C O R R E C T B R E AT H I N G A N D

' S U P P O RT ' F O R S I N G I N G   ( PA G E
1 OF 2)
For an abridged version of this article, please read Breath Management (Quick
Reference).
It seems as though everyone knows that breathing technique is important to singing. Even
people who have never taken a voice lesson before have heard that there is a correct way
for singers to breathe, although they may not know what that way is. They may have been
told that 'diaphragmatic breathing' is essential to good singing, but they may not
understand why.

Sadly, the proper mechanism of breathing largely remains a mystery to both the untrained
singer and the singer-in-training alike. 'Breathe from the diaphragm' and 'support the tone'
are phrases that often get thrown about carelessly within pedagogic circles. The
assumption is that the student will instantly understand what these vague suggestions
mean and be able to successfully apply them to his or her singing. An equally faulty
assumption is that the vocal teacher himself understands these expressions and knows
how to convey their meaning to his students. Unfortunately, not all teachers have a good
grasp on what is involved in proper breath management, either, and they thus cannot help
their students achieve mastery of their breath for singing, except by sheer coincidence.

Before going any further in this article, I would like to offer a warning for those singers
who are trying to understand how to properly support their voices during singing: Not all
teachers understand it themselves, and not all singing instructors teach good or safe
methods. In this article, I will also describe some errant methods of managing the breath
and explain why these techniques are unnatural to the body, unhealthy, and ineffective -
why they violate the natural functioning of the body and do not produce desirable results.

Good breath management skills are imperative if a singer hopes to be able to sound great
and to sing with skill. Understanding how breath management either positively or
negatively impacts various elements of the voice's quality may help to make good breath
support seem more logical and advantageous.

The results of proper breathing technique may include better control over the breath and
thus the quality of the voice's tone, more efficient use of the breath resulting in less
breathiness or 'airyness' in the tone, the ability to sustain notes for considerably longer
and to sing longer phrases, increased lung capacity, a natural (unforced) increase in
volume, improved overall stamina or endurance, minimized tension in the chest,
shoulders, neck and face, less pressure on the vocal folds, and better oxygenation of the
entire body.

THE PHYSIOLOGY OF BREATHING

Breathing is an action that is regulated by the autonomic nervous system, which works to
maintain homeostasis, or balance, in the body. In the case of breathing, it helps to
regulate the proper input of oxygen and balance of carbon dioxide.

The diaphragm - a shelf of muscle and tendon that extends across the bottom of the
ribcage - responds to various signals from the nervous system. When we inhale, the
diaphragmatic muscles contract - they shorten and tighten - and the diaphragm moves
downward in the body. As the diaphragm depresses, it creates a vacuum in the lungs and
air rushes in to fill that vacuum. During exhalation, the diaphragm relaxes and rises, and
lung volume decreases, creating a positive pressure difference, and air rushes out. The air
expelled from the lungs rises up through the trachea (wind pipe) and filters out through
either the nose or the mouth. (When air meets resistance at the laryngeal level - that is,
when the vocal folds are approximated - sound, or voice, is produced.)
Most of the actions of the autonomic nervous system, such as respiration rate, heart rate,
digestion, salivation, perspiration, dilation of the pupils, urination and sexual arousal, are
involuntary - performed without conscious control - but some, including breathing, work
in tandem with the conscious mind. In other words, we can actively control our breathing,
stopping it and starting it at will, choosing how much air we will inhale or exhale in a
given breath or deciding how rapidly or how slowly we will perform each phase of the
breath cycle, for instance. This makes it possible for us to actively develop our breathing
skills and to enhance them for the extended duration and intensity of singing tasks (as
compared with the duration and intensity of speaking tasks). The various dynamics and
demands of singing make the development of breath management technique and skills
absolutely necessary.
How is the physiological mechanism of breathing relevent to singers? Essentially, the
breath fuels the voice. The breathing mechanism is the voice's 'motor', providing energy
to the tone and the ability to sustain passages or notes. Without the diaphragm and the
surrounding muscles that support its work - there are thirty-six muscles that are used in
breathing for singing - air can neither enter nor leave the lungs. Without the expelling of
air from the lungs that moves its way upward and out of the body via the system of tubes
in our chest, neck and head, the vocal folds can't vibrate. (It is the air passing between the
closed vocal folds that causes them to oscillate and buzz.) Without the vibration of the
vocal folds, sound - or voice - isn't produced.
Singing and speaking are little more than breathing out the noise made in the 'voice box',
or larynx. (To learn more about the physiological mechanism of breathing, read Anatomy
of the Voice.) However, how we approach breathing - the techniques that we use or apply
- makes a significant difference in the quality and skillfullness of that voice.
At first, most vocal students view breath management as a difficult, unnatural activity
that they must somehow attempt to do while trying to sing, as though the two are separate
tasks that they must train themselves to do simultaneously, like rubbing their stomachs
while patting their heads, rather than the very activity that enables them to produce
quality sound and thus sing skillfully. For these students who don't tend to understand the
important connection between the air that they use and the sound that they make, it
requires a great deal of concentration to breathe correctly and effectively while
vocalizing, and they may struggle for some time to understand how to achieve the desired
results. In time, breath management will become more natural and automatic.

It is important to note that the difference between how we breathe for singing and how
we breathe for other daily activities lies not in the mechanisms but in how we regulate
our airflow, because the demands that our bodies have for air changes with different
activities. Although it is still in accordance with the natural functioning of the body,
'natural breathing' as employed for speech is not adequate for intense singing demands.
During normal demands, such as speaking or resting, we tend to inhale and exhale more
shallowly and evenly because our bodies don't require as much oxygen. Air is exchanged
in cycles of approximately four to six seconds; this differs slightly from person to person,
of course. During singing, however, we need to inhale quickly and deeply, then exhale
slowly and steadily, in a long breath, as we sing our phrases or notes.

