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 if 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 t0'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, itis 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 Maynard, 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 Breathing to 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 | must admit thatiit 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 peiformance, It is with this in mind that this text is written and intended, MOG UES E Crace bey b ree Thinag bo Tw wiad gertss ure., Tmt Ky, Ane din Co et foo Ales rBREATHING, (Prelude) jing habits A study of circular breathing cannot be undertaken if normal breat! 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 anatural 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% in a 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 @ drastic reversal of this “natural” process. The inhaling of 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 even exist. The exhalation of air in itself has some additional marked differences. In the 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 controlted 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 its highly 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 althouigh a complete study of Yoga breathing might prove valuable, it is my intention to delve only into the physical ramifications and not those spiritually related areas.) aPART | - THE “HIGH’ BREATH The “high” breath is the most physically demanding of all the breaths, while its yield and effectiveness is the lowest. It seems 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 in the upper chest or shoulders capable of controlling the lungs in such 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 in this 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 to control 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.J, PABT III THE “LOW” BREATH ‘The “low breath is the most functional and widely accepted manner of breathing for all wind performance. “Low” breathing, more commonly referred to as diaphragm breathing, is characterized by the noticeable expansion of the abdominal region, with no appreciable change in the upper chest or shoulders. The expansion of the abdomen is caused by the diaphragm muscle moving down. This forces the stomach and other organs down and out, causing one to look “fatter.” The diagram below illustrates the basic positions of the diaphragm while inhating and exhaling. AN A MN A- Exhalation B- Inhalation “The diaphragm is located at @ level with the sixth ribs and the eleventh or twelfth ribs post. The right half, as depicted in the illustration, rises higher than the left, It contracts with each inhalation, flattening out in a downward direction. It then relaxes upwardly with each exhalation, resulting in a return to its inverted bow! shape. The level to which the diaphragm reaches in its descent or its rise is solely determined by the amount of air taken in or released. Low" breathing is the most advisable of all the breath types because it allows for a maximum intake of air in the quickest manner. It also brings the diaphragm into full play. This muscle can be developed to control the expulsion of the air to its highest degree. This does not mean that the discovery of “low’ breathing will lead to immediate success along these lifes. The diaphragm, like any other muscle, must be used and developed before any success can be realized. But the discovery is the beginning to an end. There are many exercises that will aid in the development of the diaphragm, as well as good breathing habits in general. A few of these will suffice to make the point. 1, Take a “low” breath, drawing in as much air as possible. With your mouth ‘open, pull your abdominal muscles in as hard as you can while pushing down and’out with the air in your lungs. Don’t let any air escape even though your mouth is open, The sensation should be one of “grunting.” Hold this as long 1s possible before releasing the air. Repeat often. : : : :Repeat the preceding exercise while slowly doing sit-ups. Do three or four on each breath. This is quite strenuous, so care should be taken not to overdo it 3. “Lie flat on your back on the floor or other hard surface, Place a heavy weight--sandbag or books--on your stomach and practice “low” breathing Inhale and exhale very slowly. If you can’t locate an object heavy enough, Place a book on your stomach and have someone else apply additional weight. PART IV - THE “TOTAL” BREATH ‘The fourth type of breath left for discussion is called the “total” breath. This breath is simply the combination of the “high,” “middle,” and “low” breaths, in reverse order. This breath is also a good exercise to aid in the development of the diaphragm and good breathing habits. First, take the “low’’ breath, inhaling as much air as possible. Notice the expanding abdomen. On top of this, take the “middle” breath. Notice the expanding chest. To this, » add the “high” breath and notice the rising shoulders, Hold this “total” breath as long as Possible and then exhale with a slow and steady (controlled) stream of air, The “total” breath is not a recommended way for wind performers to breathe, Although