| Hi again, Caio wrote: >>Mike, you also suggested here that SLS is not for breath support, but that's
not what I read in Riggs's book. There's even an illustration showing what
active breathing is all about. They're against pushing it above the point
where your chest voice would start turning into mix, but they're for it as
far as chest voice is concerned ( or did I miss something ? ). Not quite, but close :o) We don't teach breath support as an active part (in the sense of "teaching the student how to breathe for singing") unless the natural way of breathing of a specific student is poor. Obviously breathing is an important part of singing, so Riggs explaines what normal (or correct) breathing looks like. But many techniques over-emphasize the importance of correct breathing and "pushing with the diaphraghm" and attempt to solve many problems just through breathing when the origin of the problem might not have anything to do with "support". If the cords aren't closing properly, for example, there is nothing to support in the first place. When you say "not pushing it above the first bridge" we start deferring in our definitions or breath support: "Thrusting" in your diaphraghm is not breath support, but an attempt to get higher notes in chest when they should be in mix. Correct breath support is when you get to feel the natural compression of air in your abdominal/chest cavity and the sound is well balanced, but we never force it or teach specific breathing exercises unless there are some really bad habits. If the student breathes correctly while speaking we'll just make sure everything stays the same while singing: relaxed larynx and good cord closure will result in good support. That goes for chest, mix, and head; not just chest. Best Regards, Rocio Guitard Seth Riggs Associate
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