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12

There may be a small amount of "performance practice fad" about that, but for the most part it does serve a purpose. Breath is used in many styles of music as a cue. If you think about wind instrument players, for example, every phrase is preceded by a breath, and experienced players will take that breath in rhythm. As a rhythmic gesture, it can be used to ...


12

Yes. They might be brash and full of bravado, but they will see the long term effects when they age. They will not be able to play for as long during their lifetime as they would if they were healthy. Quite simply: Wind instruments need wind. Smoking inhibits your ability to create wind. Therefore, reduced wind production reduces tone production, ...


12

One cause of yawning can certainly be that your body needs more oxygen, so key to solving the problem is getting enough breaths in. Some scores have breaths marked, but for others you'll need to work out for yourself where you can fit your breaths in. You can train for bigger breaths but some people find it difficult to breathe properly. I know a couple of ...


10

Circular breathing is a technique used to replenish your air supply while maintaining a tone on your instrument. The difficulty comes from coordinating the inhalation and exhalation, and maintaining a tone while the oral cavity is being utilized for air support. The method is generally the same for all wind instruments, and you should start without the ...


10

Here are three exercises I use with students: Lip-buzzing through a phrase of a song (i.e. one long lipbuzz - as you need to engage your support to lip-buzz). If you can't lip-buzz, then rolling an 'r' also have the same effect. Slow breath in for three beats, then make a sizzling sound out for 10 beats (and then gradually extend this during practice to ...


10

As the horn section you met has demonstrated - smoking and brass playing are not completely incompatible. People can play brass, and play well, despite smoking, at least for a period. Smoking definitely damages your ability to breathe; it reduces lung capacity; it stiffens lung tissue; it narrows breathing passages; it causes excess mucus; it reduces blood ...


8

Generally, yes, it is considered less-than-ideal performance practice for a few reasons: It is distracting to the audience. It takes away from the character of the music (unless it's notated in there.) Hearing a performer take a breath indicates that they are straining, restricting the amount of airflow they intake, and as such, are breathing ...


8

There's a couple of things you can try: Angle the microphone a bit downwards. This shouldn't affect the sound too much (which largely depends on the horizontal position, not so much on vertical angle) but slightly reduce the breathing loudness. Use another polar pattern, figure-8 or at least supercardoid. These of course sound notably different (but not ...


7

One "game" is to get a piece of paper and place it against a wall. You then have to keep it up for as long as possible using only your breath. Without any support, you just can't keep it there. If you make this competitive - against other singers, or just against the clock - it could be a way to encourage improving support.


7

One of the first thing you could do is to train yourself to yawn : yawn and alternatively inhale and intonate at a standard voice level at the same time, opening the mouth as wide as possible. Do that slowly, several times before starting to sing. It will flex your face muscles in a good way and place your lower jaw. A little side benefit is that you will ...


6

There are hundreds of different types of breathing exercises, so I will mention a few and suggest important concepts to cover. 1.) Teach them how to visualize their breathing. This one is extremely important and is the root of good breathing. I always teach my students to think of taking big, large, open, relaxed, deep breaths. 2.) They should be silent. ...


5

Do see professionals both in vocal technique and a physician if you can afford it, since you say you've already been diagnosed with a small nodule. I have a friend who had great promise in musical theatre who had to drop out of music just after starting college due to his nodules. Nodules can be nasty business, as also evidenced by Julie Andrews' botched ...


5

When your shoulders rise, you engage your ribcage with a mixture of breath work and other mechanical business. Both disrupt the connection to the diaphragm where you want to anchor the base of your breath control and resonance. Controlling breath with your rib cage is like trying to run with your calves. Of course they are involved, but you don't want to ...


4

Essentially, you will not be able to easily solve the problem if you are working alone. You need at least two people. While the performer plays the guitar (and breathes!) the second person needs to move the microphone around, or point it in different directions if it is a highly directional microphone, while monitoring the sound coming through the microphone ...


4

I would add to @jjmusicnotes answer that if you can hear the breath, then something is likely interfering with your intake of breath - which is not good. One of my old instructors said "Think 'HO' in reverse". This means to shape your throat and mouth into the same shape as when you say 'HO' and then breath in. Try it!