is certainly provides a large enough quantity of air and the means to control its use, it takes much too long to accomplish, as well as being physically too demanding, On the other hand, practicing the “total” breath gets one, accustomed to taking large quantities of air, and helps immeasurably in expanding the breathing capacity. It then becomes possible to take in more air ona single “low” breath, For this reason, the “total” breath is a highly recommended exercise, and one that all wind performers should engage in often. The point should be made at this time that we are a society of mouth breathers. Most authorities agree that this is not good. If we would learn to breathe through the nose, which filters and warms the air, diseases and allergies would not be the problem they are today. In normal breathing, one should breathe through the nose, but in circular breathing, one must breathe through the nose.. It takes a conscious effort at first, but well worth the time and concern.AR BREATHING (Prelude) It has already been stated that circular breathing should be considered an extension ‘of the development of normal breathing techniques. !t should be available for use whenever the musical need arises, The process of circular breathing is actually an easy one. The problem Nies in the process of coordination and convincing the mind to accept the proposition that one may indeed blow out while lireathing in. Simply stated, the process requires one to gather air in the mouth cavity (puffing the cheeks in early stages) while sustaining a note or playing a phrase. At 2 given instant, the push from the diaphragm is stopped as the air gathered in the moutt is forced out using cheek and throat muscles, This should be done in a smooth manner so as not to cause a break in the sound. At that moment, a quick breath is taken in through the nose. This should only take a fraction of a second and must not take longer, as the limited air in the mouth cannot sup- port the sound for more than a second or two. Once the breath is taken in through the nose, the shift should be made back to diaphragm support. Again, there should be no break in the continuity of the sound. Once the technique is truly mastered, it is possible to release the remaining air in the lungs through ‘the nose before a fresh breath is taken in, This is accomplished while the sound is being sustained with the air in the mouth, and helps thwart the problem of hyperventilation which often arises.PART | - BEGINNING TECHNIQUES (Without An Instrument) In order to develop the technique of circular breathing, the folowing steps are recommended. Care should be taken to master each step before proceeding to the next. The results will tend to be very frustrating if you should choose to do otherwise. Please note that Steps 1 and 2 are done without the instrument. 1. The initial problem in circular breathing is one of developing the cheek and throat muscles; learning to use them to push air out of the mouth in a con- tinuous and controlled manner. This is initially complicated by the fact that air is not a tangible substance. It can be swallowed and inhaled as well as being pushed out of the mouth. For this reason, we will start out by using water. Imagine that your mouth cavity is a balloon, and the only opening is your mouth. You must consciously make an effort to close off (figuratively) the opening in the back of the mouth cavity (the throat) leading to the stomach and lungs. a. First, take as much water in your mouth as possible. Allow your cheeks to puff, much like the beginning player who has not yet been instructed otherwise. Standing in front of a sink, create a small hole in your lips, and using your cheek and throat muscles, attempt to push the water out in a steady stream, After doing this a number of times, place two or three fingers against the center of each cheek and push in, forcing the water out of the mouth in a steady stream, You will notice that the water comes o-t ina much more positive and direct manner with the aid of the finger pressure. Continue to practice this exercise without the aid of the fingers until you achieve the same control and flow of water that you experienced with the aid of the fingers. This exercise has two important results: it begins the develop- ment of the cheek and throat muscles, and it eliminates the throat as a possible exit for the substance in the mouth, It is not possible to let the water exit in this manner without choking, but it is a very common occurrence when the water is replaced with air.) b. The next step is an easy and very important addition to the preceding exercise, Take as much water as possible in the mouth. Begin rapid breathing in and out through the nose, Continué the breathing as you push the water out of the mouth, with the cheek and throat, muscles. This should be very easy to accomplish and will help greatly to alleviate some of the problems already mentioned when the water is replaced with air,Once this exercise becomes comfortable, replace the rapid in-and-out breathing with one long breath, in through the nose, Be careful not to choke on the water as you do this. It is natural for the respiratory systern to be able to take in air through the nose