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EXERCISES FOR DEVELOPING THE BREATHING OF A FUTURE VOCALIST
Haydarov Qutlug'
Trainee Teacher of the Department of Music Education
Faculty of Preschool Education
Jizzakh State Pedagogical University
Abstract:
The first exercise involves crossing your arms behind your head and pressing down on
it to stretch the sternocleidomastoid process. The second exercise involves gradually bending
your torso while exhaling, touching your head to the floor with your hands, and then slowly
straightening it out. The third exercise involves stretching and yawning to relax your larynx. The
fourth exercise involves controlling your breathing: inhale through your nose, hold your breath,
and then exhale slowly through your mouth. After each exercise, the singer can feel the div
relaxing and stress being relieved. The text also notes that relaxation is beneficial, but that it is
necessary to avoid excessive relaxation. The main goal of relaxation is to quickly relax and lower
your heart rate to use your voice in favorable conditions. Then, two exercises are described to
prepare your abdominal muscles and develop your breathing.
Kеywоrds:
vocal education, physiology, anatomy, voice, breathing, singing, exercises.
INTRОDUСTIОN
Creating a specific breathing exercise system for prospective vocalists is important for several
reasons. Firstly, it ensures that singers start their vocal training on the right foot by establishing
good habits and technique from the start. This eliminates the need for subsequent corrections or
re-training, saving both time and effort. Secondly, a systematic approach to breathing exercises
creates a structured foundation for vocalists to follow. This allows them to gradually progress
and develop breath control over time, building a solid vocal foundation. The system can include
a variety of exercises such as diaphragmatic breathing, breathing support exercises, and
techniques for maintaining the flow of breath while singing. Additionally, a comprehensive
breathing system for vocalists takes into account the uniqueness of each singer’s voice and
provides customized exercises and recommendations. Every singer has different needs and
challenges when it comes to breathing, and a one-size-fits-all approach may not be effective.
MАTЕRIАLS АND MЕTHОDS
Breathing tables for singers were compiled by G.A. Alchevsky (Alchevsky, 2014). E.B.
Kvernadze developed her own methodology for developing basic vocal breathing (Kvernadze,
2017), O.P. Leurda developed a methodology for setting vocal breathing (Leurda, 2019), N.V.
Pavlova developed a methodology for developing breathing as a speech-voice instrument
(Pavlova, 2021), N.G. Savina developed a vocal education methodology (Savina, 2014). The
anatomical and physiological foundations of vocal performance are presented in the work of
T.Yu. Vladimirova, L.A. Baryshevskaya and S.N. Chemidronov (Anatomy, 2018). The problems
of vocal hygiene of singers were raised by M.M. Kizin (Kizin, 2021). In the works of O.G.
Lobanova examines the problem of the relationship between correct breathing and singing
(Lobanova, 2019), and O. Yu. Pererva (Pererva, 2019) and A. Yu. Nikulina (Nikulina, 2017)
focus on the issues of developing singing breathing during solo singing [1-6].
By tailoring exercises to the individual voice, singers can specifically address their specific
weaknesses and improve their breathing control. Additionally, a well-designed breathing system
can be integrated into an overall vocal training program, ensuring that breathing exercises are
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performed regularly and consistently. Consistency is key when it comes to developing any skill,
and breathing exercises are no exception. By incorporating breathing-focused exercises into daily
vocal training, singers can gradually improve their breathing control
and make it a natural part of their singing technique.
On this basis, it can be said that the relevance of developing a breathing exercise system for a
future vocalist is due to the fact that the development of the respiratory system for future
vocalists is of paramount importance [2].
Breathing exercises increase lung capacity, improve pitch control, and allow for the expression
of emotions. A systematic approach to breathing development ensures that singers start their
training on the right track and will steadily progress over time. By tailoring exercises to
individual voices and incorporating them into regular practice, singers can improve their vocal
abilities and achieve impressive performances.
