Breathing - Versionsgeschichte

Heinrich am 25. April 2021 um 19:52 Uhr

2021-04-25T19:52:34Z

← Nächstältere Version		Version vom 25. April 2021, 21:52 Uhr
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	Interpretation: Here the connection between breathing and the general playing posture becomes evident. If sound is consciously produced in an upright posture, the back muscles are engaged, the spine is straightened, and the chest cannot collapse. If exhalation were forced only by the straight abdominal muscles, the posture could not remain upright and the breath support would be made difficult by the pressure on the diaphragm.		Interpretation: Here the connection between breathing and the general playing posture becomes evident. If sound is consciously produced in an upright posture, the back muscles are engaged, the spine is straightened, and the chest cannot collapse. If exhalation were forced only by the straight abdominal muscles, the posture could not remain upright and the breath support would be made difficult by the pressure on the diaphragm.

	~~[[Kategorie:Fundamentals, English]]~~

	=Breathing Technique Today – Contributions by the Interviewees=		=Breathing Technique Today – Contributions by the Interviewees=
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	<br>		<br>

	~~[[Kategorie:Fundamentals, English]]~~

	=Anatomical Introduction=		=Anatomical Introduction=
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	* [[Jean-Xavier Lefèvre#Article XII Von der Art das Adagio zu spielen ("De la manière de jouer l'Adagio")\|Jean-Xavier Lefèvre]]		* [[Jean-Xavier Lefèvre#Article XII Von der Art das Adagio zu spielen ("De la manière de jouer l'Adagio")\|Jean-Xavier Lefèvre]]

	~~[[Kategorie:Fundamentals, English]]~~

	=Literature=		=Literature=
	* Heinrich Mätzener, Johanna Gutzwiller, Beate Sick, Hans-Christoph Maier, Laura Tomatis: ''Klarinettenklang, Versuch einer physiologischen Analyse, Forschungsbericht der Hochschule Luzern–Musik. Luzern 2012 [http://edoc.zhbluzern.ch/hslu/m/fb/2012_4_Maetzener.pdf] eingesehen am 15. Mai 2015		* Heinrich Mätzener, Johanna Gutzwiller, Beate Sick, Hans-Christoph Maier, Laura Tomatis: ''Klarinettenklang, Versuch einer physiologischen Analyse, Forschungsbericht der Hochschule Luzern–Musik. Luzern 2012 [http://edoc.zhbluzern.ch/hslu/m/fb/2012_4_Maetzener.pdf] eingesehen am 15. Mai 2015
	* Margot Scheufele-Osenberg: ''Die Atemschule: Übungsprogramm für Sänger, Instrumentalisten und Schauspieler; Atmung, Haltung, Stimmstütze'' Studienbuch Musik. Mainz, Schott 1998.		* Margot Scheufele-Osenberg: ''Die Atemschule: Übungsprogramm für Sänger, Instrumentalisten und Schauspieler; Atmung, Haltung, Stimmstütze'' Studienbuch Musik. Mainz, Schott 1998.
	* Martin Vacha: ''Das Fach Gesang als Brennpunkt universitärer SängerInnenausbildung. Eine programmatische Darstellung.'' Wien 2013 [http://www.martinvacha.com/assets/mv_habil_schrift.pdf] eingesehen am 15. Mai 2015=		* Martin Vacha: ''Das Fach Gesang als Brennpunkt universitärer SängerInnenausbildung. Eine programmatische Darstellung.'' Wien 2013 [http://www.martinvacha.com/assets/mv_habil_schrift.pdf] eingesehen am 15. Mai 2015]
	~~<references />~~		=References=

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Airflow */

2021-04-25T19:50:37Z

Airflow

← Nächstältere Version		Version vom 25. April 2021, 21:50 Uhr
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	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]] describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]] describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.
	<br<<br>		<br><br>
	'''Historical Sources'''		'''Historical Sources'''
	* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]		* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]

