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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