I think the proper response to your comment is:
Your mileage may vary. It's clearly a question of different technical
approach. All I know is that what I described has helped me ELIMINATE the
"breathy onset" problem that plagued me for years, and the general
approach to breathing has helped me ELIMINATE the faulty breath management
that also plagued me for years, as well as my tendency to overcompress
(due, in part, to tightening in the tongue and jaw when I used to "draw
in" breaths rather than "allow breaths to happen"). The evidence is that
I'm able to sing freely, easily, much longer phrases on one breath, and
I've discovered an extreme facility with coloratura (no small discovery
for a dramatic-sized contralto voice), and an ease in my very top register
that I never had before I changed my approach to taking breaths and to
starting onsets. The third part of the process has been learning to allow
the phrase to taper off, releasing at the end, instead of trying to keep
the sound spinning through muscular effort (which causes tensions and
prevents an easy release into the next phrase).
Sorry if your technical approach is in conflict with this. Perhaps what
you do works for you and for other singers. But I know that what I do -
what my teacher teaches - works beautifully for all the singers in her
studio (at least the 40 or so that I've seen and heard). Indeed, I was
extremely encouraged to discover that so many of her students get it
right, having come from a teacher who had only a small handful of students
that I'd seen/heard of whom I could say the same.
KM
+++++++++++++++++++++++++++++++++++++++++++
+ Singers are often so fired up after a +
+ a performance, they want sex instantly. +
+ - Jilly Cooper, SCORE! +
+++++++++++++++++++++++++++++++++++++++++++
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