Basic physiological information
Creating music is always accompanied by intense physical effort. Song is the form of musical art, which requires only the body itself namely the vocal chords. Composers were at all times, but especially during the Renaissance and the Baroque, of the opinion that an instrument could only be used as a substitute for the human voice. This is reflected in their work, and their instrumental compositions even in their most singular forms were dominated by language in the sense of musical rhetoric.
The tone of the instrument was also of great importance for the imitation of the human voice. Although the recorder is constructed in such a way that the initial reproduction of a tone is fairly uncomplicated, it is only when it is regarded not so much as an isolated instrument joined to the body, but as the "voice" of this body that entirely different, broader and enriched possibilities can be obtained. In order to understand the co-ordination between body and instrument, an understanding of basic anatomy is required. The following description is not systematic but covers only the most interesting related aspects.
The entire torso is of utmost importance to the player and this can be sub-divided into the chest and the stomach areas. These are divided by the diaphragm moving internal wall which separates the respiratory organs from the other internal organs. The expansion of these two areas varies according to breathing activity.
Simplified frontal section through both pleural cavities and lungs. Continuous lines indicate the position of the thorax wall and the diaphragm during expiration; the broken lines show the position during inhalation. 1.Expanded space between diaphragm and thorax wall (Costodiaphragmatic recess). 2.Pleura (Parietal pleura).3. Pulmonary pleura (Pleura pulmonalis).4. Pleural space filled with fluid film.5. Dome of the diaphragm.
The diagram shows the diaphragm in a state of rest, i.e.: during expiration or after inhalation when at its point of greatest tension. The movement of the diaphragm is stimulated by the Nervus Phrenicus, which is controlled by the respiratory centre located in the extended marrow. The so-called Chemo-preceptors indicate to the respiratory centre when the oxygen level in the blood or when its carbon dioxide content increases or becomes too high. Independently of these signals, the Nervus Phrenicus activates the diaphragm so that it flattens out. In response to this the lungs fill with air due to the suction created. When the diaphragm relaxes it is forced upwards into the stomach area because of the pressure, (see diagram) resulting in two domes, being formed. The chest cavity is reduced which causes the lung to contract because of its elasticity, with subsequent expiration.
Normal undisturbed breathing rhythm such as that during sleep can consist of three periods of approximately equal length: a period of relaxation is followed by inhalation, and then exhalation, i.e.: rest-in-out, rest-in-out. Another possible point of view is that inhalation and exhalation are followed by a period of rest. I.e.: in-out-rest.
In any case breathing occurs involuntarily. The diaphragm moves downwards as already described and presses the organs, which lie in the abdominal cavity, towards the base of the pelvis. The flexible abdominal wall permits movement in a forward direction, which is evident as convexity of the stomach when breathing in deeply. The movement of the organs cannot be analysed exactly in a succession of vertical and horizontal directions but it is necessary to emphasise the downward movement of the diaphragm once more. In addition the complete filling of the lungs causes a slight sideward expansion of the diaphragm.
Air finds its way into the lungs through the trachea, which is a flexible tube.
The uppermost end of the trachea culminates in the larynx. The trachea splits into two after about 12 cm and forms the two main stem bronchi. The specific function of the larynx is to surround the glottis. The air passing this causes it to move, resulting in sounds, which are dependent upon the distance between the two glottii.
On opening On closing
When the glottii are furthest apart the situation can be compared to yawning, whereby the uninterrupted airflow can stream in through the entire diameter of the trachea. When the glottii are in closest contact they cause a cramplike closing of the trachea from the pharynx (protective function of the body).
There are many possibilities between these two extremes, for instance the production of innumerable sounds. There should always be sufficient space between the glottii to ensure that enough air passes through without a sound being produced.
It is important that recorder players have knowledge of the construction of the head. Convex forms of all kinds are of the utmost importance for the resonance of sounds irrespective of whether they are produced with one's own voice or a wind instrument.
The diagram shows the curvature of the mouth cavity, the cheek bones, the nose and last but not least the upper part of the skull. These shapes are fixed whereas the moveable lower jaw allows for an adjustment in the size of the mouth cavity. The width of this cavity determines the manner in which the air is inhaled and exhaled, i.e.: the way in which the air stream is used for the wind instrument.
The body extremities are of utmost importance for the posture of the musician and for the manner in which he holds the instrument. The shape of the leg with its bone structure consisting of thighbone, shinbone and the fibula together with the foot is connected through ball joints to the pelvis. The knee and foot joints guarantee movement.
Correspondingly, upper arm bones, ulna and radius (lower arm) and hand form the arms. The upper arm bone and the shoulders are connected by a ball joint, ulna/radius and upper arm bones by a hinged joint and hand and lower arm through a carpus, i.e.: the wrist. (This allows for movement in four directions: bending, stretching, left and right downward-angled movements). The hand itself consists of seven carpal bones (these are set in two rows), the metacarpal bones as well as the distal, middle and proximal phalanxes.
The human skeleton is surrounded by muscles, which control it and allow it to move.
As far as the recorder player is concerned it is not only those muscles directly connected with finger movement that are of importance. Many with no direct link to the instrument can influence playing. This applies particularly if they are too tensed or relaxed. It is only a succession of movements which makes harmonious playing possible.
The musician should be particularly careful of the following groups of muscles:
Calf, thigh and bottom muscles, shoulder muscles, those of the occiput, upper arms and the chest.
Excessive strain in these areas influences the entire body and can even affect the movement of the fingers.
The numerous muscles of the under arm used for stretching and bending the fingers enable sensitive movements through the tendons attached to the proximalis, media and distalis phalanxes. The alternating movements of spreading the fingers and bringing them together again is controlled entirely by muscle groups located between the metacarpal bones. The thumb functions independently from the rest of the fingers and is controlled by its own muscular system located in the lower arm and the ball of the thumb. An additional stretching muscle is attached to the phalanx distalis. The little finger is particularly agile due to three muscles located in the ball of the small finger. Almost all the exercises described in the following chapters are used to exercise different muscles so that minimal tension will develop.