Breath Management ('SUPPORT' OF THE SINGING VOICE)
The purposes of 'supporting the voice' are to exercise control over the amount of air being expelled from the lungs during singing tasks and to maintain a steady flow of air (and thus create a steady singing tone).
The difference between how we breathe for singing and how we breathe for other daily activities lies not in the mechanisms but in how the airflow is regulated, as the demands that our bodies have for air changes with different activities. Although it is still in accordance with the natural functioning of the body, 'natural breathing' as employed for speech is not adequate for intense singing demands. During normal demands, such as speaking or resting, we tend to inhale and exhale more shallowly and evenly because our bodies don't require as much oxygen. Air is exchanged in cycles of approximately four to six seconds; this differs slightly from person to person. During singing, however, we need to inhale quickly and often deeply, then exhale slowly and steadily, in a long breath, as we sing our phrases or notes.
Singing requires a higher rate of breath energy than speaking does, as well as the elongation of the breath cycle. The rate of expiration has to be retarded beyond that appropriate to speech, especially during passages or notes of durations greater than the normal 'at rest' breath cycle. This higher need for energy and stamina requires more muscle control and coordination in supporting the work of the diaphragm and the function of the larynx, and this is the part of breathing that needs to be developed through training. Learned controls must be mastered in order to enhance and extend breath management capabilities.
When it comes to supporting the tone of the voice, there are two schools of teaching: 1) a contracting of the abdominal muscles; and 2) an 'inspiratory hold' (appoggio).
Many contemporary methods of teaching encourage a contracting of the abdominal muscles. This technique involves utilizing the muscles of the abdominal wall to create an upward and inward force or pressure. The initial power of the voice is often loud (in part because the glottis tends to respond to the forceful air pressure by increasing its resistance, and pressing together more firmly and for longer during the closed phase of the breath cycle), but this power is not usually sustainable for very long. Attempting to support or 'breathe from the belly (or diaphragm)' like this creates a number of potential problems with how the breathing 'engine' and the larynx interact with each other. For example, rapidly pushing the abdominal wall inwards and upwards places pressure on the diaphragm, which then rises quickly and compresses the lungs, increasing the air pressure in the lungs. Air is forced out of the lungs rapidly, and through the glottis at a very forceful rate. The glottis then responds by either pressing the vocal folds together more firmly and for longer before sound is created (pressed phonation) or it blows apart and creates an airy or breathy tone.
In most classical singing schools, a technique called appoggio is taught. Appoggio requires support from the muscles involved in inhalation, rather than those responsible for forced expiration. Essentially, we delay, slow down and steadily pace the rise of the diaphragm by continuing to use the inspiratory muscles as we sing, which happens on the exhale. (This centuries old concept expressed by great teachers of the past such as Giovanni Battista Lamperti, is sometimes paraphrased 'singing on the gesture of inhalation'.) During appoggio, we rely on the muscles of inspiration to help keep the diaphragm lower, in its position assumed during inhalation). These muscles are primarily those that wrap around the ribs (the external intercostals and the interchondral part of the internal intercostal muscles). While the back muscles are contracting to maintain this 'inspiratory hold', the abdominal muscles must remain relaxed (thus the abdominal wall and lower ribs at the sides and back will remain expanded throughout most of the breath cycle). By 'supporting' with the inspiratory muscles, we keep the diaphragm lower and the lower ribcage expanded, which in turn creates lower subglottic pressure by maintaining the enlarged dimensions of the thoracic cavity. (It should be noted that some lower abdominal muscles are involved in initiating the airflow through the glottis, but the most important habit to avoid is the tendency to push the air out of the lungs by engaging and contracting or tightening the muscles of the abdominal wall. This will create too much subglottic pressure, an unsteady volume and tone and a rapid loss of air, and will lead to pressed phonation and potential vocal injury.)
Students of voice need to learn how to extend the normal breath cycle by remaining in the inspiratory position for as long as is both possible and comfortable, maintaining a raised sternum (but not raised shoulders or clavicle), avoiding displacement of the chest (or collapse of the ribcage), and allowing the muscles of the lateral abdominal wall to stay close to the position of inhalation. This vocal posture is often referred to as the 'inspiratory hold'.
