Explaining breath support - Singing Demystified
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- Опубликовано: 18 май 2024
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Performances featured in this video:
• Ilia Malinin produces ...
• Pink feat Nate Ruess -...
• Jussi Bjørling -O helg...
• Tommy Körberg - Anthem... 
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incredible valuable lessons. This is the clearness in teaching I searched for on youtube for weeks. thank you!
You are sooooooo good, master!!!! Thanks for sharing your awesome knowledge
Thanks for doing this. Almost finished watching, and there's a lot of common sense in your perspective and examples. Very helpful, all in all.
Very clearly put
Thank you very much and while while using the vocal chord for the surport do we need to work ribs expansions too
Where you learn all this secrets man..you are giving too at free of cost..😮Best singing tips 🎉😊
Love from india 🇮🇳 ♥️ ❤️ 💕
Your lessons are just the best amongst all the other yt teachers, at least for me. With your help it feels like i have the progress immediately even tho I consider myself a pretty advanced singer
Very interesting video...and a refreshing new take on this topic. Can you please elaborate on the up & in vs. down & out versions of breathing/breath support that you alluded to towards the end of this video...and the advantages/disadvantages of each. Thanks much!!
Up and in is the one that elevates the sternum a lot and is suitable for dramatic singing. Down and out comes in two varieties, one relying a lot on the rectus abdominis (sorta like doing crunches) and another that relies on the pelvic diaphragm. This last one can sometimes be helpful for stabilising sustains, but it is imo the least useful of the three. The crunch-esque one is very suitable for rock.
@@VoiceStudioEast Thanks so much for replying & clarifying this!!! I had always experienced similar to what you said personally but was always split in my mind about it due to popular pedagogy around "breath support" -- Many thanks -- pls keep posting such amazing videos!!!
@@veritas7232 A lot of it comes from people confusing correlation with causation. When their techniques are working efficiently, they find that they're less tense in the body too, and then they try to chase that result without understanding what caused it to happen. This sends them down a wild goose chase of making wild speculations about breath support and treating it more or less as if it were magic.
@@VoiceStudioEast True...correlation is not causation! .. well said...keep up your informative and entertaining videos 👍
Finally someone tells that + cord closure needs + breath pressure!
One question, are the excercises like doing staccatos with ss/sh/ff really useful? I usually do them like a warm up before Even warming up the voice with Lip trills, but i don't know if they're a waste of time, thank You!
They are basically a way to get your body active, but you could also just do a bit of jumping or something.
Thank You:)
Slouching in a tensa manner 😂😂😂😂 i also think the body should reflect what it is you‘re doing, heavy rock songs with a super chilled body just doesn’t make much sense… also, i find that support kind of fixes itself, when vocal closure is on point and the body just does what feels right.
What is the operatic concept of 'leaning'?
At the moment I am not convinced that there is "one true meaning" of the term. I suspect it simply originated as a cue that teachers would give their students, and the meaning may well have differed depending on context and depending on the teacher. I wouldn't worry too much about it.
@Dynamofoe That is not quite what she writes. Here is the quote, in the original German:
"Erst wenn ich zu singer angefangen have und dazu ein "e" ausspreche, treibe ich den Atem gegen den Brustkorb, wobei die Brustmuskeln in Aktion treten."
Ergo, she speaks of "pushing" or "driving" against the chest, not leaning against it. Unfortunately there has arisen a cult around some mythical concept of "appoggio", which has a nasty habit of misquoting great singers, replacing words like "treibe" and "spingo" with "appoggio".
The "pushing against the chest" that Lilli Lehmann spoke of is a reference to the "up and in" method of breath support, or what I also referred to as "dramatic breathing". It is not inherently superior to other forms of breathing, but seems more aesthetically and psychologically congruent with a dramatic art form like opera.
I hope this clears up the matter.
@@Dynamofoe Michael Trimble is part of the cult of appoggio and is in the habit of putting words in Pavarotti's mouth to support his own dogmatism. That alone should tell you something about Michael Trimble's moral character and general trustworthiness.
What I have said in my video is simply correct and largely a matter of common sense. The causal mechanisms by which your respiratory system can influence subglottic pressure and transglottic airflow are all routed through an intermediate causal node, namely: the lung volume. This means breath support is strictly one-dimensional, and that the relationship between pressure and airflow is determined by something else. Luckily, we already know what that something else is, namely the vocal fold closure.
I could go on, but it would just be repeating what I already explained in the video. The reasoning is laid out for you. If you take issue with it, state your objection, don't bring up one authority figure after another while vaguely indicating that their views are in conflict with mine.
Oh man, just sing,WAY to much to think about.
What you say is really interesting 👌but hów you say it, is a bit strange for me. It's almost as if you're flirting with the camera. Or as if you are reciting a poem. It distracts me from the content. For the rest, keep up the great work!
You know, you shouldn't reveal so much and so bluntly :P
I'm flattered though, haha.
Yes! Lol