5 - Ademsteun
Hoofdstuk 5 - Paragraaf 8
5. Ademsteun

5.8 Total Breathing Concept


Total Breathing Concept
A FILMPLAY ABOUT BREATHING FOR MUSICIAN AND SPORTSMEN.







Start recording mid January


Initiator/ coproducer:
Hans Boschma
Stichting Sailing Brass / Foundation Sailing Brass


URL: www.embouchure.nl

Advisor/ coproducer: M.D. Kees Hein Woldendorp Rehabilitation Center

CREW
Participants:
Feddo M.H.Boschma Trumpet
Hans Boschma Brasses

Bounce Attack: Bauke Kalma
Viool: Tinta van Altenstadt concertmeester Holland Symfonia

Johan van der Linden Saxophone
Professor at Artez Conservatorium Zwolle
Conservatorium Utrecht and Manchester
Member of N.B.E. Nederlands Blazers Ensemble
Frysk Harmony Orkest o.l.v. Thijs Oud

Trombone: Brandt Attema Rotterdams bastrombonist Radio Philharmonisch orkest, NBE, Nieuw Trombone Collectief, Duo AttemaHaring
docent koninklijk conservatorium Den Haag & Codarts conservatorium Rotterdam

Flute: Felicia van den End, Stichting Sonoro Mexico
Oboe Irma Kort: NBE Nederlands Blazers Ensemble , Holland Symfonia , www.irmakort.nl

Recorder: Erik Bosgraaf

Circular Breathing:

Voice Over: Philip Curtis Opera singer, professor at the Conservatorium Hanze Groningen, Amsterdam and the Hague.


A)
Contents: All important aspects of breathing for musician,
All important asects of breathing for different kind of sportsmen.
Breathing and pain, the consequences.
Breathing and stress.
Pictures:
1.
Illustrations of Dr. A. Kapandji 25, 26, 27 page 147 . 28, 29, 30 pagina 149. 31, 32, 33, 34,35 page 151 from The Physiology of the Joints nr.1
1.
Churchill Livingstone, volume 3 ISBN 0 443 01209 1.
2.
Brochure BEX OF Hans Boschma Foundation Sailing Brass
3.
Parts of the skeleton like as cranium (skull) and chest by Revalidatie Friesland

B)
Breathing.
4.
Quiet breathing in rest or relaxation position.
Model 1 lies on back, bare upper part of body , lying on a couch for examination.
Only the diafragma will move, so that a small swell of the stomach region can be seen during inhalation.
So the ribs donít move during rest or relaxation breathing.

5.
Quiet inhalation continued.To make the swell better felt we use the socalled YOGA Ďturn and stretch position, i.e. bend the knees and turn them them left or right. Put hands in the neck. So the ribs canít move now and the body trunk is forced to work with the diaphragm alone.
6.
The same as 5, but now with stretched legs, one hand on the belly, and the other lying besides the body.
Nothing else moves, not even a little finger.
7.
Intensive/effort inhalation: the start. Taking 6 as the starting point, move a single finger of shut your eyes with force, squeeze. You will feel now immediate that the ribs start to move and the belly swells a bit.
This points out or proves that every movement leads to increasing of the breathing behaviour, even the slightest, breathing deepens immediately.

8.
Intensive/effort inhalation continued.
The intention is to extend the movement of breathing to the back where the ribs are raised by costo-vertebral joints.
This is plain logic, as the largest lung compartments are on the backside. The heart, gullet ,Aorta, are on the front. The ribs are raised and this is enabled by the costosternal connections and costovertebral joints. . The force is produced both by the higher pressures and by the muscles of inhalation. See Dr. A. Kapandjiís drawings in Churchill Livingstone volume 3: The Trunk and the vertebral column and pages of respiration ; pages 134-166.
9.
Intensive effort inhalation or costodiaphragmal breathing.
Another method is the testgrip which can be used to learn and control the right movements of the ribs on the backside and flanks, and extending the lower parts of the back, sides and belly.
The ribs on the front are raised to enlarge te space of the thorax and so provide for subpressure. So the chest can be drawn full of air..

