Evening star., 1900-06-02
SIMS REEVES on BREATHING.
How 1t Should he Done and What 1.
Avoid.


From the London Idler.
| breathing is an exercise IN itself. Singers
should not purposely study the anatomical
conditions of the throat and lungs: it is
with the emotional. not the anatomical side
of his art that the singer has to do For
the practical purpose of singing. a knowl-
edge of the muscles of the throat is as use
less as knowledge of the muscles of the
arm is for the playing of cricket Cases
are not infrequent where these anatomical
studies have a tendency to set UP a sort Of
nervous dread in the singer that the breath
ing is not being done the correct way In
correct breathing is an acquired habit, in
duced sometimes by an elaborate means
taken TO avoid it. A few simple hints are
all that are necessary; the rest of what is
called the art of breathing is very much a
matter of instinct
Avoid breathing through the mouth: ::
whenever possible inhale through the nos
trils. This allows the nose to purify 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 be-
came warmed as the concert or opera pro-
ceeded and not that the voice improved
ing constantly through the mouth inclines
to dry the throat and make the voice
husky. But it is impossible to sing de-
clamatory music without breathing thro11pl,
the mouth-it is even necessary. for effect
that the breathing should at times be audi
BILE; and in long Handelian passages and
iorid music of that description. what are
called f-breaths through the mouth are
allowed; 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 per
ceptible movement Of the body at all
Never take in breath of sudden when only
practicing; although the singing of certain
passages obiges the performer to do So
The ribs should expand sideways in the
taking of breath-the chest rising and fall
ing with each phrase. False brea hing
such as when a ladys shoulders rise as if
they We're about to expand like wings-not
only tires the throat, but makes a Disagree
able impression on the audience. Singers
should once a day practice before a look
ingglaSs, in order to correct any faults
arising from defective breathing or from
grimace. Breath must never be taken be-
tween a head note and chest note: the
transition from the voice to the other
must be done with very little breath and
very softly.
Nasal singing destroys the carrying pow
er Of the voice. Voices which are metallic
in sound carry best. Singers whose voices
are naturally soft in quality should there
fore try to acquire a little stridency in tone:
and vice versa, singers whose voices are
too strident should aim at rounder and
softer quality. In some halls the reverbera-
ton blurs the tone of the voice. therefore
the singer must accommodate the amount
of tone to the acoustic properties of The
place where he is singing. In a warm. op-
pressive room, 1t 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 a hall is
never to shout. 1t appears easy to sing in
nall full of vibration buf this ;S
ton The tone goes all around the singers
ears, and he cannot 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.
duced by the breath alone. A man In Q