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Why and how I learned circular breathing
May 20, 2020, 9:12 a.m. from the National Flute Association
By Robert Dick
These are some of my thoughts about why I learned circular breathing and how I developed my method to teach it (which is presented in my book.Circular breathing for the flutist).
From August 1977 to January 1978 I worked at the Institute for Research and Coordination in Acoustics/Music in Paris.During this time I met several flutists who could breathe circular.When I was able to listen carefully, I had to admit that I had my doubts.Way of thinking.-out of,If this is as good as the flute can sound, I am not sure whether it is worth it.During my time in Ircam, I received an invitation from Aurèle Nicolet to give his students a class in the music college in Friburg.My first European class!I was so excited to meet Nicolet myself, whose recordings I admired a lot.
While I was in Freiburg, I asked Professor Nicolet about circular breathing because he had heard that he could.When he proved himself with a circular breathing, he was convinced!His sound was perfect and breathing was audible "invisible";Knowing that the sound breathed a circle.This was the level that I strived out in all the technical work: that the technology never attracts attention for itself, but is a channel of musical expression.
Professor Nicolet gave me his explanation of the circular breathing.It was short and simple: in reality he could have heard the same explanation that he had heard from other players, wood and brass wind, who could breathe in a circle., to do it completely.If you do!"
At a moment I was able to see a variety of musical use to breathe in all types of music, old, new and still without imagination.Breathing with circular breathing would be stupid little musical.It would be able to answer.In the following years I used the circular breathing with great effect when I was the main flutist of the Brooklyn Philharmonic in New York, and of course I made it part of my composition and improvisation approaches for the flute.
When I soon returned from Paris to my position in The Creative Associates, a series of contemporary music in Buffalo, New York, I decided, but I was frustrated about the slowness of my progress.I played the flute for twenty years at that time and had a good idea of what I could achieve in an hour of exercise.With circular breathing, I made a small percentage of this expected progress.Not the kind of task, I followed and finally discovered.That a mysterious threshold had passed and that circular breathing worked and began to be easy!
I started to integrate circular breathing into the music that I created, and also in classical music in the places where I felt that a "breathing aid" would help me express the way I thoughtMusic should go instead of forming the phrase the physicist.I have to breathe.Everything worked positively, and I was thrilled with the developments in my game, interpretive and flattering way.
And then the students asked me to teach them how to breathe circular.This was infinitely more frustrating than the learning process that had passed alone.With just a brief description of the mechanics of circular breathing, there was no real pedagogy or PAS PASO on Step.As a teacher, they reduced me to encourage: “You can do it!You can do it!Work on! "I know that you can do it!
I hated this pitiful excuse for real teaching and thought very much in better types of teaching and learning from circular breathing.
Perhaps the simplest instrument is to learn circular breathing.Oboist can play three to five seconds (or more) with the air in the mouth, a long time to breathe in.(To be honest, it is a mystery that there are so many oboists to use the natural breath pace that they would easily provide).
The flute is the instrument that uses the largest air from all wind and brass instruments (including tuba) under the lowest pressure.Pressure to regulate the air flow.
As soon as I had this central point of view, I was able to create a step -for -step method so that the flutists learn circular breathing, and I am pleased to tell that many flutists have successfully learned the technology of my bookCircular breathing for the flutist.
During the decades, the twenty years of interpretation in 1978 today followed after sixty years, I continued to refine circular breathing and applied them to increasing musical ideas.I have developed circular breathing in Stakkato passages and also in multifronic music languages in a constant evolution that require Embcedura techniques that cannot even imagine in the 1970s.
And that is the joy of creative life.We can always learn new things and follow our music to the most distant places that want to go is our privilege and purpose.
*And what was this simple explanation of the circular breathing?It was like this:
- During playing, the flutist stores some air in the mouth that inflate the cheeks.
- When the cheeks are inflated, the back of the tongue moves up to touch the back of the hard palate.Now there is a separate air tank in the mouth and an open path from the nostrils to the lungs.
- At the same time, the flutist plays a very short time when she presses the air out of her mouth and cheek muscles (and sometimes the tongue) and breathes some air through her nose.
- The back of the tongue returns to the normal position and restores the air flow from the lungs to the flute.
- The cycle begins again and turns and turns, so it is known as a circular breathing.
This explanation, although it contains a lot of useful information, is too simple.It will work if the goal of one is to blow air through a straw in a glass of water in order to continuously bubbles.are funny!Ask every baby.But to move from bubbles to the flute tone.Circular breathing for the flutist(Multiple Atming Music) to get the complete explanation and the step -By -step method in order to learn circular breathing.