With the diaphragm kept in a lower position for longer, and with less air in the lungs to start out with, there will be less air pressure pushing on the vocal folds. Singers will notice that their endurance increases because they are no longer pushing the air out as rapidly. This will help them sing for longer on a single breath. It will also preserve their longterm vocal health. Also, with more appropriate air pressure on the closed vocal folds during phonation, the tone will sound better - more rich and easy, and steady.
COMMON BREATHING TECHNIQUE MISTAKES
Tanking up: Most singers inhale as deeply and as fully as they possibly can as they prepare to sing each line of their songs or their vocal exercises, often in an attempt to avoid running out of air before the end of their vocal tasks. They may have also been taught that more air necessarily means a better supported tone. However, 'tanking up' or 'overcrowding the lungs' like this unnecessarily increases the subglottic pressure (the air pressure below the larynx). For shorter exercises and phrases, less air is needed to fuel the voice. If appoggio technique (the 'inspiratory hold') is maintained, the outgoing air will be slowly and steadily paced, and there will be no need to fill up on air for shorter vocal tasks. It is critical that the singer learn to gauge precisely how much air is appropriate for the upcoming vocal task, and then inhale only the necessary amount of air. There should not be a tremendous amount of air 'left over' at the end of the phrase.
Singers who tank up also often have a tendency to close off the glottis in order to stop the tone, employing the adductor muscles (those which close the glottis) instead of the abductor muscles (those which open the glottis) to stop phonation. Sometimes, the singer does so in a attempt to ensure precision of the release of the note. Oftentimes, however, this habit leads to a lowering of pitch at the end of the note, as well as a noisy release of the remaining and excess air after the note has ended because the closure of the glottis at the end of the phrase in combination with excessive amounts of air remaining in the lungs causes an increase in subglottic pressure, pressing of the vocal folds together and a 'pressurized' release. Learning to drawn in less air to begin with, to pace the outgoing breath slowly and steadily and to release the note precisely but with a relaxed and open throat will solve this problem.
Pushing out the air: Ideally, we want to think of the air as being 'allowed' out, rather than being 'pushed' out, to create voice. I use a balloon analogy - and have actually used this as an exercise with real balloons in group voice classes - that helps to illustrate this concept. When we inflate a latex balloon (lungs) and pinch the mouth of the balloon (closing the glottis, or approximating the vocal folds), air pressure immediately begins to build up. When we stretch the mouth of the balloon, allowing air to slowly seap out, the latex begins to rapidly chop the exiting air into tiny puffs, thus creating sound (voice). If the mouth of the balloon is stretched tighter and pulled longer (as what happens when the larynx pivots to elongate and tighten the vocal folds), higher pitch is created. Now, suppose for a minute that we decide to 'help' the air make its exit by squeezing the body of the balloon (as when we compress the air with a diaphragm that has been forced upward by abdominal muscles). What we will hear is a louder initial sound, yes, but also a less pleasant and more unsteady tone. Additionally, the air will be lost more rapidly.
In the case of the human voice, pushing in with and contracting the abdominal wall will tend to lead to either pressed phonation (a 'shouty' or forced voice quality) or a breathy quality after the initial onset due to the vocal folds being blown apart by the forceful air. Singers must be assured that the air will flow out of their lungs virtually on its own, thanks to the elastic recoil of the lungs, and there is, therefore, no need to either 'help' it along or to force it out. (This is why we should learn to relax the abdominal muscles.) Of course, different styles and techniques may require a more forceful expulsion of air in order to create the desired sound, but as a general rule, too much air being forced out of the lungs is both unnecessary and unhealthy.
