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Glord1894
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Joined: 30 Mar 2012
Posts: 60
Location: New York
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 Posted: Mon Apr 25, 2016 8:42 pm Post subject: stopping the breath |
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OK we have all heard that there should not be a hesitation between the inhale and exhale, but why?
I can feel the difference when I get it right, but what happens when you pause that is so debilitating? Even tiny pauses seem to make a difference. |
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Fuzzy Dunlop
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Joined: 25 Jun 2011
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| Posted: Mon Apr 25, 2016 8:48 pm Post subject: |
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| When you hold the air tension builds. That is no good. |
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kalijah
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Joined: 06 Nov 2003
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Location: Alabama
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| Posted: Mon Apr 25, 2016 10:08 pm Post subject: |
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There is nothing wrong with pause if you need to. That is, if the musical situation calls for it. "Holding" the air before you apply air pressure to play is NOT tension if you do it correctly.
For a long hold, even if done correctly, it stops respiration and can create a "suffocating" feeling due to the lack of air exchange. But usually this is not a problem.
There is certainly a way to do it that will not cause tension and it is quite easy to accomplish.
In most music performance is it easy to time the inhale such that none or very little pause is required. |
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Peter Bond
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Joined: 08 Feb 2004
Posts: 1455
Location: Metropolitan Opera
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| Posted: Tue Apr 26, 2016 5:04 am Post subject: Re: stopping the breath |
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| Glord1894 wrote: | OK we have all heard that there should not be a hesitation between the inhale and exhale, but why?
I can feel the difference when I get it right, but what happens when you pause that is so debilitating? Even tiny pauses seem to make a difference. |
Pausing between inhalation and playing is fine (players who have to follow conductors or wait for singers do it all the time).
The problem arises when one seals off the air at the tongue or throat (glottis) and then pressurizes the air. This can result in "locking up" or the inability to release the air when needed, or more commonly, an explosive or otherwise inappropriate attack (say; "hut" and hold the "t" to create this feeling)
The air in the body must be kept "in suspension" as opposed to pressurized.
Two solutions:
Keep wind-way open until attack (think of panting like a dog; same 'feel;' air changes direction, but windway remains open).
#2. I you CAN seal wind-way with tongue as of preparing an articulation, but keep the chest elevated. This prevents pressurization. If I need an accent or fortissimo note after this "suspension" I lift a little from my belly upon releasing the sound (like shouting). I always get the type attack I need.
Generally speaking, if you think of notes/phrases more as spoken or sung words rather than "tonguing and blowing," your playing will be more musical and less mechanical. |
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John Mohan
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Joined: 13 Nov 2001
Posts: 9830
Location: Chicago, Illinois
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| Posted: Tue Apr 26, 2016 7:19 am Post subject: |
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| kalijah wrote: | There is nothing wrong with pause if you need to. That is, if the musical situation calls for it. "Holding" the air before you apply air pressure to play is NOT tension if you do it correctly.
For a long hold, even if done correctly, it stops respiration and can create a "suffocating" feeling due to the lack of air exchange. But usually this is not a problem.
There is certainly a way to do it that will not cause tension and it is quite easy to accomplish.
In most music performance is it easy to time the inhale such that none or very little pause is required. |
+1
When playing musicals and operas where there are musical cues based on what is happening on stage, there is often the need to hold for the cue with a full breath.
Doing the Claude Gordon Breathing Exercises is an excellent way to develop the ability to be full of air and relaxed, and also empty of air and relaxed.
Best wishes,
John Mohan
Skype Lessons Available - Click on the e-mail button below if interested
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1st Trpt for Cats, Phantom of the Opera, West Side Story, Evita, Hunchback of Notre Dame,
Grease, The Producers, Addams Family, In the Heights, etc.
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Mike Sailors
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Joined: 30 Oct 2012
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Location: Austin/New York City
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| Posted: Tue Apr 26, 2016 7:34 am Post subject: |
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| Fuzzy Dunlop wrote: | | When you hold the air tension builds. |
That's not true.
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TrumpetDan79
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Joined: 27 Jan 2015
Posts: 157
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| Posted: Tue Apr 26, 2016 7:47 am Post subject: |
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+1 on what Peter and John are saying.
I love the idea of "suspension" of the air vs. holding!
It would be all but impossible to be in a non-supported state before one of those lovely spit-cues that show directors give sometimes. Just did a 3 week run of Into the Woods, and had I taken a long winded breath from zero on the fanfares, I would have been toast. There was simply no luxury of an upbeat on most of them.
I had to draw in a full breath and suspend it. When the cue came, boom, release.
Practice some Franquin...any surety exercise with a few rests between emissions.
Support through the rests, then pick off the notes clean. You'll find you can release on any note in the range.
It's a LIGHT support, nothing pent up or blocked. Just to feel that little fulcrum point right below your sternum (for me at least..use whatever leverage point you want).
D
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Daniel J. Flores
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cheiden
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Location: Orange County, CA
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| Posted: Tue Apr 26, 2016 8:37 am Post subject: |
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In my experience, holding one's breath can introduce tension in developing players so it's often discouraged. I have no doubt that many developed players can hold their breath without introducing tension.
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Peter Bond
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Joined: 08 Feb 2004
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Location: Metropolitan Opera
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| Posted: Tue Apr 26, 2016 10:18 am Post subject: |
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| cheiden wrote: | | In my experience, holding one's breath can introduce tension in developing players so it's often discouraged. I have no doubt that many developed players can hold their breath without introducing tension. |
No particular development or experience (or exercises) needed. Try the approaches in my post above. I'd be interested if they work for your students.
Best,
PB |
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cheiden
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Location: Orange County, CA
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| Posted: Tue Apr 26, 2016 12:27 pm Post subject: |
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| Peter Bond wrote: | | cheiden wrote: | | In my experience, holding one's breath can introduce tension in developing players so it's often discouraged. I have no doubt that many developed players can hold their breath without introducing tension. |
No particular development or experience (or exercises) needed. Try the approaches in my post above. I'd be interested if they work for your students.
Best,
PB |
Actually I'm completely in agreement with you. I only offered my comment to explain why I think others discourage the practice.
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Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart |
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lerham
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Joined: 29 Aug 2008
Posts: 50
Location: New Haven, CT
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| Posted: Wed Apr 27, 2016 2:18 am Post subject: |
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Totally agree with Mr. Bond and Mr. Flores! I teach my students how to master this from the very beginning. I firmly believe that tension is created by a misunderstanding/practice implementation problem that is never addressed or solved. A lot of this can be done by practicing timed inhalation and exhalation without the trumpet. 4 beats...beats 1 is prep, beat 2 and 3 are inhalation with an "oh" syllable, beat 4 is tongue set up and release on the downbeat of 1 in the next measure. First...breathing deeply with an "oh" syllable over two beats is very deep and relieves loads of tension. Using the tongue as a simple shut off valve without tightness allows for an immediate sound, timed precisely. There is also great value in practicing without the tongue as well.
I found practicing this via a blow bag sans tongue, a pvc pipe no tongue, then tongue, then no trumpet with tongue, then instrument with mpc, every day for years helped my playing to great lengths.
When you address this head on with young students the benefits explode because you have created an environment for valuing air and tongue control over the notes and other distractions. The music is so much easier to master with this stuff already in place.
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