Peninsula enterprise. [volume] (Accomac, Va.) 1881-1965, 1900-03-10
BREATHING FOR SINGING.
Sims Reeves, the Tenor, Tells How
Ii should BE Done.

IL ShOuio he DOnes
Breathing is an exercise In Itself
Singers should not purposely study the
anatomical conditions Of the throat and
lungs. 1t Is with the emotional, not
the anatomical, side Of his art that
the singer has to do. For the practical
purpose of singing knowledge Of the
muscles of the throat Is as useless as a
knowledge of the muscles Of the arm
is for the playing Of cricket. Cases
are not infrequent where these ana
tomical 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 II. A few simple hints are all
that are necessary. The rest Of what
lis called the art o2 Breathing Is very
much a matter Of instinct.
Avoid breathing through the mouth.
Whenever possible inhale through the
nostrils. This allows the nose to puri-
fly and warm the air before reaching
the throat, which needs to be warm in
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
to dry the throat and make the voice
husky. But 1t 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 ford music
Of that description what are called half
breaths through the mouth are allow
ed; otherwise the singer could not iu-
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 a sud-
den when only practicing, although the
singing of certain passages obliges 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 a ladys shoulders rise as
If they were about to expand like
wings, not only tires the throat, but
makes a dlsagreeable impression on
the audience. Singers should once a
day practice before a looking glass In
order to correct any faults arising from
defective breathing or from grinace.
Breath must never be taken between
a head note and a 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 In
quality should therefore try to acquire
a little stridency in tone, and, vice
versa, singers whose voices are too
strident should aim at a rounder and
softer quality. In some halls the rever-
beration blurs the tone Of the voice;
therefore the singer must accommo-
date the amount of tone to the acoustic
properties of the place where he is
singing. In a warm, oppressive room
it is necessary to reserve the power OF
the voice, because forcing the voice
under such circumstances allows 1t to
become easily fatigued and used up.
The best way of combating an echo in
a hall is never to shout. 1t appears
easy to sing in hall full of vibration,
but this is a deception. The tone goes
all round the singers ears, and he 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 quieter tone
travels better and the percussion is not
so great as in loud, shouting tone.
Increase and decrease of tone are
produced by the breath alone. A man
in raging passion will swell the mus
cles of the throat and grow red in the
face in attempting to give utterance to
his anger, but he is, indeed, as the
phrase goes, choking himself with
rage" because he is trying to get a
terrific volume Of voice by physical
pressure on the throat, and the more he
swells his veins and muscles the less
able is he to speak at all. Singers,
therefore, should not attempt to get a
crescendo by pressing the muscles of
the throat. Command of breath is the
only method.-Sims Reeves in London
Idler.