Heinrich: /* Interaction of the Inhalation and Exhalation Muscles */

2021-04-25T19:44:49Z

Interaction of the Inhalation and Exhalation Muscles

← Nächstältere Version		Version vom 25. April 2021, 21:44 Uhr
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	'''Visual language'''		'''Visual language'''
	[[Michel Arrignon#Jouer d’un instrument à vent, c’est comme boire de l’air\|Michel Arrignon]], [[Paolo Beltramini#Vergleich Segelflieger\|Paolo Beltramini]], [[François Benda#Spannungsverlauf bei Ein- und Ausatmung\|François Benda]], [[Alain Damiens# Respiration ? Expiration !\|Alain Damiens]], [[Eli Eban#Breathing\|Eli Eban]], [[Robert Pickup#Atemstütze und Luftführung\|Robert Pickup]], [[Thomas Piercy#Breathing\|Thomas Piercy]], [[Frédéric Rapin#La respiration\|Frédéric Rapin]], [[Milan Rericha#Vollatmung beim Einatmen\|Milan Rericha]], [[David Shifrin#Control the speed of the air\|David Shifrin]], [[Richard Stoltzman#We change the way of playing and breathing during life\|Richard Stoltzman]], [[Jérôme Verhaeghe#Réspiration\|Jérôme Verhaeghe]] all make use of visual language.		[[Michel Arrignon#Jouer d’un instrument à vent, c’est comme boire de l’air\|Michel Arrignon]], [[Paolo Beltramini#Vergleich Segelflieger\|Paolo Beltramini]], [[François Benda#Spannungsverlauf bei Ein- und Ausatmung\|François Benda]], [[Alain Damiens# Respiration ? Expiration !\|Alain Damiens]], [[Eli Eban#Breathing\|Eli Eban]], [[Robert Pickup#Atemstütze und Luftführung\|Robert Pickup]], [[Thomas Piercy#Breathing\|Thomas Piercy]], [[Frédéric Rapin#La respiration\|Frédéric Rapin]], [[Milan Rericha#Vollatmung beim Einatmen\|Milan Rericha]], [[David Shifrin#Control the speed of the air\|David Shifrin]], [[Richard Stoltzman#We change the way of playing and breathing during life\|Richard Stoltzman]], [[Jérôme Verhaeghe#Réspiration\|Jérôme Verhaeghe]] all make use of visual language.
			<br>
	'''Muscular interaction'''		'''Muscular interaction'''
	<br>		<br>
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	The length of the vibrating column of air in the clarinet has a considerable influence on the air conduction: the column of air in the clarinet is short for b flat' and longest for b'. The column of air in our body must also correspond to these conditions.		The length of the vibrating column of air in the clarinet has a considerable influence on the air conduction: the column of air in the clarinet is short for b flat' and longest for b'. The column of air in our body must also correspond to these conditions.
	<br>		<br>

			[[Kategorie:Fundamentals, English]]

	=Anatomical Introduction=		=Anatomical Introduction=
	The fundamental difference between resting breathing and breathing when playing a wind instrument lies in the alternation of tension and relaxation: while resting breathing is experienced as an active process and exhalation as relaxing, the opposite is true for sound production. The exhalation produces the sound and therefore powerful. This is followed by the moment of relaxation, in which the air can "fall" into the lungs reflexively and without effort. In vocal technique, this moment is called the "credits" (see Mätzener, 2012<ref>Mätzener, Heinrich. 2012. Klarinettenklang Versuch einer physiologischen Analyse. Luzern: Hochschule Luzern - Musik, S.31 [https://zenodo.org/record/31338#.X7bDAC9XYl4]</ref>). Both inhalation and exhalation can be emphasized with appropriate muscle activations or, as is the case in sports, increases in frequency and effort.		The fundamental difference between resting breathing and breathing when playing a wind instrument lies in the alternation of tension and relaxation: while resting breathing is experienced as an active process and exhalation as relaxing, the opposite is true for sound production. The exhalation produces the sound and therefore powerful. This is followed by the moment of relaxation, in which the air can "fall" into the lungs reflexively and without effort. In vocal technique, this moment is called the "credits" (see Mätzener, 2012<ref>Mätzener, Heinrich. 2012. Klarinettenklang Versuch einer physiologischen Analyse. Luzern: Hochschule Luzern - Musik, S.31 [https://zenodo.org/record/31338#.X7bDAC9XYl4]</ref>). Both inhalation and exhalation can be emphasized with appropriate muscle activations or, as is the case in sports, increases in frequency and effort.

