Overview
Breathing is a natural process that begins at birth. No one instructs a baby in the art of breathing, although they may get a manual assist from the doctor or nurse to get started. The rate of breathing is governed by the body's need for oxygen. If a person is sitting down without exertion, the rate will be about 12-16 breaths per minute, if they are asleep the rate will decrease, if they are exercising it will increase. The type of breathing to sustain life is automatic and needs no conscious control. The main difference between breathing to live and breathing to sing is just that, conscious control.
Air enters the body because of a difference in atmospheric (air) pressure inside and outside the body. The outside air has a higher pressure. This high pressure allows it to flow towards the lungs. When the need for oxygen is sensed, the diaphragm contacts, creating a sort of vacuum that draws air in. The primary muscle of bringing air into the body is the diaphragm, a dome-shaped muscled located at the base of the lungs. Breathing normally takes place through the nose. The nose is designed to filter, warm and add moisture to incoming air. In order to perform all the functions the nose slows the incoming air down. If a person is exerting themselves, for instance by running, they will begin to breath through the mouth which is able to take in larger quantities of air quicker.
When you Breathe In
Inhalation
When you Breathe Out
Exhalation
Breathing for Singing
So why is breathing so important to singing? Breathing is the foundation of singing. No matter how well a person sings, their singing can be further enhanced with improved breathing technique.
During your time in choir you may have heard terms like 'belly breathing' or were told to 'sing from the diaphragm'. Though I understand why expressions like these are used, they can be misleading for singers. The first term 'belly breathing' implies that you breathe from your stomach. This term came to be because when your diaphragm contracts or lowers your stomach naturally moves out. Though the muscles of the abdomen do play a role in breathing, a singer should never tense or purposefully push them out. When singers try to 'belly breathe', they can tend to jut the stomach in and out, creating unnecessary tension and hindering the breathing process.
The second phrase 'sing from the diaphragm' implies that you have control of the diaphragm, you don't. The diaphragm is what we call an involuntary muscle, meaning it is not under our control. In fact, the diaphragm is not even able to be felt. It is important to take a 'diaphragmatic breath' but one cannot 'sing from the diaphragm'. If I ever say this phrase in class, you have my permission to call me out. A diaphragmatic breath allows the chest to expand fully, draws more air into the lungs, and creates pressure necessary for speaking and singing.
A Singer with Proper Breathing Technique will:
Create the breath pressure necessary to sing higher notes properly
Handle long passages better
Better control dynamic level
Avoid a strained sound by not using the muscles of the neck to 'squeeze' air out
Relax the breathing muscles between phrases, easing tension and producing a freer more pleasing sound
Have a more stable tone and vibrato
Other Health Benefits of Diaphragmatic Breathing:
Lowers stress and the harmful effects of the hormone cortisol on your body
Lowers your heart rate
Helps lower blood pressure
Strengthens the core
Conserves energy
Intercostal Muscles
Help the ribcage expand and contract.
stock-footage--d-animation-of-a-breathing-man-visible-lung (1).webmInhalation
An expanded abdomen and ribcage are clues that a singer is inhaling properly. The main muscles used for inhalation are the diaphragm and external intercostals (outer rib muscles). The external intercostals are small muscles that lie in between each rib. They help the lungs out by lifting and expanding the ribcage every time you breathe. As the diaphragm lowers, abdominal muscles expand to optimize room for the diaphragm. As you breathe in, you may also feel the back expand slightly as it reacts to the ribs expanding. Singers should imagine that their torsos are a barrel and expansion occurs in the front, on the sides and in the back. Breath intake should be silent. A noisy inhalation indicates that there is tension in the throat and will negatively affect tone quality.
Though this seems like a lot to focus on every time you breathe, it is important to 'trust the breath', your body knows what to do! Focusing too much on inhalation can cause a singer to control every aspect of the process and create unnecessary tension.
Exhalation
We now have lungs filled with air from the bottom up. The ribs and abdomen are expanded and we are ready to sing. At this point, you may have heard you need 'breath support', but what does that really mean?
Breath support involves delivering the right level of breath pressure to the vocal folds. Too little pressure can create a breathy (under-supported) tone. Too much pressure can create a pushed and strident tone. Similar to inhalation, the muscles of the ribs and abdominals have work to do.
The internal intercostals, small muscles between the ribs, contract (release) and allow the rib cage to decrease in size. The abdominal muscles contract creating muscular pressure on the lungs. At the same time the oblique muscles contract. The oblique muscles connect to the lower part of the rib cage and help pull the rib cage down while compress (flatten) the abdomen.
As a singer exhales it is important for them to meter their breath. Metered breath involves conserving air while singing so that you can complete phrases with enough air and energy. One way to help meter your breath is to delay, or slow down, the rise of the diaphragm. If you are not conscious of your exhale, the diaphragm will rise quickly. This is where are phrase conscious control comes in. By slowing down the rise of the diaphragm you can sing longer phrases and create appropriate breath pressure. This slowing of the diaphragm is also known as appoggio. Appoggio is the Italian word for leaning, and the appoggio technique slows the exhalation process down by maintaining the space created during the inhalation (i.e. keeping the ribs and abdominals expanded). Metering breath correctly requires exhaling just the right amount of air necessary to produce the desired tone and complete the phrase.
Common Faults Related to Breathing
The most common fault when it comes to breathing is having poor posture. It is impossible to take a proper breath without good, aligned posture. Another common fault is upper-chest, or clavicular, breathing. This occurs when singers breathe into the upper-chest, and can be seen by the rising and falling movement of the chest. Upper-chest breathing is the predominant method of breathing when it comes to sustaining life, however it is undesirable for singing. Upper-chest breathing limits the movement of the diaphragm, does not bring in proper amounts of air, wastes energy and causes tension in the chest and shoulders.
Exercises for Breathing
Sibilant Exercise
One of the most commonly used exercises is the sibilant exercise, we do this all the time in choir. The sibilant exercise involves saying [s] over an extended period of time (sizzle). Now try [th], now [f]. This exercises restricts airflow and allows singers to concentrate on metered breathing. This exercise can also be done on voice consonants like [v] and [z]. Avoid overfilling the lungs when working on breathing. While doing this exercise place a hand on the abdomen (just above the belly-button) and one hand on the rib cage. Want to take it to the next level? Add pitch.
Diaphragmatic Breathing
A great way to work on diaphragmatic breathing is to lay on the floor with your knees bent and feel on the floor. Alternate between breathing through the nose and the mouth, inhale slowly. As you breathe, notice how your stomach moves up. Once you have inhaled, exhale slowly bringing the body back to a relaxed position.
Panting
Pant like a dog at varying rates from fast to slow and notice the outward/inward action of the abdominal area. Let your tongue rest loosely on your bottom lip with the jaw dropped comfortably. This may sound like a very strange exercise, but it engages the diaphragm immediately.