Singing requires a higher rate of breath energy than speaking does, as well as the
elongation of the breath cycle. (The rate of expiration has to be retarded beyond that
appropriate to speech, especially during passages or notes of durations greater than the
normal 'at rest' breath cycle.) This higher need for energy and stamina requires more
muscle control and coordination in supporting the work of the diaphragm and the
function of the larynx, and this is the part of breathing that needs to be developed through
training. Learned controls must be mastered in order to extend breath management
capabilities. Students of voice need to learn how to extend the normal breath cycle by
remaining in the inspiratory position for as long as possible, maintaining a raised sternum
(but not raised shoulders or clavicle), no (or minimal) chest displacement, allowing the
muscles of the lateral abdominal wall to stay close to the position of inhalation and
delaying early ribcage collapse. (More about this technique can be read in Appoggio,
below.)

WHAT IS 'SUPPORT'?
While the applied method, means or approach to achieving 'breath support' may differ
slightly from person to person depending on training, technique and genre or style, most
teachers and singers seem to share a general concept or definition. 'Support' is a way of
using other parts of the body (e.g., muscles) connected to the work of the lungs and
larynx to produce the desired results, including better tone production and the ability to
sing extended phrases and sustain notes for longer. The successful connection between
the musculature of the body (the abdomen and back primarily) and the larynx (for sound
and tone production) is often referred to as 'support', 'breath support' or 'supporting
the tone'. Many teachers, including myself, prefer to call how a singer uses the lower
body to regulate airflow based on his or her immediate vocal demands 'breath
management', which suggests a deliberate and successful coordination or skillful
directing of attention and energy toward the work of breathing.
There are two important aspects of breath management: 1) regulating the amount of air
that is pushed past the vocal folds, including the pace at which the air is allowed out of
the lungs, and 2) ensuring that the stream of air is steady. As I will explain below, in the
section entitled Appoggio, the most efficient way of supporting the tone or managing the
breath is by allowing the diaphragm to rise slowly, using the muscles of inhalation, so
that a mininal and steady stream of air can be allowed past the vibrating folds.

Support works by contracting the abdominal muscles, creating higher pressure in the

abdomen and thorax, allowing the diaphragm's relaxation (and upward rise) to be more
carefully controlled. There is less control in relaxing a muscle than there is in contracting
it, so support gives performers a means of controlling their sound, or phonation.
Today, there are two main schools of teaching about the breath, although there are many
different approaches: (1) 'supporting' the breath by compressing the abdomen during
phonation (i.e., on the exhalation), or (2) relaxing the abdominal muscles as much as
possible during inhalation and phonation, allowing the diaphragm to work on the
inhalation, and riding its relaxation on the outgoing breath (i.e., during phonation).

The extent to which action of the ribs is encouraged varies within most techniques,
although most teachers, including myself, recommend that the upper torso, especially the
shoulder girdle, be as relaxed as possible even during the most extreme vocal demands.
Ultimately, a singer wants access to all the "breath resources" available without
jeopardizing the ability to freely produce sound, that is without unnecessary tension.

'BREATHING FROM THE DIAPHRAGM'

Probably the most commonly used term in vocal pedagogy and amateur singing circles is
'breathing from the diaphragm'. The implication is that the diaphragm itself controls
airflow and supports the tone of the singing voice, and the assumption is that we can
learn to actively control the diaphragm's movements.
Take note, however, that during singing, the diaphragm is not consciously engaged as a
means for pulling in new breath, nor is it used to drive air upward for the expulsion of
breath. Also, the diaphragm itself is actually passive during singing, which occurs during
the exhalation phase of breathing, and we do not exert active control over its movements.
(In breath management for singing, we learn to actively control the muscles that interact
with the diaphragm and that support its actions.)

These anatomical truths make the term 'diaphragmatic breathing' a little bit misleading, or
at the very least, a misnomer. The expression may allow too much emphasis to be placed
on the diaphragm, an organ that we cannot consciously control, when it is really the
muscles of the torso that we must develop and learn to control during singing. (However,
if we were to use the term 'muscular breathing' instead, we would probably find many
singers attempting to push their voices out of their bodies with too much muscular force,
as is taught and practiced in 'belly breathing'.)
Also, the diaphragm is involved in all breathing, whether correct, efficient and effectively
regulated or not, again making use of the expression 'diaphragmatic breathing' almost
superfluous. For these reasons, singers and teachers might be better served by using the
terms 'breath management' or 'appoggio', (which is a technique whereby singers slow the
rise of the diaphragm by actively controlling the back and abdominal muscles that act
upon it), instead.

In any case, the diaphragm, in cooperation with the intercostals (back) and abdominal

muscles, is generally considered to be the chief organ of breathing. The movement of the
diaphragm sets off a chain of reactions that occur in the lungs, larynx and mouth or nose.
Again, it is really the muscles that support the diaphragm's work - the intercostals being
involved primarily in inhalation and the abdominal muscles in exhalation - that are the
focus of a singer's training in effective breath management. Therefore, 'diaphragmatic
breathing', although a vague term, should not be completely dismissed.
In most cases when someone is using the expression 'breathe from the diaphragm', it
seems to be understood that expansion of the area just beneath the diaphragm and using
the abdominal muscles is what is necessary in order to support the singing voice.

Many people tend to think of diaphragmatic breathing as something unique to singing; as

a special skill that must be taught to them, rather than the body's natural way of working.
However, the fact of the matter is that we are born knowing how to breathe properly, and
no one has to teach us how to do it when we come out of the womb. The tummies of
sleeping babies rise and fall effortlessly, without any tension or movement in their chests
and shoulders. The parts of their bodies that support their breathing work in effortless
coordination and synchronicity. Even the breathing of adults is correct when they are
relaxed or asleep and not actively trying to control it. The body naturally knows what to
do and how to do it, even when our need for oxygen is greater due to increased physical
activity or in response to boosts of adrenaline (as when we are frightened).
The fact that 'diaphragmatic breathing' is both natural and ideal is why so much emphasis
is placed on 'breathing from the diaphragm' while singing. Breathing in this natural way -
or at least using this natural mechanism as a starting point then learning to enhance it for
the extended demands of singing - enables us to regulate our airflow, and is correct
whether we are singing, exercising, speaking or watching television. Proper breathing for
singing is not just a trick or a specialized skill that singers must learn. It is a product of
the natural functioning of the human body. In other words, it is how our bodies have been
designed to take in and expel air. In breathing for singing, the mechanism of breathing is
not an abberation from that of the breathing technique used by the body during other
acitivities.

