Read My Response to A Reader Supporting Diaphragmatic Breathing For Singers

Rae, bless her heart, wrote a rather scathing response to my article titled,

This is my response:

Dear Rae

Thanks for your comment. I  have personally used diphragmatic breathing in singing, based on the writings of Graham Green. Singers were taught to pull in on the stomach in order to help the diaphragm to push air out of the lungs.

I personally experienced the following results:

* exhaustion
* I had to concentrate fully on pushing air out of the lungs
* I experienced overbreathing and lack of adequate tone and volume in the voice

 I was relieved to discover and use a more natural approach to breathing in singing. I have since improved and developed the tone, range and quality of my voice by simple breathing exercises. Now I use the natural approach to singing and have no problems at all.

I have taken and taught anatomy (sic). I have also personally observed that babies and other individuals such as asthmatics in severe respiratory distress use the abdominals to help the diaphragm to push air out of the lungs.

Any text on pathophysiology reveals that use of the abdominal muscles for breathing is an an abnormal state in the respiratory system. People with this condition usually require immediate respiratory support.

My only logical conclusion is that diaphragmatic breathing will force the singer into a state of respiratory distress.

Sincerely
Mercedes

Posture for singers

Posture is important for the singer since a series of muscles and other structures must remain in alignment in order for the voice to function as a well oiled machine, as I like to say. It may be helpful to pay attention to pay attention to the following recommendations:
HEAD

Proponents of the Alexander Technique recommend that the head should be free and balanced on the head. The result is that there is no interference with the vocal structures and the promotion of a projected, colorful voice. To promote a free and balanced head, the singer should recognize the mind body connection and say to him/herself:

Let the head be free
Let the head go forward and up
Let the chest lengthen and widen.

No effort should be made to force the head into any position since the head will obey what it is told (creative power as in “let there be light” etc).

Singers will find that habits such as lifting the head when singing will be eliminated since this practice actually throws the vocal structures out of alignment and interfere with the singing.

TONGUE AND JAW

The tongue should be relaxed on the floor of the mouth and the tip placed behind the lower teeth. This creates more space in the mouth for the escape of the sound. Some
theorists teach that it should be flattened in the mouth, but this is not beneficial to the singer.

The lower jaw must be free and relaxed to allow the throat to open and therefore a free escape of air/sound. A simple exercise is the breathe, let the jaw fall and whisper “ah” with the escaping breath.

FEET

Surmani recomends that the feet should be placed firmly in the floor, shoulder width apart. The knees should be relaxed and not locked. Spine should be straight and t he shoulders relaxed and down. This shoulder position enhances breathing movements.

See you soon