beppe

"I play the moment I'm done breathing"

I've some difficult in understanding this concept, although I've seen your video clips. Could you help me please??

fundenlight

I don't really want to "overstep my bounds" by answering a question for Manny, but I find that my instructor illustrates this idea well with a golf swing. The club goes back and then forward in one complete motion without and hitches along the way. The breath in this case works the same, in and out in the same fluid motion without any interuption.

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Manny Laureano

That's exactly right.

The breathing pattern that many people use of breathing in, holding the breath (which OFTEN but not always is accompanied by a tightening of the abdomen) and then releasing is anathema my way of producing the sound. Can I do it? Yes. Do I want to? No. Even in the highest part of my register I try to relase when full without hesitation.

The end of the breath is the start of the note.

ML

Alex Yates

Jim Thompson always used that analogy and I find it a good one to keep you are on your toes. Whenever I feel tense, I will put the golfclub analogy front and center to keep me honest.

PH

Carmine Caruso used to say that the breath moves like a pendulum. There is no hesitation when it changes direction.

Vulgano Brother

Vulgano Brother Zen: "Most music happens between the notes." Let breathing be part of the rhythm of playing, rather than a bucket-filling task.

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Clarino

This is sometimes hard to accomplish when the conductor keeps stopping the rehearsal just before your entry (most often to correct the strings)! It does get a mite frustrating.

JackD

Manny, just to throw something a little different into the mix:

I went to a masterclass sometime last year with Rod Franks (principal in the LSO) and while he said he normally 100% agrees with the "no hesitation" policy (and was picking some people up in the masterclass for it), he also uses something he calls the "toothpaste method" for loud, unprepared high notes.

In other words, if he sees a top ff top D after say 4 bars rest, he might take in a breath, hold it - deliberately - and then let all the air explode out, pushing all the air out from the bottom up (hence "toothpaste" method).

I've tried this a little bit and found it does work, but feels a little bit weird!

Ever heard of that sort of thing?

Veldkamp

Clint McLauglin talks about the "Tootpaste method" in his books (www.Bbtrumpet.com).

For me breathing is simple, when I have to play I breath in and play. I don't see why you should do it otherwise. It's the same with talking or singing, it's a natural proces.

But I breath different for different sound colors or styles. If I play with a classical broad sound I only breath low. If I have to play a tutti in a big band as a leadplayer I create more aire pressure with something like Bobby Shew's "wedge". The sound gets more overtones and more projection.

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40cal

Ok, maybe I'm just a bit tired but could you explain the golf club analogy for me??

Thanks,

40

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