Heinrich: /* Historical Treatises */

2021-04-25T19:42:00Z

Historical Treatises

← Nächstältere Version		Version vom 25. April 2021, 21:42 Uhr
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	<br>		<br>
	It is striking that the subject of breathing technique is not taken up in any of the treatises and "méthodes" of the 18th and 19th centuries. In contrast, the general posture of the body is given great attention. The references to this are usually found in the first chapters of the textbooks.		It is striking that the subject of breathing technique is not taken up in any of the treatises and "méthodes" of the 18th and 19th centuries. In contrast, the general posture of the body is given great attention. The references to this are usually found in the first chapters of the textbooks.
	* [[Amand Vanderhagen#Article Premier et très essentiel Position des bras et de la tête\|Amand Vanderhagen: ~~„Aufrechte, aber lockere Kopfhaltung“]] (~~"Upright but relaxed head position”)		* [[Amand Vanderhagen#Article Premier et très essentiel Position des bras et de la tête\|Amand Vanderhagen: "Upright but relaxed head position”]]
	* [[Frédéric Berr#Spielhaltung\|Frédéric Berr: „Head straight, chest in neutral position“]]		* [[Frédéric Berr#Spielhaltung\|Frédéric Berr: „Head straight, chest in neutral position“]]
	* [[Jean-Xavier Lefèvre#Article II Haltearbeit, Position der Finger ("Manière de tenir la Clarinette")\|Jean-Xavier Lefèvre: „Upright position of the head“]]		* [[Jean-Xavier Lefèvre#Article II Haltearbeit, Position der Finger ("Manière de tenir la Clarinette")\|Jean-Xavier Lefèvre: „Upright position of the head“]]
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	* [[Joseph Fröhlich#Von der Haltung des Instrumentes, Stellung des Körpers und dem Ansatze\|Joseph Fröhlich: „ Keeping the body completely straight“]]		* [[Joseph Fröhlich#Von der Haltung des Instrumentes, Stellung des Körpers und dem Ansatze\|Joseph Fröhlich: „ Keeping the body completely straight“]]
	Interpretation: Here the connection between breathing and the general playing posture becomes evident. If sound is consciously produced in an upright posture, the back muscles are engaged, the spine is straightened, and the chest cannot collapse. If exhalation were forced only by the straight abdominal muscles, the posture could not remain upright and the breath support would be made difficult by the pressure on the diaphragm.		Interpretation: Here the connection between breathing and the general playing posture becomes evident. If sound is consciously produced in an upright posture, the back muscles are engaged, the spine is straightened, and the chest cannot collapse. If exhalation were forced only by the straight abdominal muscles, the posture could not remain upright and the breath support would be made difficult by the pressure on the diaphragm.

