Showing posts with label exercises. Show all posts
Showing posts with label exercises. Show all posts

Monday, 22 June 2026

The Rhythmic Breath: Why You’re Probably Breathing All Wrong (and How to Fix It)

 

The Rhythmic Breath: Why You’re Probably Breathing All Wrong (and How to Fix It)

If you play a wind instrument, breathing is the very foundation of your technique. But for guitarists, pianists, and percussionists, it is a topic that is rarely mentioned or discussed in music education. You might think that because your instrument doesn't require air to produce sound, your breathing doesn't matter—but that misconception could be holding back your performance.

The Cost of "Oxygen Debt"

Imagine you’re performing in a packed, humid venue with no air conditioning. As the audience uses up the oxygen in the room, you suddenly find your focus and concentration slipping. Even with simple, well-rehearsed material, you might struggle to remember what comes next or find your improvisation suffering.

While this is an extreme example, many musicians deal with a more subtle version of this every day: the habit of holding their breath during long, improvised phrases or challenging sections. In an art form where we strive to be as relaxed as possible and avoid all tension, poor breathing technique creates a physical barrier to peak performance.

Training Your Breath: Three Essential Exercises

Because breathing is often unconscious, we easily fall into bad habits without realizing it. To build your "breathing muscles," try these three training exercises:

1. The Metronome Regulator Set a metronome to a slow tempo (around 50 BPM). Practice inhaling on one beat and exhaling on the next.

  • The Goal: Many people exhale much faster than they inhale. Work to even out the inhalation and exhalation so they are perfectly balanced.
  • The Feel: Take long, slow, deep breaths through your nose without over-breathing or hyperventilating.

2. Aligning Playing with Breath Once you have a steady rhythm, start aligning your movements with your breathing. Choose two familiar chords that require zero mental effort.

  • Inhale: Play the first chord.
  • Exhale: Move to and play the second chord.
  • Keep it Relaxed: These are "soft beats"; you don't need to be perfectly metronomic, just focused on the steady flow of air.

3. Independent Rhythmic Breathing This is the most challenging stage. Take a piece of music you have known for years—something that is "under your fingers".

  • The Challenge: Instead of matching your breath to the rhythm of the music, aim to keep a steady flow of inhalation and exhalation that is independent of the piece.
  • Consistency is Key: Whether the music gets louder, quieter, faster, or slower, your breathing should remain consistent and even.


Final Thoughts

Even for experienced players, these exercises can be surprisingly difficult and may lead to a few "fluffs" in your playing at first. However, treating breath control as a conscious part of your technical practice ensures that when you are in a high-pressure environment, you have the physical resources to maintain your focus.

A little mindfulness goes a long way—give these exercises 5 to 10 minutes in your next practice session and see if it makes a difference in your relaxation and clarity.

Don't let "oxygen debt" or a lack of focus undermine your hard-earned musical technique. Whether you are a guitarist, pianist, or percussionist, learning to regulate your breathing is a vital training exercise that builds the physical resources you need for high-pressure performances. While breathing is rarely discussed in string education, mastering it is the key to staying relaxed and maintaining consistency in any environment.

Ready to take your playing to the next level?

Start training your breath today so your focus stays sharp when it matters most.

Wednesday, 14 January 2015

Chromatics Day 3

The previous exercise used rhythmic displacement to add interest. For this installment we'll be using octave displacement. 

Simply put this is just a chromatic scale but every note is in a different octave from the previous one. Obviously this results in some technical challenges and obscures the sound of the chromatic scale. 
 What you end up with is actually a tone row of sorts as described by serialist music theory. Here's a link if you're interested in finding out more.

To deal with the large intervallic leaps I used hybrid picking technique. I found myself using all my right hand fingers to pull it off. It makes for an excellent right hand exercise. 

In the spirit of serialist compositional technique you could also play it in retrograde. In other words, backwards. 

There many other possible configurations of this exercise so it's worth spending time working them out. It will develop your fretboard awareness and open things up when improvising. Guitarist's tend to play few wide intervals and this is a good way to start think 'bigger'. You could also apply the same concept to 7 note scale within a diatonic framework.




Chromatics Day 2

Here's another little finger twister for you. Not only will this get your fingers in a tangle but it'll mess with your mind a little bit too!

In this particular slice of Digital Hell you'll be playing an odd note grouping of 5 descending along a single string. The first finger must stay very low and reach back to anticipate the next position whilst the other fingers are playing.

This could be played two different ways rhymically:

As a pentuplet so you're playing the entire 5 note pattern in the space of one beat or alternatively over a 4/4 pulse. 

Played at any kind of speed this becomes confusing to the ear as the mind tries to resolve a constantly shifting 1. This is a useful device for creating rhythmic interest with relatively simple figures but requires greater rhythmic control to keep in time. 
 Many players use this technique in their improvisation. 

For ease of reading the example is notated in 5/16 but in the video I'm playing it over a 4 pulse. The tempo is 140bpm but as always build up to faster tempos slowly ensuring clarity at all times.



Wednesday, 28 May 2014

Harmonic Scales - Hearing chord tones

One of the trickiest aspects of improvising is negotiating chord changes. It's fairly straightforward when all the chords belong to the same key. In that instance one single scale will suffice but rarely does a piece of music stay in one key. Even a basic 12 bar blues uses chords belonging to 3 different keys and most jazz standards will migrate through several tonal centers. 
  
To be truly harmonically aware one must hear all the way up through a chord. 
A 7th chord comprises of a root, 3rd, 5th and a 7th but whether they're played or not the there's also the 9, 11 and 13 in there as well. This requires you to practice modes/scales in a harmonic fashion or what I term Harmonic Scales

Harmonic Scales
  
This is where you play up through a scale in 3rds - 1,3,5,7,9,11,13 and back to the octave again. As you're playing every other note in the scale this takes two octaves to complete and spells out the innate tonality of a given mode. I've seen these described as"super arpeggios" by Larry Carlton but I dislike the term and thus describe them as Harmonic Scales because they're exactly that: scales played in a harmonic manner, spelling out the tonality. 



  
  It would be hard to overstate the importance of getting these under the fingers and more importantly into the ears. Everything that follows in this lesson requires familiarity with them. 


Freedom through Discipline 

This exercise is just one of a group of exercises that I collectively refer to as 'The Disciplines'. Over time I will do videos for all them. Read the summary below and then watch the video. Like all of the disciplines it's very simple conceptually but can be practiced at any level of difficulty.

  • Position yourself on the bottom string anywhere on the neck
  • You will have 4 or 5 notes under your fingers 
  • When you hear the random chord play through the harmonic scale that sounds correct starting on one of the notes that are under your fingers.
  •  Play all the way back to the root passing through the 2 octaves. 
  • When the next chord sounds try and find the nearest note to the one you finished on to begin the harmonic scale descending. It may be the same note of course! 
  • I recommend singing the notes as you play them. 
You can either use the mp3's or better still have a friend play you random chords. 
These need to be either Major 7th, Minor 7th or Dominant 7th. 

To increase the difficulty use a metronome and do it in tempo, add altered chords or have someone fire ping pong balls at you whilst you play.