Idaho semi-weekly world. [volume] (Idaho City, Idaho Territory) 1875-1908, 1888-11-30
BREATH IN SINGING.


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Young vocaIiStss
To properly control the escape Of
breath In singing is an Indispensable
adjunct TO good tone / say escape Of
breath IL the more important as con-
trasted with the act Of drawing In the
breath. commonly called inspiration.
It is true that the method OF an inspir-
alton influences, to greater or less
extent, the character Of the expiration,
dependent largely, however, on tho
singer ) culture and ability The ab-
dominal muscles and the diaphragm
are the great exploratory muscles. That
is. they both hold back and force out
the breath, when properly used The
ordinary expiration occupies two or
three seconds of time. The expiration
in singing consumes from ten to twenty
seconds. and even longer. In the
breathing out for purposes Of life the
sensation is of breath going from us.
In breathing out while singing one
should have the sensation Of breath
coming toward one, drunk i'm as it
were The proper use OF breathing
muscles will cure husky tone, a gut
teral or throaty tone, tired throat
after singing, wrong information, sing
ing out Of tune, and is of great help Ia
the treatment of nasal tones.
Advice to beginners {and many ad-
vanced pupils) in singing: When
breathing in a perfectly natural and
easy manner and with no restrictions
from clothing or otherwise, shoulders
relaxed and reposing. notice the slight
expansion Of the walls of the abdomen
as you breathe in. This movement is
caused by the descent Of the diaphragm
as it pushes out the abdominal vfscera
before it. You will notice that after
taking in a moderate breath in this
| manner the tendency will be for the
abdomen to Immediately recover its
| position of rest and the breath to es-
cape. Now instead of allowing this to
take place in two or three seconds, pro-
| long it by preserving the expansion OF
the abdomen and holding back the
breath so that the expiration occupies
! five Or six seconds of time. II you are
wholly unused to exercises of this kind
| you will notice that after few inspira-
| lions and expirations the muscles will
appear slightly fatigued, and you will
feel like taking long breath. You
have been giving them a little extra
| labor to perform; this will increase the
| flow of blood to them, which means In
| creased nourishment and strength.
After practicing in this manner once or
twice a day for week. you will notice
that your fatigue diminishes as your
strength and power of control in
| creases, and this is the first step la
learning to sing. do not say that you
| may not develop the control in any
| other way, as for instance in exercise
| coupled with tone, but in one way or
| another it must be done.
Do not begin your practice with in
| haling more than moderate amount OF
| air, as this viii be much more difficult
for you to control and will tend to re-
move your efforts from the proper
| muscles to interfering muscles. Avoid
| raising the shoulders as this affects
sympathetically throat muscles that
should be relaxed. After continuing
this practice for d few days and the
| muscles become in a manner used te
holding back the breath, tone may be
| employed with the syllable ali or hh
reserving the breath in the same man
| ner as in the breathing exercise, taking
| care to sing with moderate amount o
tone as being easier than one that i
too soft or too loud. II. W Giles, u
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