Once installed, the air column is ready to “play“ the violinist’s body, as soon as the bow vibrates the string : this vibration gets enriched by the resonance of the violinist’s body, thanks to its transmission through the clavicle, then is amplified by the violin body.
Thanks to its internal architecture, your body will cease to be an obstacle, behaving then as a true sounding board and as an amplifier of your faithful musical emotions, in the same way as for singers.
Such as your voice, your sound is the absolute musical support, the wire that carries the music and inspires emotion. Hence, it is as compelling to “position“ your sound as it is to position your voice.
To vibrate, it is necessary (…) at first to start from the idea of sound, not from the obsession of gesture. You should not vibrate to produce a “vibrato“ but to vibrate the sound through a deeply “felt“ pulsation. The good vibrato, able to convey your emotion, therefore picks up your natural vibration and amplifies it at your will.
The singers and wind players know for sure that they cannot get a decent sound emission without their breathing being positioned, without their famous “air column“.
They also know that they can neither phrase music, nor actually play it without knowing how to play their breathing with ease.
Dominique Hoppenot, Le violon intérieur
(translated by Guy Robert)