Hi,

I have learnt this piece to sing next weekend. However, I'm still struggling with breath control over the final "mortis" melisma that goes on for 15 crotchet beats!

How can I get this right without sounding like I'll need medical assistance by the time I get to the end of it?

(I have no singing tutor at the moment. Any advice much appreciated).

Thanks

Where do you breathe at the moment?

If you are singing this as a choir member there will be no problem whatsoever if you all used the staggered breathing technique. If it is a solo item just cheat and add another "in mortis" to break up the final few bars and give you to chance to breathe.

I'd be interested in the answer to Mezzo's question. If you analyse the piece, your breath points are roughly each 4 bar phrase. The bit you're struggling with is also basically a 4 bar phrase, so it's no longer than the other phrases. Are you trying to push out too much air on the high notes, bearing in mind there is a diminuendo marked later on, so you can start to tail away 2 beats before the "tis" of mortis. Does any of this make sense?

By the way - super item to sing!

I take a deep breath for the minim G leading into D for the melisma.



I'll be singing solo, so the extra "in mortis" would work.

Thanks.

Are there two different versions of Ave Verum Corpus by Mozart? I don't remember having a problem with breathing when I've sung it, and I've definitely done a Mozart version amongst others. Will dig the music out when I get home from the evening service and have a look at where I breathe (have come to work in between services as there wasn't time to go home so don't have the music here). I assume we're talking about the sop part...?

Yes, I think this is exactly what I'm doing. I can sing the phrase with no problem at all on lower notes.

I love it.



Thanks. Yes I am.

Have just noticed your signature DaisyChain - you don't want to do a PhD, ever. Honestly, you don't...

I have a solo version for it, and it actually has an extra "in mortis", which is done by a lot of people if they don't sing the descant from the choir sheet. That's option A.

Option B would be not to drive breath towards the high notes but rather forget about the crescendo - you'll probably automatically do one anyway, there is no need for extra pushing. Also, I would stay clear of taking big/deep breaths before you go into this phrase, Rather take a a short snap, or just think of letting your diaphragm drop by relaxing you tummy. If you tank yourself up, you'll only create pressure you need to get rid of, and that usually will happen on the first note you sing. Simple physics

DaisyChain,

Thanks for your PM - all noted

I can play the accompaniment a bit faster during that final 'mortis' bit, if that helps!

I read that as "take a short nap"!

I think I'll go for Option A.

Thank you very much, Mezzo.



a la Benny Hill??!

And here's me thinking you would rush to my aid should I need medical assistance. Never mind.

I'll try the breathing methods as suggested, but I think I'll add another "in mortis" to be on the safe side.

Thanks all.

I've had a look at my music and think I must have a completely different version of this. The one I was thinking of is K618.

Yes, K618 is the one I'm singing....oh dear..

I must have done it too fast!

I'd heartily recommend Mezzo's advice to look at Recoil Breathing.

Conscious in breaths are generally a very bad idea when singing - if you over fill with deep breaths, you'll just be putting extra strain on your larynx (it's the only valve in your breathing system) - if you allow your support muscles to rebound at the end of a phrase, your body will refill the exact amount of air you've just spent without over filling. If you push air towards the larynx, the body will simply constrict the larynx, thinking you're trying to create back pressure to lift something heavy or, worse, evacuate something from yourself (I'll let your imagination work there...). Apart from in really specialised shows, these aren't things we generally do on stage!

Recoile Breathing also has the advantage of being completely silent, much quicker and more efficient than a conscious effort to 'breathe correctly' and you won't ever run out of breath this way.

If you haven't got any exercices for it, try to get hold of Janice Chapman's excellent book 'Singing and Teaching Singing' if you'd like it explained in a classical context, or if you're not bothered about the context and just want the exercises, buy Gillyanne Kayes 'Singing and the Actor' - another excellent book, but a lot cheaper and you'll learn all kinds of fun things about the voice !

Enjoy!

*Imagination works overtime!*

Thanks very much Allan...it all makes sense. I'm getting better with practice. I think I'm thinkng about it too much and have told myself that I will struggle when I get to this last melisma. I need to change my mind set about my approach to it.

Oh to have a singing teacher again one day!

Thanks for the book recommendations too.