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May 20, 2020, 9:12 a.m. from the National Flute Association
By Robert Dick
These are some of my thoughts about why I learned circular breathing and how I developed my method to teach it (which is presented in my book.Circular breathing for the flutist).
From August 1977 to January 1978 I worked at the Institute for Research and Coordination in Acoustics/Music in Paris.During this time I met several flutists who could breathe circular.When I was able to listen carefully, I had to admit that I had my doubts.Way of thinking.-out of,If this is as good as the flute can sound, I am not sure whether it is worth it.During my time in Ircam, I received an invitation from Aurèle Nicolet to give his students a class in the music college in Friburg.My first European class!I was so excited to meet Nicolet myself, whose recordings I admired a lot.
While I was in Freiburg, I asked Professor Nicolet about circular breathing because he had heard that he could.When he proved himself with a circular breathing, he was convinced!His sound was perfect and breathing was audible "invisible";Knowing that the sound breathed a circle.This was the level that I strived out in all the technical work: that the technology never attracts attention for itself, but is a channel of musical expression.
Professor Nicolet gave me his explanation of the circular breathing.It was short and simple: in reality he could have heard the same explanation that he had heard from other players, wood and brass wind, who could breathe in a circle., to do it completely.If you do!"
At a moment I was able to see a variety of musical use to breathe in all types of music, old, new and still without imagination.Breathing with circular breathing would be stupid little musical.It would be able to answer.In the following years I used the circular breathing with great effect when I was the main flutist of the Brooklyn Philharmonic in New York, and of course I made it part of my composition and improvisation approaches for the flute.
When I soon returned from Paris to my position in The Creative Associates, a series of contemporary music in Buffalo, New York, I decided, but I was frustrated about the slowness of my progress.I played the flute for twenty years at that time and had a good idea of what I could achieve in an hour of exercise.With circular breathing, I made a small percentage of this expected progress.Not the kind of task, I followed and finally discovered.That a mysterious threshold had passed and that circular breathing worked and began to be easy!
I started to integrate circular breathing into the music that I created, and also in classical music in the places where I felt that a "breathing aid" would help me express the way I thoughtMusic should go instead of forming the phrase the physicist.I have to breathe.Everything worked positively, and I was thrilled with the developments in my game, interpretive and flattering way.
And then the students asked me to teach them how to breathe circular.This was infinitely more frustrating than the learning process that had passed alone.With just a brief description of the mechanics of circular breathing, there was no real pedagogy or PAS PASO on Step.As a teacher, they reduced me to encourage: “You can do it!You can do it!Work on! "I know that you can do it!
I hated this pitiful excuse for real teaching and thought very much in better types of teaching and learning from circular breathing.
Perhaps the simplest instrument is to learn circular breathing.Oboist can play three to five seconds (or more) with the air in the mouth, a long time to breathe in.(To be honest, it is a mystery that there are so many oboists to use the natural breath pace that they would easily provide).
The flute is the instrument that uses the largest air from all wind and brass instruments (including tuba) under the lowest pressure.Pressure to regulate the air flow.
As soon as I had this central point of view, I was able to create a step -for -step method so that the flutists learn circular breathing, and I am pleased to tell that many flutists have successfully learned the technology of my bookCircular breathing for the flutist.
During the decades, the twenty years of interpretation in 1978 today followed after sixty years, I continued to refine circular breathing and applied them to increasing musical ideas.I have developed circular breathing in Stakkato passages and also in multifronic music languages in a constant evolution that require Embcedura techniques that cannot even imagine in the 1970s.
And that is the joy of creative life.We can always learn new things and follow our music to the most distant places that want to go is our privilege and purpose.
*And what was this simple explanation of the circular breathing?It was like this:
- During playing, the flutist stores some air in the mouth that inflate the cheeks.
- When the cheeks are inflated, the back of the tongue moves up to touch the back of the hard palate.Now there is a separate air tank in the mouth and an open path from the nostrils to the lungs.
- At the same time, the flutist plays a very short time when she presses the air out of her mouth and cheek muscles (and sometimes the tongue) and breathes some air through her nose.
- The back of the tongue returns to the normal position and restores the air flow from the lungs to the flute.
- The cycle begins again and turns and turns, so it is known as a circular breathing.
This explanation, although it contains a lot of useful information, is too simple.It will work if the goal of one is to blow air through a straw in a glass of water in order to continuously bubbles.are funny!Ask every baby.But to move from bubbles to the flute tone.Circular breathing for the flutist(Multiple Atming Music) to get the complete explanation and the step -By -step method in order to learn circular breathing.