and mouth simultaeously, but in this case, since the mouth is filled with water, it can produce a most unpleasant situation. On the other hand, practicing and mastering this will be a great aid in making future exercises possible. Gather as much air as possible in the mouth, puffing the cheeks. Keep the lips firmly closed, Begin breathing in and out through the nose in a steady manner. Once this breathing pattern is established, push the air held in the mouth out with the cheek and throat muscles. (During early attempts at this, it might be wise to use your fingers against your cheeks to help force the air out, as in early attempts with water.) ‘Once this becomes comfortable and consistent, change the breathing from the steady in-and-out pattern to one long inhalation through the nose while pushing out the air held in the mouth with the cheek and throat muscles. Care mist be taken throughout this exercise not to swallow or inhale the air in the mouth. Eliminate the throat as a viable route of escape for air in the mouth. Remembering the sensations when doing this exercise with water will help to make it work. You will note that throughout Part |, | have been mentioning the use of the throat muscles. It is possible that you are not using them, but more likely that you aré and do not realize it, The throat muscles do not play an integral part in the circular breathing technique at this time, but they will prove very important in later, more refined developments of the technique, As long as you are thinking about their use at this time, you need not be overly concerned. It should also be noted that the tongue greatly aids the pushing out of air from the mouth, but since this is a natural action, it is best not to confuse the issue by trying to analyze ‘The exercises up to this point have dealth with the development of the cheek and throat muscles, and their independent use in the breathing process (i. ¢. the ability to push air out of the body from the mouth while simultaneously breathing in [and out] through the nose). Section 2 of PART | will deal with the coordination of these in the development of the complete circular breathing cycle. Through the following exercises, it will be important to learn to independently control inhaling and exhaling through the nose while controlling the use of the separate body of air in the mouth cavity. twill also be necessary to develop a smooth shift from diaphragm support to cheek and throat support, and then back to diaphragm support, thus realizing ‘the complete circular breath.Take a full “low” breath. With your lips firmly closed, allow some of the air in the lungs to come up into the mouth, puffing the cheeks. While holding this air in your mouth, release the remaining air in the lungs out through the nose and, through the nose, take in another full “low” breath, Finally, release all the air out through the mouth ina slow, steady stream. Remember, this exercise has five separate steps: 1) Take in a full “low breath through the mouth; 2) Allow as much air as possible up into the mouth cavity; 3) Release the remaining air in the tungs out through the nose, while still retaining the air in the mouth; 4) Take in another full low’ breath in through the nose; 5) Release all air out through the mouth. Practice these steps so the exercise can be done in a smooth, continuous and rapid manner. The exercise is important because it requires the thought process to choose between the two avenues of intake and release of air. It also helps in the important development of the same. This exercise is a slight variation on the preceding one. Take a full “low” breath in through the mouth. With your lips closed, allow as much air as possible up from the lungs to fill the mouth, again puffing the cheeks. Release the remaining air in the lungs out through the nose, Take in another “low’” breath through the nose, and as you are doing so, use your cheek and throat muscles to force out the air in the mouth. As soon as you have completed the breath, continue the flow of air out of the mouth by reverting from the cheek and throat muscles back to pushing from the diaphragm. It is important to take the breath in through the nose quickly, before the air in the mouth is completely ~ used up. Care must be taken to make @ smooth shift back to the push from the diaphragm, keeping a continuous flow of air out of the mouth. This is the essence of circular breathing To repeat, the following steps are necessary in this exercise:10 wpe i) 2) Allow as much air as possible up from the lungs into the mouth, puffing the cheeks; 3) _ Release the remaining air in the lungs out through the nose; 4) Take a quick “low” breath in through the nose while using cheek and throat muscles to push out the air held in the mouth; 5) Quickly change back to diaphragm support before all the air in the mouth has been expelled, thus keeping the flow of air out of the mouth constant. If all the preceding steps have been faithfully practiced and mastered, it will now be possible to accomplish the complete circular breath. Take in a full “low” breath, Begin to blow air out of the mouth in the normal fashion, from the diaphragm. When you estimate half the air in your lungs to be gone, allow