Holding back the air: Many singers hold back the air, or choke it off, either at the laryngeal level, in which the singer closes the glottis immediately after inhalation and briefly pauses before producing voice (known as compression of the breath), or at the supraglottic level, in which the muscles of the throat constrict or squeeze and inhibit the airflow. Holding back the air in these manners are the result of poor coordination between the breathing mechanism and the larynx. In both cases, subglottic pressure will rise, forcing the glottis to have to work harder, and opening up the door to potential injury. The voice will also sound less steady and free. The singer who briefly holds in the air before singing needs to develop the coordination of inhaling then immediately turning that breath into tone. For the singer who tends to cut off or hold back the breath with the muscles of the vocal tract, training in the Farinelli exercise, which I describe below, will help him learn to maintain more openness and relaxation of the vocal tract. Singing with a more open and relaxed throat is critical.
Singers who choke off the breath, especially at the release of the note, can practice briefly sustaining a vowel on a comfortable pitch, then gradually allowing that tone to become just a stream of air (with no vocal sound). Gradually increasing the space in the glottis (moving from closed glottis to partially open glottis to open glottis) may require some practice, as it will be a new and challenging coordination to learn. For most singers who first try this exercise, they find that they have difficulties maintaining the same pitch (and some can't sustain voice) once the glottis starts to open. The key is making this change from a 'clean' tone to a breathy tone to no voice (only exiting air) gradual and controlled. Higher pitches can be tried once the singer can successfully execute this exercise within speech-inflection range.
GOOD POSTURE FOR BETTER BREATHING
The singer should achieve a 'lateral' expansion around your epigastric region - the area between the navel and the sternum. This also includes the lower ribs at the sides and, to some extent, the back. The sternum should be raised during inhalation, and there should be no chest displacement (collapse) thereafter. The expansion should not be forced forward in the abdomen only, as this will create tensions and limit the work of the intercostal muscles, which are mostly responsible for raising and expanding the lower ribs at inhalation in order to create more width within the thoracic cavity, (which in turn decreases the subglottic pressure).
This expansion of the lower ribs, and the use of the intercostal muscles during all breathing tasks will help the singer learn appoggio technique, which seeks to maintain that initial inspiratory position, with the diaphragm lowered for as long as is possible and comfortable, the sternum raised and the lower ribs raised and expanded for most of the sustained note or sung phrase in order to reduce the subglottic pressure. (With the chest cavity expanded and the diaphragm in its lower position, there is more 'space' for the air molecules because the dimensions of the thoracic cavity have been increased both horizontally and vertically, and there is therefore less subglottic pressure.) This is applicable not only to singing, but to speaking, as well.
To raise the sternum (until it becomes easy and automatic), the singer can inhale as he raises his arms over his head, then slowly lower the arms as he exhales, being sure to keep the sternum in the same position. The Garcia position - laying flattened palms (facing outwards) on top of each other and resting them on the sacrum, or lower back - is also useful for opening up the posture. This will raise the sternum, open up the ribs and keep the shoulders from rolling too far forward. The Garcia position is particularly helpful for students of voice who have poor general posture due to imbalance in the muscular strength between the back and abdomen, and who experience difficulty maintaining a raised sternum while vocalizing.
It often helps to place the fingers on the upper abdomen pointing toward the navel and the thumbs on the lower side ribs pointing toward the back, and also to breathe while standing in front of a mirror to ensure that the chest is remaining stable throughout the entire breath cycle. The lateral expansion doesn't have to be huge or exaggerated, especially when only a small amount of air is required for the upcoming vocal task.
Lying on the floor on one's back, with the knees bent and allowing the lower back to gently push into the floor while inhaling may also cue the singer to the feeling of proper 'support' from the lower back muscles. Some teachers refer to this technique or sensation as 'breathing into the back'.
THE FARINELLI EXERCISE
Although there is evidence to suggest that this exercise had been used for a couple centuries before his time, the Farinelli exercise was named after the famous castrato whose stage name was Farinelli (1705-1782). He achieved fame and favour amongst the royals of his day because of his exceptional vocal abilities and the unmatched beauty of his soprano voice, and also became known as the 'silent breather' because he had mastered the art of the inspiratory hold (appoggio) and imperceptible partial breath renewals. With his body maintaining the posture that it had assumed at inhalation, rather than allowing the ribcage to collapse as he sang, all movement created by these tiny breaths went unnoticed to the untrained eye. (When appoggio is mastered, the singer or speaker is able to execute inconspicuous partial breath renewals, which are like 'topping off' or replenishing the air as one goes along when there is not enough time for a complete breath renewal, yet one still needs a bit more air to get through the phrase, or until one can get to the next complete breath renewal. Partial breaths are particularly useful for when there isn't a convenient spot in the song or speech, etc. to take in a breath, but one is still needed.)
