Teacher breathing and posture

The life-giving principle of breathing is a symbol frequently used in many cultures and in fact breathing, together with the heartbeat, is a reassuring sign that the body is functioning. Breathing is an elementary prerequisite and a sign of life. In addition the way in which a human being breathes tells us a lot about his state of health: tranquility and excitability, joy and grief are reflected in the depth and rhythm of breathing. Wind instrumentalists and singers are musicians who use a natural "organ" and do not have to make a detour via their fingers as for instance players of stringed instruments or keyboard instruments.

Breathing is therefore the most important element for playing a wind instrument for through it sound is shaped and given life. The fingers are merely used to change the pitch of the sound, the tongue used to articulate the tone. If the musician is unwell, breathing will be unsteady and forced and as a result cramp can set in and fingers and tongue impaired. If however, the musician can let his breathing flow quietly and steadily, he will be able to move the fingers and tongue without hindrance. A lot of difficulties with fingering and articulation can be traced to breathing problems. When good breathing habits have been established these problems just don't appear. For this reason the teacher should from the very start evaluate a tone resulting from good breathing more highly than one resulting fromaccurate fingering. These improvements will appear automatically as time goes on, whereas incorrect tone production can only be corrected with great difficulty at a later stage.

Good breathing is dependent upon good posture: if the shoulders droop forward and the pelvis is held at an incorrect angle the lungs cannot expand correctly; or, if the head hangs forward the flow of air is impeded. These principles do not only apply to posture but also to the way in which the instrument is held and the following exercises correlate the areas of breathing and posture.

A schematic approach has been adopted after trying to explain breathing and posture training in minute detail which has necessitated the exclusion of specific individual considerations. As a result the teacher is strongly advised to inform herself, even to the extent of seeking advice, and to keep in mind that when working with young children a good practical demonstration by the teacher is more effective than any theoretical formulation.

When "Watch breathing" is mentioned in the exercises it means a completely passive observation of changes in the body brought about by various activities. One should, however, never suggest such changes for it is quite probable that their effects will be slight or non-existent at first. One should really only watch. The exercises have been developed from ideas that various teachers of the author have had (see appendix and introduction). Versions suitable for children are available in the card-index system, (see references).

Elementary exercises to create awareness

of the respiratory centre

Exercises while lying down

1.Lying on the floor

Lie on the back with eyes closed. The arms lie comfortably beside the body, the feet spread a little apart. One after another one becomes aware of all the parts of the body in relation to the floor, that is where the body has contact with the floor. The order is as follows:

left heel, ankle, calf, knee joint, thigh, right heel, ankle, calf, knee joint, thigh, bottom, small of the back, upper back; shoulders, left hand, wrist, forearm, elbow joint, upper arm, shoulder joint, right hand, wrist, forearm, elbow joint, upper arm, shoulder joint, neck and skull.

This process of awareness should be carried out very slowly and then repeated but this time quickly. Afterwards the rhythm of breathing is considered without trying to influence it. Br 11

The position for this exercise is the same as for exercise 1. Whilst the eyes are closed, lift the left leg a little off the ground, then put it down again and wait until all muscles have lost their tension. When repeated the movements will gain a certain rhythm and breathing will fall into the same pattern. The object of the activity is not to lift the leg as far as it will go, but to ensure that the movements are done smoothly. After a period of time, this exercise is concluded, breathing is observed and the exercise is repeated using the left arm. After a further pause to observe breathing, the exercise is repeated, lifting both left arm and leg together. It is not important here to lift them high above the ground, but rather to ensure that movement is synchronised and harmonious. The whole exercise should be repeated using the limbs on the right side. Br 12

From the same position as in the two previous exercises, the feet are placed firmly on the floor, the legs drawn up and the pelvis lifted upwards. The weight of the body rests on the shoulders and feet. The distribution of weight is perceived and the positions of arms and legs corrected if necessary.In the same way the breathing rhythm is observed and if necessary a pause is made until it has become regular. Then the pelvis is moved in different directions: towards the legs, towards the head, to the right and to the left. Various combinations of directions are chosen and finally the pelvis comes to rest in its original position, breathing is observed and the pelvis continues to rotate rhythmically. This movement slowly comes to an end and the exercise is completed by concentrating on watching the breathing. Br 13

As a reaction against being told to "Stand up straight!" most people forget what it means to stand erect. Among other things itmeans that the weight of the body is distributed in the most economical way possible. This depends upon the right correlation between bone structure, (mainly the vertebrae) and muscles. If we utilize the elasticity of the vertebrae and the balancing capabilities of the skull as well as the free movement of the shoulders, the muscles have to do less work than is normally required.

