Just some quick thoughts. I am familiar with the circular breathing
idea as it applies to wind instruments not singing, but since Craig
seems to have actually done some version of it, I will keep openminded.
My real question would be: Why, (unless, as Craig mentions, a
contemporary composer is asking for a special "effect" which allows
absolutely NO possiblility of inhalation, however short - and we can
start another thread about the sort of person who might require such a
thing from a singer!)- Why would anyone need to adopt a special
breathing technique for any other repertoire? Good organic breathing
(using the "reflexive" properties of our natural breathing apparatus),
well coordinated with appropriate onset and efficient regulation of the
air for singing, covers every need I (or my many diverse students) has
ever had.
Sharon Szymanski
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