The effect of standing and sitting postures on breathing in brass players

Purpose: The object of this study was to examine the effect of posture on breathing in brass players. Breathing when standing was compared with sitting erect on a flat, downward or upward sloping seat, or on a reclining seat. Methods: Spirometry was used to measure aspects of lung function. Muscle activity and respiratory movements during different playing tasks were recorded using electromyography and inductive plethysmography. Results: Only sitting in a reclining position produced statistically significantly lower values for VC, FVC, FEV1, PEF than standing. When players were asked to produce a note of maximum duration, only a downward sloping seat caused a significant change (an 11% reduction) compared to standing. When seated, the abdominal component of respiratory movement was significantly higher during these long notes than when standing, though maximum activity in abdominal wall muscles was significantly reduced (by 32–44%). On a downward sloping seat, muscle activity was significantly higher (9%) than on a flat seat. Tongued and untongued sforzando notes recruited significantly less abdominal muscle activity (33–67%) when sitting than when standing. When playing a trumpet study, abdominal muscle activity was significantly reduced on a downward sloping seat (by 32%) and on a flat seat (by 40%) in comparison to standing. Muscle activity in the two sitting positions were not significantly different. Conclusion: Though brass players are often told to “sit as if standing”, abdominal muscle activity is always significantly reduced when sitting on a flat or downward sloping seat, however when greater respiratory effort is required, activity on downward sloping seats may rise closer to that of standing

Activity Patterns in Latissimus Dorsi and Sternocleidomastoid in Classical Singers

Objectives The aim of this study was to investigate and compare the roles of the accessory respiratory muscles, latissimus dorsi (LD), and sternocleidomastoid, in classical singing. Methods Electromyography was used to record the activity of these muscles in six classically trained female singers carrying out a number of singing and nonsinging tasks. Movements of the chest and abdominal walls were monitored simultaneously using inductive plethysmography, and the sound of the phonations was recorded. Results In normal breathing, LD is active transiently during very deep inhalations and in inhalation against resistance. During exhalation it becomes active again as residual capacity is approached or when air is expelled with great force. Sternocleidomastoid (SCM) supports inhalation when lung volume nears 100% vital capacity or when this is very rapid. All singers engaged LD in supported singing where it was associated with maintaining an expanded thorax. In coloratura singing, pulses of activity of increasing amplitude were often seen in LD toward the end of the breath. These were synchronized with each note. During a short phrase typical of the end of an aria, which was sung at full volume with the projected voice, both LD and SCM were active simultaneously. Spectral analysis of muscle activity demonstrated that in some singers, activity in LD and more rarely SCM, fluctuated in phase with vibrato. Conclusions LD appears to play a significant role in maintaining chest expansion and the dynamic processes underlying vibrato and coloratura singing in classically trained singers