Circular breathing

The circular breathing , Kreisatmung or permanent breathing is a blowing technique, which is also a continuous flow of air from the mouth during the inhalation possible.

Function of circular breathing.
Blue: inhaled air, red: compressed air.

With this technique, the end of the bladder stores a reserve of air in the mouth and then separates it from the pharynx with the back of the tongue and soft palate . Now he can breathe in new air through his nose into the lungs , while the stored air is pushed out of the mouth through the lips to maintain the air flow through the surrounding muscles (jaw, cheeks, tongue). As soon as the inhalation process is complete, you can exhale / blow normally again without blowing again, and the process repeats itself. Using the same technique, too much air can be exhaled through the nose parallel to the sound generation.

Circular breathing is used by musicians with wind instruments (e.g. reed instruments and the didgeridoo ), as well as in certain trades in which a continuous flow of air is necessary for melting processes (goldsmiths, glassblowers).

term

The term “circular” (circulating) breathing arises from the subjective feeling of the blowing, the breath describes a cycle. Visualizing this feeling also helps in learning the technique. Similar terms are used in other languages, e.g. B. Circular Breathing, Réspiration circulaire, respirazione circolare , in French and Italian, however, the actually more apt term of "continuous breath" ( souffle continu ) also exists .

history

The origins of circular breathing are unknown; since it is used by indigenous peoples around the world, it can be assumed that it has been practiced for thousands of years.

With the beginning of modern times, the area of application of circular breathing in music decreased, as the formation of larger ensembles made so-called choral breathing possible. In the craft sector, the use of circular breathing has decreased, especially since cylinder gases and compressed air were introduced.

Circular breathing has experienced a resurgence in the past two decades with the spread of the didgeridoo by the Australian Aborigines . On this aerophone , circular breathing not only fulfills the economic task of continuing airflow, but is also a stylistic device for generating sound and rhythm. In addition, it is particularly easy to learn on this instrument.

technology

The technique of circular breathing can be learned using a straw in a water glass or by pressing a supply of air out of the cheeks while inhaling. In doing so, inhaling through the nose through the straw in the glass is parallel to the "bubbling".

The feasibility of circular breathing depends largely on the counterpressure required. In manual applications, the counter pressure can be individually adjusted by narrowing the blowpipe. With wind instruments with very high counterpressure (oboe, krummhorn, etc.), the required blowing pressure can only be generated with difficulty; this can lead to dizziness, headache and other overpressure phenomena (burst veins in the eye area, red head). At very low back pressure, the continuity of the air flow is difficult to control, e.g. B. with flutes. Does it also depend on a precise alignment of the air flow, e.g. B. with the flute , circular breathing can only take on a very limited function with a lot of practice. Instruments such as the saxophone , shawm , zurna , tuba and trombone exhibit useful counter-pressure behavior and are therefore well suited for circular breathing.

Circular breathing is often associated with the phenomenon of hyperventilation . In doing so, too much carbon dioxide is exhaled by breathing too fast and too hard and the player becomes dizzy. This effect is accepted or even promoted by some trance practices , but in instruments with potentially good-natured counterpressure behavior it is more a sign of a lack of control over breathing and the necessary movement sequences.

Web links

literature

R. Dick: Circular breathing for the flutist. New York 1987, ISBN 0-939407-01-9 .
S. Dury: The circular breathing on the flute. Carpenter. Frankfurt 1992, ISBN 3-921729-42-4 .
J. Fischer: From the dream of infinity or an attempt at a guide to circular breathing for recorder players. In: Tibia. Issue 1, 1993, pp. 346-335.
V. Katchmarschik: Some Mysteries of Ancient Greek Aulets. In: Journal International Double Reed Society. No. 22, July 1994, pp. 93-99. http://www.idrs.org/publications/
W. Katschmartschik: On the history and development of the method of "permanent exhalation". In: Brass Bulletin. No. 67, 1989, pp. 32-35. (on-line)
W. Katschmartschik: On the history of the development of permanent breathing . In: Tibia. Issue 1, 1993, pp. 346-351. http://www.moeck.com/cms/fileadmin/tibia/alteHefte/1993/1993-1.pdf

W. Katschmartschik: Permanent exhalation (PA) in wind instruments performing technique (problems of history and physiology). Dissertation. Kiev. State Music Acad. 1995.

W. Katschmartschik: The physiological mechanism of permanent exhalation / Musical art. - Donetsk: Donetsk State Musical Academy. 2009 Vol. 9. P. 220-230. http://www.prokofiev-academy.ru/images/pdf/musart_9-2009.pdf

Trent P. Kynaston: Circular breathing . Studio Publ. // Recordings 1982, ISBN 0-7692-3070-9 .

A. Nicolet: Studies on Playing New Music. Pro musica nova. Gerig, Cologne 1973.