Every Breath You Take...

[PaulT]

I recorded myself playing some Bordogni Etudes the other day, some passages of which require me to load up on air. When I listened to the playback, my air grabs were quite audible. I was in a converted bedroom with the mic about six feet away (Zoom H4).

Are there practices/techniques in grabbing a lungful air quietly? Or is it a matter of becoming aware of it and doing your best to mitigate it? Or is it par for the course, don't worry about it?

I haven't noticed the sound of breathing on the recordings I listen to, but I sure heard it on mine. I really do need to fill up to make it through some of the etude passages.

[Burgerbob]

The more relaxed you are on the inhale (I think of it as just letting the air in, rather than "grabbing" as much as possible) the less noise it will make. The noise (from what I can tell) is other parts of your breathing apparatus getting in the way, or muscles being used that don't need to be.

[Kdanielsen]

Say “tow” while you breathe in.

[Doug Elliott]

Pull your tongue back when you inhale. Get it out of the way and your breath will be quieter.

[paulyg]

One thing that can help is to actually "pause" the time, and take a full breath every time you need one.

[ArbanRubank]

I wouldn't spend much time worrying about it. From all the YouTube vids I've seen of guys playing classical stuff, it just seems to go with the territory. In an audition, a judge might gig you if you made very weird, loud and disruptive-sounding gasps, but otherwise, I think they pretty much expect that you have to breath.

An auditorium stage is far different from the confines of your bedroom, where I suspect you could hear a pin drop. And again, I suspect you probably were playing a capella. A pianist accompanist would be making a bit of cover sound for you.

[Pre59]

Have you got the auto record level turned on? That'll increase any bits of background noise in the gaps.

[PaulT]

Thanks for the tips and the perspective. Tongue placement does make a difference, and relaxing takes work, and yes, a person has to breath.

Recording yourself is an interesting experience. I was happy with my tone, but little else. But, I'm better than I was a year ago, so there is that.

[Fidbone]

Do you have any breathing problems like Asthma or allergies?

Could you be "Over-breathing"? ie taking in too much air for a phrase?
Are you expending your air on particular phrases too quickly?
What horn are you playing?
Is the lead pipe too open?
Is your mouthpiece too large/open?

If not try what Doug says, get the tongue out of the way.

[PaulT]

I'm not "over-horned".

I might have been (probably was) "over-matched" when I was playing my .457 with a 5G mouthpiece. I wasn't ready for it, may never be. And I don't care. I am in control of my .525 with a Yamaha 48. I feel no lack and I sound better. And I love, love, love, love playing my Yamaha 891Z (.508) with a Yamaha Nils Landgren (bigger than a 7C, slightly smaller than the 48, a great fit for both me and the horn). My .547 will have a heck of time getting out of the closet.

It is very likely I might be over-breathing and expending air too quickly. I think there are a whole basket of issues connected to tension, and I probably hit on all of them during my recording session. I'm fairly lazy, so playing relaxed should come easily, but no. When I'm playing for an audience (and a recorder is an audience), I think I tighten up and start to work a little too hard. I am now concentrating on relaxing my throat and opening and rounding the back of my mouth cavity when I inhale (moving tongue back, thinking "tow"). And I can hear a difference (as in, hearing less). And I'm starting to feel how working too hard to fill the lungs actually shortens how long I can play. Something to work on. Working to relax... that's a bit of a trick [insert smiley thing]

Meanwhile, last night, I came up with a technique that completely removed the breathing noise when I record myself. I turned a fan on. Trombone came though nice and clear and the fan masked my breathing wonderfully. Kept me nice and cool, too. [insert smiley]

I also came up with a great technique that helped me get through the longer Bordogni passages with plenty of air to spare. I picked up the tempo. Man, did that work well! Who says I have to play them the same as Toby Oft. Personally, I think he drags some of them out [insert smiley]

Thanks for the tips and help. I appreciate it.

[RustBeltBass]

You are in a small room with a recorder. Hard to say without listening to you, but chances are everyone’s breath would be audible.

I’d check and see if they are just that, audible, noticeable or if they are actual sounds, voice like. If it’s the later there has been plenty good advice already. Pulling back the tongue definitely helps.

[johntarr]

Most of the things to consider have been covered but I’ll suggest a few more ideas.

How do your breaths “sound”? Hearing the breaths might just be because of the room setup but do your breaths sound tight, hurried, and distract from the musical sounds? Are you breathing in the character of the music? Do you set up the end of a phrase so you have time to breathe within the musical flow?

For me, the breath is part of the music, whether it’s audible to the lister or not. We need to breathe to make music, not to mention live, so I don’t think we need to hide the breathing but rather have it be integrated into the musical expression. This also means we must be able to breathe differently for different styles and even parts of a piece.

Another thing you could do would be to experiment with manipulating sounds when inhaling. Can you make it louder, more shrill, softer, exciting, calming and etc.? Rather than just trying to mask or eliminate the sound, you could use your observations to learn more about how you breathe, in different setting and in different musical contexts.

Have fun!

[Posaunus]

For me, the breath is part of the music, whether it’s audible to the listener or not. We need to breathe to make music, not to mention live, so I don’t think we need to hide the breathing but rather have it be integrated into the musical expression. This also means we must be able to breathe differently for different styles and even parts of a piece.

What makes mechanical music sound robotic? For one, no breathing!