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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Quick Vocal Tip: Breathe on Cutoffs

Keven Smith · January 25, 2021

HEN WE’RE WEARY from pandemic, politics, and the general state of society, it can be difficult to make ourselves think about vocal technique. Improving our singing takes hard work. We must wrestle with the body—and we must accept that things may sound worse for a while before they get better.

So, how about a quick and easy vocal tip? This one could have an immediate positive impact on your singing and deliver lasting benefits for months to come.

It’s called breathing on cutoff. It’s as simple as it sounds. When you finish singing a phrase, take your next breath immediately. It doesn’t matter how soon you’ll have to sing again. Breathe right away.

My voice teacher has always presented this as her number-one vocal tip. I still see her on Facebook, commenting on televised operas she has watched and noting with glee, “They were breathing on cutoffs!”

You can probably imagine why this is so important. When we take a proper breath before singing, the ribs float above the lungs, and there’s energy and buoyancy throughout the abdomen. When we finish a phrase, the tendency is to let the entire breathing apparatus collapse. Then when we go to breathe again before the next entrance—even if it’s only one second later—we must pick everything back up, if you will. It’s a lot of work, it’s tiring, and the chances are good that we’ll eventually lose that buoyancy altogether.

On the other hand, when we breathe on cutoffs, we give the breathing apparatus less chance to collapse. We also remind the larynx to stay low because, assuming we’re breathing in a relaxed fashion, it will naturally settle each time we inhale.

Now, what about when we do have several measures of rest? Should we hold our breath until we sing again? Not exactly. It’s still a good idea to breathe on cutoffs, but it’s OK to take a few “sipping” breaths before our next full breath and phrase. By holding our bodies in this energized state, we can maintain proper support throughout a long stretch of music.

One exercise I regularly use with my choir is what I call “Half Notes on Ah.” I give the singers a comfortable pitch and tell them, “Pretend you’re singing one long note, but you just happen to be interrupting it with a quick breath every two beats.” Then I conduct at a moderate tempo in 4/4. I remind them not to be musical and taper each note before the breath; the goal is to sustain the sound and maintain the freedom to breathe at any moment. It’s incredible how much this exercise wakes up the body, relieves tension, and brings life to the sound.

Try this concept yourself before you bring it to your choir. Sing through a piece you know well and remind yourself to breathe immediately at the end of each phrase. I think you’ll notice a big difference in how you think about the breath—which, after all, is the lifeblood of singing.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: vocal technique Last Updated: January 25, 2021

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)

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