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From:  Margaret Harrison <peggyh@i...>
Margaret Harrison <peggyh@i...>
Date:  Sat Oct 20, 2001  1:45 am
Subject:  Re: [vocalist] Forgetting how to breathe


Karen Mercedes wrote:

I'm also finding that "less
> is more" - and that feeling constantly "full of breath" is NOT always the
> ideal approach. When you finally reach a point where you're just allowing
> the breath in (instead of consciously drawing it in), you'll find that
> your body naturally allows in only as much as it actually needs to sing
> the next phrase - no more. I also find that it's becoming less and less
> conscious - the inhalation truly is "just happening", much to my great
> surprise and delight. I continue to be amazed by the fact that this
> actually works!

This is exactly how I first got a handle on proper
breathing. It was demonstrated to me by slowly letting my
breath out through pursed lips or on a SSSS, until it's all
gone, and then allowing myself to breathe in. The breath
rushes in on its own in less than a second - a vacuum being
filled. And then I sing on that breath. It was a
revelaton. I even do a verson of that in performance,
especially when I have a long spell before I sing again. I
let my air all out slowly though my mouth, wait a second or
two, and then allow the air to rush in through my nose and
then I sing.

> Yes, of course there are still some "difficult" phrases that I still
> prepare for by "tanking up" (silently) beforehand. But I'm finding that
> these phrases are fewer and farther between.

My teacher opposes even the concept of "tanking up", because
one tends to take the breath high unconsciously. Also, if
one takes in too much breath, the larynx is forced to act as
a valve to keep the excess breath in, which defeats the
purpose!

When a singer feels he/she's running out of breath, there's
usually plenty left, and one should just press on with the
phrase and see how far you can get (in practice, of course).
Or practice a tempo that allows you to make the desired
phrase easily and sing it gradually slower until the optimum
tempo/breath ratio is achieved. Of course, there's a
difference between breathing in a high tessitura (less
breath needed) and low (much more breath needed), so I plan
my breaths accordingly. And in Handel, I don't even try to
sing a long run on one breath. I find the places it needs to
phrase, and that's where I plan to breathe. That's usually
better in a musical sense, as well. And I try not to fret
about the breaths (other than planning plenty) while I'm
learning the notes, because once the music is fully worked
into my voice, the breathing has worked itself out.

Peggy

--
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...

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