a woman playing the flute

Breath support

ByBret Pimentel

Quick: define “breath support.”

I fear that to many woodwind players (or wind players in general, and maybe singers too) breath support is something mysterious. I have often had teachers stress to me the importance of breath support, but I can’t remember ever having one explain clearly what it is.

I’m teaching a woodwind methods class this semester and trying hard to make large and complex aspects of woodwind playing accessible to non-woodwind players, enough that they can effectively teach beginning students in a school band setting. I’m stressing breath support in the class because it cures so many ills—more on this momentarily.

So the working definition that I have been using with the class is this:

Breath support is the engagement of the abdominal muscles (including the sides and lower back) during exhalation.

On their recent test, I asked the class to define breath support, to explain a simple way of teaching it to beginners, and to tell why it is so important. Needless to say, I had made all of these things explicitly clear in class, in lecture and in a pre-test review session.

Many of the non-wind-players in the class did very well on this question—they had taken good notes in class, and were able to regurgitate my definition without any trouble.

Some of my wind players, however, apparently didn’t feel the need to pay attention in class when discussing something so simple as breath support, and then weren’t able to give a clear definition. Many of them discussed inhalation, used vague terms like “good air,” or rambled on about posture. I had more than one student stress the absolutely vital importance of keeping the feet shoulder-width apart, a concept that they didn’t get from me and with which I don’t necessarily agree.

Another very common error among the low-scoring wind players was the idea that breath support comes from the diaphragm. The diaphragm is, of course, the star of the show when it comes to inhalation—it is the contraction of this muscle that stretches the lungs, allowing air to rush in. But the diaphragm only flexes in that one direction. Exhalation (in normal breathing) is the result of that muscle relaxing. Of course, for wind playing, the simple relaxation of a muscle can’t provide the kind of air control that we need. Thus, the abdominal (and perhaps intercostal) muscles are also engaged to control exhalation.

Doubtless these vague or erroneous ideas come from my students’ private teachers. Don’t get me wrong: these are good concepts, and even arguably somewhat related to breath support, but they are not breath support per se. I think it’s a shame that there is so little clarity in wind pedagogy.

The example I had given in class for teaching beginners about breath support is to have them tense their stomach muscles, as though bracing for a punch to the gut. This allows them to feel the sensation of engaging those muscles; beyond that it’s a simple matter of reminding students to use their muscles to squeeze the air out of their lungs.

My students mostly also did well at indicating the importance of breath support. I was looking for them to prescribe increased breath support to solve saggy tone and poor intonation. Some also pointed out that it can improve inconsistent response, and even sluggish articulation. In my own playing, I can sometimes solve even more remote problems, like fingering issues, by focusing on breath. (This is likely entirely in my head, but if it works…) One student pointed out that a lack of good breath support will cause students to “fail miserably.” Too true.

How would you have done on my test?

Similar Posts

  • Don’t say this to your beginning oboists

    ByBret Pimentel

    Here is a version of a handout I provided recently to graduate students at the American Band College, a summer program for school band directors.

    Band directors, don’t say this to your beginning oboists:

    • “Shh.” As a university oboe teacher, I routinely meet young oboists who play like they are terrified of making a sound. They often report that in their school band experience, every time they play the director gives them “the hand.” Playing softly on the oboe (or any woodwind) is an advanced technique. If you possibly can, encourage your beginning oboists to make big, resonant, confident sounds. Defend them from classmates who compare them unfavorably to waterfowl. It will pay off when you have a rock-star oboe soloist, with a glorious, ringing sound, for your high school wind ensemble.
    • “The oboe is really hard.” There’s a pointless myth that the oboe is at or near the top of the list of “hardest” instruments. Like any instrument, it has its own learning curve. But it’s quite manageable for a motivated student. Don’t give them unnecessary reasons to stress over it.
    • “Take this fingering chart home and figure it out.” Of course ideally all your students would be taking private lessons, right? But the oboe has a few unique quirks, like its fussy and delicate reeds, that really heighten the need for some specialist instruction. If you possibly can, get your beginning oboists in touch with qualified private teachers ASAP.
    • “Lip it up.” “Tighten your embouchure.” This is bad advice for any woodwind instrument. It’s a band-aid solution for flat pitch, buzzy tone, or squeaks. A good oboe embouchure is almost no embouchure at all—the lips remain pretty close to a neutral, non-oboe-playing position. (Do allow the corners of the mouth to come inward, and the lipstick part of the lips to roll in over the reed a bit.) Solve pitch, tone, and response problems with a relaxed, light embouchure, powerful breath support, correct voicing (low, “oh” vowel, warm air), and good reeds (preferably handmade and/or adjusted by the student’s private oboe teacher).
    • “Check out this oboe player on YouTube.” Listening and watching is a good thing, for sure. But be cautious about who you recommend: there are various “schools” of oboe playing in different parts of the world, that value different tone ideals and use differing posture, embouchure, and reeds. Generally the American-school players value a silky-smooth, relatively dark tone, and use a posture that keeps the oboe at around a 45° angle to the body. If you hear a livelier, brighter tone and see a more trumpet-like instrument position, that may not be the model you want for your young American oboists. (All the regional oboe sounds are lovely and valid, but oboe sounds from other locales should be presented with some context.)
    • “You can’t march it.” You’re absolutely right that oboes do not belong on the marching field, and your oboists should find some other way to get involved. But please encourage the oboe as a worthwhile pursuit for young musicians. It has a noble history and repertoire, is sought-after by university music department scholarship committees, and will bring something special to your concert ensembles.

