sincerely tried to help. I must thank all those who asked, because their questions encouraged me to examine what I was doing in order to produce the sounds I was making. As a result, I studied pedagogy along with the biomechanics of the body. I tested my methodology out on students, and I can say with assurance that any student who works with this method can also have a fully functioning singing voice.

How will you conduct your workshop? What can the reader expect to have happen when they attend?

LH: First of all, I want the participants to have fun while they are learning something new. In the morning, the participants will experience dynamic meditations, which include dancing and production of sound. The meditations are designed to open the chakras, enabling the person to experience the vertical core of their being, which prepares them for singing. After the dynamic meditations, two hours will be given to learning inspirational methodology. A pianist will be present to accompany all singers throughout the week. I will also coach each participant individually on their song[s]. By the end of the week each participant will be able to successfully sing two songs of their choosing.

Can participants continue the work they begin in your workshop after they leave?

LH: Absolutely, even now before the seminar and following! Through the internet, with a web cam and microphone, I offer personalized instruction in the privacy of their home. We can view each other and converse live. For more information, please visit my website, www.singingworld.com. Also, visitors and residents of Taos are always welcome to work with me in my studio located downtown near the Plaza.

Before we close, I would like to hear more about your goal to teach the world to sing.

LH: The gift of my musical talent came to me with intrinsic requirements. I cannot imagine anyone in the world not being as fulfilled as I feel. In my studies and experience I have come to believe that all human beings are designed to sing and are not fulfilled until they do. All artists can find spiritual enlightenment through their work, but what is special about singing is that it is accessible to everyone.
The process of singing can be self-inspirational, and that inspiration is the medium of the art. Enlightenment through singing manifests itself by expanding one’s physical and musical ability with the spiritual experience. Everyone should have the opportunity to experience the shine, the immanence, the illumination, and the enlightenment of others, which can happen with singing.