			[[Kategorie:Fundamentals, English]]

	=Breathing Technique Today – Contributions by the Interviewees=		=Breathing Technique Today – Contributions by the Interviewees=
	==Interaction of the Inhalation and Exhalation Muscles==		==Interaction of the Inhalation and Exhalation Muscles==

Heinrich: /* Historical Sources */

2021-04-25T19:38:00Z

Historical Sources

← Nächstältere Version		Version vom 25. April 2021, 21:38 Uhr
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	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]] describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]] describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.
	==Historical Sources==		<br<<br>
			'''Historical Sources'''
	* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]		* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]
	* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]		* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]

Heinrich: /* Airflow */

2021-04-25T19:37:30Z

Airflow

← Nächstältere Version		Version vom 25. April 2021, 21:37 Uhr
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	The dynamic course of the musical composition determines the power and agility of the airflow.		The dynamic course of the musical composition determines the power and agility of the airflow.
	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]] describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.
	==Historical Sources==		==Historical Sources==
	* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]		* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]

Heinrich: /* Historical Sources]] */

2021-04-25T19:36:12Z

Historical Sources]]

← Nächstältere Version		Version vom 25. April 2021, 21:36 Uhr
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	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.
	==Historical Sources]]==		==Historical Sources==
	* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]		* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]
	* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]		* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]

Heinrich: /* Airflow */

2021-04-25T19:35:58Z

Airflow

← Nächstältere Version		Version vom 25. April 2021, 21:35 Uhr
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	*[[Embouchure]]		*[[Embouchure]]
	*[[Articulation]]		*[[Articulation]]
	*[[Voicing ~~and Singing~~]]		*[[Voicing]]
	The dynamic course of the musical composition determines the power and agility of the airflow.		The dynamic course of the musical composition determines the power and agility of the airflow.
	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.
			==Historical Sources]]==
			* [[Frédéric Berr#Luftführung, Fingerbewegung und Klangqualität\|Frédéric Berr]]
			* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]
			* [[Jean-Xavier Lefèvre#Article XII Von der Art das Adagio zu spielen ("De la manière de jouer l'Adagio")\|Jean-Xavier Lefèvre]]

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Airflow */

2021-04-25T19:34:35Z

Airflow

← Nächstältere Version		Version vom 25. April 2021, 21:34 Uhr
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	=Airflow=		=Airflow=
	The term air conduction stands for the intentionally amplified and thus sound producing exhalation activity of a wind instrument or vocals. The air conduction is in constant interaction with the instrumental technical parameters such as		The term air conduction stands for the intentionally amplified and thus sound producing exhalation activity of a wind instrument or vocals. The air conduction is in constant interaction with the instrumental technical parameters such as
	*Breath Support		*[[Breathing#Breath Support\|Breath Support]]
	*[[Embouchure]]		*[[Embouchure]]
	*[[Articulation]]		*[[Articulation]]
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	<br />		<br />
	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.



	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Historical Treaties */

2021-04-25T19:26:39Z

Historical Treaties

← Nächstältere Version		Version vom 25. April 2021, 21:26 Uhr
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	An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.		An important aspect of air conduction on a wind instrument is the different speed at which the air hits the sound generator: for lower notes the air flows more slowly and has a higher pressure, for higher notes a faster air flow should be created directly before the embouchure opening. [[Sylvie Hue#L'air froid, l'air chaud\|Sylvie Hue]]describes the quality of the air flow as "warm" or "cold air." Basically, she recommends creating a "cold" air flow regardless of the embouchure shape. This can be tested simply by exhaling with the hand in front of the embouchure. The airflow is modified in particular by the position and shape of the tip of the tongue, which can "get in the way" of the air or allow it to move freely.

	~~=Historical Treaties=~~

	* [[~~Frédéric Berr#Luftführung~~, ~~Fingerbewegung und Klangqualität\|Frédéric Berr]]~~
	* [[Joseph Fröhlich#§_7_Bemerkungen_über_die verschiedene_Art_der Artikulation_auf_dem_Clarinett\|Joseph Fröhlich]]		[[Kategorie:Fundamentals, English]]
	* [[Jean-Xavier Lefèvre#Article XII Von der Art das Adagio zu spielen ("De la manière de jouer l'Adagio")\|Jean-Xavier Lefèvre]]

	=Literature=		=Literature=