The Circular Breathing Method is a technique I have been aware of from being familiar with certain breathing patterns. It is mainly used by people who play wind instruments.
From the wikipedia article on the Circular Breathing Method HERE
Circular breathing is a technique used by players of some wind instruments to produce a continuous tone without interruption. This is accomplished by breathing in through the nose while simultaneously pushing air out through the mouth using air stored in the cheeks.
The person inhales fully and begins to exhale and blow. When the lungs are nearly empty, the last volume of air is blown into the mouth, and the cheeks are inflated with this air. Then, while still blowing this last bit of air out by squeezing the cheeks, the person must very quickly fill the lungs by inhaling through the nose prior to running out of the air in the mouth. If done correctly, by the time the air in the mouth is nearly exhausted the person can begin to exhale from the lungs once more, ready to repeat the process again. Essentially, circular breathing bridges the gap between breaths. The air stored in your cheeks is used as an extra air reserve to play with while you sneak in a breath through your nose.
From the woodwind.org website HERE
Dr. Robert S. Spring, DMA
Professor of Music
Arizona State University
| Circular breathing is a technique that enables the wind instrumentalist to maintain a sound for long periods of time by inhaling through the nose while maintaining air flow through the instrument, using the cheeks as “bellows”. The procedure involves four distinct stages:
The process of “switching” from air in the lungs to air in the cheeks and back again is the single factor that keeps many individuals from succeeding at circular breathing. There are many methods to teach this “feeling”. The following is one method used to learn this technique as well as several exercises that I feel particularly helpful. As in any new technique, circular breathing must be practiced on a daily basis for success. In addition is is very important to begin work with the instrument as soon as possible during study. Exercises are important, but are not helpful if the student cannot achieve the desired result with the instrument.
Preliminary study is done in 8 steps:
The following exercise proves very useful in beginning circular breathing study. It is important to remember that this technique does take time to develop. Most performers takes several months of study prior to any public performance attempt.
The most workable register is the upper chalameaux. It is also easier to mask the bump in the sound if your breath during passages of moving notes. The student is encouraged to compose other similar exercises.
The upper clarion register is the most difficult for circular breathing. Motion of the soft tissue in the mouth and throat that is involved during inhalation through the nose causes a scoop in the pitch that is very difficult to control. During the early stages of study, G on the top of the staff is the upper limit for successful circular breathing. Articulation is also difficult while circular breathing and should not be attempted until the student is very comfortable slurring.