A Handbook for the Development of an Expressive Voice - II Breath support

Opening

In my experience, the best way to achieve an optimal pharyngeal opening is the feeling of “happy surprise”. The soft palate automatically rises and the space in the pharynx lengthens without creating tension. There are other ways to achieve this opening, such as “happy ah!” or to think “Super!” or, in the young language of today, “Awesome!” (Important is the exclamation point!) An optimal opening of the throat assists the body posture and activates the breathing muscles of the body. This stretching encourages the sacrospinalis muscles of the back to lengthen. If one were on the ocean and opened the window in the morning to take a deep breath, in full admiration of the gorgeous spectacle, he would very probably attain an optimal opening in the throat. Remember that a certain inspiration is necessary in singing - an inner stimulus - and this inspiration should occur from the very first breath to the last.

Breath support

The muscles of the epigastrium (the muscles around the stomach area) just under the sternum  and the back muscles (the latissimus dorsi) expand in opposite directions, producing a state of “counterpressure”.  “Pressure” does not mean an over-pressure or strain in a negative sense, but a condition of strength like a sportive activity.  This activity, however, is comparable to a high-performance sport - more activity than the normal person on the street for a normal life uses.  A strong, active expansion in the epigastrium and back leads to total relief of tension in the area of the neck, pharynx and lower jaw.

Correct singing requires “alertness, vitality, and a sense of readiness without stiffness.  The singer must find a middle ground between passivity and rigidity.” (“Establishing a correct Basic Technique for Singing”, a private, unpublished thesis for singing by Hermanus Baer.) One obtains his strength from the back.  The larynx automatically drops without manipulation.   “…I find more and more that as the larynx is encouraged to drop lower in the throat through correct posture and correct breathing, the soft palate automatically moves upward.  The larynx and soft palate always tend to move in opposite directions.  Since this relationship exists, it is obvious that the low larynx is of basic importance.”  (“Establishing a correct Basic Technique for Singing”, a private, unpublished thesis for singing by Hermanus Baer. ) Through the strength in the back, one also acquires a soft tonal onset. 

A strong, correctly supported body does not lead to tension in the throat - quite the contrary - only then can the voice be completely free.  The more strength, the freer the voice.  Also, the more expansion in the body, the larger the tone will be without forcing the voice from the larynx.  If the body were to lose its vitality and energy, then the throat and tongue would have to take over the task.  That means that the voice would collapse and become damaged.

How is the abdomen a part of our technique?  The abdomen will be pulled inward and not allowed to be expanded outwardly.  The pulled-in abdomen supports back expansion and serves our optimal posture position.  (Think of our ballet dancer from the last entry:  “Posture”.)  One cannot maintain good posture and allow his abdomen to protrude or fall down.

Keeping the feeling of apoggio and keeping the feeling of expansion throughout the entire singing, is certainly one of the most difficult aspects of singing.  Perhaps in the beginning the back muscles may hurt a bit, but that goes away very quickly and the result is worth it!  The throat becomes entirely relaxed and has no work to do!  The middle-high position of the ribcage, the expansion of the ribs and muscles (front and back) and the relaxed shoulders always have to be maintained - even while breathing between phrases.  Astrid Varnay, the great hoch-dramatic soprano, said to me:  “I breathe in at the beginning of the performance and breathe out when the opera is finished.”  Great way of thinking!

How does a singer take a breath?  Taking a breath is toneless, silent.  It should not be heard.  Do not think you are taking your breath with your mouth, but with mouth and nose.  Some singers believe they should only breathe in through the nose.  This is only possible if the singer has a lot of time, otherwise the nostrils close and the throat does not have time to relax.  (Nose breathing creates some tension in the throat and lower jaw if taken in too fast.)  Breathing in only through the mouth is also not favorable because the air goes into the lower pharynx and directly onto the vocal folds.  This dries out the vocal folds and the mucous membranes, which again promotes inflammation in the tonsils, pharynx, larynx and trachea.

Important is the tone production:  tones should just “come” and not be pressed or forced out.  Let the voice just come.  Strive for total relaxation in the throat, looseness of the lower jaw and a forward-positioned, flexible tongue.

 

 

 

• Author and date: Brenda Roberts (2008-11-25)
• Permalink: A Handbook for the Development of an Expressive Voice - II Breath support
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2 Comments »

  1. Dear Ms. Roberts,
    I found your Handbook for the Development of an Expressive Voice wonderfully informative and detailed but difficult to grasp.

    Comment by Mamie Lilovich — December 23, 2008 @ 10:01 am

  2. Dear Mamie Lilovich,

    I would be glad to help you understand these entries on vocal technique. Would you please tell me what it is that you don’t understand. Then we’ll go from there!
    Brenda Roberts

    Comment by Brenda Roberts — December 23, 2008 @ 9:57 pm

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