10.
Paradoxal breathing.
Model(PP) 1 is lying on a coach, one hand on the chest and the other on the belly. In paradoxal inhalation one can see that the tester inhale by rasing the chest and draws down his belly. This is a quite wrong way of inhalation. And we see this often in playing wind instruments and also in sports.
To correct this we go back and repeat the nrs. 1 Ė 10 . Paradoxal inhaling, socalled chest breathing is quite wrong. Its associated with hyperventilation
(syndrom) with throat stress and smile and press embouchure.

Al these points we showed without using an instrument or natural fo singers and sportsmen.

11.
Intensive effort inhalation in a sitting position.
CD breathing- Costo diaphragmal breathing with rib- and diaphragm movements.
First: check the position:
a) Sit up straight and onít lean against the back of the chair.
b) Stretch the skull-crown to introduce the pelvisbottom muscles in the breath
support.
c) A help can bet o squeeze the buttucks while you make a beginning to come
in a standing position bij placing your eight more on your feet.
d) A help can be the use of a sit saddle
e) Dontícross the knees.

12.
Intensive effort C.D. breathing sitting without an instrument, first.
a) Check the right inspiration with the test hand grip.
b) Sitting on a low chair or stool en film the belly. There is greater belly pressure (intra abdominal). Less expansion of the diaphragm possible
c) Sitting on a high chair or stool. In this position the belly pressure is less
And we film the belly. There is a greater possibility for the diaphragm to
Contract.The diaphragm can make quicker and wider efforts.

13.
Intensive effort CD inhalation, standing upright.
PP(Probe Person/Model).Checks inhalation expansion her íhimself.
14.
Inhalation watching breathing with the eyes.
Looking up (eyes turned up) stimulates inhalation but also facilitates chest breathing. Donít put the desk too high.
15.
Turning down the eyes reduces inhalation and provides a bent position. Donít put the desk too low.
16.
Inaudible inhalation (at first slow and then faster and faster).
a)
through the nose, but the distance to go is 500 cc longer (nosecavity contents)
The resistance of inhalation is larger. Mind crown stretching.
b)
through the mouth in phonetic position of oral cavity and pharynx of O from the sounds of LORD or SPOT.
17.
Breath support, check with the special handgrip with both hands round the chest and belly:
Thumbs behind on the lowest ribs, press fore- and middle fingers on lowest front ribs. Press little and ring fingers on the sides and front of belly.
PP first inhales deep and presses with chest and belly the hands out as much as possible. The hands lust provide for a counter pressure inward.
18.
The inhalation passes into expiration with breath support. The hands press inward with force. But donít pinch or squeeze.
a)
first puff out in short puffs of breath.
b)
the same with voice, e.g. ha ha ha ha ha ha. In every puff the PP should try to press the hands aside and backward. The belly swells but not only forward, but also aside and backward..the lumbar part.
c)
alternately sing high hahahaha and the PP feels the concentrated tension deep under in the belly.
d)
singing low hahahahaha (essentially every vowel can be used.
In singing low in puffs you feel the tension above in the front of the chest (thorax) under the breast bone(sternum) so to say.
19.
Breathing out with mouthpiece only
a)
in puffs of air only, as if you want to blow a piece of paper against a mirror of wall.
b)
with a buzzing sound that is in playing staccato tones.
c)
blowing the embouchure, buzzing the sound, but in low and longlasting tones. So WITH PURSED LIPS(CONTRACTED/SQUEEZING).
d)
like c but now in high tones.
20.
Blowing the instrument with breath support, every time 2 tests. Check the right CD inhalation in this order:
Ribs, back, flanks,belly and chest;plus raising shoulders all things simultaneously. For blowers(players) of big instruments and high taming in of breath is essential to involve lung tops in sucking the air.
Artists play here:
a)
Felicia,
b)
Erik,
c)
Johan,
d)
Brandt,
e)
Hans
f)
oboe
g)
french horn
21.
Blow puffs in the middel register, the teacher is to check the pressing aside of flanks in every puff. First in p(iano)
a)
staccato
b)
portto
c)
legato
d)
doodling.
First in p, then mp, f and ff etc.
e)
playing extremely low notes the belly should be expanded for a greater chest resonance, by means of the very flattened diaphragm muscle
In intervals.. difference of pitch terts, fourth quart) and fifth (quint) down etc.
22.
Play the scale( s)
a)
1 octave jump
2 octaves jump
23.
Learning the Breath Attack, (without using the tongue), so only attack with breath support.
24. (Hans plays fast en very fast rhythmic loops)
Learning loops or runs on breath support and mark the rhythm and measures
Hahahaha Hahahaha Hahahaha etc. So give accents with abdominal press etc.
24.
Glissandi
25.
Putting on jazz
a)
Doodlin(trombone/bastrombone?)
b)
shut off the airstream suddenly with tone Ėof tongue stop:TAT..,TOT etc.
26.
Pointing the airstream
a)
Upstreaming, film breath support and jaw position..correction of the pitch to higher
b)
Straight streaming
c)
Downstreaming, film breath support, correction of the pitch in downward direction
Film of belly and lower jaw.
27.
Attention for clothes. Too tight shirts and pair of trousers, belts.
28.
Bad positions reducing breath as in seen with euphonium players, too much bent.
a)
place support under one foot and let the euphonium come to a better position. No bended neck and head to get a right position of the mouthpiece.
b)
29.
Some special exercises to mobilize the thorax and columna vertebra, like Bridge Exercise (film brochure). : Local walk exercises while you fix with your hands on an handle 25 cm above your head. 2x 10 minutes a day.
30.
Basketball Back exercises. Place a basketball between your back en the wall. Feet 30-40 cm forward. Press the ball against your back and move up and down, left and right.
a)
also against your flanks, sideward movements.