  • Crossing the break (or not) on saxophone

    ByBret Pimentel

    Much has been made of “the break” on clarinet—the point at which the chalumeau register and throat tones cross over to the clarion register—but all modern woodwind instruments have at least one break in their “standard” ranges. The saxophone has exactly one (ignoring the altissimo range), between the second C-sharp and the second D.

    From an acoustical perspective, that point is the division between the fundamental pitches and the first overtone. When playing a lower-register note, the air column’s vibration is at its simplest. The pitch is determined by the effective length of the saxophone, which depends on which toneholes the player opens or closes. In the upper register, the air column is manipulated into vibrating twice as fast (by changing the airstream and/or opening a register vent), and a sound an octave higher is produced.

    This means that there is, technically, some overlap between the registers shown above, which really are based on one specific set of “standard” fingerings. The fingerings for low B-flat, B, C, and C-sharp can be used to produce sounds in the second overtone, and the fingerings for high D through F-sharp can likewise produce sounds at the fundamental. In theory, this should mean an overlap of over a fifth:

    If you’ve experimented with those fingerings, you know that they don’t work quite as expected in practice. The low B-flat fingering with the octave key added, for example doesn’t sound great, and neither does the high F-sharp fingering with no octave key. But with some experimentation, a few usable alternative fingerings can be found within this range. Read More “Crossing the break (or not) on saxophone”

  • The woodwind section in Mozart’s late symphonies

    ByBret Pimentel

    Introduction

    The woodwind section of the symphony orchestra has long held a place of preeminence. Woodwind historian Anthony Baines gushes: “…the woodwind [section] is a small cluster of musicians in whom the greatest virtuosity in the symphony or opera orchestra is concentrated. It is the orchestra’s principal solo section… They are stars because composers for over two hundred years have made them so…”1 Wolfgang Amadeus Mozart certainly made stars of the woodwinds—in fact, he may have been the most important link between the string-heavy ensembles of the early symphonies and the lush, varied sounds of the post-Beethoven orchestra.

    Nathan Broder points out that Haydn and a multitude of lesser figures made contributions during this same period. However, when comparing Haydn and Mozart:

    Of the two, Mozart was the more progressive. Younger, more impressionable, more sensitive to contemporary music, and possessed of a wider knowledge of it because of his travels, it was he who, after having learned much from the symphonies of Haydn, took the lead and reached the pinnacle of pre-Beethoven instrumentation. It was he in whose work were combined all the progressive tendencies of the various outstanding composers of the time, and whose symphonies present a summing-up of orchestral advancement in the latter half of the eighteenth century.2

    Read More “The woodwind section in Mozart’s late symphonies”

  • Pedagogical recipes

    ByBret Pimentel

    I want to follow up on something I touched on in my last post. I described in that post how I had my woodwind methods class evaluate some online pedagogical resources, and mentioned that I had them compare the information found online to the information presented in class. My idea was to prepare them to deal with conflicting information, which will be part of their reality as public school band directors.

    Woodwind pedagogy, unfortunately, is a mishmash of contradictory ideas. This is supported by a culture of hero worship of certain teachers and performers, a permissive editorial process for publishing pedagogical materials (increasingly so with the rise of the internet), and an attitude that music is not subject to scientific method.

