The Diaphragm

SAX 4.1 - The Diaphragm

Once the posture and embouchure are correct proper breathing can inflate the body resonator to its full capacity.
This is achieved through breathing from the diaphragm.

The diaphragm is a muscular membrane that separates the chest cavity from the abdomen. In its natural position the diaphragm assumes a dome shape.

By pushing the abdominal muscles around the stomach and lower back outwards the diaphragm is flattened.  This creates a vacuum in the chest cavity, which is quickly filled by fresh air rushing into the expanding  lungs.
When breathing in your waist line should expand all around your  body  (not just your stomach).

Do not  suck in the air. The air will flow automatically  and quickly to the low pressure area at the base of the lungs.

SAX 4.2 - Breathing Action  

A good breathing action is very similar to the breathing  in Yoga exercises. The only difference is that a wind instrument player has little time to breath in and usually  must do it very quickly.

Practise breathing away from the instrument, first slowly  to get the proper action firmly established.  

Breathing in :

1. keep shoulders down, chest up, but both relaxed

   
   

2. drop the jaw and keep the throat open as in a beginning yawn

   
   

3. push out the stomach- and back-muscles

   
   

4. then expand the lower chest.

Do not lift your shoulders. They will raise (slightly) naturally as the air flows in.

Expand the stomach quickly. The lower chest will expand naturally near the end of the stomach action.

 Blowing out :

1. • maintain an open throat (yawning)

     
     

   • voice  the syllable "Hoooooo" (without using the vocal cords) while  you  blow, and keep the cheeks firm. (bulging cheeks distort the embouchure)

     
     

   • keep pushing  the stomach and lower back  muscles out  while blowing (or breathing out).

Blowing out with a "Hooooooo" action keeps the throat open and ensures that the air comes right from the bottom of the lungs.

Keep pushing out the stomach and lower back  muscles while blowing out. This causes the diaphragm to gradually raise first as the air diminishes and keeps the lungs and chest expanded as long as possible.
A characteristic of all good players is that their stomach muscles are always firm and are pressing outwards throughout their playing.

Breathing this way ensures that the body resonator is inflated as much as possible all the time. This is called good air support.

SAX  4.3 - Breathing  Exercise  

Practise the breathing action  without the instrument, e.g. when walking.
Count with the steps of your left foot. 

• Step 1 : breath in quickly by expanding stomach muscles.

  
  

• Steps 2 and 3 : hold your breath by pushing the tongue against the roof of the mouth ("du" or "tu") with the air locked behind it. You should feel the air pressing against the back of your tongue. Keep your throat open. 

  
  

• Steps 4 to 10 : breathe out slowly by releasing the tongue "Hoooooo".  Keep pushing out the stomach muscles so that the air escapes in a controlled manner. Keep the throat open at all times. Keep the cheeks firm.

  
  

• Step 11 :  as Step 1 again, repeat the process.

  
  

Keep the throat open during the entire breathing cycle This is most important.

To recognise what a closed throat feels like say "a" , "o" ,  "ku" , "gu". These all close the throat at various points in the throat and mouth ('oral tract').

Pronouncing "Hooooo" (without using the vocal cords) keeps the throat wide open. The beginning of a "du" or "tu" action is required to close the mouth with the tongue during Steps 2 and 3.

 For more good discussion on breathing technique see The art of Saxophone playing (p.33 - 36) by  Larry Teal.

SAX  4.4 - When to take a Breath  

When taking a breath keep these points in mind.

1. Always take a $10 breath, even for a 5 cent note.

   The air in your body is not only used for 'blowing' a note, but also for keeping the body resonator expanded. This produces a better quality and more resonant note.

   
   

2. Breathe with the musical phrases, usually every 2 or 4 bars. 

   Breathing causes little breaks in the flow and rhythm of the music. By breathing at musical 'commas' and 'full stops' the flow of the music is not disturbed. In fact commas and full stops are accentuated this way.

   
   

3. When playing in a group always listen to the lead player,   and breathe when he/she does. This is essential for good group performance.

SAX  4.5 -  Correct Note Length  

Sustain each note with a full even tone over its full time value.             (unless the dynamics of the music dictates otherwise).

The full value of a crotchet (quarter note) is from the start of one beat until the start of the next.
A minim (half note) starting on beat 1 finishes at the end of beat 2, which is the start of beat 3.
A semibreve (whole note) starting on beat 1 finishes (in 4/4 time) on the end of beat 4, which is the start of beat 1 of the next bar.

Do not taper  notes  like carrots.

Sustain a full tone from the beginning to the end of each note.

SAX 4.6 -  Tone Exercise 1 -  the Whole-tone Scale  

Tone Exercise 1 consists of slurred tone groups of the Whole-tone scale.

There are two Whole-tone scales. Each one consists of six notes, all spaced at intervals of a whole tone. Each note in the scale can function as the tonic of the scale. 

• Audio 4.1 : Alto - Tenor

  
  

• Db - Eb - F - G - A - B - Db (Tone Exercise 1a)

  
  

• C - D - E - Gb -