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
|
|  |
