The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1895-10-16
SINGING STUDENTS.
ROremest Principle In the Art of Singing.
italian Method of Respiration.

Italian Method OF Respiration.
The most important point in connec-
tion with the production of the voice is
the control Of the palate, or rather pal
ates, there being two-thelh hard palate
Or reef of the mouth and the soft palate
and its appendags, 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 tho
roof Of the mouth, thus always giving
sweet fullness Of emission. Now, for in
stance, in singing a 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 appendsge. the passage of The air
through the throat would cause it to
vibrate to and fro, making the voice
CULVER, tremulous and unsteady. When
times obstinate muscular action of the
palate by a great deal Of practicing be-
fore mirror and a greater practice of
her powers Of patience, she Will find
that this enc 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 tho bones off the lungs,
then slowly and gently inhahng from
below, the chest, in the meantime. slow
~ expanding, the abdomen gradually
distending until the lungs are filed
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.
4 splendid practice for acquiring tha
increasing and decreasing of tone, says
the authority of the foregoing in The
Jenness Miller Monthly, is to begin
with the softest pianissimo, increasing
gradually until the climax is reached,
/ then decreasing to the original pianissi-
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 d time
j at first, slowly increasing as the lungs
i gain in power. Practice moderately and
[ let the actual he preceded by the men-
! tai labor III order to avoid the repetitions
t which but serve to fatigue the singer.
By silent study is meant learning the
score of the music as silently as one
would learn a 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.