Breath Control

I'm sorry I used the phrase "breath support" as the subject of my comments, as it seems to be "supporting" its propagation. So here are some comments on "breath control" prompted by contributions to this list.

It seems that when some people (e.g. jz?) talk about "bs" they end up talking about "bc" . Is that correct? If you mean that, is "bc" not a better description? Some others of you seem to be saying that "bs" is somehow the way you control the breath, as in using a particular type or degree of pressure as a desirable. If this is true, does "more" or "better" support imply a change to more pressure or less pressure?

Alexa says that "students often go through patches of being "lazy" in the support department, and over "embouchuring" to compensate". Does she just mean that they don't inhale very much air and are conserving it by using a small lip opening, or that they are using a lot of pressure on the lungs and holding the lips tight against that pressure - quite a different scenario? From her description of the sounds I think the latter, in which case is she saying that good "bs" relates to less pressure on the lungs? I think that with the difficulty of this subject clear definitions might help. Larry talks of "keeping the rib cage up". I would say that the rib cage is expanded or contracted, and that the one happens when you inhale and the other when you exhale. When you expand your ribs, your lungs have to fill with air; as you exhale your ribs have to contract.You can use, and develop, muscles to increase your ability to expand the ribs, thereby being able to inhale more air (and more quickly). These same muscles can be used to keep the ribs from contracting so quickly, thereby slowing the rate of exhalation.

John Z quotes Sam Baron: "when you're about half full, the diaphragm is still extended and is easier to control. When you're nearly empty the diaphragm is much harder to control". The diaphragm, as its name implies, is the seal between the lungs and the lower body cavity, attaching around the chest's perimeter at the bottom of the ribs. When the ribs are contracted it relaxes into a dome shape; when the ribs expand it flattens out to encompass the larger required area. Despite what so many of us were (are?) taught, I know of no evidence that this is a muscle that can be controlled. (I don't mean by this to dispute Sam Baron's great skill as a teacher. I find that at both the lungs' fullest and emptiest the breath is harder to control and avoid both where possible.) The abdominal muscles can be used to apply upward pressure on the lungs (against the diaphragm), either sustained (as in holding your lips closed and blowing your cheeks out) or pulsed (as in panting). When a child is breathing while lying down the abdomen rises as the lungs fill. This would seem to be a normal sight to see in a flutist breathing in a relaxed manner. But I see so much movement of abdominal muscles among some flutists during the course of a phrase that I wonder how this activity relates to the gentle art of breathing into a flute.

Finally, Alexa says, "the sound difference is incredibly dramatic when comparing an "unsupported" sound to a "supported" one. Why is a very good question!" Perhaps the answer still lies in defining what is meant by "bs". Larry has some wonderful images and descriptions to bring to the discussion of breathing but am I being difficult if I feel that he still hasn't defined it? Until there is a consensus on that my vote is for a ban on the phrase! Is there a second

Nancy wrote: "One of the controversies I ran up against was whether it was better to keep the air flowing in and out, or whether it is helpful to stop before beginning to play/exhale. I prefer the steady flow."

I agree. I think that the only times we stop breathing are when we are afraid and hold our breath to get the adrenaline flowing and decide whether to fight or flee. I see students so often take a deep breath and then hold it while they put their flute up and decide how and what it is they are supposed to be doing. The longer they hold the more inhibited the final product is. When all those decisions are made beforehand and the sound is started as we come to the top of our inhalation the sound is freer and the feeling is more relaxed.

I'd also like to make the observation that breathing into the flute is just the same as when talking. The nature of the inhalation when we talk depends on the thought we have decided to express. To just say "ok" to someone a yard away you wouldn't even think of the need to prepare a breath. To express a long descriptive thought, or to be about to speak to a distant listener, you would instinctively take a deep breath. So with intelligent flute breathing.

There are so many little places in music where there are natural breathing places (not always rests). Why should one feel obliged always to take gigantic breaths when playing short phrases or playing softly? Of course it does mean you have to have a thought about that phrase before you inhale.