Singing by Dan H. Marek

Author:Dan H. Marek [Marek, Dan H.]
Language: eng
Format: epub
ISBN: 9781461729501
Publisher: Scarecrow Press
Published: 2007-09-15T05:00:00+00:00

Example 7.1. “Erbarme dich,” from The Saint Matthew Passion (1729) by Johann Sebastian Bach.

The implication of this is that, as often as possible, the singer must commence breathing long before the upbeat, unlike the last-second gasp that most singers employ on the upbeat (a technique learned from countless choir masters, conductors, and coaches). This is of the utmost importance when preparing for a high note, a long phrase, or a high tessitura. When the breath is taken slowly one avoids the tendency of the expiratory muscles to tense up and “put the brakes on.” When a very deep breath is taken in this way, the inspiratory muscles (diaphragm and exterior intercostals) contract to the maximum, thereby ensuring that the emission will be under complete control and that the chest will not collapse. When the position of “full” is reached, the interior intercostals are stretched out and their tendency to return to the position of rest will provide the necessary air pressure for the attack without resorting to abdominal force.

The expiratory intercostal muscles and the previously mentioned abdominals maintain a slight positive pressure. The inspiratory muscles of the ribs and the diaphragm itself are never allowed to collapse, so the control of the voice is relegated to the abdominal muscles alone, damming up the breath against the fragile vocal cords and the laryngeal suspensory system. As the tone is spun out, the intercostal breath is exhausted first. The weakening of the appoggio is felt (hopefully not on a high note), and then, if necessary, the abdominal (or reserve) breath is used. The singer should realize that his reserve is being tapped and contrive to get back to the “full” position by taking another breath. If there is no time to take the full respiro, the singer must take one or more mezzi respiri. Under no circumstances must the residual breath be used by allowing the upper chest to collapse, for all the masters agreed that this is a disaster!

When the next breath is taken, one should not overinflate the chest. A comfortable fullness should be maintained. The exception to this rule occurs when one is faced with singing a high note at the end of a very long phrase. In this case, it is advisable to overinflate somewhat, fighting the tendency to expel too much air on the attack, until the pressure drops to manageable proportions.

Some teachers advocate a complete “dumping out” of the breath after every phrase, on the grounds that a complete oxygen transfer must take place on every breath. This may be true for running but not for singing. One often observes singers unconsciously holding their breath upon finishing a phrase, sometimes for long periods of time, and then taking a last-second gasp before the next phrase. This is to be avoided. The long, calm respiro is what is wanted, whenever possible.

Many of the Bel Canto masters would allow their pupils to sing only single tones for long periods of time. Steadiness, perfect intonation, and good placement were the goals.

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