Circular Breathing for Wind Instruments.pdf

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TABLE OF CONTENTS

Page

INTRODUCTION ..........................................

BREATHING (Prelude) ...................................... 2

PART I . THE "HIGH" BREATH .......................... 3

PART II . THE "MIDDLE" BREATH ........................ 3

PARTIII-THEuLOW"BREATH .......................... 4

PART IV . THE "TOTAL" BREATH ........................ 5

...

PART I BEGINNING TECHNIQUES (Without An Instrument)

PART II . INTERMEDIATE TECHNIQUES (The Addition of

...............................

the Instrument)

.....................

PART III ADVANCED TECHNIQUES

.....................................

Puffed Cheeks

...................................

Hyperventilation

...........................

Embouchure Rejuvenation

........................

Circular Breathing and Vibrato

.......................

Circular Breathing and Tonguing 19

Circular Breathing in Extreme Registers .................. 19

POSTLUDE ............................................... 20

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INTRODUCTION

Circular Breathing is a technique employed in wind performance when a breath is

necessary, but breaking the continuity of the musical phrase is not warranted or desired. It

allows the performer to take the needed breath without stopping the sound, and thus con-

tinuing the phrase far beyond normal breathing limits.

This feat is neither as mystical nor as difficult as it might first appear. It should be

viewed in the same manner as tonguing, vibrato, range, or any other skill one practices to

reach higher goals in performance. It, like any of the other techniques mentioned, must be

practiced with much dedication before successful and useable results will be realized.

There seems to be no documentation of the origin of Circular Breathing. Yet, we

might not be too far off in the assumption that it was discovered by the first Indian snake

charmer. He probably found very early in his career that if the sound stopped, he got bit,

and out of the instinctive desire to live a long life, invented "circular breathing." Whatever

its actual origin, it is widely used today by all wind players in all types of music and currently

is finding its greatest popularity in American jazz. Trumpet artists Clark Terry and ~a~"ard

Ferguson, trombonists Urbie Green and Bill Watrous, and reed players Grover Washington, Jr.,

Sonny Rollins, Don Menza and James Moody all have demonstrated a remarkable ability of

using Circular Breathingto great musical advantage. Yet this partial list does not do justice

to the large number of Jazz players who successfully use this technique, not to mention all

the classical and commercial performers.

Most people view circular breathing as a gimmick, and I must admit that it is usually

approached as such in the beginning. But performers like those already mentioned have

proven that once mastered, it can add exciting new dimensions to wind performance. It

is with this in mind that this text is written and intended.

BREATHING

(Prelude)

A study of circular breathing cannot be undertaken if normal breathing habits

necessary for wind performance have not been established. For this reason, a discussion

of proper breathing habits is appropriate.

It should be remembered that no matter how,much importance one places on the

embouchure, technique, the mouthpiece or the instrument, no sound is created without

air. The breathing process and its ultimate control is the single most important item in

wind performance and one that has a decided effect on all of its other phases.

It seems rather obvious to state that most people take breathing for granted. It is

a natural body function, necessary to sustain life. But the type of breathing necessary for

wind performance is not a natural function. It requires a reversal of common breathing

practice and therefore must be learned. Examine first the normal breath: about 60% of

a single breath cycle is consumed in inhalation, about 20% in exhalation, and the final 20%

ina rest period. Stated another way, if a normal breath cycle were five seconds in length,

three seconds would be spent inhaling, one second exhaling, and one second for rest.

Breathing for performance requires a drastic reversal of this "natural" process.

The inhalingof air is done instantaneously, while exhaling is sustained over an elongated

and always differing period of time. The rest portion of the cycle may not wen exist. The

exhalationof air in itself has some additional marked differences. Inthe normal breath, air

is released with great intensity at first, followed by a sudden relaxation of intensity. The

same release of air during performance requires the air to be expelled over a long period of

time, with a consistent intensity. The actual consistency would be controlled by length of

phrase and the dynamics, range, articulations and a multitude of other demands and

considerations.

'The question then is how might we best accomplish this instantaneous intake of air

and itshighly controlled release? The breaths one might take can be divided into four basic

types. They are described here as the "high" breath, the "middle" breath, the "low" breath

and the "total" breath. (Breathing is often discussed in this fashion in the teaching of Yoga,

and although a complete study of Yoga breathing might prove valuable, it is my intention to

delve only into the physical ramificationsand not those spiritually related areas.)

PART I -THE "HIGH" BREATH

The "high" breath is the most physically demanding of all the breaths, while its

yield and effectiveness is the lowest. Itseems unfortunate that a large majority of the

world's population breathes in this manner. The "high" breath is characterized physically

by a noticeable lifting of the shoulders and a slight drawing in of the abdomen. It is most

easily viewed after one has done some strenuous exercise or running. It might be referred

to as panting, although that would also imply rapid as well as shallow breathing. Again, the

"high" breath takes more energy to accomplish than any of the other breath types, but

yields the least in terms of the amount of air taken in. It also allows the least control of

the exhalation process. There is no muscle inthe upper chest or shoulders capable of

controlling the lungs insuch a manner, and the center of the breath is too high for the

diaphragm to be effective.

Practice taking a number of "high" breaths. Notice the physical sensations produced

as well as the limitations that are inherent in this type of breathing. Care should be taken not

to breathe inthis manner, whether performing or not.

PART II - THE "MIDDLE" BREATH

The "middle" breath, like the "high" breath, is not a viable alternative for the wind

performer. It also takes much more energy to accomplish than its results warrant. This

breath is characterized by an expanding upper chest, with no appreciable change in the level

of the shoulders. You should also notice the abdomen pulling in slightly, in the same fashion

observed in the "high" breath. Again, this breath is of little value to the wind performer. It

does not offer a large enough volume of air or a functional manner tocontrol its use.

Practice taking a number of "middle" breaths. Notice all of the physical sensations

produced, as well as the limitations inherent in this mode of breathing.

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