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An Exasperating IssueAn Exasperating Issue
Breathing & Breath Support
Breathing & Breath Support
What’s It All About?What’s It All About?
BUT…BUT…
Breathing and breath control are the foundation of singingBreathing correctly is the only way to sing naturally, easily, and comfortablyThe breath controls the quality of sound
What isn’t it all about?What isn’t it all about?
There has never been just one correct way to do itThe old masters had hardly anything to say about it
Comparatively of only minor importanceWasteful to spend much lesson time on breathing alone
Importance:Importance:Not MuchNot Much
The lungs are like pair of bellows (and serves the same purpose), or…Like empty sacks, and the air drops in like a weight, from bottom to topThe vocal cords are an “escape valve” only
DefinitionsDefinitions
Clavicular BreathingCostal BreathingDiaphragmatic (or Intercostal) Breathing
Types of BreathingTypes of Breathing
A system of inspiration whereby the upper parts of the chest are raised while the diaphragm is drawn in. The effect of this method is first to interfere with, and then destroy, the effective coordination of the vocal organs
Clavicular BreathingClavicular Breathing
Creates tensionOnly incomplete inspiration (breathing in) is possibleOften indicative of lack of breath (”runner’s breath”)
Clavicular BreathingClavicular Breathing
Basically used for the purposes of daily livingFor the purposes of singing, it is normal as long as the musical expression does not include dramatic episodes, or phrases to be sung con grande expansioneMany teachers do not advise this
Costal BreathingCostal Breathing
Also called thoracic or intercostal breathingA breath taken with an outward movement of the lower ribs that fills the lungs to their fullest capacity
Diaphragmatic BreathingDiaphragmatic Breathing
Vocal cords are free to vibrate without interfering with the glottal movementsMore breath can be inhaled*Regulates the apoggio (deep breath)Provides a constant stream of pressureCreates a feeling of expansion
Diaphragmatic BreathingDiaphragmatic Breathing
Advantages:
Everybody has to learn itRigidity of the spinal column does not “helpChest and shoulders must be “quiet”Be a “marionette” puppet
PosturePosture
This may be a bit extreme…
PosturePosture
Immediate pressure of air should be felt against the chestDiaphragm presses air against the “chest box,” then upThe throat must not be allowed to shut the air off
SensationsSensations
Register will balance wellProblems can start happen in an unprepared throatBreath is used much more efficientlyBelly will indicate proper drawing of the breath
Sensations (continued)Sensations (continued)
With no foundation, the breath is shaky and unstableToo much breathing practice may be hazardous to your healthIt is possible to over-develop the diaphragmNasal breathing is inefficient
Things to Watch ForThings to Watch For
The body should not really be completely relaxedThe best-trained voice can be overusedIt is possible to get too much airPosture! Posture! Posture! But not too much posture!White voice (falsetto)
More Things to Watch ForMore Things to Watch For
In through the nose, out the mouthKeep the throat openEliminate throatiness by attacking from the diaphragmKeep the throat openUse staccato to check breath pressureKeep the lungs thoroughly filled, or inhale with small puffsDid I say keep the throat open?
Exercise PracticesExercise Practices
1. Posturea. Flexible, stretched spineb. Uplifted chest before and during
singing2. Tonal Concept
c. Before inhalationd. Breath conservatism
3. Feeling Associationse. Spinal stretchf. Expansive lift at the waistlineg. Steady sensation of the
diaphragm
Rules for Breath ControlRules for Breath Control
InhalationPhonationSuspensionRecovery
Phases of SingingPhases of Singing
The key to proper breath controlMust not be nervous or tenseBe physical and positiveInhale deeply, easily, quietly
InhalationInhalation
A moment in the music when the inflowing column of breath is stopped in balance, neither moving in nor out, while the throat (vocal cords) remains open preceding the attack.
SuspensionSuspension
The making of vocal soundStarts with the tonal attackBreath cannot be held back at this pointIn diminishing the tone, the throat remains just as opened as crescendoing
PhonationPhonation
The of relaxation and rest, perhaps very slight, following the end of one phrase and preceding the beginning of anotherThere is a feeling of grief “letting go” of the diaphragm and all muscles around the lower rib lineThe chest remains eternally high and quiet
RecoveryRecovery
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