The western sentinel. [volume] (Winston-Salem, N.C.) 1887-1926, 1895-10-24
SINGING STUDENTS.
Foremost Principle In the Art of Singing.
italian Method of Respiration.

Foremost
italian Method of Respiration. =
The most important point in connec-
ton with the production of the voice is
the control of the palate, or rather pal
ates, there being swo-the hard palate
or roof of the mouth and the soft palate
and its appendage, the uvula. The IA
nous francesca Lamperti maintained
that the foremost principle in the art of
singing consisted in striving to drive
the note back as far as possible on the
roof of the mouth, thus always giving
sweet fullness f-emission. Now, for in
stance, in singing scale while produc-
ing the lowest notes the uvula rests its
entire length on the base of the tongue,
but in ascending the scale the palate is
drawn speedily upward accompanied by
the uvula, and when it reaches the high
est note the uvula, always the support
of the palate, touches the wall of the
pharynx, so that at no time is the soft
palate without its guardian, although at
the maxim tones it disappears from
view If the palate should lose this lit
tie appendage. the passage of the air
through the throat would cause it to
vibrate to and fro, making the voice
culver, tremulous and unsteady. When
the student has conquered the some
times obstinate muscular action of the
palate by great deal Of practicing be-
fore mirror and greater practice OF
her powers of patience, she will find
that this one great victory only leads to
another conf1ict-that of correct breath
ing.
In this we follow the Italian method
of respiration, and in this portion of
her researches the student will have to
bring to bear upon her work not only
muscular power, but mental as we'll
The first step toward correct breathing
is an erect position, throwing the chest
upward to lift the bones off the lungs,
then slowly and gently inha1ing from
below the chest, in the meantime, slow
" expanding, the abdomen gradually
distending until the lungs are filled
with air. By this practice the student
will obtain complete control of the re-
spiratory organs and be able to give
forth at will sufficient breath for the
performance of any passage. Every tone
will be clear, pure and steady and CIV
en- with the greatest ease and confidence.
A splendid practice for acquiring the
increasing and decreasing of tone, says
Jenness Miller Monthly, is to begin
with the softest pianissimo, increasing
gradually until the climax is reached,
then decreasing to the original PIANIST
mo. This is one of the chief features of
the italian method, for in this exercise
one learns to control respiration and cul-
tivation of the ear. These breathing ex-
ercises, however, should not be practiced
for longer than ten minutes at time
at first, slowly increasing as the lungs
gain in power. Practice moderately and
let the actual be preceded by the men
tai labor in order to avoid the repetitions
which but serve to fatigue the singer.
By silent study is meant learning the
score of the music as silently as one
would learn chapter in history, study
ing the notes, the time and the marks
of expression. This practice will also
be of great help in that too often neg
lected branch, sight reading.