Prerequisites:
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Body position must be carefully studied and observed in learning the accuracy of singing
Sitting, as well as standing, the torso must remain perfectly straight; do not lean on any backrest, sit on the edge of a chair for example.
The body should be completely relaxed, except for the muscles necessary to maintain the position, but even these muscles should never be tensed and the attitude should always be easy and free.
The shoulders fall naturally and the neck is relaxed.
The fact of shrugging the shoulders while inhaling does not increase the capacity, but on the other hand denotes a state of tension in the individual.
Keep your chest supple and relaxed.
The head must be straight and not move under any circumstances.
The lungs must be able to move freely inside the rib cage.
1. Sit as shown below.
2. Lean your trunk forward and place your elbows on your thighs, slightly above your knees.
Do not rest the weight of the body, but on the middle of the body which rests on the legs.
3. Inhale and exhale through your nose and feel your breath travel from the air intake to your lower stomach. Imagine that a tube leads air from your nose to your lower back and that your abdominal buoy gently inflates and deflates. Also try to feel the soft palate. To do this, imagine that you have a ball between the back of your tongue and your nose, you should feel the air circulating more freely in this area.
Do this exercise until you feel the air circulating in the different areas described, while still being relaxed. You can close your eyes to feel your body better.
You can then do this exercise by inhaling and exhaling through your mouth.
1. Lie on your back with your knees and feet relaxed and your hands at your sides as shown. Your entire back should fit the shape of the ground. Find your ideal position until you feel your lower back moving.
2. Inhale and exhale through your nose then through your mouth. Relax and focus on your lower back. You should feel your stomach move and your lower back lift your body slightly off the floor.
This exercise allows you to feel the back of the abdominal buoy, because it is probably the most difficult area to feel (compared to the movement of the lower abdomen for example).
We will now study all the areas covered in the first two chapters. Return to the same posture as in exercise 1.
Do the exercise by inhaling and exhaling through your nose, then the same with your mouth.
Then slowly spread them apart at the level of the diaphragm to the sides. Move the palms at your own pace while inhaling, pause and exhale.
It inflates and deflates with each inhalation and exhalation.
3. Move your hands along the body between the rib cage and the pelvis at the level of the abdominal region.
Try to mentally accompany your breathing. Become aware of how much air you are breathing in and out.
4. Place the left hand at the level of the diaphragm and right hand on the lower ribs. Try to feel the path of your breath inside your abdominal and thoracic area.
You should initially feel your buoy inflate and deflate and the sides gently rise and fall just after.
5. With one arm extended outward, place your palm of the other hand at the top of the rib cage, fingers under the armpit. You should feel the ribs lower and rise gently.
6. With one hand resting on the thigh, place the palm of the other hand along the collarbone. Lower your palm onto your chest to the level of your diaphragm, inhaling and exhaling slowly.
Move your hands to repeat the movement on the other side.
After feeling the air flow through your body, you will work your abdominal buoy.
Imitate the dog panting by breathing in and out quickly through your mouth. First, do it naturally at your own speed by moving your body all around your abdominal buoy. Then try to exaggerate the exhalation and gradually reduce the speed until you feel the interaction between the breath coming out of your mouth and the movement of your buoy.
We then realize that the movement is as follows:
When we exhale (or push), we lean on the abdominal buoy which remains expanding. It’s this feeling that we need to work on.
This can be troubling at first because the logic of natural breathing dictates that when you exhale, your stomach empties.
The feeling of support is this, we exhale, the abdominal buoy remains in the open position (filled with air) and we lean on it.
Work on this sensation and once acquired, lower your support even lower (you can put your hands at the level of crotch).
You can find many variations of this exercise, such as vibrating your lips with a “prrrrrrrrrrrrr”. Find an exercise of this type that suits you and allows you to automatically and quickly awaken your own support.
Return to the position of exercise 1 and try to make a “tsssssssss” sound as continuous as possible, for as long as possible.
Be careful, the most important thing in this exercise is not the maximum duration that you will perform but first and foremost the regularity of your sound!
Do it first for a count of ten, blow, start again if it is unsuccessful. If successful, increment the time by 20, 30…
On this same exercise, no longer make a “tssssssssssss” but try to make a sound on your breath.
So you empty yourself of your air and try, as delicately and effortlessly as possible, to set the air in vibration with your vocal cords. This exercise is excellent for working on your attack without hitting your throat or glottis. So make it as small and gentle as possible.
We were able to understand through this file how the breathing mechanisms work within our body.
The body is divided into two zones: upper and lower breathing zone.
Sound comes from the introduction of air into the body, the path of which is affected by different elements until it vibrates and “exits”.
The trachea is the conduit that carries this air.
The diaphragm with the intercostal muscles are the pump, the engine of the respiratory system.
Air storage is ensured in the lungs and the abdominal cavity.
The air goes up to the vibrator, larynx, vocal cords or literally, it is vibrated.
The resonators give it its timbre and its color: pharynx, mouth, etc.
The articulators ensure the modeling of the are emitted: tongue, mouth, jaw, etc.
We also saw that a slight distinction had to be made between natural breathing and support.
Do the breathing exercises and above all train regularly!
Once you have mastered the basics, consider applying them to pieces in your repertoire.
The main thing in working with technique is not the technique itself, but how you ingest it within your own style, how you adapt it to yourself.
Technology is not an end in itself. It allows you to correct many errors, including voice delivery: learning to sing in tune.
It will allow you to express more precisely with your voice what you have in thoughts and feelings through the pieces that you sing.
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