I’ve been working with a fair number of singers of late, and I’ve noticed afresh just how much stress and uncertainty exists around what shoulders should do during breathing. When you breathe in, should they move up, or should they stay still? Of course, it isn’t just singers who worry about their breathing; any musician who plays wind or brass may have similar concerns. I’ve worked with sportspeople who also wonder about the relationship between shoulders and breathing.
I’m going to suggest that we work from the protocol created by FM Alexander in his ‘Evolution of a Technique', and see if we can work out what these structures should do.
Analyse the conditions (of use) present
In this phase we analyse what structures are there, and (if there is a physical student in the room) how the student actually uses them in activity. If you are the student – which, for the purposes of today, you are! – then find a mirror and watch yourself breathe for a couple of moments, and note down what you see.
From my blog a couple of weeks ago we know the basic structures behind the breathing mechanism. We know that the ribs move, including the top couple just under the collarbone. (They are raised during inhalation by the scalene muscles)
We also know that the shoulder girdle structures sit over the top of the ribs. The acromioclavicular (or AC) joint is a fixed number of degrees (around 20) but allows for some play as one moves the whole shoulder girdle.
Reason out a means whereby a more satisfactory use could be brought about.
This is the phase where we reason out a general route towards a better use of ourselves. Let’s have a go at creating a general use of ourselves involving shoulders and breathing.
We know that the ribs move and expand in order to make the pleural cavity larger; we also know that the first two ribs move and raise. We know that the shoulder girdle sits over the ribs. Therefore, it seems logical that the shoulder girdle is also likely to raise during breathing.
But do we actively need to control this? Again, logic would suggest not. As we’ve discussed, there’s not a lot of articulation in the A/C joint, and the first two ribs don’t move a massively long way up. So it seems likely that any movement would be accessory movement – that is, movement that happens to accommodate the body part that is actively moving.
Therefore: we need to pursue a means of breathing that enables the shoulder girdle to passively move.
Project the directions necessary to put the means into effect.
This is where we start creating actual thoughts about what we are going to tell ourselves to initiate movement. Here I want to leave the specifics up to you, but I want you to think about the following ideas:
- If you include a sentence that involves your shoulders, you will almost certainly activate them BEFORE you turn them off. That’s probably not so helpful! Ironically, possibly the best thing you can do to more effectively handle the relationship between shoulders and breathing is not to think about it actively…
- You will want to include something to remind yourself that your ribs, chest and back will all experience movement during inhalation and exhalation.
- You might want to think about what you do with your head and neck as you begin to inhale.
I’m hoping that setting out the question of shoulders and breathing in this way won’t merely give you a simple answer, but also teach something more important. FM Alexander wanted to teach people to think: he wanted us to make our reasoning faculties more alive. If we use the process from his third book, as we have today, we can begin to carry out the kind of thinking that Alexander hoped we would learn to do. And if we do it consistently, maybe our experience both of thinking and of moving will substantially improve.
Let me know how you get on.
 Alexander, F.M., The Use of the Self, London, Orion, 1985, p.39.
 Alexander, F.M., Man’s Supreme Inheritance, NY, Irdeat, 1997, p.39.
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