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ArtistWorks Vocal School Lessons: Singing Harmony: Coordinating Breathing -NEW!

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[MUSIC]
I lied.
There is another aspect.
[LAUGH] In the last lesson I said it was
the final thing, so that's what I meant.
But, here's the el, here's the final
element.
Final element is not what you're gonna
wear.
It is where you're gonna take your breath.
Now, not everybody that you sing with.
Has taken lessons in this school and as a
result,
not everyone has as good breath control as
I hope you do at this point.
What does that mean?
Well, obviously.
It means that they're going to need to
take breaths sooner than may be
you or who knows may be you who need to
take a breath sooner than somebody else.
There are places that for phrasing
purposes,
work to take a breath and then there's
other places where if you're sin,
you know, singing one way and the other
person is dying to take a breath and
they take a breath it throws everybody
off.
So let's take a look at how this can work
and how it might not.
In real life.
Come on on.
Alright so.
I could do.
[MUSIC]
No breath.
[MUSIC]
Breath.
[MUSIC]
So, I ca,
I use pauses as part
of my emotion.
I think of it as singing the pause.
It you know, just like when you speak to
somebody.
Sometimes you pause a moment, you're
gathering your thoughts,
but you're not taking a breath.
So just because there is a moment's rest
in the music doesn't have to mean
that you fill it with [NOISE] you know,
an inhale which hopefully is a silent one,
[LAUGH] not a gasp like that.
So, let's see where we're going here.
[NOISE] I'm not gonna give any
instructions to them on where to
take a breath, and hopefully it will throw
everybody off.
[NOISE] No.
So, really.
Cuz I, I wanted illustration.
Alright.
>> Harmonies?
>> Yeah, harmonies.
[MUSIC]
And we'll take it through the word friend.
One, two, three.
[MUSIC].
Okay.
That was a good example of bad breathing.
[LAUGH]
Alright,
so we've got here these possible places in
our phrasing.
After the word me, potentially you could
take a breath,
although personally I would prefer not to.
Cuz it would be lean on me when you're not
strong.
That's the whole thought.
Rather than lean on me when you're not
strong.
When is not the beginning of a new
sentence.
It's part of the whole phrase.
Eh, so is the rest of the next part.
[LAUGH] But you can take a little breath
there.
If you breathe into your back, and if
you're applying rib cage
expansion technique, all of which of
course we've gotten into
earlier in the lessons, it gives you
automatic air control.
[LAUGH] Sounds like airplanes.
And allowing you to sing longer phrases
and
make rhythmic choices without having to
fill the pause with a breath.
By the way alright, so, but let's say
we're gonna take a breath after me and
we're gonna take a breath after strong.
Let's see how that sounds.
[SOUND] Two.
[MUSIC]
Good.
Now let's try you taking a teeny breath
after me, but not us.
>> Okay.
>> And then we'll take it forward and
see when you need to breathe or when you
don't.
But we'll end at friend.
[MUSIC]
One, two, three.
[MUSIC].
So I hope that to your ear you noticed how
it was with one
person taking a breath while the others
didn't it still
carried across and didn't throw anybody
off rhythm.
Or at, off phrasing.
Then so you can kind of duck it in as long
as it's silent and quick.
If the breath is not silent it
usually means that you're doing too much
with your stomach.
You're making it come forward, and your
tongue is tightening, so
it actually narrows the opening of the
breathing tube,
and you hear the air, like, constrictedly.
I don't know if that's a word, but coming
in.
[SOUND].
Cuz you're actually closing and trying to
breathe in at the same time,
it would be trying to drink through a
straw while you bite the straw closed,
hello, that doesn't work, so, leave that
tongue relaxed,
let the breath come into your back, just
gentle, and you've got enough to carry on.
And unify your breathing with your other
singers.
[MUSIC]