Answering your FAQs on Breath Support

As a voice teacher and opera singer with decades of experience, I understand the critical role that breath support plays in developing a strong, healthy singing voice. To help my students achieve their vocal goals, I emphasize the importance of mastering a variety of breathing techniques and strategies.

Here I’ve made a little glossary of breathing terminology and shared my favorite exercises. They are simple descriptions, but only hands-on guided practice will bring mastery.

The RPTK exercise for breath, and diction

The first lesson with any student is dedicated to breathing. I teach an exercise that I learned from the legendary Professor Bautz, in Germany. It is a kind of controlled panting while pronouncing consonant phonemes that at once addresses strengthening the tongue and dropping and relaxing the jaw. Although the voice is silent during the repetitions the effect of high placement is always palpable after the exercise concludes.

One of the most essential aspects of breath support is diaphragmatic breathing. This technique involves using the diaphragm muscle, located just below the lungs, to draw air into the body. By engaging this muscle, singers can maximize their lung capacity and produce a more powerful, resonant sound.

The 10-count expansion

One technique for increasing lung capacity I took from my time at Juilliard. Ellen Faull taught me to strategically place my hand on my flank just below the lowest rib with my thump reaching toward the small of my back. Then, in the following order on a slow ten-count: 1-2-3 drop the diaphragm and expand forward then: 4-5-6- expand the side and finally: 7-8-9- expand back while slightly rolling the hips forward. On 10 hold and compress on [s] for as long as possible.

Abdominal breathing focuses on expanding the abdomen as air is drawn into the lungs. This helps singers create a stable, supportive foundation for their sound, necessary when singing sustained notes or phrases.

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In addition to these techniques, breath control is also crucial for achieving a strong, controlled vocal sound. By mastering breath control, singers can regulate the flow of air through their vocal cords, allowing them to sustain notes and execute complex vocal runs with ease.

Of course, breath support also requires strong respiratory support, which refers to the muscles involved in the process of breathing. By developing these muscles, singers can increase their lung capacity and create a more robust, powerful sound.

Breath management is another critical component of breath support. This involves learning how to conserve and control the flow of air during singing, which can help singers avoid vocal fatigue and improve their overall vocal stamina.

To achieve effective breath support, it's essential to master a variety of breathing techniques, including deep breathing, which involves taking slow, deliberate breaths that fully expand the lungs. This can help singers relax and release tension in the body, creating a more natural and effortless singing experience.

In addition to these techniques, breath power or compression is also essential for achieving a strong, impactful vocal sound. This refers to the ability to control the flow of air through the vocal cords, allowing singers to creating a more intense, powerful sound when needed.

Finally, vocal support is the foundation of effective breath support. By engaging the muscles in the abdomen, back, and chest, singers can create a stable, supportive foundation for their sound, allowing them to sing with greater control, power, and ease.

Mastering breath support is an essential aspect of developing a strong, healthy singing voice. By incorporating a variety of breathing techniques and strategies, singers can improve their breath control, respiratory support, lung capacity, breath management, deep breathing, breath power, and vocal support. My professional experience, operatic and concert experience has shown that beginning singers and professionals can transform their work when they observe the basic principles. The most important thing is that the kinesthetic sense of breathing remains low and natural. The great tenor Enrico Caruso said, “I breathe when singing, as I breathe when speaking...”

Theodore Rulfs aka Theodor Carlson attended The University of Michigan School of Music, The Juilliard School, and The Rome Academy of Music. A music teacher with thirty-eight years of experience. In addition to his private studio, he has taught in Arkansas at Har-ber High, The University of Arkansas, Highland Park High in Dallas, in Barcelona at El Musical Conservatory and Colegio Aleman, and at The Rockland Conservatory in New York.