When I read some of the online forums about singing, and someone asks a technical question, the answers can be overwhelming. Some people give themselves so many things to think about that I can’t imagine how there’s any brain left to deal with the music.
I think that building technique needs to be an iterative process, where a detail is worked on, then brought back to the whole. It can be surprising sometimes how the new skill can affect other areas of singing, and sometimes an adjustment must be made that is quite far-reaching due to something as small as how you form your O vowel.
I used to try to control every part of the singing mechanism as well as I could, but there are too many parts that are interconnected, and as Reid says, if some parts are not under our voluntary control then the whole system needs to be treated as if it is not under our voluntary control, because our tinkering on controllable parts can lead to uncontrollable consequences. If we believe that, then how do we do anything on purpose?
The answer lies in finding out how to elicit reflexive responses. Which concept will elicit the desired response? Is the response more free than it was before? Does it make singing easier? Then keep it! Patterns of vowel, pitch and volume, within a rhythmic framework, are the tools that we can use to build the technique. The freer execution of such patterns will tell us that the body-mind is improving technically. We can observe after the fact what is happening, and perhaps experiment with some of the microbehaviors, but the only thing that will elicit a reflexive, organic response is the correct CONCEPT. There is too much to micromanage if we sing by trying to tick off everything on a long list of technical points.