Was it Pathos in Phrygian, or Lydian Modes, such as a "Miserere" sung by a Soprano? Could it be the selective tradition of Ornamentation written in a Period style that takes one's breath away? And what of the Corset - the infamous style rage - that has often been portrayed as prompting swooning or fainting in the wearer; especially if its constriction was ill-placed?
Breathing pattern configuration lies at the foundation of eliminating the ultimate performance fear; running out of breath. This may be illustrated as while in an exalted state of emphasis, one loses timing and thus the structure of the phrase; awakening to the reality that there is much more to be included. For String players, this amounts to the panicked thought, "Uh-oh! No more bow!"
An early understanding of the relationship between breathing and phrasing, along with tried and true Solfeggio and Rhythm training, prepares a music student for long-term analytical interpretation and conveyance of a particular Composer's proprietary formula.
Upon entering an elevator with implicit fear - whether breathing in ("aspirer") or breathing out ("expirer") - and hearing Beethoven Chamber Music or a Vivaldi "Season" for the umpteenthtime - just go with the rhythmic flow...
"Arms poised in preparation", said my Conducting Professor. "Look around... Now on the upbeat... BREATHE!"
Photo Attribution: Wikimedia Commons - Image by TARS631 at tramwayforum.at