your cheeks to puff, The flow of air out of ‘the mouth must not stop as this air is collected. If you simply allow your cheeks to puff, excess air will be held in the mouth cavity without having to stop the air flow. After this is accomplished (it should take only @ second or two), stop the push of air from the diaphragm and close off the throat. Keep the air flow continuous by using the cheek and throat muscles to force out the air retained in the mouth. fresh breath is now taken in through the nose. This, as previously indicated, must be done quickly. The shift back to diaphragm support is then made, thus com- pleting the cycle. The air flow out of the mouth must remain continuous. Please note that the initial stopping of diaphragm support, the closing off of the throat, starting the push from the cheek and throat muscles, and taking the breath in through the nose, are all begun simultaneously. You should practice this complete cycle at great length before any attempts at adding the instrument are made. ‘Again, the steps involved in this last exercise are as follows:‘Taken in 0 tlt “ow” tenet; Blow sie ont of the month in the Sorel tation: When bat the air is gone, gutter si i the mene ty puting te chews, Sra the puts trom the Ginghoenge seed stort bt wth the KPenek arid tonto teegeeny the av Now conten ‘Take in a “low” breath through the noue—OUICKL YT! Revere mppor back 10 te daghrag, tenping the a Pee Cet eso Repent the cycle ad efoto at least od BRENPARTI INTERMEDIATE TECHNIQUES (The Addition of the Instrument] ‘Transferring the circular breathing technique to an instrument will present ome new obstacles to be overcome. Those who play instruments which have # great deal of inatural resistance, such as the oboe or bassoon, will have a much ease! time making the transfer than those who play instruments which have little natural resistance, like the flute, ‘The size of the instrument will also have an effect along these lines, 1t should Pe easier to accomplish the technique.on trumpet than on tuba, for example. _____Allong these lines, the following items must Be dealt with, The extent of the difficulties which these problems present will be determined by the instrument in question. A. Sustaining (or even getting) a sound using only the air stored in the mouth is Gifficult at first, This relates to the degree to which the cheek and throat Tee eve ten developed, 2s weil as she rrtura resistance factor sireadY mentioned. B. Puffing the cheeks in the manner described in Part | often causes distortion in the embouchure. This can make it more difficult to get and maintain 8 sound during the circular breathing cycle. ae Severe pitch fluctuation is often a problem during the cycle. D. After numerous circular breaths, hyperventilation becomes 2 problem. E. How does one deal with the problem of embouchure rejuvenation after numerous circular breaths? F. How does one circular breathe while continuing the use of vibrato? G Can one circular breathe and tongue at the same time? wn. ts circular breathing possible in the extreme low and high registers of the instrument? : _The remainder ofthis text will be devoted to answering these problems and questions, i which fall into two basis categories: "The suocessful adaptation of circular breathing to a wind” vrerument; and its musical use, advantages and Ssavantoges . |A. The puffing of the cheeks can and usally does cause some undesirable distortions | Jpthe embouchure. This, ia tum, has some adverse effects on the sound produced. Yet, since early efforts in circular breathing require its use, one must deal with th : Yee rey of ound ad pith Hatation neal attempts withthe instrument. The following exercises will help to reduce and eventually alleviate the problem: SS te ce atesSelect a note on your instrument that is easy to produce. Avoid extreme registers. Gather a comfortable amount of air in the mouth. Place the mouthpiece on (or in) your mouth in its normal position Using the cheek and throat muscles (as in the earlier exercises with water and air), push the air into the instrument. Care must be taken to use only the air in the mouth and not to allow more to come up. from the lungs. The resulting sound will be short and undoubtedly very feeble. If no sound is produced, it is probably caused by an embouchure that is too tight. This is @ natural and common response at first. You are trying to recreate the sensation of maximum resistance that everyone exper- jences when the lips are tightly closed and no instrument is present. The addition of the instrument greatly reduces the resistance and Fequires an increase in embouchure control, as well as air control. Learn to maintain the embouchure in its normal, relaxed state, and @ sound will be forthcoming. Spend a lot of time practicing this little exercise; it must become very easy to produce a sound for two or three seconds. Use only the air gathered in the mouth, with the cheek and throat muscles pushing it out. Attempts must also be made to firm up the embouchure and air so that the sound produced is solid and consistent. Select a note on your instrument that is comfortable and easy to produce. Avoid extreme registers. With the mouthpiece in place, collect air in