Virginia citizen. (Irvington, Va.) 1891-1921, 1900-03-09
BREATHING FOR SINGING.
Sims Reeves, the Tenor. Tell. How
IL Shoull n, Done

Sims Reeves, tho Tenor, Tells How
IL should ne Done.
Breathing Is an exercise In itself.
Singers should not purposely study the
anatomical conditions of the throat anu
lungs. IL is with the emotional, not
the anatomical, side OF his art thar
the singer has TO do. For the practical
purpose OF singing a knowledge of the
muscles of the throat is as useless as
knowledge OF the muscles Of the arm
is for the playing of cricket Cases
are not infrequent where these ana
tomicai studies have a tendency TO set
up sort OF nervous dread in the singer
that the breathing Is not being done
the correct way. Incorrect breathing
is an acquired habit, induced some
times by an elaborate means taken to
avoid 1t. A few simple hints are all
that are necessary. The rest of what
is called the art of breathing Is very
much matter of instinct
Avoid breathing through the mouth.
Whenever possible inhale through the
nostrils. This allows the nose to puri-
fy and warm the air before reaching
the throat, which needs to be warm i'm
order for the production of good tone
1t is frequently remarked that such
and such an artists voice Improved
later In the evening" which means that
the singers throat became warmed as
the concert or opera proceeded and not
that the voice improved, though the
tone may have done so. Breathing
constantly through the mouth inclines
70 dry the throat and make the voice
husky. But it Is impossible to sing
declamatory music without breathing
through the mouth. 1t is even neces-
sary for effect that the breathing
should at times be audible. and in long
Handelian passages and fiorid music
Of that description what are called half
breaths through the mouth are allow
ed; otherwise the singer could not in
hale breath and keep in strict time.
Never heave up the shoulders in the
act Of taking breath. There should be
no perceptible movement of the body
at ALL Never take in breath of n sud-
den when only practicing. although the
singing OF certain passages obligcs the
performer to do SO. The ribs should
expand sideways in the taking Of
breath. the chest rising and falling
with each phrase. False breathing.
such as when n lady's shoulders rise as
IL they were about to expand like
wings. not only tires the throat, but
makes n disagreeable impression on
the audience. Singers should once n
day practice before n looking glass i'm
order to correct any faults arising from
defective breathing or from grimace.
Breath must never be taken between
a head note and chest note. The
transition from the one voice to the
other must be done with very little
breath and very softly.
Nasal singing destroys the CARRYING
power of the voice. Voices which are
metallic in sound carry best. Singers
whose voices are naturally soft i'm
quality should therefore try to acquire
little stridency i'm tone, and, vice
versa, singers whose voices are too
strident should aim ut n rounder and
softer quality. In some halls the rever-
bcration blurs the tone OF the voice:
therefore the singer must accommo-
date the amount of tone 10 the acoustic
properties of the place where he is
singing. In warm, oppressive room
IL is necessary to reserve the power of
the voice, because forcing the voice
under such circumstances allows IL TO
become easily fatigued and used up.
The best way OF combating an echo in
n hall is never 60 shout 1t appears
easy TO sing I'm n hall full OF vibration.
but this is deception. The tone goes
all round the singers ears, and lie can
not hear properly when he sings aloud.
and SO he loses control OF the tone. 1t
Is therefore advisable TO sing piano
and feel the way, as the quicter tone
travels better and the percussion is not
so great rs I'm loud, shouting tone.
Increase and decrease OF tone are
produced by the breath alone. A man
In n raging passion will swell the mus
cles OF the throat ard grow red In the
face In attempting 10 give utterance to
his anger, but he Is, indeed, Us the
phrase goes, choking himself with
rage" because he Is trying to get n
terrific volume of voice by physical
pressure on the throat, and the more he
swclls hts veins and muscles the less
able Is he 20 speak ut all. Singers,
therefore, should not attempt 20 get n
crescendo by pressing the muscles of
the throat. Command OF breath Is the
only method.-Sims Reeves in London
Idlcr.