Breath is the basis of good singing

Giovanni Battista Lamperti (1839 – 1910), one of the first great vocal pedagogues, is quoted as saying in his Maxims that the breath is the basis of good singing.

”What is your approach to breath?” is a simple question, but the answers to this question are anything but simple. Master singers have varying ideas about breath control.

Breathing may be natural or unnatural, free or controlled, depending on the singer. Lawrence Brownlee speaks of “naturalness” and Nicole Cabell warns against it because “what seems natural could be incorrect.” Joyce DiDonato speaks of “freedom” of breath and  Stephanie Blythe of “release”.  Thomas Hampson advocates a conscious control of the breath.

Moreover, there are also various vocalizing techniques to command the flow of breath. Denyce Graves suggests using a hiss to control the breath flow. Another idea is the use of sirens, which helps to give a seamless sound throughout the range. An interesting suggestion from Eric Owens is to think of the inhalation as a note, an unwritten note, but a note. When the singer thinks of the inhalation as a note in the phrase, it becomes more natural and legato.

Indeed, singers may find lessons from many other areas of music. Although we are admonished that there is a difference in the more rigid support needed for the instrumentalist as opposed to the vocalist, Christine Goerke and Gerhard Siegel were thankful for their instrumental training because it helped them with their breath support. They reiterated that the singer needs flexibility in breathing or, as many say, a feeling of release, which is different from the instrumental breath support.

One recurring idea for breathing is that the breath is felt low in the body. According to Ana María Martínez,  there “…is nothing high about the breath,” the breath fills the lower back with air while keeping the “…diaphragm low.” Joyce DiDnato  says that one lets the air “drop like a weight”.  With a certain amount of humor some suggest that the breathing is down and low, in the “bikinis,” or the belly gets “fluffy.”

But the true lesson from these masters is that each approach must be unique as each potential singer’s voice is unique. As Lamperti reminds us: “as a swimmer doesn’t fight the water, so should a singer not fight the breath.”

Headline Image: Theater Curtain. CC0 via Pixabay