It is also important to note that, in voice pedagogy, 'breathing from the diaphragm' and
'breathing from the belly' are not viewed as being synonymous. The breath support
technique that is widely referred to as 'diaphragmatic breathing', (when correctly
executed), should not be confused with 'belly breathing'. Unlike 'belly breathing',
'breathing from the diaphragm' involves no pushing or forceful expulsion of air, and is the
natural, correct, safe, gentle, internationally accepted method of supporting the singing
tone. In diaphragmatic breathing, the tone rides on a minimal and steady stream of air,
which brings stability and consistency to the tone.
The reason why diaphragmatic breathing is sometimes, though inaccurately, called
'breathing from the belly' is because the bulk of the movement that is seen while someone
is breathing naturally occurs in the abdominal and lower rib area. When the diaphragm
moves downward, it creates a little less room in the abdomen for the internal organs,
which forces them to move outwards a little and the belly to distend or 'swell'. (This
action is aided by the muscles of inhalation.) This movement is so noticeable because of
the absence of ribs in this area, which would otherwise hold the belly in like a girdle of
bone, restricting the diaphragm's movement. Allowing the movement of our bodies
during breathing to be focused in the soft, fleshy area below the diaphragm encourages
the more efficient and complete filling of the lungs and allows for a good connection to
be made between the diaphragm and the 'support muscles'. (Again, the actual decent of
the diaphragm is minimal - two inches or less - and this abdominal distension need not be
exaggerated.)

Understand, though, that the belly itself doesn't actually breathe, as the lungs are located
above the belly and the diaphragm. It merely moves in response to the diaphragm's
downward and upward movements and to the expansion and contraction of the support
muscles.

There is one particular self-professed 'vocal release method' expert who criticizes the
diaphragmatic breathing technique, telling those who read his website and purchase his
singing course that diaphragmatic breathing was created by a failed opera singer who
later became a teacher and passed on his "dangerous" breathing technique to others. He
explains that this erroneous teaching has infiltrated the entire classical singing world, and
has caused a great deal of damage to singers, utterly destroying their vocal health and
careers.

Unfortunately, this vocal coach has had some bad teachers of his own in the past - he
openly writes about his experiences with unsuccessful vocal training on his website - and
was never given any solid instruction in what diaphragmatic breathing really is, nor what
appoggio technique is. He, like many others, has confused it with pushing or 'belly
breathing', which involves excessive muscular involvement deep and too low in the body
during the exhalation phase of breathing. This pushing technique forces too much air
pressure to blow past the vocal folds at once, which can indeed injure the vocal
instrument.
While useful for some vocal tasks, and always correct and safe, this 'natural' breathing is
somewhat limiting when it comes to more demanding singing tasks. Although it may
suffice for short phrases that allow for frequent breath renewals between them, (as is
common in contemporary genres and styles of music), it is not necessarily adequate for
more intense vocal tasks, (as in the longer phrases or passages, sustained notes, or high
lying tessituras that are more common in classical vocal literature). Without violating the
same natural functioning of the body's breathing mechanism, elite singers must learn to
enhance their breath management techniques beyond 'diaphragmatic breathing' in order to
skillfully execute challenging vocal lines. This is why appoggio was developed, and why
so many elite singers use it today to help support their breath.
'BELLY BREATHING'
Oftentimes, the terms 'diaphragmatic breathing' and 'breathing from the belly' are used
interchangeably by those who are unfamiliar with singing pedagogy terms or who use
them very loosely. However, diaphragmatic breathing should not be confused with the
dangerous technique known as 'belly breathing', in which singers expand all areas of the
torso, right down to the pelvis, and then use excessive muscular force as they exahale.
This faulty technique may be reinforced by teachers who instruct their students to expand
their entire abdominal area through to the hypogastric (pelvic and lower abdominal)
region rather than just the epigastric area - the area between the bottom of the sternum
and the navel and extending outward to the lower part of the ribs on each side. This
particular technique, called Bauchaussenst�tz, has its origins in the German school of
singing.
Some misguided and ill-informed teachers will have their students place their hands
below their navel when practicing their breathing exercises or singing. The incorrect
assumption is often made that greater expansion of the lower torso means a lower
diaphragm, which creates more room in the lungs and thus more capacity for air. Then,
the student is led to believe that pushing upward and inward with the abdominal muscles
upon exhalation (i.e., during phonation, or singing) allows more air out of the lungs, thus
creating more singing volume or vocal 'power'.

Of course, these assumptions are not based on either logic or scientific fact. The
diaphragm is not located in the umbilical and hypogastric regions of the body, and it is
the area above, not below, the navel that should be seen to expand and contract during
inhalation and exhalation. Also forcing air out rapidly more often than not leads to
pressed or breathy tones, which are lacking in resonance balance, are limited in volume
and dynamic variation, are potentially damaging to the vocal folds, and do not regulate
the airflow efficiently.

This tendency of many singers to breathe 'too low' into their abdomens, unnecessarily
expanding the entire area below the ribs is illogical. The central tendon of the diaphragm
lies relatively high in the torso - approximately at the fifth rib - and is attached to the
paracardium, in which the heart is housed. The diaphragm itself follows the lateral
anterior contour of the rib cage. It does not extend very low - during inhalation, its
descent is often less than two inches - and air does not occupy spaces below the lungs.
The breath process cannot be controlled by the belly - there is no air below the lungs that
needs to be moved upwards by the muscles of the pelvic region - yet because of what it
connotes, using the subjective expression 'breathing from the belly' in place of 'breathing
from the diaphragm' or 'appoggio' may produce flawed thinking and thus faulty and
potentially injurious breath managment techniques in misled vocal students who lack
correct scientific information.