Thus, creating a special system for breathing exercises is an important aspect of vocal training
and should be a priority for both beginner singers and vocal coaches.
RЕSULTS АND DISСUSSIОN
One of the first exercises in the developed system is relaxation.
There are many techniques and relaxation exercises. Those offered in the framework of this
study deserve to be simple and effective.
1. You need to cross your arms behind your head and press it down slightly but constantly; the
chest should remain straight and the shoulders should be lowered. In about twenty seconds, you
will be able to stretch one of the main auxiliary muscles, the sternocleidomastoid process. Then
the singer will be able to immediately notice the beneficial effect on phonation. A more
impressive effect awaits the singing voice [3].
2. Standing, gradually bend the torso while exhaling, placing your head on your hands until your
fingers touch the floor (if you do not have enough flexibility for this, you can stop at the
maximum possible option). You should swing your crossed arms slightly for about ten seconds.
Then you need to take a calm breath and slowly turn back to the starting position.
3. While sitting or standing, stretch and yawn. Yawning widens the throat and relaxes the larynx;
this exercise can be compared to leg stretching exercises at the barre in dance classes.
4. Inhale through the nose for two seconds, keep the lungs full without blocking the larynx for
ten seconds, then exhale very slowly through the mouth. Repeat the exercise again for at least
one minute.
After each of these exercises, you can immediately feel the relaxation of the div, as well as
stress relief [4].
No one will deny the benefits of relaxation. However, you should beware of endless relaxation.
In the conditions of pseudo-academicism, the content of some courses may be empty and useless.
The main goal of relaxation is to be able to quickly relax and reduce the heart rate under any
circumstances. This allows you to use the voice under favorable conditions.
To prepare the abdominal muscles for the development of breathing, you can use the following
exercises: you need to stand up straight; without breathing, draw in your stomach, then slowly
pull it out with a wide and flexible push until you feel like you need to breathe air. This exercise
can also be done while sitting in one position, at 90° the effect will be the same. However, you
should be careful, since this movement should move along the transverse axis, and not from the
bottom up, raising the shoulders. This exercise can be repeated several times in a row and as
often as you want during the day. The speed of execution can be increased. To start the "wind
tunnel" when developing the breathing of the future vocalist, you need to stand up (you can also
lie down or sit at an angle of 90°, but this is less preferable). When you manage to achieve a
comfortable position, you should leave your hands lying along the div or put them on your hips.
You need to slowly exhale through your mouth, stretching your lips forward. Like a balloon that
leaks and which you need to press, you should allow your stomach to deflate flexibly and
without curling up. This exercise is performed until the end of the exhalation without any fear,
there is still air in the lungs. Then slowly inhale through the nose, inflating the abdomen from the
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lower abdomen to the sternum, and immediately begin the breathing cycle again. Inhaling
through the nose helps to lift the veil of the palate, the soft back part. This is one way to increase
the resonant capacity of the oral cavity. You should try not to block your breath; you can train
the larynx to function as an air flow regulator during phonation. This role should not be assigned
to the larynx, because the air flow can cause damage to the vocal cords.
Practice should be continued until the amplitude and frequency of movements increase.
Flexibility should always be maintained. Then the singer will feel how the stomach, lower ribs
and abdominal muscles swell. In case of tension of the singer, the lower back muscles will
contract. However, if a belt is worn, you can feel more pressure exerted by the inspiratory
muscles on its entire circumference. This is a reference point similar to when the singer places
his hands on his hips.
The amount of air that remains in the lungs after forced exhalation is called "residual volume".
The difference in volume between the end of exhalation and the end of forced exhalation is
called the "expiratory reserve volume."
