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Shofar and Breathing a Secret

Shofar and Breathing a Secret

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Published by Finkle Art
Explanation of breaqthing techniques for Shofar Sounders
Explanation of breaqthing techniques for Shofar Sounders

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Published by: Finkle Art on Mar 24, 2011
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03/24/2011

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 Shofar and Breathing: A Secret
Arthur L. Finkle
Breathing is probably the most misunderstood issue of brassinstruments.The shofar, believe it or not, is considered a brass instrumentdue to the buzz of the lips to make sound.
Mechanics of Breathing
Philip Farcas, a French horn authority, explores the mechanics of breathing, which generally involves the use of the diaphragm to expand theair in the lungs. The diaphragmalso expands the back ribs to make roomfor even more air used to expend.The diaphragm is a strong, resilient muscle which is tied with a ligamentacross and through the body. It separates the heart and lungs and liver.Its shape is similar to an upside-down shallow bowl. The object is to utilizethe diaphragm to create fill the lung to full capacity. (We use approximately33% of the total air capacity in our normal breathing.)
 
 
To produce a good tone and to sustain musical phrases, a player must utilize adequate breathsupport. Correct posture is the first place to focus attention for the breath. To inhale properly aplayer must observe the following points on posture:
y
 
Back is straight
y
 
Chest is held high
y
 
Head is erect
y
 
Abdominal muscles are relaxed
y
 
Throat and neck are relaxed and open
Inhalation
Inhaling the maximum air on the lungs is imperative for a brass instrumentalist. The diaphragmcontracts downward. The abdominal muscles remain relaxed. The exterior intercostal musclesexpand, lifting the (floating) rib cage and expanding the chest cavity for lung expansion.The Shofar Sounder should have correct posture (straight back, high chest and relaxedshoulders). And the throat remains relaxed
 
The development of superior tone quality depends upon two things: (1) performance on a fineLie flat on the back on a hard surface. In this position the shoulders cannot be moved and willremain in normal adjustment.1.
 
Inhale slowly through the lips until the lungs are filled with air.Exhale slowly through thelips, blowing the air out in a gentle, even stream.2.
 
Concentrate on controlling the activity of the abdominal muscular structure.
http://www.sgbandfusion.com/2010/11/breathing-and-breath-control-part-one/ 
F
our points of ResistanceThere are four pressure points, two automatic; two controllable. The uncontrollables arethe mouthpiece and the lip aperture (opening). The controllables are the tongue (should beshaped as the letter ³k´ to enable the maximum flow of air; the other is control of thelarynx (voice box). By closing it, you keep the air from escaping into the esophagus.Exhalation
 
In normal exhalation, we relax our intercostalmuscles, diaphragm andabdomen, and the air is gently forcing the lungs by its rerun to its normalsize.However, in a brass instrument. Such exhalation requires even greater pressure in order to provide a slow, steady air pressure by exercising our diaphragms by keeping it taut by visualizing that the upside-down potneeds to remain µpotless.¶ The diaphragm returns to its normal sized.
See Phillip Farkas, The Art of French Horn Playing, Summy-Birchard Inc.,1956.Serous instrumentalists know about breathing for a long time. Indeed,Breathing has been an issue at least in writing since 1813, in VollständigeTheoretisch-pracktische Musikschule
[C
omplete Theoretical-practical MusicMethod] of Joseph Fröhlich. The various instrument methods publishedinside this work are reasonably well known to scholars (they were alsopublished separately from the full
Musikschule
), but as described in the

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