Lloyd Hanson wrote :
<< 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.>>
I was the author of a recent post advocating the possibility of using the
lower abdomen, not always but in certain circumstances. Since there are no
archives at the moment, I have copied that post at the end of this one.
Actually, I am in the middle of a lot of experiencing with this technique,
which I had never properly understood till I attended a masterclass by
Margreet Honig a few weeks ago. What I am discovering is very interesting,
and I would now refuse to deprive myself of this technique. However, it
works for some types of vocal writing but not all. For example, I have had
the greatest success in singing Billy Budd with this technique, because this
role requires this kind of sostenuto head voice color, the same that I
called the "Lohengrin color" in my previous post.
What I experience is the following :
- First, when I relax my lower abdomen, I take in some more air. But I don't
really care, though I also experience a better easiness in sustaining long
vocal lines.
- But I think that this easiness is mainly caused by the lower relaxation of
my body, and by the lower balance between the inspiring and expiring
muscles.
With a "Miller appoggio", the agonist (expiring) action is not very strong
nor precisely located :
- In an easy tessitura and short phrase, the inertia of the diaphragm
wanting to resume its relaxed position is enough.
- When the vocal demands are higher, there is certainly an expiring action
from the abdomen and from the inner intercostals, but this action is well
distributed, as well as the inspiring action.
Lloyd also wrote :
<<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.>>
Well, of course, if we decide to avoid belly breathing, it becomes useless
to master correct belly breathing.
However, I would suggest that, with "learned effort", it is possible to keep
the rib cage expanded without any tension while one relaxes the lower
abdomen on the inhale.
But I would not use the term "belly breathing" with a student, because the
point is not about breathing, but about establishing a lower and stronger
appoggio.
Indeed, what I experience now is that it is possible to keep Miller's good
distribution of the inspiring (inhaling) action, while controling the exhale
from a more precise point, that is, the lower abdomen above the pubis.
In my previous post (copied below), I already wrote about the danger of a
too "vertical" approach.
But the opposite danger also exists: a too "horizontal" approach. There is
indeed a danger, with a strict Miller appoggio, that the area of the agonist
action and the area of the antagonist action get mixed. This is not a
problem at low intensity in a medium range on short phrases, but can become
one in more demanding circumstances.
This is what I experience when I feel my epigastric area going out : this is
indeed a good way of controlling that the diaphragm works (goes down on the
inhale and stay there during the sung phase), and this is perfectly OK to
control the voice in "easy" situations.
But in more demanding situations, I feel that this "bouncing epigastrium"
;-) somehow deprives me of a stronger and lower-lying energy. It does not
connect me as well as I could be connected.
And I CAN be connected lower and more steadily through the use of the lower
abdomen.
The diaphragm keeps going down, but it does not "protrude" at the epigastric
level. There may be more of a lateral, all-round expansion, which is, after
all, a very good "appoggio" (on the viscera) in its etymological sense.
The lower abdomen is indeed relaxed on the inhale. But the main point is to
establish, on the voice onset, a "lotta vocale" between two clearly distinct
areas :
- the lower abdomen, between navel and pubis : expiring (agonist) action,
- the diaphragm, FELT in the epigastric area but ACTIVE in its entirety :
inspiring (antagonist) action.
To simplify, we could tell that the "lotta" between these two areas take
place at the navel level (inside the abdomen, of course, not on its
surface).
An important point is : not to expire from the lower abdomen if there is no
need to, for example at the beginning of a phrase or for a very short
phrase, BUT to establish the same low contact. And of course, never to
expire without also "inspiring" (with the diaphragm) at the same time.
The main point is that this "lotta vocale" REALLY allows you to go on
inspiring with an active diaphragm, since this action find a very concrete
counterpart in the antagonist action from the lower abdomen.
