Klarinet Archive - Posting 000114.txt from 2000/12

From: Ann H Satterfield <klarann@-----.com>
Subj: Re: [kl] Breathing, the Diaphragm and all that......
Date: Sat, 2 Dec 2000 13:21:41 -0500

Anthony Taylor,

Your observations against certain attitudes are valid. But it looks to
me like you are in danger of substituting different limitations. (More
specific comments interspersed with the body of your message)

The single set of metaphors/goals/sensations that I find most helpful is
to think of getting wider as i inhale. Then support comes from the seat
and includes the entire lower torso and the ribs (and shoulders) floating
on top of that support.

On Sat, 2 Dec 2000 11:44:35 EST Knaphet@-----.com writes:

> I let my shoulders rise as a natural process of my rib cage lifting as
I
> breathe in. I feel that I am breathing both low and high: I am
letting my
> whole torso fill with air rather than *just* the upper or lower torso.
This
> seems to be the problem when players think too much about where the
> air goes in. In the case of "stomach" breathing, I find that many
lock their
> rib cage down and can only get a little air.

Good point about the lock-the-rib-cage effect . The prohibition
on raising the shoulders is valid when in response to
lifting shoulders in a way that helps very little on air space.

> A breathing teacher that I recently worked with recommended that I
watch a
> video of Pavarotti singing. If you want to see a performer whose rib
cage
> moves freely and easily, watch Pavarotti. It may also build your
confidence
> that breathing that involves shoulder movement is not "wrong."

Good singers are excellent examples of the most effective breathing.
You will notice also that they have excellent posture--slumping is
another way to loose air space, even when not tense.

And supporting from the 'seat' up (or as singers more
directly say "from the crotch" and as Maria Callas is
quoted "from hairline to hairline" ) if you are sitting
you will and make a sudden accent burst of air you
will seem to bounce in the chair.

> Another related issue is how we think of the air going in. Part of
the
> reason that young students lift their shoulders is that they are
> lifting the shoulders to try to draw the air in. I find that if one
tries to
> only draw the air into their mouth, shoulders and torso tend not to
strain to
> bring the air in. So if you work on breathing to let the rib cage be
freely
> involved, thinking about taking the air into your mouth (rather than
trying to
> draw it deep) will add to your success.

The sound of good inhale is "ooooohhhh" --
sounding like Darth Vadar, rather than the mouthy "eeeeee".

Also (this is even factually true) air has weight
and will rush into the space (and lower pressure)
when the lungs expand. The air drops in --and most quickly
if the mouth, tongue and throat are most open. (Darth breathes in
slow motion.)

One day my voice teacher suggested "imagine you
breath through the back of your neck" as a way of
bypassing the tension & constriction in my mouth.

Or the sensation of a yawn.

Hope this helps
annhall

`````Ann Satterfield```(Central Florida, USA)```
Imperial Symphony -- Principal Clarinet & Music (Librarian & Personnel)
Manager
Polk Community College -- Assistant Instrumental Music
~~~~www.imperialsymphony.org~~annhsatt@-----.com~~~~~~~

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