Recently, I sang baritone in two performances of Carl Orff’s “Carmina Burana.” I was assigned to stand in a spot close to both the instrumentalists and the conductor, making it easier for me to anticipate her cues even though I couldn’t see her waving baton.

And she did one other extremely helpful thing: she breathed expressively before especially important entrances.

My organ teacher introduced me to this technique in high school. During lessons, he taught me how to read his expressive breathing so that I could enter accurately while playing timpani in one of his pick-up ensembles. His repertoire of breaths ranged from a quick sniff to prepare me for a brisk tempo to a slow, deep breath for a more relaxed feel. In college, orchestra members amplified the conductor’s breathing, making it easier for me to come in at the right time.

As I eased out of the music business into assisting groups, organizations, and coalitions to work towards accomplishing something productive, I began to use participant breathing to gauge the mood of the room. Fast intakes of breath suggest tension and irritation; deep, slow breaths communicate a more relaxed vibe; and too-quiet breathing suggests a lack of focus.

Thanks to my organ teacher for focusing me on the value of breathing patterns. Thanks to the conductors and those I’ve worked with who use expressive breathing to communicate.