Introduction to Breathing for Brass Players

Why Practice our Breathing Air is the fuel of our Brass instruments and we use enormous quantities of it. It is possible to improve our breathing technique away from our instrument and therefore it is highly beneficial to practice our breathing. Learning the correct processes of breathing with simple and regularly performed exercises will produce results that are directly transferable to the instrument and over time become automatic replacing old and inefficient breathing patterns.

The benefits include deeper and more relaxed inhalation, improved air support, tone and dynamics, as well as maximized lung capacity and greater breath control.

How We BreatheYour lungs are located within your chest cavity inside the rib cage (Figure 1). They are made of spongy, elastic tissue that stretches and constricts as you breathe. The airways that bring air into the lungs (the trachea and bronchi) are made of smooth muscle and cartilage, allowing the airways to constrict and expand. The lungs and airways bring in fresh, oxygen-enriched air and get rid of waste carbon dioxide made by your cells. They also help in regulating the concentration of hydrogen ion (pH) in your blood.

When you inhale, the diaphragm and intercostal muscles (those are the muscles between your ribs) contract and expand the chest cavity. This expansion lowers the pressure in the chest cavity below the outside air pressure. Air then flows in through the airways (from high pressure to low pressure) and inflates the lungs. When you exhale, the diaphragm and intercostal muscles relax and the chest cavity gets smaller. The decrease in volume of the cavity increases the pressure in the chest cavity above the outside air pressure. Air from the lungs (high pressure) then flows out of the airways to the outside air (low pressure). The cycle then repeats with each breath.

Inhalation – When the intercostal muscles and diaphragm relax, we exhale. The ribs fall downward and inward, and the diaphragm springs back into a dome shape, gently squeezing the lungs and pushing air out

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Exhalation – When the intercostal muscles and diaphragm relax, we exhale. The ribs fall downward and inward, and the diaphragm springs back into a dome shape, gently squeezing the lungs and pushing air out.

Start by Relaxing The first thing we do to prepare for more efficient breathing is relax. Many players struggle with tension and poor posture which inhibits relaxed and efficient breathing. Some players mistakenly associate tension with effort. Do not be afraid to relax, when we relax our body is able to function correctly.

StretchingIt is highly beneficial to develop a simple stretching routine that addresses the areas that are involved in the mechanism of breathing. These include the arms and shoulders, back, chest and abdomen. The purpose of this ‘warm up’ is to loosen the muscles in preparation for deep relaxed breaths and should be performed in a gentle, relaxed and pleasurable fashion.

Gentle neck rolls, shoulder stretches and shoulder shrugs are all good exercises for loosening up along with arm swinging.

Arnold Jacobs Stretching Exercise No. 1 1 Fill lungs to the count of 5 while raising arms above head 2 Drop arms on count 53 Retain the air with an open throat 4 Gradually exhale 5 Do this exercise in front of a mirror with 6 repetitions 6 After a week, do this exercise in 3 counts 7 After another week, do this exercise in 1 count 8 Rest

A Word of Caution – While gentle stretching can be highly beneficial caution must be taken not to exceed your physical limitations that may lead to injury. Never hold your breath while performing either stretches or ‘loosening up exercises’ and if uncertain about what you are doing seek guidance from your teacher for what may be appropriate for you and your instrument.

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PostureGood posture establishes a good daily working practice which not only aids your breathing but your performing as a whole. Good alignment is essential. If you are sitting the feet should be firmly planted on the ground. The back must be straight and away from any support like the back of a chair which encourages a poor slumping posture. The Back and neck must also be straight and upright. Twisted necks and back are full of tension and can have long term consequences for the performer. This is frequently true for Tuba players whose posture can over time be subtly pulled out of alignment by the uncomfortable or unnatural shape of an instrument. Bad posture over long periods of time can eventually be debilitating and has ended many a performers’ career.

Seek guidance from your teacher on good posture while practicing and performing, bearing in mind what feels right and what you have always done may not be the best position to play in.

Relaxed BreathsWhen we breathe we should always aim for a smooth, even and relaxed breath with a constantly moving air stream.

Smooth meaning a stream of the air stream without bulges or shaking

Even meaning to move the air stream evenly over a given amount of time, ie inhale for four counts and exhale for four

Constant meaning that the air is constantly moving like the action of pair of bellows in and out.

Do not think about where you are inhaling into, think only of expansion. Inhale fully and think of breathing simultaneously throughout your respiratory system. This means that you should not think of filling from the bottom up or the top down, but rather simultaneously throughout. Although large breaths may sometimes appear to be partially regional, it is generally not helpful for the brass player to consciously induce regional breathing. It is far better to simply focus on inhaling large quantities of air with good posture and to allow your body to function naturally.

Tip Only use the first 80% of your lung capacity while performing. Exhaling further causes tension and can impede full inflation of the lungs.

Always Breathe from the MouthA few performers have the bad habit of breathing through the nose. Brass players who breathe through the nose are generally unable to get a quality breath. Inhalation through the nose is also slower and less efficient. Adopt a “WHOA” shape in your mouth when inhaling.

Listen to Your BreathsWhen you breathe deeply listen to the sound of your inhalations. This will give you a good indication of the movement of air and the resistance it is meeting as it moves in from your lips, teeth, tongue or throat. Make your breath as silent as possible, noise is resistance.