Stretching or thrusting the lower stomach outward causes lower trunk and laryngeal
tensions, as well as rising subglottic pressure by inducing excessive resistance to the
exiting air, and may result in pressed phonation (forcing). Furthermore, pushing down on
the abdomen causes the ribs to move inward and the sternum to fall. Lung volume will be
diminished because contact of the abdominal musculature with the lower ribs is reduced.
Belly breathing is, therefore, an inefficient and unhealthy way to approach breathing for
singing, and should not be considered a viable method of achieving good support.
"CLAVICULAR (CHEST) BREATHING"
AND "UPPER DORSAL BREATHING"
There are many singers who allow their shoulder girdles and clavicles to rise as they
breathe. This is the kind of breathing that we tend to resort to when we are sighing or
when we are winded and wish to rapidly fill our lungs with more air, something that has
been termed "the breath of exhaustion".
This method of breathing causes chest displacement, collapsing of the sternum, and a loss
of contact between upper and lower torso muscle groups. (Allowing only the ribs to
expand and the lungs to remain high as they inflate not only prevents the lower lobes of
the lungs from filling and moving downward, but it also makes it more difficult for the
muscles that support breathing to do their jobs. The muscles that help pull the diaphragm
downward during inhalation and those that move it upwards during exhalation need to
work in conjunction with the diaphragm to promote optimal intake and expiration of air.
These muscles are not as efficient on their own.) It is also noisy and laboured, and results
in high rates of breath emission.

There should be minimal displacement of the chest during inhalation (including breath
renewal) and during phonation. The rib cage should not collapse at the end of every
phrase. Though the upper body should not remain rigid, it should retain its 'noble'
position throughout the breath cycle.

'TANKING UP' OR INHALING TOO

DEEPLY
In a preemptive maneouvre to avoid running out of breath, many singers will inhale as
much air as possible, without giving consideration to the length or the dynamics of the
phrase or note that will follow the breath renewal. This kind of breathing often leads to an
'overcrowding' of the lungs and to rapid breath expulsion. (These same singers are often
'clavicular' breathers, who gasp for air between phrases in order to expel the remaining
'stale' air and inhale 'fresh' air, as though they've been holding their breath under water for
a long time and are coming up to the surface.)

There is no need for a singer to inhale any more deeply than is necessary for the vocal
task that will immediately follow the breath renewal. 'Tanking up' for long phrases leads
to problems such as tensions throughout the body due to displacement of the chest and
collapsing of the rib cage, forcing, noisy breathing, grabbing or holding the breath in
advance of the next phrase. The gasping and rapid intake of air between phrases may also
lead to hyperventilation, lightheadedness and dizziness.

Silent breath renewals, breathing slowly and quietly through the nose, are often helpful
because they induce relaxation of the vocal tract and teach the student to pace the
inspiratory gesture, as it takes longer to fill the lungs to capacity when inhaling through
the nose. Furthermore, they help to minimize chest displacement. The same kind of
noiseless and relaxed breath renewal can then be learned when breathing through the
mouth, either fast or slow. (More about developing good breath pacing can be found in
the Breathing Exercises section on the second page of this article.)
APPOGGIO
Appoggio - from the Italian verb appoggiare, meaning 'to lean on', 'to be in contact with'
or 'to support' - is a learned breathing technique that involves slowing down the ascent of
the diaphragm for better breath management, resulting in the elongation of the breath
cycle during singing. It involves a concerted action on diaphragmatic movement by the
muscles of the thorax (chest) and the abdominal wall (the transverse abdominis, the
internal oblique, the external oblique, and the rectus abdominis, although to a lesser
extent), and involves gaining better control over the breathing mechanism through
training the muscles, and enables the singer to pace the breath more efficiently.
It's important to note that appoggio, while requiring a great deal more control than is
needed during normal activities and requiring some additional coordination and training,
is an extension of the natural breath process, not a substitute for it. It is considered to be
the main route for breath management within the international classical singing
community.

During normal speaking, the rib cage collapses upon exhalation. Appoggio attempts to
avoid this collapse by retaining the elevated inspiratory posture of the rib cage and
the sternum - the long flat bone located in the centre of the thorax (chest), which
connects to the rib bones via cartilage, forming the rib cage with them. The technique
slows down the rising of the diaphragm, which aids in breath management. Learning to
gain control over the muscles of the side abdominal wall offers true breath support.
Appoggio involves raising the sternum before inhalation, making all conscious breathing
efforts with the internal and external obliques and transverse abdominis, then keeping the
sternum up and not allowing the chest to recoil when replenishing the air supply. (This is
sometimes called 'sideways inhalation'.) One method of achieving this ideal elevated
sternum posture involves raising both arms above the head - the sternum naturally rises
when the arms are in this position - suspending, but not holding, the breath with the
inspiration muscle system, then lowering the arms while exhaling slowing without
lowering the sternum. Assuming the Garcia position, with the palms facing outward and
placed one on top of the other on the sacrum - not the small of the back, which could
cause the back to 'sway' and become overly arched - while vocalizing can also encourage
an opening of chest wall with a raised sternum.
If applied appropriately, simulating the posture of breath retention can minimize
subglottic pressure. At inspiration, subglottic pressure is at its lowest level and lung
volume is at its highest. The lowering of the diaphragm and the widening of the lower
ribs causes the dimensions of the thoracic cavity to increase in both length and width.
Due to its incredible elasticity, the entire respiratory tree stretches downward with the
descent of the diaphragm, allowing for greater lung capacity, as the lower lobes of the
lungs are now able to be filled. (Pushing upward with the abdominal wall and forcing the
diaphram upward compresses the lungs and decreases their capacity.) Staying in the
position of initial inhalation gives the singer the sensation of 'singing on the gesture of
inhalation' - we do not inhale as we sing, but we are merely making the gesture, or
retaining the same posture - rather than on that of exhalation, which retards breath exit,
and in turn retards the return to atmospheric pressure and minimizes mounting subglottic
air pressure.
In singing, (as well as in the Italian language itself), the term 'appoggio' has both a
passive component and an active connotation, and may vary with different technical
approaches. For some singers, breath flow pressure becomes a self-sustaining system
whereby the singer feels the breath pressure in the body as an influence of stability. The
diaphragm remains relaxed and is acted upon rather than being active. Others, however,
might say that they consciously push down against the pressure of the breath. In that way,
they are actively trying to find something to 'lean on', to use as a support. (I find that
many of my students initially experience the latter sensation, in which they are more
aware of the sense of pressure in their abdominal, side and back muscles, and then
gradually begin to find the technique easier, more natural and more beneficial over time
as their muscles become stronger and better coordinated with what is happening in their
larynxes.)