the mouth, moderately puffing the cheeks. Now begin breathing in and out through the nose. Continue the breathing as you push the air in the mouth out with the cheek and throat muscles. Again, strive for a stable, consistent sound, lasting for two or three seconds. The purpose of this exercise is to make sure that only air in the mouth is used to create the sound. It is not possible for the lungs to accept and release air simultaneously. It is also an important addition to the tech nique at this stage with the instrument, : | select a note This step is a slight variation on the preceding one. Agai to play. Avoid extreme registers. With the mouthpiece in place, collect air in the mouth, moderately puffing the cheeks. Begin taking a single breath in through the nose as you create a sound by using the cheek and throat muscles to force out the air stored in the mouth. Take the breath in quickly. Once the breath is completed, shift the support of sound from ‘the cheek and throat muscles to the diaphragm, and continue to sustain the note, The sound must remain continuous throughout the exercise. 1314 ‘The most important point in this step is the smooth shift to diaphragm support. With a good deal of practice, it should be easy to realize 2 continuous sound while making the shift. Practice this exercise until not only the shift is smooth, but until the pitch, volume and other sound Properties are consistent throughout. The steps involved in this exercise are the following: a — Select a note to play; b. With thé mouthpiece in place, collect air in the mouth; Take a rapid breath in through the nose as you establish @ sound, using the air in the mouth; d. Shift the support of the sound to the diaphragm, continuing the sound. Once this is mastered, it should be relatively easy to accomplish the complete circular breath with the instrument. : Again, select a note on the instrument that is comfortable and easy to produce. Avoid the extreme registers. Take in a full “low” breath. Play the selected -note in long tone fashion. When approximately half the air in the lungs has been used, allow air to gather in the mouth cavity by puffing the cheeks. The sound must not be stopped while accomplishing this. Once this is completed, stop the push from the diaphragm and close off the throat. Keep the flow of air into the instrument continuous by using the cheek and throat muscles to force out the air retained in the mouth. A fresh breath is now taken in through the nose. (You are again reminded that the breathing in through the nose must be accomplished rapidly, as the limited amount of air in the mouth is capable of maintaining the sound for only a second or two. Best results are realized when this breath is taken instantaneously, thus requiring the cheek and throat muscles to maintain the sound for only a fraction of a secend. The smooth shift back to diaphragm support should then be made, completing the cycle. “There are a number of problems that might be experiencedin first attempts at the complete cycle. The sound might stop at any point during the actual circular breath,i 7 SP ART ae This can be caused by a number of things: the lack of a smooth shift from diaphragm support to cheek and throat support, an inconsistent embouchure during the cycle, too much time taken on the breath through the nose, lack of a smooth shift from cheek and throat muscles back to the diaphragm. Locate your problem(s) and thien find earlier exercises designed to develop that area, and practice it (them). Once you have succeeded in producing a continuous sound throughout the cycle, you will probably experience a large fluctuation in pitch at the instant the breath is taken. This is caused by a change in embouchure (which in turn is caused by over-puffing the cheeks), and by a drop in the air pressure during the shift away from and back to the diaphragm. Only practice in main- taining a good embouchure and gaining greater control with the cheek and ‘throat muscles will alleviate this. Ihave often found a majority of the problems listed to be the result of an inability to coordinate the various steps: The best cure for this is simply ‘time spent thinking the process through, convincing the mind to understand and accept the process. The steps involved in this final exercise are as follows: 1, Select a note; Take a full “low” breath; Play the note in long tone fashion (use up about half the air in the lungs before proceeding); the mouth cavity by moderately puffing the cheeks; 4. Gather ai 5. Stop the push from the diaphragm, close off the throat, and begin the push from the cheek and throat muscles; 6. Take a breath in through the nose; 7. Return to diaphragm support of the sound. It will take much practice and thought to develop the technique to a useable state. Do not allow yourself to become overly frustrated in the process. 