The importance of breath
With
Annabel ThwaiteAnnabel explores how ensembles can learn to use their breath to really solidify unity within an ensemble
What's in the course
8 lessons (0h 26m) · 1 free
01. Introduction to Annabel and developing a pre-formed chamber group
Free lesson1:52
02. The complete sound (the invisible group member)
3:34
03. Body language
3:50
04. The importance of breath
You are here3:34
05. Follow my leader! A fun game
4:12
06. Studying the score
4:11
07. A Musical Conversation and Pareto's Law
2:51
08. Beyond the rehearsal room
2:21
Lesson transcript
The Importance of Breath in Music
Here we're going to talk about breath. Breath is incredibly important. It's probably the first thing that you do in life, and it's the last thing you do in life.
Types of Breath
You have different types of breath:
- Short, sharp breaths when you're getting anxious.
- Slow, deep breaths when you're feeling the music in a more emotive way.
For me, breath is the common ground between a chamber group.
The Piano Trio
As a piano trio, this concept can work with any instrumentation. It's particularly interesting because the piano is a percussive instrument. Here, I'm talking about the anticipation of sound.
- When the pianist plays a note, it sounds almost immediately.
- With a string player, there's a slight delay.
- With wind players, it will take even longer, they have to produce the breath into the reed or down the tube of the instrument.
- The triangle in an orchestra, however, will sound straight on the beat.
Thus, we need to find common ground, and that's the breath.
Unconventional Piano Trio
I've created an unconventional piano trio. We've completely lost our peripheral vision and eye contact, but hopefully, we will achieve compatibility of breath.
I'm going to ask these fabulous musicians to play the beginning, and they will follow. Emily is going to take the lead slightly and will make them play the beginning just with her breath.
Experimenting with Breath
Beautiful.
You can even take it a step further and experiment with different types of breath.
- Emily, you can take a short, sharp breath to convey anxiety or a more tense sound.
- Alternatively, you might want a big, fat breath for a kind of mysterioso feel.
Anything you want!
Excellent! That was the short, sharp one.
You can, of course, experiment in numerous ways. If you are a wind group, then you want to be breathing in relatively the same places related to the phrase.
Conclusion
The essence of this step or idea is learning to be aware, opening the ears and being conscious of breath.
This awareness relates back to posture and the communication and awareness within the group.
8 lessons
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Meet your guru
Meet your guru
Recognised as one of Britain's most versatile and charismatic pianists, Annabel Thwaite enjoys a diverse career as a soloist, chamber musician, recording artist, educator and examiner, and has won all the major accompanying prizes, including the prestigious Kathleen Ferrier, Gold Medal, and Richard Tauber Piano Prizes. She has collaborated with renowned artists such as Roberto Alagna, Bryn Terfel, David Kempster and "Only Men Aloud!"
Annabel has recorded for Universal records with the "Scottish Tenor", whose album was nominated for a Classical Brit Award and is regularly played on Classic FM. Twice the accompanist for the Festival of Welsh Male choirs, her performances at the Royal Albert Hall were recorded by Sain and have been aired on S4C. She is also a film session pianist, having recorded at Abbey Road the music for the film "Awake", the BBC Jane Austen series "Emma", "The Secret Diaries of Miss Anne Lister" and, most recently, she has appeared on both Blue Peter and "The Rob Brydon Show".
"...no doubt helped by the obviously brilliant piano accompaniments from Annabel Thwaite...highly enjoyable."
In her MusicGurus courses - Learn Christmas Classics on Piano, Learn Classical Favourites on Piano, and Growing Chamber Groups and Small Ensembles - Annabel shares the musicianship behind that versatile career. You will learn how to bring well-loved Christmas and classical pieces to life at the piano, develop your touch and phrasing, and, drawing on her award-winning experience as an accompanist, discover how to listen, lead and play together when making music with other musicians in chamber groups and small ensembles.