Inhalation should be accompanied by a sense of expansion or 'fullness' in the epigastric

area, as well as a sense of expansion of the lower ribs. This rib expansion is caused by the
contraction of the external intercostal muscles, and should be felt during any substantial
inhales. In addition to expansion at the base of the ribs, it can be felt at the front and sides
of the torso, between the tenth rib and the crest of the iliac (upper surface of the hipbone)
and in the back at the eleventh and twelfth ribs. The wider the rib opening and the longer
this expansion can be maintained, the greater the downward hydrostatic pressure and the
greater the pull against the elevation of the diaphragm. Lateral abdominal expansion will
eventually equal or even exceed the expansion of the front part of the abdomen when the
appoggio system is developed and applied. Consequently, this rib expansion is the effect
that is typically most noticeable to the singer.
At the height of inhalation, when the singer is breathing deeply and the lower torso is
expanded laterally, dorsally and frontally, he or she will likely also feel a sense of
'suspension', in which it feels as though the voice is sitting or resting on something, or a
feeling of 'buoyancy'. When he or she begins to sing, this same feeling should be
maintained for as long as is comfortable, with the sternum still elevated, the epigastric
area still comfortably 'full' and the lower ribs expanded. (It is this position that prevents
the diaphragm from rising upward too quickly.) The abdominal muscles should be
relaxed, and the singer will find the necessary exhalation will occur without the singer
having to be overly concerned about the action of the muscles in the abdominal area. As
he or she arrives at about the last third of the exhaling breath, the epigastric area will
naturally move slightly inward, but he or she should attempt to keep the lower ribs in as
outward a position as possible, without thrusting the muscles outward or downward. This
is a learned response that will help retard the ascent of the diaphragm or avoid its early
rise.
 This lower rib expansion and the epigastric 'fullness' which, in turn, create the feeling of
inspiration suspension, is "appoggio".
At first, it may seem as though you are not getting enough air, especially if you are
accustomed to hyperextending the support muscles then thrusting them upward and
inward as you sing, but you will soon find that your air supply is indeed sufficient to
complete your singing tasks, even long phrases, because the diaphragm is rising slowly
and pacing the exit of the air to make it last for the duration of the tasks. You will get
stronger and more adept at controlling and maintaining this lower rib action.

Acquiring the appoggio breathing technique gives the singer a longer, more reliable air
supply (because the exiting air is pragmatically paced in order to meet the requirements
of extended phrases, regardless of tessitura or dynamic level), greater stability of tone
(because tone is affected enormously by the steadiness of a singer's breath stream), easier
execution of large intervals, improved agility, including greater clarity, accuracy and
speed while singing technically challenging passages, and better breath management
when singing very softly or quietly. Appoggio ensures that there is neither excessive
airflow, (because most of the exiting breath is turned into tone by the efficiently vibrating
larynx), nor too much resistance by the vocal folds to the exiting air (la lotta vocale).
BREATH SUPPORT DURING
PREGNANCY
Depending on how a woman is 'carrying', pregnancy may affect how a female singer
supports her voice, both in speech and in singing. In fact, pregnancy may present the only
legitimate 'excuse' for reverting to thoracic (chest) or upper dorsal breathing because the
size of the womb and unborn baby may make it difficult, if not impossible, to allow for
free movement of the diaphragm and abdomen, especially if the woman is 'carrying high'
and the fundus (top) of her uterus is placing pressure on and crowding the diaphragm and
stomach. (A woman who is 'carrying low', on the other hand, may find that she is able to
continue employing the same breath management techniques throughout her pregnancy.)

Additionally, the rectus abdominus (main abdominal muscle) typically separates later in
pregnancy to allow for more room for the growing baby, which may create support
challenges, especially post-partum. Also, the hormones of pregnancy may cause severe
breathlessness as well as swelling of the capillaries of the vocal folds, which may pose
more problems with supporting the tone.

For more information about the unique challenges that pregnant singers face, as well as
practical advice for dealing with those challenges, please read Singing While Pregnant.
1. Page 2
C O R R E C T B R E AT H I N G A N D
' S U P P O RT ' F O R S I N G I N G   ( PA G E
2 OF 2)
HOW TO DEVELOP BETTER BREATH
MANAGEMENT SKILLS
I caution students of voice to not be in a hurry to increase the lengths of phrases or
sustained notes, and I encourage them to take a more gradual approach to developing
superior breath management skills. I prefer that students build their strength gradually by
systematically increasing the difficulty of vocal exercises (e.g., increasing the duration of
sung phrases, scales, and sustained notes, incrementally lengthening their lessons,
decreasing the amount of breaks or pauses taken between or during excercises, etc.)

Although exercises intended to directly strengthen the muscles of breathing can be, and
possibly ought to be, assigned to individual students who need some extra help finding
coordination or synchronization between their 'motors' (the breath management system)
and their 'vibrators' (their larynxes), these exercises should always be taught in context.
The student should be offered a reason for the assigned exercise, and an explanation for
why or how it is relevant to singing. These exercises should never involve unnatural use
of the support muscles, or use of them in ways that will not benefit the student's breath
management (e.g., the singer should be able to 'translate' the actions of the support
muscles during these exercises into actions of these same muscle groups during singing,
or directly apply them to their breathing during singing).

Below are a few basic breathing exercises that you can try on your own, as well as some
general advice. With these suggested exercises, I am not attempting to take the place of a
'live and in person' vocal teacher who can provide you with knowledge, feedback and
expert guidance. A good vocal instructor will help a student become aware of his or her
breath, and learn how to use it and how to get the most out of it. I am merely offering
some tips for starting out toward applying natural and augmented breathing technique to
your singing and speaking. I also have included a list of exercises that are commonly
assigned by teachers or suggested on Internet forums but that are not helpful or safe ones.

I am not a strong advocate of exercises and breathing techniques that force the singer to
do any action that is unnatural, or that violate the natural functioning of the body, and
certainly not any that might cause muscular strain or place excessive force on the vocal
folds during phonation.
At some point during his or her training, a singer will hopefully discover an effective
balance between effort and ease, and will find employing enhanced breathing techniques
to require little effort once mastery of the skills has been achieved.

