Breathing Exercises

One of the most popular parts of Mr. Jacobs’ masterclasses were breathing exercises that he developed over the years. He stated “The exercises are to be done away from music to establish normalcy as a person, and we do this by teaching inhalation and exhalation. There are simple studies, you can take anybody and have them blow their breath out until they’re as empty as they can achieve, in other words, and then wait with empty lungs until a need for respiration occurs.”

 

 

 

 

From Arnold Jacobs: Song and Wind*

During master classes, Jacobs has students do a variety of breathing exercises. These are physical skills that should be learned away from the instrument. As challenge precedes development, be patient with the development of these skills.

Remember when doing these exercises, take breaks when feeling dizzy to avoid hyperventilation. While pausing, reflect and evaluate how much air is in the lungs and how much of the unused air capacity is left in the lungs [such as a glass that is half filled with water]. For visual reinforcement, do these exercises in front of a mirror. As skills develop, sustained notes on the instrument can be played.

It is important to learn how to take the fast breath by analyzing the slow breath.

To open oral cavity:

In a regular pulse, say “ah, oh, ooh, ah, oh, ooh” then inhale. [Inhale in time.]

Discover the sensation of inhalation through a large oral cavity.

To eliminate pressurization:

Take a full breath with the gesture of surprise, keep the throat open

With a resonant voice say “one,” pause with the throat open,

Say “two,” pause with the throat open,

Say “three,”. . . continue.

Exercise of slow full breath:

Slowly move an arm toward the body in a count of six while inhaling until a full breath is taken.

Next, in a count of six, move the arm away from body while exhaling.

Use the arm as a measuring device, when half the breath is exhaled, the arm should be half way.

Study of slow breath in thirds:

Use arm motion, moving an arm at the elbow toward the mouth in thirds to give visual aid of inhaling and exhaling air while imagining the quantity of air moving in thirds. When ordering a breath, do not focus on air velocity as the primary factor, focus on quantity of air.

Move air in one third of total capacity.

Pause [two or three seconds] and reflect on how much air has been taken in and how much room is left for additional air.

Take a period of silence to judge the quantity of air.

Move air in a second third, Pause and reflect.

Move air in the final third, Pause and reflect.

Move air out one third, Pause and reflect.

Move air out two thirds

Move air in three thirds

Move air out two thirds

Move air in one thirds

Repeat using various combinations, one third, two thirds, three thirds.

Study of fast breath:

Establish a steady, rather slow beat, about 60 beats per minute.

In 5/4 time: blow out for counts 1 through 4, breathe in on count 5

(5) | 1 2 3 4 (5) | 1 2 3 4 (5) | 1 2 3 4 (5) | 1 etc.

[Inhale on beat (5)]

In 4/4 time: blow out for 3½ counts, breathe in for ½ count

4+ | 1 2 3 4 + | 1 2 3 4 + | 1 2 3 4 + | 1 etc.

[Inhale on the (+) of beat 4]

In the various meters above, use different tempi.

Study of slow breath:

Stand with arms at your sides, palms down.

While inhaling raise arms to encourage the rib cage to elevate and snap fingers while counting to five.

On beat 5 – your hands should be above your head and your lungs should be absolutely full.         When you hold your breath, do not close your throat. Keep the airways open.

Drop hands to sides while continuing to hold your breath.

Notice just how full of air you are and how expanded you are from the bottom of your lungs to the base of your neck.

Exhale over five counts.

Repeat several times.

 

 

Although all these studies may be mastered in a week, a year of significant practice may be necessary for full integration into everyday playing.

 *Arnold Jacobs: Song and Wind, Copyright 1996 Windsong Press, Ltd., All rights reserved.