What is the interest of a yogi about the art of
vocal?
Let us come back to diaphragm.
I shall remind that this is the muscle that separates
the chest and the abdominal cavity and its efficiency determines the state of
the organs located above it and under it. To have it in a metaphoric way, by
dividing the body into upper and lower parts it at the same time unites these
parts through its movements. You may find details in my article "The
Case Study of Today is Diaphragm".
Just like the rest of the muscles
– in case of concentric contraction the
points of its attachment approach each other and it flattens out. There is another
type of muscular contraction – the eccentric,
when the places of the muscle attachment move away from each other. So that
the diaphragm moves actively upwards increasing the cupula. In the first case the
rib cage volume increases – here comes the inhalation, and in the second case
it reduces – this is the exhalation.
So, what does yoga have in its store for working
with this muscle?
This is, first of all, the full yogic breath
(you can find more information on it in the afore-mentioned article). This is
probably the perfect pattern of the diaphragm work - the interchange of
contraction (concentric) and laxation of muscle fiber, i.e. reduction of a
muscle followed by its return to the reference length.
Second, the practice of concentric (shortening)
contraction of this muscle comes as conscious preservation of the diaphragm in
the state of inhalation. It is held in the dropped state of lower ribs’ expansion
(the “stretched trampoline”) and comes slightly down, as if during “straining”
(the state that mothers know from their delivery experience and that is
familiar to those who tried to overcome constipation). I think it is this practice of Tadagi-mudra that they describe in
“Gheranda-Samhita”
3.61. Sitting
in Paschimottana-posture, make a stomach full a lake. This is the Tadagi (lake-like)
Mudra, the destroyer of decay and death. /Gheranda-Samhita/
Third, the practice of diaphragm
relaxation and its eccentric (extensional) contraction due to active work of the
abdominals is the Uddiyana-bandha. Here
the diaphragm is held in the state of exhale – in its uppermost position.
3.10. Contract
the bowels equably above and below the navel towards the back, so that the
abdominal viscera may touch the back. He who practices this Uddiyana (Flying
up), without ceasing, conquers death. The Great Bird (Breath), by this process,
in instantly forced up into the Sushumna, and flies (moves) constantly therein
only. /Gheranda-Samhita/
From this point of view the Kumbhaka (ceasing of breath at inhalation) can be performed in two
options:
1.
With diaphragm’ high stand – with Uddiyana-bandha
2.
With diaphragm’ low stand –
with Tadagi-mudra.
In the first case the accent shall be laid on increase
of intrathoracic pressure, with mild impact on intercostal muscles and
exercising influence on cardiovascular and pulmonary system (for details see
A.G. Safronov, Yoga: Physiology, Psychosomatics, Bioenergetics”, pg. 78).
In the second option the increase of abdominal pressure,
active pressure of diaphragm on liver and widening of inferior vena cava shall
increase the dark blood outflow from lower body; the venous return to the heart
and the volume of blood passing through lungs shall be increased and the
process of respiratory metabolism shall be intensified.
The second variant of Kumbhaka (don’t forget about
Mulabandha and Jalandhara-bandha) is indicated in case one suffers from lower pelvis
engorgement - reproductive organs diseases, lower limbs’ varicose vein disease,
G.I. tract engorgements.
I think that in consideration
of our tasks we will be interested in paradoxical
respiration used by vocalists. In order to have a nice “flying” sound they use
“singing from the diaphragm” that in its performance resembles much the
tadagi-mudra. During inhalation the diaphragm works according to classical
variant (fyb) while at exhalation it is kept in the dropped position “sealing”
the abdominal cavity.
Shall we sing? The sound “A”, for instance. Inhale
(expand the lower ribs, drop the diaphragm and now lift the ribs supporting
against the diaphragm). Hold the diaphragm and sing ‘A’ while exhaling, using
the lower abs to regulate the air intensity. And reflect upon this….
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