In practicing Breathing Coordination, lie on your back with a pillow under your knees and a pillow under your head. In this
position the diaphragm is not working against gravity and you are not bringing any voluntary muscle into play just to balance
and support the body. The hardest thing you have to do is to think that you are not going to work. You are not going to work on
the inhale or the exhale.

The goal is to extend the exhale to its natural conclusion. You make sure the jaw is loose and you open your mouth on the
inhale. This doesn't mean you have to do all mouth breathing; but at this point, it helps to keep your throat open. After the
inhale comes, you start with the only thing that can be called an exercise, making audible sound. This is the developing
process. It is like a weight lifter lifting weights. So, you should start to count very simply. Sometimes it is better to start with
two at a time.

That means that you count quietly until the inhale comes as a reflex. When the inhale comes, you count "1-2" out loud; then
you count quietly (almost a whisper) again to relax the rest of that exhale as far as it will go until the next breath comes. Then
you count "1-2-3-4" and continue in this manner. If that is very, very easy for you, you may increase the count by 5's instead of
The other important thing to remember is that ultimately you want to be heard. That doesn't mean that you are making an
effort to be loud; but at the same time, you have to think of projecting the sound, otherwise the throat won't stay open when
you're making sound.

If this goes easily, every so often prop your knees up and let your knees swing from side-to-side to loosen the lower back. You
may also put your hands together in front of you and let them swing from side-to-side to loosen your shoulders. All of this
should be done while you are lying down. Also, be sure that while you are making the swing and moving the body, you are
doing that on an exhale; and counting quietly helps to keep that exhale going.

The point is to be able to extend the exhale as long as possible with sound, but not by making an effort. You never want to
force when either inhaling or exhaling. Just the fact of priming the diaphragm to make the sound is enough. You may be able
to get to a length of count of 40 or 50 without rushing, but keeping it moving, by doing it in a sort of sing-song manner. If you do
a count that is too precise, the diaphragm may not be moving smoothly. Whereas, if you make a sort of sing-song sound, you
are making one single effort.

While you are counting, you can make sure that the diaphragm is rising. If the diaphragm tenses, you can feel the pressure in
your lower abdomen, between your hip bones. The lower abdomen is not contracting, but it drops inward when the
diaphragm rises. When the diaphragm rises, everything above it and below it releases, so that you can feel the chest and the
lower abdomen both dropping toward your spine.

If the count goes too far and the diaphragm begins to tense, you feel the pressure in the lower abdomen. Don't push past that.
When this becomes easy, you may see whether you can accomplish the same thing sitting or standing. The sensation should
be similar.

In addition to the quiet counting, you may also do "la-la-la" sounds, in which the tongue moves from behind the top teeth to
behind the bottom teeth. It does not involve the jaw. This can be done without any sound and with the mouth hardly open, so
that you can use it any time, any place, just for relaxation and to prime the exhale.

The best time to practice is the first thing in the morning and the last thing at night. You should prime your breathing before
you start making physical demands. If you do it the last thing before bed, it should be very relaxing, you get better sleep, and your
breathing doesn't become too shallow.
Kathy began her studies in Breathing Coordination in 1995 with its inventor Carl Stough also
known as “Dr. Breath.  Mr. Stough's work with singers, athletes and respiratory patients was
renowned for its effectiveness in strengthening the diaphragm. After learning this new science
and technique for maximum diaphragm development, Its purpose is to bring complete clarity to
maximum diaphragm development and mastering vocal breath support. Little known secrets to
correct body balance and movement for singing are learned, in order to support the entire
instrument optimally, naturally protecting the voice.
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