Circular Breathing.
Circular Breathing Workshop
Who does this workshop concern? All students of wind instruments (traversial flute, recorder, oboe, bassoon, bombarde, clarinet, saxophone, trumpet, French horn ,trombone).
What is the interest of this breathing technique?
First of all, relaxation of the facial mask, that is to say, all of the facial muscles that come into play when producing a sound on the instrument. This relaxation helps overcome a major pitfall for many students, that is by playing tensely and therefore sharp.
It enables an increase in flexibility of phrasing, such as in long descending lines which can be very difficult or even impossible in the presence of too much tension or rigidity.
It also enables an easier mastery of vibrato with regards to the amplitude and frequency, thus acquiring more expressiveness.
Reduction of apnea length. Apnea is the period during which one does not breathe. When one plays a wind instrument, depending on the instrument and the length of what is to be played, this time lapse can vary. It can be quite long, such as with the oboe, bombarde, bassoon, trumpet, French horn, or saxophone. During this apnea, by definition one does not breathe, which means that the brain does not receive much oxygen, and additionally, depending on the instrument, one has to produce a large amount of wind pressure. The combination of these elements generates stress, which contributes sometimes to the stress already caused by performing in public. One can therefore conclude that since this breathing technique permits a more regular breathing rhythm with a very similar frequency to that of normal breathing, it eliminates a large portion of stress.
It thus removes the sensation of suffocating, of feeling out of breath, even the asphyxiation that certain performers can experience.
In the lower range of certain instruments (big air consumers) the use of circular breathing enables one to practice difficult finger work over a longer period of time thus permitting a greater effectiveness.
For all those who have a reduced respiratory capacity, it is a method which is liberating from the preoccupation of "Where am I going to breathe?" and enables one to take breaths which actually enhance the musical score.
Finally, in the idiom of contemporary music, one is sometimes required to use this technique in order to be able to play very long sequences without stopping.
During the workshop,
We will analyse the process, and we will work on it in different steps. Once the principal has been acquired, we will begin to apply it to the instrument itself playing notes that are particularly stable and don't consume much air
In order to undertake this work, it will be necessary to bring a drinking straw, a glass of water and your instrument.
By Jean-Michel Alhaits