Standing upright with arms hanging, the head upright and the legs slightly apart, one imagines that one is standing on sand e.g. at the beach. (In time the feet will sink further into the slick). The body should begin to rotate with the centre of motion the ankles. The movement should be executed very slowly. At the same time an attempt can be made to extend the radius constantly, as long as the movement is harmonious and that one is not afraid. This rotation should gradually slow and stop and both clockwise and anti-clockwise movements tried out.When the exercise has finished breathing should be observed. Br 14

In order to become aware of the connection of the head with the upper body and to realize its importance for posture as a whole, one stands with arms hanging and legs slightly apart. The head is allowed to droop forward and is then slowly straightened. (Be conscious of the vertebrae.) This exercise is repeated frequently at slow speed. The same movement is carried out from left to right and repeated at very slow speed. The head is dropped forward and rotated. Resistance is likely to be felt in certain areas (movement of the vertebrae). This can be avoided by carefully circumscribing the trouble spot. The head is rolled a little toward and away from the tender or even painful point and then a little beyond it. This is repeated slowly a number of times before the circular movement is continued. After a certain time it is possible to carry out this motion in one continuous movement. As with the previous exercise this one should also be slowly concluded and then repeated in the other direction. Afterwards breathing is observed. Br 15

Legs slightly apart, the torso bent as far forward as possible to allow head and arms to hang freely, the arms are slowly rotated. Breathing is not consciously controlled but is observed. After a time the arms should be brought to rest and then, after a break, the arms rotated in the opposite direction whilst breathing is observed. This movement is terminated, breathing observed and an upright position resumed. This should be done slowly in order to feel each individual vertebra as far up as the neck leading eventually to an upright position where the respiratory centre should be observed. This exercise should be repeated. Br 16

Bend over forwards and then return to an upright position. Standing erect with legs apart, watch the breathing. After a while bend forward during expiration in order that head and arms hang as in the previous exercise. During the next stage of inhalation, slowly straighten the body being aware of each vertebra. Exhale quickly whilst bending forward again and then repeat. Finally return slowly to an upright position and observe breathing.

Stand upright with legs slightly apart, arms hanging relaxed by the sides, aware of breathing. At the next inhalation draw a circle in the air as large as possible. When the arms meet above the head, exhale and bring them down in the direction of the floor to their original position. After a moment of rest the next breathing impulse follows which again sets the arms in motion (Imagine describing a large sun). It is important not to hunch the shoulders but to consciously lower the diaphragm. This exercise is particularly suited to arouse awareness of one's breathing rhythm, rest-in-out (or in-out-rest).

Much has been said as to whether the recorder can be played better sitting or standing. Apart from the fact that historical illustrations depict the most unusual positions which can probably be attributed not only to the fancy of the artists, it must also be said that good playing does not in principle depend upon standing or sitting, for you can do both badly.

Anonymous (Nürnberg 1715/25)

From: Johann Christoph Weigel, Musicalisches Theatrum (Nürnberg o.J.)

Anonymous (Italian around 1530)

Titlepage from: Sylvestro Ganassi, La Fontegara (Venezia 1535)

G. Bellini (Venezia around 1500)

Excerpt from a triptych in the Chiesa di Santa Maria Gloriosa, Venezia

Jacob Smith (London 18th century)

Titlepage from: Peter Prelleur, The Modern Musick-Master (London 1731)

What is of greatest importance is correct distribution of body weight and conscious breath control. The natural breathing rhythm (See chapter on the basics of physiology), consists of three periods of roughly the same length (at rest-in-out or, in-out-at rest). However, this rhythm is of no use to singers or wind instrument players. During a piece of average length without long breaks the rhythm changes to: quick, short inhalation, very long exhalation, no rest period. (There is little opportunity of relaxing the diaphragm). The result is a breathing rhythm completely contrary to the natural one. The wind instrument player has to train intensively in order to make breathing appear natural. In this context the authors have deliberately avoided using the word "support" for "support" during recorder playing can easily result in extreme body tension. It is preferable to use the simple concept of not allowing the diaphragm to move naturally upwards during exhalation; in effect holding the diaphragm down for as long as possible. The aim of the following exercises is to firstly show the connection between the diaphragm and breathing control, and secondly, to offer a means of controlling this movement.

Sit on the edge of a chair of suitable height which has a straight seat. The soles of the feet should rest on the floor and be slightly apart. Breathe in, press the back of the hand firmly to the lips and try to exhale. This is of course rendered ineffective when the back of the hand is held closely against the mouth. The retention of air is clearly noticeable on the lips and the diaphragm. This pressure should be resisted for as long as possible before expelling the air in one sharp burst. As with all exercises this should be repeated. (If dizzy spells occur a short break should be taken.)

Breathe in and allow the air only a small passage to escape from between the lips. Allow as much air to escape as through a partly opened valve. It is important at this point to imagine that the air has to be saved and that the diaphragm has to be kept down. The lips which are almost closed, create a resistance comparable to that made by a reed.

The following exercise is one involving less resistance.The lips are formed to make an "O" and air is exhaled as a gentle puff.

Air should be conserved here as well which means that the diaphragm must be consciously held down. It is desirable that exercises 9-13 be of approximately the same length.

Mouth and lips are brought into a position as if pronouncing a broad "ay" as in bay. After inhaling the air is allowed to escape through the opening making sure that the diaphragm is held down. The length of the pactice period can be compared with exercises 9-11.

For this last exercise the broad "ay" must be thought of as being a little narrower. If the opening at the top of the recorder is considered, one can appreciate how large the stream of air should be. The diaphragm must be held down despite the narrow stream of air exhaled.

Literature:

Feldenkrais, Moshe: Der aufrechte Gang, (Suhrkamp Verlag)

Hauwe, Walter v.: Modern recorder technique, (Schott, London)

Breathing and posture

Elementary exercises to create awareness

of the respiratory centre

Exercises while lying down

Exercises standing up

Sitting exercises