Breathing - How to?

[scooter587]

As a beginner, I still have a long way to go in learning breath control, but one thing that has helped a lot is Seamus Egan's admonition not to put too much air into it. He likes to tell people that playing flute should take no more air than talking. That analogy really helps me think less about filling and emptying my lungs and more about focusing my embouchure and airstream, and finding the flute's sweet spot where it will project, without being overblown.

Also, though I lean toward a smoother, less energetic style, listening to Conal O'Grada is a real mind opener in terms of giving yourself permission to breathe as often as you want. From there, I've been lengthening my phrases as embouchure and air capacity allow.

[tin tin]

MurphyStout and Brad have both touched on the key to successful breath support--the diaphragm (abdominal muscles just below the center of your rib-cage). When you inhale (through your mouth, not the nose), let your stomach relax and expand--this allows more room for your lungs to fill with air. Then, as you play, support the exhalation with your diaphragm, almost like you're tensing to receive a punch--your stomach should be firm while exhaling. Learning to breathe properly is sometimes easier without the flute, for starters. Many people go through life thinking deep breathing involves lifting the shoulders and sucking in the stomach, which effectively limits how much you can fill your lungs. As you learn proper breathing and breath support, you'll find that you can breathe when the tune warrants it, not when you're forced to. You'll also find that you can anticipate in advance when you'll have to breathe (no more suprises), and your tone will become richer and fuller with good support. Intonation will also be positively affected.
Another key is keeping the throat open and relaxed. (Other than for doing glottal stops) the throat should simply be a passage for the air--don't use it for squeezing the air out. That's the diaphragm's job.
And, as Brad pointed out, the other end of the system is the embouchure. Focus on that once you start to breathe properly automatically. By the way, don't limit good breathing to flute playing...do it all the time. It will become unconsious sooner, and it's healthy.
Oh, and this link is in the mirror, mirror thread...some good information on breathing here. http://larrykrantz.com/chapt2.htm#flpf

[Jennie]

I seem to do all right within the tune, and find appropriate places to breathe -- until the very last gasp. The end. I love hearing players who stretch out that long last note to give it a strong final tone. But it seems really hard to remember to suck in some extra air so I can do it, until it's too late. Then my last note is either way too short, or trails off and flattens.

Part of it is being so involved in the tune that I can't remember to count so I know when it's going to end. You know, just circle around and again and again, then into the next tune, that trance with the rhythm. I don't have enough chances to practice actually finishing.

I'm a very long way from even a four-bar phrase without a breath. Sigh.

Jennie

[bradhurley]

I seem to do all right within the tune, and find appropriate places to breathe -- until the very last gasp.

Jack Coen had some good advice about that when I took a class with him once: he said to always remember to take a breath a bar or two before the end so you can finish strong.

Phrasing involves a bit of planning sometimes, you have to experiment and decide where it makes sense to take a breath, but it's always good to plan for that breath just a few bars before the end.

Tintin's advice on breathing is excellent. My voice teacher once showed me a diagram of how breathing works -- inhalation starts with the diaphragm, which moves down toward the stomach (which is why your stomach should bulge a bit when you breathe in; the diaphragm is pushing down on it), and that creates a vaccum in your lungs which sucks the air in. To expel the air, your diaphragm moves back up and pushes the air out. Simply visualizing that process made me breathe better.

[Cathy Wilde]

Personally I feel that instead of hiding breaths and making them as inconspicuous as possible, I think a good flute player should be able to use breathing to accentuate and vary phrasing. Its something that distinguishes flute players from the others: they often have to place pauses in the tune. And since you have to do it might as well do it with style - something like turning a weakness to a strength. Players like those on the "flute geezers" mp3s, (for a more extreme example) Micho Russell, Tara Diamond, Peadar O'Loughlin etc do this to great effect. Their breathing is always very deliberate, and helps with phrasing and variation of rhythmic emphasis. .

Yes. Precisely. And Denny's mean.

[Denny]

Personally I feel that instead of hiding breaths and making them as inconspicuous as possible, I think a good flute player should be able to use breathing to accentuate and vary phrasing. Its something that distinguishes flute players from the others: they often have to place pauses in the tune. And since you have to do it might as well do it with style - something like turning a weakness to a strength. Players like those on the "flute geezers" mp3s, (for a more extreme example) Micho Russell, Tara Diamond, Peadar O'Loughlin etc do this to great effect. Their breathing is always very deliberate, and helps with phrasing and variation of rhythmic emphasis. .

Yes. Precisely. And Denny's mean.

moi?

[Cathy Wilde]

OK, maybe "a taskmaster" is a better term. I was feeling small yesterday.

[Denny]

Hmmm... Ya know, I was only teasing ya!

What did that idiot say this time?

[dolmen]

Just to add to the confusion of opinions.

I do yoga and this has a stress on breath awareness and control. Pranyayama exercises are great not only for flute playing but general relaxation, well-being and emotional strength.

When I began to learn with a tutor she quickly asked if I did yoga as my breathing was good for a beginner.

Why not consider learning tow things at the same time.

Also, I agree with other comments. Breath can be a way of phrasing and in Sligo style flute playing it is of great importence. Check out Matt Molloy regarding this.

Good luck. May the breath be with you.

Mark

[Eldarion]

Also, I agree with other comments. Breath can be a way of phrasing and in Sligo style flute playing it is of great importence. Check out Matt Molloy regarding this.

Matt Molloy may have grown up in the area but I wouldn't consider his style a Sligo flute style..

[tin tin]

Agreed. Matt Molloy plays his own style, heavily influenced by piping.

[MurphyStout]

Eldarion covered this but I must say it as well. Matt Molloy does not play in a sligo style. Most sligo players are fairly sparse on ornamentation and take deliberate deep breaths to enhance the rhythm of a tune. Molloy uses lots of ornamentation and flashy playing and is one of the best at hiding a masking his breaths. Each has his own playing style but saying Molloy plays in a sligo style is like saying that Kevin Burke plays fiddle in a sligo style.

So if you want to hear some sligo flute playing look up Peter Horan or Kevin Henry, James Murray, Harry McGowan, (early)Seamus Tansey and a many others.

PS. Molloy is from Roscommen town I believe.

[s1m0n]

Breathing - How to?

1. Suck.
2. Blow.

If you find yourself unexpectedly becoming blue, the most usual cause is from tackling these steps in reverse order.

[bradhurley]

PS. Molloy is from Roscommen town I believe.

Now Jack, you'll be getting yerself in trouble with Matt for that now (and I hear he's well able to use his fists)! He's from Co. Roscommon sure, but from Ballaghadereen, right on the border with Co. Sligo.

In the pre-Bothy Band days he actually had more of a Sligo/Roscommon sound, simpler, more articulated, less flowing, from the few bits I've heard of his playing back then.

[MurphyStout]

I stand corrected, thanks Brad for pointing that out.