More advice on how to improve breathing for singing can be found in Tips For Practicing
Singing: A Practical Guide To Vocal Development.
BUILD A STRONG CORE

Strengthening the abdominal muscles and back muscles outside of and before vocal
training can be beneficial for a singer. If the muscles that support the breathing
mechanism are well toned, the singer will likely find fewer problems with support later
on. Pilates style workouts that target and strengthen the core of the body are great for
singers. (Note: For post-partum women, these types of exercises are contraindicated
because they can worsen the separation between the main abdominal muscle - the rectus
abdominus - that typically occurs during pregnancy, leaving the muscles stretched and
more lax. For female singers with this issue, other exercises ought to be used to rebuild
abdominal and back strength.)
Having strong muscles, however, doesn't automatically translate to coordinated breathing
and singing. The types of muscle contractions that are required during typical abdominal
exercises or workouts don't precisely mirror the actions of those same muscles during
breathing and singing. (For example, in no other activity is the upward rise of the
diaphragm delayed and the last part of the breath cycle intentionally drawn out through
maintenance of the initial inspiratory posture.) However, having strong core muscles
places the singer in the position of being strong enough to learn how to use the muscles to
support the tone. If they aren't strong enough, then they may struggle more to try to learn
to use them in a new or demanding way. You won't be able to do so with much success.
(If you have ever been placed in a position where your abdominal and back muscles have
lost their strength - for example, after pregnancy, C-sections or other abominal surgery,
extended lack of use due to illness, etc. - you would be very aware of the difference
between how singing is sufficiently supported by strong muscles and how it is
insufficiently supported by weak muscles.) Strengthen the muscles of the body first, then
learn how to use them in specific ways later.

In well supported singing, there is a complex balance between relaxation and antagonism
between the various muscle groups that support the breath. Breathing for singing does
require relaxation. Singers cannot support their voices well while there is excess tension
in their bodies, or if they are attempting to force their breath out in unnatural ways.
However, it is impossible to completely relax the torso during inhalation (so that the
diaphragm can descend). Muscles are involved and are doing work, so there is some
muscular contraction, especially in the back. However, there is a sense of 'lack of tension'
that should accompany well coordinated breathing. You shouldn't feel the muscles
straining to expand or contract. If you are strong and coordinated enough, you might be
aware that they are working, but that work will be easy - like lifting something very light.
Building muscular strength makes the work of breathing and supporting the singing tone
easier. If you are weak, you will have to work much harder to produce the same results, if
you can, but will tire more easily.

In maintaining appoggio, the muscles must have a tremendous amount of control to

prevent the premature rising of the diaphragm and to keep the air stream steady and
consistent. Weak muscles will sometimes spasm or shake when being worked hard, and
this means that the diaphragm will rise at an inconsistent rate and air flowing from the
lungs will also be unsteady, leading to an unsteady tone and irregular vibrancy rate.

MAINTAIN STRONG AND HEALTHY LUNGS

It is also beneficial for the singer to achieve good cardiovascular health. A strong heart
ensures that the body is well oxygenated, and healthy lungs enable the singer to breathe
clearly and to maximize lung capacity.

Of course, anything that is potentially damaging to heart and lung health or affects their
ability to function optimally, such as smoking or exposure to second hand smoke, ought
to be avoided.

BREATHING EXERCISES

Using Hands and Mirrors For Feedback: A first exercise to help assess whether or not
you are breathing properly involves spreading both hands as if you were wearing mittens
(i.e., fingers together but thumbs spread), then placing the fingers over the upper
abdomen just below where the ribs meet (pointing forward and toward the centre of the
body) and positioning the thumbs (pointing backward) on the lower ribs. This is just
below where the diaphragm is located. Breathe in and out deeply and very slowly while
making a little 'wind' noise, and feel your hands moving in and out with each breath.
Maintain relaxation.
Making a little audible breathing noise - not whistling - is sometimes a helpful source of
secondary feedback for some students because it allows them to hear their breath and to
increase their awareness of it as it enters and leaves their bodies. Then, they can connect
it to the actions that they are feeling in their abdomens, lower ribs and backs. It also tends
to encourage deeper, less inhibited breathing. Always ensure, though, that you are not
making a sighing noise or gesture (e.g., raising the shoulders and expanding then
collapsing the rib cage), as this will cause tensions and will not produce good
relationships between the body and the larynx.
You should feel the expansion of the epigastric region - the area between the bottom of
the sternum and the navel and extending outward to the lower part of the ribs on each
side - as you inhale. (I've heard some teachers describe this sensation or state as "fat and
full".) Lower rib movement may be very subtle and a little difficult to detect at first. If
your hands aren't moving noticeably in and out, you likely aren't using your support
muscles correctly, or you are not inhaling as deeply and fully as you should be.
However, do not try to force expansion of the abdominal wall. Downward and outward
thrusting of the abdominal wall actuates tensions in the lower trunk, generating
sphincteral action also at the level of the larynx, resulting in pressed phonation. It also
causes the ribs to move inward and the sternum to fall, and reduces contact of the
abdominal musculature with the eleventh and twelfth ribs in the low dorsal area. These
actions diminish lung volume and contribute to the rate of rising subglottic pressure. Let
the movement be natural and comfortable.

From time to time, you may see singers placing a hand on their upper abdomens while
they are performing. When this happens, the singer has likely realized that he or she isn't
using his or her breath correctly and is now using the hand on the diaphragm area to serve
as a reminder or a physical cue to return his or her focus to that area of the body.
Sometimes, it is helpful for new singers to keep their hands in this spot during lessons or
performances until breathing correctly becomes second nature to them - until they do it
consistently

This exercise is done most effectively in front of a mirror because the visual feedback is
particularly helpful. Your chest and shoulders should not rise as you breathe. Although
there may be some subtle movement as a result of the lungs filling up and expanding,
there should be minimal chest displacement and the rib cage should not collapse between
breaths. Breathe deeply, and feel the muscles in your back and abdomen 'supporting' the
diaphragm's movements. Watch for any tension that might be building up in your jaw,
neck or chest.

Breathing can also be monitored from a supine position. A singer can lie down on his or
her back and watch or feel with the hands the natural movements of the abdominal wall
during inhalation and expiration. (As I caution below, though, placing an object such as a
book on the abdomen to help watch for movement is not advisable.)