An efficient breath is not loud, ‘breathy’ or hissy. The throat should be relaxed and open, tongue flat (think of a yawn and it will flatten correctly) and the mouth open just enough to inhale without constriction and remember the “WHOA” shape in your mouth when taking in air to play.

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The Diaphragm It is a common misconception that the Diaphragm plays an active part in the breathing process. This leads to misconceived phrases like “breath or support from the diaphragm”. The Diaphragm is an involuntary and convex muscle and behaves like the elastic surface of a trampoline. It is pushed downwards upon inhalation as air floods the lungs putting pressure on it and in turn moves back upwards upon the release of the air. We cannot interfere with this involuntary action. During exhalation the intercostals, abdomen and lower back muscles will engage to assist in expelling the air.

Basic Breathing ExercisesThere are multitudes of breathing exercises that have been developed for Brass performers over the last 30 years. I will outline a selection of classic exercises that have proven their value and have been endorsed by the finest performers and educators.

1. Exercises to develop deep full breaths2. Exercises to develop rapid replacement of breath3. Exercises to maximize lung capacity

All these exercises are excellent to create awareness of and movement of air. Maintain a constant and even flow of wind as these exercises are performed.

Development of Full Breaths Set your metronome to 60 bpm for the following exercises.

Fill your lungs with a deep relaxed and smooth inhalation. Be conscious of the movement of air as you inhale and exhale. Listen to the sound of your inhalation remembering the sound “WHOA”. Do not strain, this should be an enjoyable experience.

Tip Always keep the air in moving; do not pause before the exhalation when the lungs are full. The breath should be one continuous movement of air. Remember the sound “WHOA” when inhaling.

Basic ExercisesBreathe in very deeply over 4 beats and exhale over 4 beats (repeat several times)

In 2 Out 2 In 2 Out 2

In 4 Out 4 In 2 Out 4

In 6 Out 6 In 2 Out 6

In 8 Out 8 In 2 Out 8

Rest

As proficiency increases, more advanced exercises may be attempted.

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Further ExercisesBreathe in very deeply over 4 beats and exhale over 4 beats (repeat several times)

In 4 Out 12 In 3 Out 15

In 4 Out 20 In 3 Out 30

In 1 Out 10 In 4 Out 20

In 1 Out 20 In 4 Out 40

Rest

Exercises to Develop Rapid Replacement of BreathThe practice of rapid replacement breaths is most effective when the previous full breath exercises have been practiced and reasonably mastered.

Inhale and exhale fully for all of these rapid replacement breath exercises. Begin with a slow tempo that is comfortable for you and then repeat with gradually faster tempi while maintaining efficient, comfortable breathing.

Strive to achieve a 100% replacement at each inhalation point. Experiment with a variety of tempi and eventually progress to the 7/4 and 8/4 versions of the exercise.

Example In the 8/4 exercise breathes on beat 8. In the 5/4 breathe on beat 5. Remember to maintain a constant and even flow of air as you exhale.

Do not attempt all these exercises in session, gradually work through them over several weeks.

Time Signature Beats in each bar

8/4. 1 2 3 4 5 6 7 8

7/4. 1 2 3 4 5 6 7

6/4. 1 2 3 4 5 6

5/4. 1 2 3 4 5

4/4. 1 2 3 4

3/4. 1 2 3

Rest

Exercises to Maximize Lung Capacity These exercises will help you gradually utilize your full lung capacity, but take care that you perform these within your capabilities. Do not either force or strain into your lungs. Your ability to fully expand will take time, patience and practice.

Remember that in regular performance the breath is never held and the inhalation and exhalation is one continuous smooth movement of air.

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Basic ExerciseIn 2 Hold 4 Out 2

In 4 Hold 4 Out 4

In 6 Hold 4 Out 6

In 8 Hold 4 Out 8

Rest

Advanced Exercise – With ‘Tops Up’ BreathsThe ‘top up’ breath is like inhaling an extra sip of air into your lungs before breathing out. As this exercise becomes more familiar it is possible to increase the number of top ups to 2 or 3 before breathing out. Again caution must be taken to ensure there is no staining or forcing of air into the lungs.

In 2 Hold 4 + top up Out 2

In 4 Hold 4 + top up Out 4

In 6 Hold 4 + top up Out 6

In 8 Hold 4 + top up Out 8

Rest

Conclusion – Basic Concepts to RememberInvesting time in developing a good breathing technique will benefit all aspects of your performance. Good breathing underpins all quality performance and will repay you for your investment many times.

Remember when you return to your instrument to forget the exercises you have practiced, repetition will gradually make theses breathing processes automatic and transferable directly to your instrument.

Allow the music to breathe, the great Tuba artist and educator Arnold Jacobs described music as “song and wind”. Use your breath to create beautiful sounds and musical shapes and this will enable you to become a better musician and communicator.

Supplemental Resources Howard Snell: The Trumpet – its Practice and Performance (Rakeway Publications)

Arnold Jacobs: Song and Wind by Brian Frederickson

The Breathing Gym (DVD and Text) by Patrick Sheridan and Sam Pilafian

Breathe – Books 1-3 by Paul Archibald

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