b)
also, but very carefully, between your belly and the wall. So with your face to the wall. Use no stick instead a ball, like Ralph Quinque advised.

31.
Circular breathing.
a)
Without instrument
b)
Playing an instrument.


32.Breathing and sports

Lasting sports
a)
Runner shows running action with breathing without a rhythm still.
b)
Building up breathing rhythm with shifting of running passes breathing rhythm like as
c)
Inspiration10 steps Expiration 10 steps.
d)
Longer lasting effort: shifting at 6-6 For instance
e)
Greater effort shifting to shorter and deeper inhalation
Like 2-6, 2-2, 1-1 as like in the tempo of a 400 meters run.
f)
Control of the type of breath movements. Sportsmen who arenít trained well often breathe too fast or to quick with the chest breathing.
g)
Learn to breathe with CD breathing during running with the BS handgrip.

33.
Breathing and stress
a)
film the normal breath.
b)
film stress breathing with shifting to chest movements..paradoxical inhalation.
34.
Pictures Ben van Cranenburg Schemaís Fysiologie De Tijdstroom ISBN 90 352 1105 7 pages 19 , 20
35.
a)
Example of shifting of breath movements in the case of pain
b)
Pictures pages 21,23 Schemaís Fysiologie


M.M.V.
ECO COACH OPLEIDINGEN o.l.v.
Tjalling van den Berg Master Coach
Eco-coach sc Heerenveen
CIOS Heerenveen :Masterclass Eco-coach
Master coach NSF
Eco-coach Adelinde Cornelissen (dressuur)
Lezingen en auteur


www.eco-coach.nl

www.mentaalsterk.com



36. Recordings of a Eco Coach Tai Chi Breathing coaching by Hans Lauxen.

37.Berber van den Berg Eco Coach with FOCUS ON BREATHING.
BREATH AND MUSIC WITH CHILDREN
By Fryske Woodwind academy Thijs Oud

38.School orchestra in Boyl
BREATH EXERCISES FOR WOODWIND ORCHESTRA

39.FRYSK HARMONY ORCHESTRA CONDUCTOR Thijs Oud.
BOUNCE ATTACK VERSUS SQUEEZE ATTACK

40.BAUKE KALMA bastuba and basstrombone.


5.8 Total Breathing Concept