    When conflicts exist between one school of thought and another, in some cases that is because one or both sides is incorrect. In other cases the problem is a communication failure: both sides are applying the same techniques in the same way, but describing them poorly (or at least differently). But I think there are other cases where the difference can be attributed to what I think of as different “recipes.”

    photo, Sarah Horrigan
    photo, Sarah Horrigan

    There are many ways to make a chocolate cake. Some cake recipes might be objectively better than others by some measure or another. Some might produce results that are generally satisfactory but especially suited to certain tastes. And in some cases, two different recipes might produce results that are very similar. In those cases, the way the ingredients and techniques balance is significant: one recipe might call for two eggs instead of three, but has more of another ingredient that makes up the difference, or a difference in baking time and temperature.

    I think a similar thing can happen with “recipes” for woodwind playing. Equipment preferences are a fairly clear example: one clarinet teacher might favor very stiff reeds, while another prefers softer ones. Both might produce excellent results, so long as they are balanced properly—the first teacher probably balances stiffer reeds against mouthpieces with a more closed tip, and the other might use softer reeds with more open mouthpieces. One oboe teacher might clip his reeds to 70mm while another clips hers to 69.5mm, but they probably balance this with narrower or wider shaper tips, or tweaks to any of a dozen other variables.

    Playing techniques are a little more abstract and complicated to separate out, but I think the same concept applies. One bassoon teacher might encourage some jaw movement when articulating lower notes, while another teaches a more stable embouchure, but it’s always more complicated than that: the technique’s usefulness and effectiveness has to be evaluated in the context of each teacher’s approach to breath support, voicing, embouchure, equipment, and more.

    The idea that I wanted to bring across to my class is that, for band directors or other musicians and music educators who might not be specialists in each of the woodwind instruments, it is important to beware little pedagogical proverbs taken out of context. Something like “firm up your embouchure” or “use a stiffer reed” or “use the alternate F-sharp” can seem like a quick and digestible solution, but can’t be applied casually and without understanding of the larger picture.

  • Practicing and breathing

    ByBret Pimentel

    When I play woodwind instruments in a stress situation, such as a performance (or, back in my student days, a lesson), one of the first things affected is my breathing.

    Maybe you have had this experience. The performance begins, and the breathing seems somehow off. You find yourself breathing in awkward or unaccustomed places, ending up either short of breath or too full of stale air. You end up skipping notes or whole measures of music to reset your breathing and get back on track, but panic has already set in and things spiral.

    Most of our favorite practice tips and tricks are about finger technique or articulation or tone, and are meant to help ensure solid performance even when the stress kicks in. But sometimes we forget to practice breathing. Don’t let your performances be derailed by panicky breathing—practice the breaths just like you practice the notes.

    photo, jean-daniel pauget
    photo, jean-daniel pauget

    Make breaths part of the process from day one. Don’t assume they will fall into place once you have learned the notes—by the time that is done, you may have unwittingly “practiced” breaths in less-than-ideal spots. Make thoughtful breathing decisions the first time you practice a new étude or repertoire piece, and mark them in. Create a habit of breathing only at the places you have marked.

    You are hopefully starting your practice of the piece below tempo, so your breathing needs may change as you approach performance tempo. That’s okay—you can always change the markings as your tempo and interpretation progress. Be flexible about moving breath marks around, but disciplined about observing them.

    This approach makes your chosen breaths habitual, so hopefully they are less likely to change when you are nervous or distracted. It also creates a mindset of breathing purposefully, rather than winging it.

    It’s worth pointing out, too, that controlled breathing can actually reduce your body’s stress response, so practicing deliberate, relaxed breathing can help prevent the panic-breathing spiral.

    Breathe easy!

  • A woodwind player’s introduction to: Native American flutes

    ByBret Pimentel

    There are many Native American flute traditions, but the one commonly called the “Native American flute” today is the endblown Lakota-style flute, native to the Dakotas.

