Gilpin observer., 1900-08-09
BREATHING FOR SINGING.
Sims Reeves, the Tenor, Tells How
1t should Ne Done.

Sims Reeves, tho Tenor, Tells How
1t should Ne Done.
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 n knowledge Of the
muscles of the throat is as useless us q
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 it, \ few simple hints are all
that are necessary. The rest of wha:
Is called the art of 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-
| fy 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
ana such an artists voice improved
later in the evening"" which means that
| the singers throat became warmed rs
| the concert or opera proceeded and not
| that the voice improved, though the
to-e may have done SO. Breathing
constantly through the mouth inclines
to dry the throat and make the voice
;t =.
| 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 gre 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 he
no perceptible movement of the body
at all. Never take in breath of 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
Win euCH pnIuSt. silSe x.
such as when lady's shoulders rise as
If they were about to expand like
wings. not only tires the throat. but
makes disagreeable impression on
the audience. Singers should once n
day practice before looking glass in
| order to correct any faults arising from
defective breathing or from grimace.
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
little stridency in tone. and, vice
versa. singers whose voices are too
strident should aim at n 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 n 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 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 ard 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
| terrific volume of voice by physical
pressure on the threat, 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
crescendo by pressing the muscles Of
the throat. Command of breath is the
| only method.-Sims Reeves in London
Idler,