1516 PART Ill - ADVANCED TECHNIQUES “Many refinements of circular breathing can now be made. The manner in which they are approached will.have a direct effect on the ultimate versatility and usefulness of the technique, Puffed Cheeks Although puffing the cheeks was very important in early efforts to learn the different controls necessary in circular breathing, it should now be apparent through practice and prac: tical application that it is not really necessary in accomplishing the technique. You can use only the air normally in the mouth at the time the breath is necessary to complete the cycle. This requires that the technique be accomplished in a very rapid, smooth and controlled manner. It also requires that the throat muscles be used almost exclusively in pushing the air out of the mouth. The cheek muscles are of little value when there is not excess air in the mouth cavity. In this instance, the sense of control and support of air must come from the back of the throat and not from the sides of the mouth, It is usually not possible to simply change the area of air control after once realizing this fact and its potential. The change must be made gradually by placing emphasis on the new area while de-emphasizing the old. The proper muscles must be given the opportunity to develop before complete success can be realized. Once this has been accomplished, the following items may, in turn, become the center of attention. \ iyperventilation Hyperventilation is a problem you may have already experienced while circular breathing. It is caused by too much oxygen in the lungs and blood, and the lack of adequate carbon dioxide. The resulting sensations can range from lightheadedness, a trembling feeling ‘and fainting, to numbness of body extremities, cramps and even death. We will assume that ‘one will not have to pay the ultimate price in order to circular breathe, but the lightheadedness and trembling feeling is a common experience. Hyperventilation while circular breathing can be explained in the following manner. You have probably discovered that one cannot use up all the air in the lungs and then decide to take a circular breath. In order to accomplish the technique, there must be a substantial reserve of air left in the lungs. The resulting breath in through the nose is therefore a half- breath (volumewise) at best. SE SE eS eee ee ee oe ae ae ae ee ee eo oe coe ee ee ee ee ee eee ee ee a7 As an example, say you have a phrase that is quite long. It would be best to play it on one continuous breath, but you always run out of air with only a few notes left to Play. In this case, a circular breath could not be taken at the end of the phrase, when it is actually needed. There would not be enough support left to make it possible with any consistency. Therefore, it must be taken in the middle of the phrase, when it is possible to accomplish it with regularity and ease. If a phrase is of such length that multiple circular breaths are needed, each successive breath will come sooner. By the time the fifth and sixth breaths are taken, they will be coming in rapid succession. This is brought about by the fact that each breath causes a weakening of support, and in turn, sets up the need for the succeeding breath to come more rapidly. It might be viewed as a kind of snowballing effect. At this point a great deal of fresh oxygen is being rapidly collected in the lungs, and the problem of hyperventilation surfaces. It is usually during the third and subse- quent breaths that it is most often experienced Although the problem can often be counteracted, or at least put off for a while, it must be considered one of the limitations and disadvantages of circular breathing. The . means of avoiding or at least delaying hyperventilation might be best described as the “Double Circular Breath.” It was briefly described earlier in the text. {At the time in the cycle when the breath is usually taken in through the nose, ‘you may first release all the remaining air in the lungs (out through the nose). This can present some additional control problems. The air in the mouth must now be controlled to the extent that time is made available to release all the air in the lungs, as well as to take 2 full breath in There are a number of advantages to the double circular breath. In terms of hyperventilation, it makes it possible for the player to take ina full “low” breath. This, ‘turn, allows for maximum diaphragm support and delays the need for successive circular breaths, thus delaying the problem. It is also advantageous from the standpoint that, once mastered, the regular circular breath will seem simple and effortiess in ‘comparison. ‘ The discouraging thing’ about all this is that one must now realize that it is not possible to fulfil the fantasy of being able to “play forever” without stopping to breathe, On the other hand, our loss in.this respect must be considered music's gain.18 Embouchure Rejuvenation Another factor that makes “playing forever” impractical if not impossible, is that of embouchure rejuvenation: Periodically during any performance, the mouth- piece must be removed from the embouchure to alleviate the pressure on the lips. This allows blood to circulate freely again through the embotichure muscles. Failure to do this can lead to musical as well as physical problems. Circular Breathing and Vibrato The continuation or addition of vibrato during the circular breath is an interesting prospect. Before a discussion of steps to aid in its development, it would be best to identify some of the limitations. Since circular breathing requires a break in the