You can therefore feel a much more steady APPOGGIO of the voice on the
diaphragm. THIS is the sensation to emphasize, and the expiring from the
lower abdomen should of course be kept to a minimum, as required by the
vocal phrase. Since the aim is to avoid to send direct air pressure onto the
vocal folds, the expiring action should NEVER overcome the inspiring action
from the diaphragm.
On 4/9/2000, Lloyd Hanson wrote :
<< However, it is still common to observe students who have been taught to
release the muscles in their lower abdomen on the inhale and pull these
muscles back into their normally firm position on the exhale.
This extraneous activity is not necessary for singing and it has not been
taught in the traditional, Italianate school of voice.>>
I would not be so affirmative about this technique not having been taught in
Italy during some or other "golden age", by at least some pedagogues. This
technique can very easily be demonstrated by employing traditional Italian
terms such as "appoggio" and "lotta vocale".
Would it be possible to apply this technique without relaxing the lower
abdomen on each inhale? I don't think so : the lotta vocale, if any, would
then take place at the epigastrium, and not at the navel.
I hope that this technique will help some listers to discover new
possibilities in their voices!
I advise new users to practice first lying supine, in order to avoid
excessive tension.
A positive side effect is that this technique establishes such a strong
direct relation between the navel level and the lips that tongue tension or
excessive arching of the lower back become a vague memory. :-)
| Alain Zürcher, Paris, France
| L'Atelier du Chanteur :
| http://chanteur.net
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My post from 4/10/2000 :
========================
Karen wrote :
<<If the tension is below the navel and above the thighs, it's support. If
it's anywhere else, it's just tension. :) >>
Reg Boyle wrote :
<< doesn't that conflict with Prof Hanson's description of the sense of
retained epigastric distension and to me the more recent addition of the
side intercostal consciousness. All above the navel >>
When you stay in the inhaling position, as if you kept inhaling while
singing, it will prevent the ribs to collapse and the epigastric area to go
in (that is, prevent the diaphragm to go up).
Even if you agree with this mechanism (which I do), it does not address what
happens or should happen below. It probably depends on different elements:
- the tessitura in which you sing at the moment,
- the amount of "sostenuto" required by the phrase,
- the volume of the orchestra or piano that you must "overcome",
- the vocal color that you want to achieve.
When you sing in a medium tessitura, without special dramatic requirements,
I would think that keeping expanded all around the bottom ribs (and up) is
enough. If the vocal phrase is long enough, the area below may go slightly
in, but it does not matter.
When you sing in a higher tessitura or over an orchestra, you would need
more subglottic pressure, but will not want to direct this pressure directly
to the vocal folds without balancing it with some antagonist muscles.
Since you don't want anything above the sternum (and even above the navel!)
to collapse (to go in), and since you will certainly consume air (and some
part of your torso should therefore go "in"), I would suggest that the only
part that can go in is the one below your navel and above your pelvis.
Fortunately, the diaphragm is an inhaling muscle, and since you need some
antagonist action, it can be provided by the lower abdomen (arguably by the
oblique muscles going from the pubis to the lower ribs?). In dramatically
demanding situations, you can establish a balance around your navel, between
inhaling muscles (above the navel) and exhaling muscles (below the navel).
This is a more "vertical" approach. If you apply this mechanism all the
time, it may lead to some monotony in your vocal tone and to some vocal
fatigue. But it can also allow you to sing a fully supported mezza-voce
pianissimo, hence to achieve a head voice color, even if the tessitura
doesn't ask for it. I think of the role of Lohengrin, which I cannot imagine
without this color.
The more "horizontal", "expanded" approach is more relaxing, and allows your
voice to sound closer to speech. For example, this approach would be easier
if you want to sing "Mab, la reine des mensonges" or "Ah quel plaisir d'être
soldat". But it could get dangerous if you kept this balance in more
challenging moments.
Does it make sense?
| Alain Zürcher, Paris, France
| L'Atelier du Chanteur :
| http://chanteur.net
END OF REPOSTED POST
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