BREATH CONTROL

Notes for Performance Day 16^th June 2007

Breathing.............quite a mystery??

Breathing In.

Well, we do it all the time and probably the only time we do it really correctly is when we yawn, or get ready to shout! And....when we sigh!

Why? Because the air goes in QUIETLY and lots of it! A bit like a self inflating lilo.

We don't lift our shoulders and our rib cage expands outwards and our tummy pokes out.

When playing a wind instrument, you need to use more air and make the air move much faster than when you are breathing normally. 

If you are taking deep diaphragmatic breaths you should be able to feel expansion in front, sides, and back when you breathe. It is important to take a deep breath from the diaphragm whenever you play.

Breathing Out.

The muscles in the tummy need to push the air back out of the lungs.  Most of the pressure should come from the muscles below the belly button which push in and upwards towards the lungs. May be a bit like rolling up the toothpaste tube from the bottom so you get all the toothpaste, rather than just squeezing anywhere! Constant pressure must be applied from these muscles; this is called breath support. 

Throat

Our throat is open when we breathe in and it must be open when we breathe out. When we breathe out with an open throat our sound will be big and beautiful because our tongue is not in the way preventing the big beautiful sound. Try and shout eeeee,............ this is not very loud as our tongue is up, flat and basically in the way. Now shout oorrrrrr,....... This can be much louder as the mouth cavity is now like a big sound box because the tongue is down and out of the way.

The muscles are now ready to let us have as much air as we need and use it as economically as we can.

A Couple of Exercises for Breath Control

Daily practice of breath control is most important. Always look ahead in your music and allow enough air to last for the phrase you want to play. Be economical, if you have 12 slices of bread to butter and not much butter you will be very careful how you use the butter on each slice!

1. Take a deep breath for as long as you need to.  Then, start a stopwatch and slowly exhale.  Make a hissing noise ("sssss") as you exhale.  Time yourself to see how long you can go before you run out of air.
2. Play long notes.
3. Breath in for 4, out for 8 (more in lessons)
4. Take a big breath, hold, then snatch some more, hold and slowly exhale.
5. Get a piece of small paper, hold it against the wall, and blow on it for as long as you can before the paper drops to the floor. Flutes can do this with their mouthpiece for a more advanced control! (no hands allowed)

Types of Breaths
 Whilst playing music there are really three main types of breaths:

1. Super luxury, when you have lots of time to take a breath.
2. Normal, when you take a breath that doesn't interfere with the flow of the music.
3. Snatch breath, when you have to take a very quick breath to last you to a better spot!

Remember exercises will improve:

• Quantity of breath at your command
• Your control of the air
• Your economical use of the air.

KEEP YOUR BREATHING AS QUIET AS POSSIBLE AND FINALLY,

IF THERE IS NO AIR, THERE IS NO MUSIC!!

KEEP BREATHINGv

1 comment | post comment

3 comments | post comment

Workshop -

Ensemble Playing and Performance

13^th May 2006

6 GOLDEN RULES FOR ENSEMBLE PLAYING (tongue in cheek)

1. Every-one should play the same piece
2. If you play the wrong note, give a nasty look at one of the others players.
3. Carefully tune your instrument before playing. That way you can play out of tune all day with a clear conscience.
4. If every-one gets lost except you, follow those who get lost!
5. When every-one else has finished playing, you should not play any notes left.
6. A wrong note played timidly is a wrong note. A wrong note played with authority is an interpretation.

OVERVIEW OF PREPARATION

The amateur practises until he gets it right;  the professional practises until he doesn't get it wrong.

 

Technically, nothing should be left to chance.

Interpretation of style must be understood and applied.

Tempo is indicated by metronome mark or Italian word. Different music periods have different speeds for eg. Allegro in Baroque music (1650 -1750) is slower than later periods. Never play at a speed that becomes unmusical just because the marking says m.m.170

Phrasing groups notes into meaningful units, like sentences and paragraphs in written language. Articulation, accentuation, dynamic levels, tone colour and rhythm need be carefully considered in shaping notes and phrases. Think of the music as if you are singing it.

Rhythm:  Note values often have more to do with the character and style of the music than just the fact that for example a minim is played for 2 beats in 4/4 timing.

Dynamics:  The dynamic range marked by the composer is relative rather than absolute. Subtleties of phrase and shape and the position in the score will help determine the dynamic level for a musical interpretation.

Play with inspiration not just competence.

 
OVERVIEW OF PERFORMANCE

Thoroughness of preparation cannot be overstated.

Points to consider:

• Performance begins the moment you enter the stage and finishes when you have left the stage.
• Acknowledge the audience (examiner) with a smile or a bow.
• Tune up!!
• Focus on the music (hum through a part to yourself if you have forgotten how it goes!)
• Make eye contact with the other players as necessary.
• Be able to re-focus quickly if there are distractions.
• At the end of the performance remain absolutely still for a few moments before relaxing.
• Acknowledge audience applause with a smile and a small bow of the head.

PERFORMANCE ANXIETY

• There will be far less anxiety if the performer has learnt the music thoroughly and there are no technical weaknesses and nothing is left to chance.
• Nerves, to a certain degree, are beneficial:

1.     They can help engage in the concentration needed

2.     They can create the right conditions for an exciting and vivid performance.

Before performance:

•        Have a good night's sleep.
•        Eat well and drink plenty of water. (Be careful!!) A barley sugar is sometimes good to suck rather than too much liquid.
•        Make sure you have plenty of time before performance
•        Put trust in your preparation and look forward to sharing your good work.
•        Breathe slowly in through nose and out through mouth.
•        Sit quietly and focus on relaxing and staying calm!
•        Smile
•        Tell yourself you are calm (this can work for some)

ENJOY YOUR PLAYING AND EVERY-ONE ELSE WILL TOO!

2 comments | post comment

To learn any musical instrument is not just about learning notes and correct fingering it is about life.
Lessons in a caring, enjoyable and progressive environment will develop the love of music and the sense of belonging to a wonderful life of friendship, support and excitement.

In music as in life, I believe in:
* giving students a sense of purpose;
* helping them to realize their dreams;
* stimulate students' ambition;
* inspiring self-confidence;
* taking an interest and showing kindness;
* possessing integrity, independence and energy.

Learning an instrument must be fun with specific, reachable and realistic goals.

All the best to any student, young or older, deciding to join the special world of music.

Liz

9 comments | post comment