    • It is a duct- or fipple-type flute, which means it easily produces sound, like a recorder or pennywhistle, though the construction is different.
    • Many of the commercially-available flutes are labeled as Native-American-“style” flutes, which has to do with US laws about who can and can’t sell products as “Native American.”
    • Many Native American “flutes” are sold as decorative or souvenir items, and not suitable for serious playing. My best recommendation is for the Butch Hall “concert” flutes (which I’ve reviewed previously). They are relatively simple in appearance (though beautifully crafted); some other makers’ flutes are highly-decorated, which does not guarantee high instrument quality.
    • Modern NAFs generally have five or six finger holes. The five-holed flutes usually produce a minor pentatonic scale, and the six-holed ones add an additional note (the major sixth scale degree) plus some additional possibilities for cross-fingerings. Playing chromatically requires skillful half-holing in addition to cross fingerings, and these instruments really are better suited to mostly-pentatonic-type melodies. Most high-quality flutes are capable of playing over one octave but less than two.
    • F-sharp minor and G-minor are common keys for solo playing, though many keys are available. If you need to play with Western-tuned instruments, you may wish to double-check before purchasing that a flute is tuned to your preferred pitch standard, as they are not tunable.
    • There’s no surviving authentic ancient repertoire for these instruments; they are thought to have been mostly used for improvisation. (Prior to the influence of Western musicians, these instruments likely did not adhere to Western-type scales anyway; some were built with hole spacing based on the player’s hand size.) There is some modern (post-1970) repertoire for the instrument, most notably the compositions of R. Carlos Nakai (who is also probably the modern instrument’s best-known performer; also check out Grammy winner Mary Youngblood).
    • There is some consensus for notating NAFs in the key of written F-sharp minor, and treating flutes in other keys as transposing. Nakai uses a kind of tablature notation system that closely resembles this, but is intended to use lines and spaces on a Western staff to express fingerings rather than pitches, so it can be used to notate for flutes with atypical tunings.
    • The Nakai school of playing often incorporates bird- and animal-like sounds, including chirps at the beginnings and ends of notes produced by sudden bursts of air. (The required airflow for “standard” tone is low compared to modern Western woodwinds.) Vibrato, trills and tremolos, double- or flutter-tonguing, pitch inflections and portamenti, and grace notes are also common. Digital delay effects are commonly used to suggest the flute echoing against canyon walls.
    • The only traditional ensemble for a NAF is pairing with a Native American drum, but NAFs are commonly played solo, or in New-Age-type settings.
    • Native American flutes, like most fipple flutes, generally respond well to a low, open voicing, though the tone aesthetic is broad enough to potentially accommodate other approaches.

8 Comments

  1. Bret, this is without a doubt, the best article I have read on breath support in wind instruments.

    Thank you for writing something that is so clear, and straight forward.

    You are right, it is a shame that there is so little clarity in wind pedagogy.

    Reply
  2. Pingback: The Bassic Sax Blog » Blog Archive » Breath Support

  3. This article is excellent. The point about the abdominal muscles is so simple, but obvious. I also feel like I have never had breath support explained clearly. Thank you!

    Reply

  4. Bret, thanks for this article. This will go great in my woodwind methods class this semester!!! Thanks for putting into clear wording what I have taken for granted for too many years.

    Reply

  5. Great article! I played the saxophone through middle and high school and never had a clear concept of what was meant by breath support. Now I’m starting to play again after a 10 year break and I’m trying to start from scratch to keep from re-forming my old bad habits. This article is the first to give me an actionable idea of what breath support is and how to improve it. Thanks!

    Reply

  6. Very good points and good distinction re: the physiological functions of the diaphragm and the abdominal muscles. Your approach is not a full-proof, practical solution to this important topic, however, due to the fact that if the player is NOT filling the lower part of the lungs, then the “stomach” muscles have nothing to support. In other words, some of your wind students were justified in re-focusing the issue on the inhalation.
    Until a player can at least somewhat correctly “breathe low” i.e. diaphragmatically, all the abdominal force in the universe will have nothing to connect with. It is my mission as a woodwind pedagogue and human being to get people breathing lower: exclusively chest-breathing is VERY predominant in modern industrial culture, bad posture IS a contributing factor to shallow breathing, and awareness of the movement of the diaphragm IS at the core of wind performance breath support.

    All that being said, most players (who have some tiny bit of ability to breathe fully i.e. fill the lungs from bottom to top and not just top) DO need to hear about breath support exactly as you describe it in this post: ultimately, you are absolutely correct in terms of this is where the “support” aspect of the equation happens, and more players and teachers should have awareness of this. I’m just pointing out that a finely tuned and lubed engine will take you nowhere with no gas, or with gas in the tank and a broken fuel pump.

    Reply

  7. Dear Bret,

    Thank you for your efforts to try to focus on breath support. It is indeed very difficult to find scientific information; for example at Pub Med you won’t find any information about the function of the diaphragm.

    I don’t agree (totally) with your definition. At IEPE (see http://www.revalidatie-friesland.nl/IEPE) an unique international Educational Project about embouchure, breath support and singing (2-11-2013 beetsterzwaag, the Netherlands) a state of the art artistic and scientific overview will be given with the participation of European Professors/top speakers in the field of music medicin and topartist to combine theory with practical work for musicians and practioners (doctors and therapists). I can’t attach the brochure of IEPE, sorry..

    with kind regards

    Reply
  8. Pingback: How to Control Your Breath When Singing - 9 Essentianal Tips

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.