![]() ![]() The initial power of the voice is often loud (in part because the glottis tends to respond to the forceful air pressure by increasing its resistance, and pressing together more firmly and for longer during the closed phase of the breath cycle), but this power is not usually sustainable for very long. This technique involves utilizing the muscles of the abdominal wall to create an upward and inward force or pressure. ![]() ![]() ![]() Many contemporary methods of teaching encourage a contracting of the abdominal muscles. When it comes to supporting the tone of the voice, there are two schools of teaching: 1) a contracting of the abdominal muscles and 2) an 'inspiratory hold' (appoggio). Learned controls must be mastered in order to enhance and extend breath management capabilities. 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. 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. Singing requires a higher rate of breath energy than speaking does, as well as the elongation of the breath cycle. During singing, however, we need to inhale quickly and often deeply, then exhale slowly and steadily, in a long breath, as we sing our phrases or notes. Air is exchanged in cycles of approximately four to six seconds this differs slightly from person to person. 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. 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. The difference between how we breathe for singing and how we breathe for other daily activities lies not in the mechanisms but in how the airflow is regulated, as the demands that our bodies have for air changes with different activities. The purposes of 'supporting the voice' are to exercise control over the amount of air being expelled from the lungs during singing tasks and to maintain a steady flow of air (and thus create a steady singing tone). ![]()
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