A Singing Flutist Breath:

What flutists from singers about taking efficient breath

The single most important aspect of flute playing is the use of air speed, known as
wind. The use of wind determines tone color, dynamics, intonation, articulation, and
vibrato production.
Through the use of vocal techniques, such as body mapping the respiratory system,
the flutist will become aware of their body movement and reduce tension
Body mapping is a technique first discovered by William Conable, a professor of
cello at Ohio State University. Body mapping is the conscious correction and refining
of ones body to produce efficient movement. The purpose of this research is to
compare and contrast specific qualities in a singers breath process that can
enhance flute players tone production.
The respiratory system consists of organs for breathing, such as the nose, pharynx,
larynx, trachea, bronchi and lungs. The structures that work toward inhalation and
exhalation for breathing are the diaphragm, the intercostal muscles, the
abdominals, thoracic muscles, the lungs, the pelvic floor and the spine.
To put it another way, consider the lungs as a vacuum. During inhalation, the lung
volume expands as the diaphragm and intercostal muscles contracts. As a result of
the increase in volume in the lungs, the pressure by the diaphragm is decreased
(the diaphragm is shaped as a deflated balloon). During the inhalation process, the
chest walls expand out from the air filled lungs. Upon exhalation, the diaphragm
contracts back to its original shaped (inflated balloon) causing the pressure to
increase and the volume of air in the lungs to decrease. At least half the air comes
into the portions of the lungs which lie alongside the spine. This is important for the
mapping process because breathing from the back can help us understand breath
support.
There are four principal methods of breath management: clavicular, thoracic,
abdominal, and appoggio (also known as balanced breathing). Appoggio is derived
from the Italian verb appoggiare (to lean on). Appoggio occurs by relaxation in the
abdominal while contraction the diaphragm and external intercostals. 1 Singers
implement this method by keeping their thorax constantly relaxed during
exhalation, and gradually expanding their abdominal muscles horizontally and
vertically.
Body Mapping:
. Pearson suggests a method for flutists to correctly picture the placement of the top
of their lungs, by placing their hands on the indentation behind their collarbone
while taking a full breath. Flutists may find that consciously thinking about the top
of their lungs will help them attain a more effortless inhalation. Additionally,
imagining breathing in from the back of the neck helps keep the pharynx open
during inhalation. This provides the basic upper mapping in appoggio breathing
For the middle mapping of the appoggio breathing, Pearson suggests placing the
hands in front of the sternum to ribs. One should feel the rib move up and out when
1 (McCoy, 2012, p. 91)

taking a full breath. During the exhale, allow the hands to move down and in with
the ribs. Flutist should play long tones while noticing their rib movements. In
mapping the abdominal muscles, one should relax and focus on the natural
movements of the back. Afterwards, one should recreate that breathing while
playing the flute.
Lower body mapping requires attention to the gluteal muscles and the pelvic floor.
Pearson uses the example of resting the hips in standing position on a table while
allowing the gluteal muscles to drop down on the table. While in this position one
can determine whether they are tightening up the lower back and gluteal muscles
simply by feeling their gluteal muscles pulling up off the table. While playing,
Pearson suggests reaching harmonics not from the embouchure, but from a low
note using fast air speed and responsive movement from the pelvic floor. When the
highest harmonic is reached, switch to the correct fingering while keeping the same
support. Using the pelvic floor to support harmonics allows the flutist to utilize
taking a more balanced and holistic breath.
To increase lung capacity, Ransom Wilson suggests setting the metronome at 60
and playing a middle D at a comfortable piano as long as possible. Afterwards,
repeat but try to add another second of time. This exercise helps with two things;
first, taking in more air and secondly using the air more efficiently. 2
In my own personal experiences, through the training of Dr. Zook, I created several
techniques for improving breathing technique. A problematic habit I developed over
my years of playing is the temptation to take a fast first breath during the pickup
beat before I initiate sound. Looking back, I notice I developed this through my early
band training when I was taught to take a breath during the preparatory beat. I
discover if I exhale first, discarding stale air, and slowly breathe in while keeping an
internal pulse I am able to gain more beautiful tone, connected moving phrase, and
keep a stable pitch throughout the passage.
Additionally, the direction of air plays a major role in correcting body mapping
errors. One way I achieve this, is by thinking about direction the stream of air
upward toward the top gum of the mouth and visualizing the air bouncing from the
top gum through the aperture into the lip plate. Not only is my sound fuller, but I am
inadvertently keeping my thoracic open. The use of vocal warm ups such as
vocalise is also a valuable technique. As singer sings different vowels around the
circle of fifths, flutist can use the extended technique of singing and playing using
different vowels as well.

2 (Wilson, 2014)