If you are breathing properly during these exercises and if you are truly making
everything connect for the first time, you should feel your intercostal muscles - the
muscles that wrap around your rib cage, between the ribs themselves - working hard, and
they will feel a little tired, just like your other muscles do when they are being used a lot,
used in new ways or are being given a good workout. (This is not to be confused with
'intercostal breathing', which is widely believed to be less efficient in terms of breath
management.) You won't feel them working hard during normal speech and activity
because your body doesn't require as much air to accomplish these tasks, so they don't
need to expand and contract as quickly, fully or for as long as they do when you are
singing. Eventually, they will get stronger, and it will become easier and more natural to
breathe correctly while singing. The stronger that these muscles (as well as the other
muscles involved in breathing) become, the better 'supported' your breath will be,
assuming that you are able to achieve synchronization between these support muscles and
your larynx, and the more efficient you will become at using your breath during singing.
Silent Breath Renewals: In time, silent breathing should be practiced, as silent breath
renewals are required during singing tasks. Nose breathing is a good solution for singers
who are noisy breathers or who are unable to breath low enough into the body due to a
poorly prepared vocal tract. Breathing through the nose slows down the pace at which the
singer is able to fill up his or her lungs to capacity, which allows the singer to maintain
the gesture of inhalation over a longer period of time. Since during nose breathing the
larynx and the body of the tongue lower slightly, and the zygomatic muscles elevate the
fascia of the cheek region, thus raising the velum, relaxation of the vocal tract is induced.
In other words, this slower inhalation ideally positions the vocal tract, the larynx and the
musculature of the abdominal wall. (See Breath Pacing, below.)
'Breathing Out the Voice': In order to better understand the connection between the
breath and the voice, it is sometimes helpful to exhale while vocalizing or phonating.
Inhale, feeling the movement of the upper abdomen and lower ribs, and then exhale while
saying, 'Ahhh'. (This sound should have a duration of two to three seconds.) Towards the
end of the exhale, switch to just breath (no 'Ah') and feel the air whoosh out of your body.
Breathe out your voice. Feel how the body supports the breath and the action of the
diaphragm whether or not there is sound being made at the laryngeal level. Feel how the
entire exercise happens on one continuous stream of breath.
Farinelli Maneuver (and a Variation): A breathing exercise that moves the student
toward appoggio technique involves learning to keep the diaphragm (and belly and lower
ribs) distended throughout the breath cycle, as though the singer is still inhaling during
exhalation. (This centuries old concept expressed by great teachers of the past such as
Giovanni Battista Lamperti, is sometimes paraphrased 'singing on the gesture of
inhalation'.) Gaining better control over the muscles and diaphragm can help to slow
down the rate at which you use up your air, which is ideal for situations in which notes,
especially high notes, must be sustained for several measures, or during coloratura or
lengthy vocal passages.
Inhale deeply and quickly, then suspend (but do not 'hold') that breath while keeping the
abdomen and lower ribs in the 'outward' position of inhalation for three seconds. Increase
this to four then five seconds once you are stronger and have better control. Exhale
slowly, allowing the abdominal wall to return to its resting, inward position by the end of
the exhale. Once you have mastered keeping your diaphragm low while suspending your
breath, attempt to keep it in the same position while exhaling very slowly. Making the
muscles that support breathing work harder like this can increase stamina and strength,
allowing you better regulation and use of your airflow. (This is a simpler variation on the
Farinelli exercise outlined below because the inhalation phase of the breath cycle is
quicker.)

When this exercise becomes easier, begin developing control over all aspects of the
breath cycle and increasing the length of time that you are able to maintain the initial
position of inhalation. First, slowly pace quiet inhalation over four seconds. Remain in
the inspiratory position for a count of four seconds, neither inhaling nor exhaling
nor holding your breath, which incites laryngeal and abdominal tensions, and will
produce overly firm glottal closure and impede flow phonation during singing. Finally,
quietly and evenly exhale for a count of four seconds, gradually and slowly allowing the
diaphragm to rise and return to it's 'resting' position only near the end of the breath cycle.
Gradually increase the time spent in each of these three steps until a count of ten - thirty
seconds in total - is comfortable. (This exercise is known as the Farinelli
Maneuver or Farinelli Exercise.)
Regularly repeat this process a number of times every day. (It can easily and
inconspicuously be practiced in the car, on the bus, while sitting at a work desk or in a
classroom, etc..) Be careful not to push air out at the end of the breath cycle, especially in
an effort to dispose of the 'old' air and quickly replenish the lungs with 'fresh' air. Put
differently, be careful not allow yourself to get to the point where you feel as though you
are completely out of air and must gasp for air. Breath renewals should be relaxed, quiet
and well paced.

Breath Pacing: Breath pacing is a practice that singers must perfect during singing tasks
if they hope to be able to regulate their air efficiently. In breath pacing, the singer learns
to match the amount of air taken in during breath renewals to the amount of air required
for the given vocal task and also avoid unsteady breathing throughout the breath cycle,
from inhalation to the expelling of air during phonation, by taking in air at regular
intervals. This means that, in time, the singer will learn to not 'gasp for air' during quick
breath renewals, 'tank up' or hold the breath in advance of the next phrase, or use up more
air than is necessary for the given vocal task. Breathy onsets will also be improved.
Rhythmic breath pacing exercises should be tried in a comfortable range. For example, at
a moderate tempo, sing onset measures of quarter notes, taking a silent breath (a quarter
note of rest) either through the mouth or through the nose after each note. Each measure
or two of quarter notes can be concluded with a brief sustained note. With notes being so
short in duration and breath renewals happening so frequently, the singer must be careful
not to inhale too deeply, or else he or she might begin to feel lightheaded or
hyperventilate.

The tempo of the exercise and the duration of the individual notes can be altered, and
pacing can be shortened or lengthened to correspond to the the intervals of rest between
phrases. In time, the singer learns to inhale more appropriate levels of air for the phrase
that will follow and learns to take breaths at more regular intervals while singing. The
goal is to achieve control and steadiness over the breath cycle and a sense of calm and
relaxation in how the singer approaches preparation for singing a phrase.

