Dear Barry and Fellow Listers;
The descent of the diaphragm into the upper portion of the thoracic cavity DOES displace the upper "abdominal cavity contents". There is adequate space for these "contents" to be lowered into the balance of the thoracic cavity without the need to release the abdominal muscles (belly out method). This is the cause of the sense of fullness in the epigastric area of the abdomen and is often a very successful focal point for the singer to ensure that he/she is using the appoggio technique correctly.
Singers with long waists (those with more than about 3 inches between the lowest rib and the top of the pelvis) often have difficult feeling the correct appoggio technique because they do not experience the epigastric fullness since their upper abdominal area is "long" enough to allow displacement of the abdominal cavity contents without concurrent expansion of the epigastric area.
Releasing the lower abdominal wall WILL make more space for the abdominal cavity contents. This is the reason often given for this technique which is justified by the erroneous concept that the diaphragm is then able to descend to an even lower position. Of course, the diaphragm cannot actively descend beyond its attachments to the lower ribs. It can descend lower than this but only passively and such a displacement of the diaphragm is of no use in controlling the breath for singing.
Releasing the lower abdominal wall WILL also tend to pull down the sternum and depress the lower ribs which will have a negative effect on the available space for lung expansion and will require of the singer a need to resurrect these depressions during the exhaling phase of the singing breath. It is possible, with learned effort, to maintain the sternum and, in some cases, the lower ribs in an elevated position during the release of the abdominal wall but this is a cause of substantial tension that is, in the long run, not necessary if belly breath is avoided. I will look for the studies to which I referred. Some of that research was done here at NAU, if I remember correctly.
Your quote from Titze about the need for "abdominal muscles and internal intercostal muscles to relax quickly to allow rapid expansion of the lungs" is typical of the German school of breath management. Titze was trained by Kurt Weinzinger, now deceased, who taught him at Brigham Young University and who later was a colleague of mine at NAU. He was a fine teacher who was more a coach than a technician and who learned as an attandant with, I believe, the Vienna State Opera.
Titze's later statement "the primary effort comes from the external intercostal muscles and the diaphragm" is significant because it concerns itself with the more active portion of the inhale. He also states "an outward displacement of the tissue in the region of the stomach is an indication that the diaphragm is lowering". This is not usually the case with complete relaxation of the abdominal wall.
Your stated understanding of the Italian principles of Appoggio and the Lotta Vocale is my understanding as well. I, however, do not have any good experience with teaching a singer to release the lower abdominal muscles in the inhale with the exception of a bass voice when he must move from a note in his upper head voice to a note in his lowest possible range with only a breath between these two pitches. In this case, a quick release of the abdominal wall will substantial lower the larynx and assist the singer in making such a drastic change in pitch.
Good to hear from you.
Lloyd W. Hanson, DMA Professor of Voice, Pedagogy School of Performing Arts Northern Arizona University Flagstaff, AZ 86011
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