4

It can be used for communication, as already pointed out - and this certainly seems to be the most cited explanation when you query that of a musician who seems to be doing it excessively! Showing emotion is also a common reason given, that it somehow brings out more authenticity and heartfelt contrast in the piece. However: What is up with that? Is ...


4

More generally about breathing properly while singing: Stand up straight. Don't raise your chest when breathing. Instead, breathe down into your stomach. Your lungs will expand downwards and you'll have more control over the release of air as you sing. If you put one hand on your chest and the other on your stomach, the chest hand should remain still ...


4

We are talking about two kinds of breathing: Costal breathing, the lifting of the ribcage, and diaphragmatic breathing, the manipulation of the diaphragm, which is the most powerful muscle in the body and which sits just below the lungs. Proper singing involves a combination of costal and diaphragmatic breathing. However, raising your shoulders and raising ...


3

There are many ways you could approach this, but the best way is to find a qualified teacher. For something like this, even one lesson a month, (or even less frequently) would do much to help your tone along. Since embouchure and tone are such individual characteristics, both of you and your equipment, I can only offer a few sweeping generalizations. In my ...


3

You should be at least able to delay your breath in such way that it does not interrupt with your singing. Being able to sing more is a big bonus, but we can't really put a value on that: Just as long as you can... You shouldn't be trying to sing more than you are able to, as that will also interrupt with your singing. Unless you are practicing of course, ...


2

I would recommend to practice the breathing as it is done with some of the woodwinds and brass. Here are some basic guidelines: Don't try to play a song as the first thing when you get your hands on the harmonica. Learn how to breathe with the diaphragm. Many of us don't really know that this is the best way to breathe, regardless of the goal. Play lots ...


2

There are 2 devices that can be used to help exercise one's diaphragm. In alphabetical order, Expandalung and PowerLung. The Expandalung is aimed more at athletes and comes with 1 resistance range. The PowerLung comes in several different models with different ranges aimed at different activities (sports for one series, music/singing for another). The ...


2

You're right to be aware of your breathing, it really is the core of flute playing and so much depends on it. Firstly, I wouldn't worry too much about the sound. Most people would agree it is preferable to not make a sound whilst breathing, simply because it sounds nicer. The thing I would encourage you to check is that you are "tummy breathing". Place ...


2

Vibrato is more or less a natural phenomenon once you are singing with nice support and a relaxed larynx. It's absurd that you would have to learn it at some given age: it more or less comes with a well-tended voice at whatever age. Vibrato can be produced somewhat artificially by conscious breath and throat actions but that is rarely convincing and often ...


2

Well, I don't think the first claim is true. I didn't know how to do vibrato until I was 19. I'm 23 now and I'm still improving it. And I have a very low pitch voice. My dad learned how to do vibrato only in his 50s. But, I don't really know how I really learned it. I was experimenting with my voice one day, and it got easier the more I played with it. It's ...


2

If you can train your musicians to play more quietly, they will use less air and be able to breath at the regular marks. Playing quietly requires correct embouchure. If you develop embouchure and play quietly, you will solve the breathing problem too. Matching the instrument to the child also helps - a child that is struggling with breathing on a trumpet ...


1

The answer to this question depends of course from person to person. Myself and many colleagues think of the bow to the violin as the diaphragm is to a singer. Like that we talk sometimes about "breathing" with the bow. Not forced rule like bow up = breath in but to phrase a melodywith the bow as if it was air inside the lungs that has to be enough to sing ...


1

Like the other answer, it's a matter of starting off slowly and building up speed when you practice. The technique I find most helpful for double-tonguing is to double-tongue scales in a variety of ways: four beats (tu-ku tu-ku) per note two beats (tu-ku) per note one beat (tu or ku!) per note I've also found the exercises in Arban's Cornet Method really ...


1

Like you, Samuel, I've gotten away from my double-tonguing but found some excellent suggestions on this website: http://www.trumpetmaster.com/vb/f131/learning-how-double-tongue-64418.html It seems that building speed slowly, using the mouthpiece only, and using tu-ku (heavying up on the ku's until clear) are the highlights of the advice offered on this ...


1

I don't play now, haven't for over 20 years. But when I was in high school and took lessons, one concept helped me immensely when trying to overcome reaching for the high notes. Incidentally, with my lessons I became first chair in the upper level symphonic band, orchestra, and jazz ensemble, so I agree with the other post about taking lessons...you'll do ...



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