Breathing coordination is a case and point:
The unalterable fact in breathing for singing is that the muscles of exhalation will provide a compression that drives the vibration of the folds and the sensation of flow that one should feel. Compression and flow cannot be separated. Additionally, this compression/flow system is countered by the muscle of inhalation that prevent over-compression (over-pressurization). Throughout the history of opera, teachers have utilized the voiceless fricatives "sh", "s", "f" etc, to help the singer feel the compression before it is put to voiced sounds. The "sh" in particular gives a strong sense of compression/flow. These fricatives, when sustained, give the singer a fair simulation of what it feels like when one is singing. Both an outward (pushed out) sensation is felt (in the lower abdominal and pelvic areas) and an inward (pulled in) sensation is felt around the area of the epigastrium. Furthermore the sensation of suspension (expansion) is felt in the ribcage. This three-part sensation is more or less a complete sensory experience of what support feels like. The suspension of the ribcage is active, because the natural occurrence when we exhale is that the ribcage collapses. However in singing, we are attempting to counter a strong reaction (active only in so far as the brain decides what muscular action is necessary to produce the desired compression) from the muscles of exhalation to compress the air that drives the sound.