“SING ON THE GESTURE OF INHALATION” – When taking a full breath (open throat, open body) the direction of inhalation is in , down and “away from the body” . Maintaining that sense of inhaling when one begins the phrase (onset of tone) to the final note of the phrase (offset of tone) the singer is fulfilling the demands of each phrase , its length, range and dynamics . This approach to breath management (often called support) is the foundation of all classical singing.
SINGING WITH MANY VOICES 
Dear Joan,I’m a long-time fan of your blog, and I really love your sharing. I am wondering if you could share how do you think about the connection or relationship between singer’s gestures(internal or external) and emotions when we are performing.Thank you!：）
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Dear Zinyi
thank you for following with Singing With Many Voices. I am pleased to know you enjoy it.
Your question is interesting. The whole concept of how to use physical gestures when singing> The answer is really quite simple.
Watching great singers such as Maria Callas and her era of great singers you very rarel see extraneous gestures. They all seem to dome
from the text – which is why it is important to have a literal translationof a foreign language. The physical gesture is born in your
imagination . so my answer to your question is that the emotional content of the sord or phrase must be well understood intellectually,
felt emotionally, and delivered from that point of view. Extraneous gestures without purpose distract from the music and are often
used as smoke screens (often unintentionally) by singers who are not totally understanding the text . The throught creates the gesture.
It is an art in itself. Videoing your lessons, coaching or performances is a good way to monitor your use of physical gestures.
I trust this is helpful to yo . Good luck Joan Patenaude-Yarnell
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