Application: Once you are breathing with the correct mechanism, discover how your
breath is connected to your voice - how it fuels it - by applying it to your singing.
Sing a single line of a simple song, paying special attention to all aspects of your
breathing. Inhale silently and only take in enough air to comfortably complete the phrase
and support the tone without feeling as though you are running out of breath at the end.
Then sing two lines of the song in succession, being sure to pace your breathing and to
match your air levels to the phrases. Do not rapidly push out the breath, and do not hold
back the breath energy. Keep your breathing steady and controlled. As you build your
technical skills, gradually increase the level of difficulty of the songs that you sing.
Practice pacing your breathing.

BREATHING EXERCISES TO AVOID

Exercise One: One exercise that some instructors have their students try involves lying
down and placing a thick book on their chests. The premise is that lying on the floor
encourages relaxation and allows the body to be still enough for motion in the
diaphragmatic region to be more readily seen, and the book makes the movement of the
diaphragm more pronounced. The students receive feedback about the correctness or
incorrectness of their breathing by watching the movement of the book. If the book
moves up and down, then the singer is breathing thoracicly - from his or her chest - rather
than diaphragmatically. (Remember that all of the body's movement while breathing
should be seen in the soft, abdominal area.)
This exercise, while not likely to be harmful, encourages the use of weight or resistance
that is unnatural. It is highly unlikely that a singer will ever be placed in the
uncomfortable position of having to sing while a weight is stationed on his or her chest.
Also, a singer seldom, if ever, finds himself or herself lying down during singing tasks. It
is better, instead, to develop the connection and coordination in ways that mimick real
life or normal singing situations.

Exercise Two: To exaggerate the movement of the diaphragm, some misguided teachers
have their students place a heavy book on their stomachs instead of their chests. The
students breathe in and out deeply and watch the up and down movement of the book to
ensure that the movement during breathing is originating from the diaphragm. If the book
doesn't move up and down with the students' breathing, then the students are either
breathing from the chest instead of the diaphragm or are not breathing deeply enough.
However, I especially do not recommend this variation on the exercise, as it risks placing
strain on the support muscles, especially in singers and new students who have not yet
developed good strength and control of these muscles. Furthermore, with an object
putting excess and unnatural weight on the part of the abdomen that should be freely
expanding during breathing, students are inclined to expand the hypogastric (pelvic and
lower abdominal) area instead of the epigastric area or the chest and will attempt to use
other muscle groups to force the abdomen to move, which means that they aren't learning
to breathe properly. It is better to develop these muscles gently and gradually, and I feel
that it is neither necessary nor safe to use artificial forms of resistance, such as books, to
strengthen the breath support muscles.

Exercise Three: Another exercise that is thought to strengthen the muscles that support
breathing - see Anatomy of the Voice for more information on which muscle groups aid
in breath management - and help the singer make the larynx-lower body connection
involves exhaling with rapid, forceful breaths. The singer is supposed to inhale deeply
and quickly, taking in as much air as he or she can, as quickly as he or she can, and then
push the air out of the lungs in three staccato (short and quick) breaths, using the third
breath to rapidly expel as much of the remaining air as possible. (Think of an imaginary
fist delivering three consecutive imaginary punches to the stomach, 'knocking' a third of
the 'wind' out of you with each blow to the gut.) Oftentimes, at the end of the breath, the
student is asked to suck the stomach inward at the spot where the ribs come together in
the front, or pretend as though he or she is drawing the stomach back toward the spine.
The student should see and feel the upper abdomen move inwards and upwards
dramatically with each quick exhale, and pause between each of them. The student is
encouraged to watch that he or she is not simply creating the illusion of forceful
exhalation by making noises solely with the mouth rather than using the diaphragmatic
muscles to vigourously push the air out, which creates the sound. In other words, the
staccato breaths should be originating from the brief, rapid and forceful pushes of the
diaphragmatic and partnering muscles.
The inherent problems with this exercise are that it does not mimick what happens during
singing tasks because a singer does not exhale in several quick fits and starts and that it
does not train the singer to maintain the initial inspiratory position - to 'sing on the
gesture of inhalation'. Instead, it encourages a rapid, forceful and irregularly paced rising
of the diaphragm, which is not beneficial to the singer in the long run for many
reasons. Rapid breath expulsion has no relationship to controlled breath management
because it does not train the singer to pace airflow for the tasks of the literature to be
sung. While this exercise might help to strengthen the support muscles because of the
rapid contractions required - just like those used in abdominal 'crunches' and other core
strengthening exercises - a singer should never breathe with this much force, rapidity and
unevenness during phonation (singing or speech) as it will place too much air pressure on
the vocal folds and lead to pushing and vocal injury. It will also negatively impact
endurance and vibrancy (e.g., vibrato rate).
 Exercise Four: One exercise commonly taught by those who teach singing techniques
for the theatre employs a Lamaze style of rhythmic breathing that is sometimes taught
during childbirth classes. Lamaze was developed to allow labouring women to maximize
the control that they have over their breathing and to get into rhythmic patterns that
would ensure that they would not hold their breath during contractions or pushing, (thus
allowing both mother and baby to maintain good oxygen levels), and to distract them and
help them manage their pain. Unfortunately, this 'panting' mimicks neither the natural
breath cycle nor the augmented breathing patterns associated with well-supported
singing, and it can easily lead to lightheadness and hyperventilation. It does not assist the
singer in breath pacing.
The notion that there must be consciously induced breath emmission over the vocal folds
in order to produce a singing tone is false, and leads to the development and teaching of
exercises like those described above that cause a student to believe that if the muscles of
the abdomen are not moving inward and upward energetically and noticeably during
phonation, the tone is not well supported. Distension of the abdomen and lower ribs upon
inhalation may be minimal (especially when the phrase is shorter, requiring less breath)
and the inward and upward movement of the diaphragm and abdomen subtle during well-
supported singing.

Also, rigidity of the support mechanism and tension often ensue whenever a singer
attempts to control the breath process directly at either the abdomen or the larynx. Even
strong muscles need to be able to move freely - to be flexible - so that stiffness does not
interfere with the sound's freedom.
1. Page 1