Breath Management in Singing

By David L. Jones

Alan Lindquest once told me to take a thimble full of breath and put it in the lower back. It is important for us to understand what this statement really means. Most singers take "too much breath under the upper rib cage and blow most of it out during the first part of the phrase. Enrico Caruso told Lindquest in 1917 that he took "no more breath to sing than to have a casual conversation with a friend."

Inhalation must feel as though it occurs "below the ribs"; not under the ribs. Wide suspended ribs are necessary in order for a singer not to "push too much breath pressure," however, this suspended rib cage should not be hyper-extended with over-inflated lungs. I remember one exercise in which Mr. Lindquest had me "pant without moving my rib cage." Many find this a difficult function, however, with practice it can be accomplished.

Breathing into the back is an act that many find difficult, however, "over-breathing" under the ribs makes it next to impossible. A singer can practice the lower back breath while sitting in a straight-backed chair or against a flat wall area. Then, when the singer stands, he/she must have one foot in front of the other with the weight on the balls of the feet. This allows the curve in the lower back to lessen allowing for a low breath. John Wilcox suggested that a singer lie on the floor (stomach down) and feel the breath pull into the lower back.

What separates breath and "support"? If a singer does not "over-breathe," he/she can then extend the "grunt muscles" (lower lumbars) at the onset of sound. These muscles can then extend further as the singer goes higher. The body should sustain the support-width of the highest tone as the singer comes down in pitch. This holds back the breath pressure in order for the larynx to stay in a low position. (A small "breath stream" must travel through the larynx at a consistent rate.) The pectoral muscles should remain firm after the "small but low singing breath" is taken. These muscles, along with the intercostals (between the ribs), and the lower lumbar muscles (in the lower back), hold back 'too much wild air' or too much "breath pressure." It is important to know that these three sets of muscles (pectorals, lower lumbars, and intercostals) allow us to sing from "compressed air," not loose air. Lamperti said that the cords then "draw the air they need" in order to create the onset of sound or what some call the "attack". Lindquest taught the "perfect attack"; this was explained by him as "closing the cords" after the singing breath is taken. It has been my experience that many singers use a "puff of air" to begin their sound. This creates either "breathy tone" or a driven sound. The "perfect cord closure" is not to be taken too far. This would create "glottic shock" which is abusive to the cords. This can be avoided be beginning with a voiced "z" or "v".

It takes very little air to sing. Mr. Lindquest would say many times "drink the voice" rather than pushing "wild air through the larynx". Only a small stream of air (consistent in pressure) should be used to sing. This "small stream" can be experienced by using the "ng" or voiced "V" or by employing lip-trills and tongue trills . The "small stream" of breath must be applied to language function. Many singers have difficulty going from vocalizing to repertoire. One major reason for this is that singers "change breath pressure" between vowel and consonant function. The larynx comes up for certain consonants, however, if the "small breath stream" is achieved the larynx will re-drop after consonant function. This re-dropping of the larynx is crucial for a legato line to be achieved. If the "small stream" or consistent breath is used in coordination with appropriate nasal resonance, a legato line will result. The singer will experience beautiful resonant tone.

Mr. Lindquest also taught the "two-cupped breath"; the first half through the nose which lifts the soft palate and the second half through the mouth which lowers the larynx. He said that this should be used as a practice breath to train the lower back reflex and the elongation of the resonating space.

NOTE: INTERVIEW: 1977: Martha Rosacker: "Mr. Lindquest, what is your philosophy of teaching?" Mr. Lindquest: "You inspire the entire person. Singing is much more than just teaching "a voice". Singing is the voice of the soul, and the spirit of the person must reflect through their singing."