СОNСLUSIОN
This article recommends using breathing exercises for future vocalists, conducting training in the
abdominal and chest area. These exercises should be comfortable for the vocalist and can be
included in daily singing practice. Switching from abdominal breathing to extended breathing
occurs gradually and depends on the load on the respiratory tract. However, there are exceptions
to this rule, which depend on the specifics of the vocalist's repertoire. Some singers can perform
for a long time without breathing, their div adapts to this performance. It is important to
remember that developing breathing and singing technique takes time and patience. During
breathing exercises, it is important to move the muscles and focus on thoughts and imagery, and
not just physical movements. A compromise between technique and naturalness is the key to the
vocalist's success. This article offers a system of exercises for developing the vocalist's breathing.
One of the exercises is relaxation. There are several simple and effective exercises that help to
relax and reduce the heart rate. After performing these exercises, the vocalist can feel an
improvement in phonation and voice. However, one should be careful and not overuse relaxation.
The main purpose of relaxation is to be able to quickly relax and control heart contractions for
better use of the voice. Two exercises are offered to develop the vocalist's breathing. The first is
drawing in and pushing out the stomach without moving the shoulders. The exercise can be
repeated several times a day. The second exercise is exhaling through the mouth, inflating the
stomach and inhaling through the nose to increase the resonant capacity of the oral cavity. It is
important not to block the breath or overstrain the vocal cords. The exercises should be
performed until the amplitude and frequency of movements increase. The residual volume and
reserve volume of exhalation are also important for breathing control.
RЕFЕRЕNСЕS
1.
1. Alchevsky G.A. Breathing tables for singers and their application to the development
of basic voice qualities. Study guide. Saint Petersburg. Lan: Planet of music, printed. 2014. 59,
(2) p.
2.
2. Vladimirova T.Yu., Baryshevskaya L.A., Chemidronov S.N. Anatomy, physiology,
pathology of the larynx. Voice: study guide. Federal State Budgetary Educational Institution of
Higher Education "Samara State Medical University" of the Ministry of Health of the Russian
Federation, Federal State Budgetary Educational Institution of Higher Education "Samara State
Social and Pedagogical University" of the Ministry of Education and Science of the Russian
Federation. Samara: Etching, 2018. 202 p.
3.
3. Khaitov, J., Khakberdiev, K., & Kamilova, A. (2022). MUNG BEANS ARE A
SOURCE OF PROTEIN AND A HIGH ENERGY SOURCE.International Bulletin of Medical
Sciences and Clinical Research, 2(12), 61-63.
4.
4. Inoyatova, Z. X., Po'Latova, G. N., & Khojimurodova, D. (2022). Forming a scientific
worldview in students during the educational process.Science and Education, 3(12), 795-800.
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5.
5. Jamolova, M. (2022). Characteristics of Mythological Worlds and their Impact on
Human Consciousness.Zien Journal of Social Sciences and Humanities, 7.
6.
6. Bisht, Y. S., Alzubaidi, L. H., Gulbakhor, U., Yuvaraj, S., Saravanan, T., Kumar, R. S.,
& Dari, S. S. (2024). Legal Framework for Energy Transition: Balancing Innovation and
Regulation. In E3S Web of Conferences (Vol. 540, p. 13015). EDP Sciences.
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7. Kendjayeva, G. (2020). ANALYSIS BEYOND THE SIMILARITY OF THE WORKS
OF NEW ZEALAND WRITER KATHERINE MANSFIELD AND RUSSIAN DRAMATIST
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8. Saidakbarova, M. A. (2025). FISCAL POLICY IS A FACTOR IN STIMULATING
ECONOMIC GROWTH AND ENSURING STABILITY.International Scientific Journal of
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9. Anvarovich, N. E. (2024). The Role of Information Technologies in the Innovative
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10. Kvernadze E.B. Basic vocal breathing. Author's technique of Ekaterina Borisovna
Kvernadze. Saint Petersburg. Scythia, 2017. 213, (2) p.
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11. Kizin M.M. Peculiarities of vocal hygiene of academic singers in the process of their
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12. Lobanova O.G. Correct breathing, speech and singing: a tutorial: 5th ed., reprinted. St.
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