The Farinelli exercise is still practiced today by many students of voice. (I, personally, have come to develop a great appreciation for this exercise over my years of teaching, as I have seen so many benefits from the daily practice of it in my own students.) It is used to help develop more strength of the 'support' musculature, and prepares the singer for applying appoggio technique to his singing through developing the correct coordination. Through this exercise, the singer learns to pace his breath flow better, using it more efficiently, and keeping the diaphragm in a lower position for longer during the breath cycle. This exercise helps the singer learn to gauge how much air he'll need for a given task so that you won't 'overfill' or 'overcrowd' your lungs. It also teaches how to relax and to avoid the urge to 'panic' when it feels as though there is not enough air. It's almost like yoga, in a sense, because the singer spends several minutes focusing on nothing else but paced, relaxed, silent easy breathing. It often changes how a singer thinks about the breath, and therefore how he treats or approaches it.
The Farinelli exercise divides the breath cycle into three phases, all equal in duration: 1) inspiration (inhalation) ; 2) suspension or retention of the air; and 3) expiration (exhalation).
In the first phase, inhalation (to full capacity without 'overfilling' or 'overcrowding' the lungs) is steadily and evenly paced over a count of three seconds. (It is best to time these seconds using a clock or watch so that the pace is consistent from day to day and so that progress can accurately be tracked.) There should be minimal displacement of the chest, and the movement of the body should be down in the 'lateral expansion' area.
In the second phase, the breath cycle is suspended for an equal count (three seconds initially), and the air is retained in the respiratory tract without being actively held in by either the glottis or the mouth (nose). The air should not be held in by the mouth and nose and the glottis should not be closed off because this will instantly increase thepressure that the glottis feels acting upon it. With this 'breathing tube' completely open, air could come in or leave if there were muscles acting upon the diaphragm and drawing it further downwards or pushing it upwards. However, these muscles are 'on pause' during this phase. There should never be the feeling that the air is filling up the spaces in the throat and causing tension or tightness there, either. If this sensation is present, the singer has taken in too much air.
In the third phase, exhalation is steadily and evenly paced over three seconds. The singer should not feel an urge to gasp for air at the end of the breath cycle.
After the first breath cycle, the singer would then immediately start pacing the next breath cycle, adding one second to each of the three phases. He would continue to lengthen the breath cycle like this each time until he has reached his maximum length (without feeling abdominal pressure, pressure in the neck or lightheadedness). Many people find that six or seven seconds per phase - for a total of eighteen or twenty-one seconds for the entire breath cycle - is about all that they can do at first.
Then in the subsequent breath cycles, the singer would slowly make his way back down to the initial count of three seconds per phase. Repeating this exercise a few times a day will develop the 'support' muscles - those inspiratory muscles that will help to maintain a lowered diaphragm - and retrain the singer to think differently about breathing (e.g., more relaxed and less 'panicked' or forceful).
OTHER BREATHING EXERCISES
To get the correct feeling of the air being held back in a healthy manner (i.e., not being compressed, squeezed or choked off by constricted throat muscles or held back by a tightly closed glottis) through appoggio technique, the singer can try combining unvoiced sounds and voiced consonants and vowels. For example, a sustained hiss (/s/) followed by a /z/-/o/-/z/-/s/ on a single breath and note. Each of these sounds should be executed for four steady beats. This particular exercise is helpful at demonstrating to the singer how small a stream of air is truly needed in order to create and sustain voice. The singer should also remember to maintain the inspiratory hold while performing this exercise.
A rapid 1-2-3-4-5-6-7-8-7-6-5-8-7-6-5-8-7-6-5-4-3-2-1 on a /z/ or /v/ sound is also helpful.
For more detailed information about correct breathing for singing, including the anatomy and physiology of breathing, please read the full article.