Breathe Management Italian Style
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Posted On :
Jan-23-2012
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Article Word Count :
939
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The diaphragm is what sets off a chain of reactions that occur in the lungs, larynx and mouth or nose therefore it is generally considered the chief organ of breathing.
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Italian in origin, appoggio means to ‘lean on’, to ‘be in contact with’, or ‘to support. It is a learned breathing technique that involves slowing down the ascent of the diaphragm, which aids in better breath management by attempting to retain the elevated posture of the rib cage and sternum resulting in the elongation of the breath cycle while singing. This technique involves gaining better control over the breathing mechanism through training the muscles of the chest and the abdominal wall, the external oblique, and the rectus abdominis to produce a determined action on diaphragmatic movement.
Mastering the appoggio technique is widely accepted by the internationally classical singing community as the most effective path for breath management.
Appoggio involves raising the sternum and keeping it elevated, thus not allowing the chest to withdraw when inhaling and replenishing the air supply. Raising both arms above the head and suspending, but hot holding the breath and then lowering the arms while exhaling slowly is one simulating this ideal elevated sternum posture.
Since we do not inhale when singing, but merely make the gesture, we’re able to keep the sternum in an elevated position during initial inhalation. This gives the singer the sensation of ‘singing on the gesture of inhalation’. It also allows for retardation of breath exit, which in turn slows down the return to atmospheric pressure and minimizes mounting subglottic air pressure -- all leading to the control necessary for better ‘classical’ breath management.
Depending on which technical approach is used, the term appoggio can have a passive component or an active connotation, which in turn can affect a singer in varying ways. When the diaphragm remains relaxed and is acted upon rather than being active, breath flow pressure becomes a self-sustaining system, thus the singer feels the breath pressure in the body as an influence of stability.
Others, actively try to find something to ‘lean’ on for support, therefore they consciously push down against the pressure of the breath. When LEARNING TO SING, many, if not most students, initially experience the latter sensation. This is to say, they are more aware of the sense of pressure in their abdominal, side and back muscles. Once their muscles become stronger and better coordinated with the actions of their larynxes, they find that the technique becomes easier, more natural and more beneficial.
With the appoggio technique, there should be a feeling of expansion or ‘fullness’ in the epigastric area and a sense of expansion of the lower ribs when inhaling. Any substantial inhale should also be felt at the front and sides of the torso in the rib area. The longer this expansion can be maintained is a related to the width of the rib opening. When the appoggio system is developed and applied, lateral abdominal expansion will eventually equal or even exceed the expansion of the front part of the abdomen. As a result, this rib expansion is the effect that is typically most noticeable to the singer.
A feeling of ‘buoyancy’ or sense of ‘suspension’ as though the voice is sitting or resting on something occurs at the height of inhalation when the singer is breathing deeply and the lower torso is expanded laterally, dorsally and frontally. For as long as is comfortable, this feeling should be sustained when he or she begins to sing. This will allow the sternum to remain elevated, the epigastric area will stay comfortably ‘full’ and the lower ribs will be expanded, all of which will prevent the diaphragm from rising upward to quickly. By keeping the abdominal muscles relaxed, the singer will not have concern themselves with the actions of these muscles, thus allowing the necessary exhalation to occur more naturally and with less effort. When singing, he or she should attempt to keep the lower ribs in an outward position as much as possible without thrusting the muscles outward or downward. This will allow the epigasric area to naturally move slightly inward during the last third of the exhaling breath.
It is the lower rib expansion and the epigastric ‘fullness’ that creates the feeling of inspiration suspension that is, “appoggio.”
If the singer is in the habit of hyper-extending the support muscles and then thrusting them upward and inward as he or she sings, it may give them the feeling they are not getting enough air to complete their singing tasks. However, since the appoggio breathing technique enables the diaphragm to rise slowly and paces the exit of the air, the singer will soon discover his or her air supply is more than adequate to complete singing tasks, even long phrases.
Not only will the singer have the ‘breath’ to complete their singing tasks, the appoggio technique is beneficial in many other ways, as well. These include a greater stability of tone, easier execution of large intervals, improved agility, as well as greater clarity, accuracy and speed when singing technically challenging passages. It also gives the singer better breath management when singing very softly or quietly.
As in all breath management techniques, it is critical that your VOCAL COACH not only have a complete knowledge and understanding of what makes the appoggio technique a valuable tool to enhance the singing experience, but that he or she is also actually able to perform utilizing the ‘art of appoggio’.
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Article Source :
http://www.articleseen.com/Article_Breathe Management Italian Style_137807.aspx
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Author Resource :
Ken Tamplin Vocal Academy - Learn how to sing better with the Most powerful and effective Vocal Training uk and get Voice Coach uk.
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Keywords :
Learning To Sing, Vocal Coach, Vocal Training uk, Voice Coach uk,
Category :
Arts and Entertainment
:
Music
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