diaphragm support of sound, diaphragm vibrato is not possible. Along these same lines, @ throat vibrato is very impractical. Although it would seem that a vibrato of this origin might be possible, ‘the control and consistency problems would prove almost impossible to overcome. | The only practical alternative in circular breathing is a jaw vibrato, although a pressure vibrato is also a possibility for brass players. Those who normally use a diaphragm or throat vibrato must learn to transfer smoothly into and out of a jaw or pressure vibrato during the cycle Before one can begin to develop vibrato during circular breathing, the use of puffed cheeks must be greatly reduced. As previously stated, puffed cheeks cause embouchure distortion. For a controlled vibrato, the embouchure must remain : constant. The problem is a matter of centering your concentration on the production of vibrato as opposed to the circular breathing steps, and developing the control necessary to make it useful. Start with a very slow vibrato. It serves no purpose to start with a normal vibrato that will only slow and disintegrate during the circular breath cycle. Strive instead for a smooth, consistent undulation throughout. .As your consistency im- proves, increase the speed. The desirable results will be achieved faster with less frustration if you follow these suggestions. it should be noted that thos who use ‘a pressure vibrato will not need to be concerned about this. In fact, the addition of this form of vibrato should cause only a slight coordination problem. The question is what kind of pressure (more or less than usual) is needed during the cycle.19 Circular Breathing and Tonguing Learning to tongue and master the full range of articulations while circular breathing presents many more challenging problems than did vibrato. The tongue naturally plays two very important roles during the cycle, Its use in these areas has never really been given any special attention. It aids in closing off the throat and also helps push out the air in the mouth, Both of these activities tend to cause the tongue to stiffen and arch up and back. As a result, even the simplest tonguing activity becomes very difficult and impossible to control with any consistency. The remedy for this seems much simpler than it actually is. To achieve normal articulation possibilities, the tongue must be removed from both of these activities. It should maintain its normal relaxed state throughout the cycle. In order to make this possible, the throat muscles must take an even greater responsibility for support In initial efforts to maintain the tongue in a relaxed state, the cheeks will automatically begin to puff again. They are taking up the slack, so to speak, in the support necessary to complete the cycle. Although it is impossible completely to alleviate the puffed cheeks in this situation, the emphasis on the center of pressure should be kept as far back in the mouth cavity as possible. This will reduce changes of renewed embouchure distortion. Working on tonguing during the cycle should begin slowly. Use legato-tongued quarter notes at__) = 60 and attempt to achieve consistency of attack and sound into, during, and out of the cycle. Once this is accomplished, increase the speed and attempt different articulations. Later, mixed articulation should receive attention. One should not get overly discouraged through all this. | have heard performers double and triple tongue through the cycle and even the double cycle. | have even heard this accomplished on the flute, which must be considered the most incredible circular breathing feat of all. Concentration and dedication through diligent practice is the only way to match this type of success. Circular Breathing in Extreme Registers : ‘The question often arises concerning the possible use of circular breathing in extreme registers. In this, as in every other instance, the problem is best solved by understanding the procedures followed during normal playing.The extreme registers on all wind instruments require different types of air. For example, the low register on saxophone requires a larger volume of air than the middle register, while the upper register requires taster air, with more concentrated ‘Support behind it. The saxophonist must try 10 create the proper air type for the register in which the breath is being taken. To achieve this, the throst muscles must be able to produce the desired support necessary for the proper consistency of air. Begin practicing the technique in the upper middie and lower middie registers of the instrument. When this is comfortable, expand the registers outwardly and develop control of circular breathing over the total range of the instrument. POSTLUDE Circular breathing should certainly not be considered a panacea for all the breathing problems encountered in wind performance. Its initial use can even Present more problems then it might effectively solve, because the performer must now deal fact to face with the question of its effective musical use. All of these considerations notwithstanding, the wind performer can now approach the musical phrase as do ail other instrumentalists, and not be bound by the limits of the single breath.