In my last article, I discussed the importance of and the how-to of breathing properly during singing. This involves understanding diaphragmatic-costal breathing and exercises to attain proper breath support while singing. Part two of energizing the breath suggests warm up activities to aid in proper breath management.
Pulsating Exercises
In the warm up portion of the choral rehearsal, integrate the following exercises to facilitate the students’ learning process of low breathing: Demonstrating to the students how to “pant like a dog” helps activate the diaphragm and encourages low breathing. Direct students to place their hands on their sides and breathe deeply, concentrating on the expansion of the lower portion of the ribcage upon inhalation. Students should notice the outward expansion of their ribs and abdominal area. It is essential that the director notice those who breathe high in the chest as it will be indicated by a rise in the shoulders and will result in neck tension—such breathing should be corrected immediately. Have students again place their hands on their sides and pulse on [ch] (similar to the sound you would make as if you were to simulate the sound of a train), focusing on the expansion of the lower rib area with each pulse. Ask students to pulse in the same manner, the third time on a sustained [chee], expelling the air and allowing the beginning consonants to pulsate from the abdomen. This exercise energizes the diaphragm as well as applies breath to the tone. Inasmuch as this type of breathing is vital to proper support, as Phillips states, “learning to breathe with the correct motion is, then, an objective of vocal instruction that has benefits beyond the music classroom…it is known to aid digestion, cleanse the body of toxins, and massage the heart muscle…as well as relieve stress.” Since many singers emulate what they hear in the popular music world—where breathing is high in the chest and singing is unsupported—these exercises will be foreign to them in the beginning stages; however, with constant reinforcement in every rehearsal, students will begin to realize the improvement in breath efficiency.
Breath Control
Teaching correct breath management is imperative in the warm up routine. Harry R. Wilson notes the common misconception that one must use a large amount of air in singing. He states, “this idea leads to exercises in chest expansion which usually result in tension detrimental to singing.” It is in the control, not the quantity, of the breath that management is attained. He also states, “Breath control is dependent upon the efficiency of the vocal action.” The tone must “sit” on the breath via an open throat so there is no obstruction in phonation, which allows the vocal cords to adjust in such a way as to conserve airflow. These explanations may be too time-consuming to explain in-depth to a chorus, but it is important that the director understand the physical apparatus involved in breathing and find a teaching technique that educates students in these concepts in a timely manner.
Exercises for Breath Control
Helpful exercises include the “leaky tire” in which students begin by inhaling low and exhaling a continuous stream through a small opening in the mouth, simulating a leaky tire, the International Phonetic Alphabet symbol for which is a sustained [s]. A variation of the “leaky tire,” the “stopped leak” is performed in the same manner, but with silent space between each pulsating [s] or [t?]. This can help produce greater control while simultaneously building upon the previous diaphragm exercises. Lip buzzes are especially good for management and control. Ask students to exhale, inhale and then exhale through vibrating lips. Some students may have trouble at first but using imagery of imitating a motorcycle may help. This should result in singers who are more aware of how to manage the breath.
Utilizing these exercises in the choral rehearsal warm up period will result in proper breath control and management as well as more confident singers. Singers will also notice that, when put into use properly and with practice, these exercises will aid them in sustaining tones longer and with better intonation and support. Not only does breathing aid in musicianship, as Phillips notes, it also helps in digestion, stress relief and a more healthy heart.
Sources
Kenneth Phillips, “Energizing the Choral Warm-Up,” in Directing the Choral Music Program, (New York: Oxford University Press, 2004), 229.
William Skoog, “Use of Image and Metaphor in Developing Vocal Technique in Choirs,” Music Educators Journal, Vol. 90, No. 5 (May 2004), 43-48.
Harry R. Wilson, “Developing Choral Tone,” Artistic Choral Singing, (New York: Schirmer, 1959), 175.
Lance Morrow - Lance Morrow holds two degrees in classical/art music, teaches general music at a local university and directs music at a local church.
