The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-02-03

trils. hold it awhile and expel the air
suddenly. In the act of inspiration
the greatest care should be taken not
to overload the lungs and not to raise
the shoulders. The body, while TAX
ing the air. should be relaxed and es-
pecial care should be taken that the
muscles around the neck and chest are
not contracted.
Another much-neglected point In
breath control is holding the breath.
BY tpracticing how to maintain the
lungs full Of air, their elasticity and
strength are much helped. 1t is use
full for a singer to practice holding his
breath continually. But the great art
of the singer lies principally in know
ing how to give out breath properly.
Taking It for granted that he has
lower lobes of his lungs, then comes
the proper emission Of breath. The
muscles of the diaphragm and the ribs
should be so controlled as to supply
quietly and steadily a stream of breath
to the vocal chords. Having reached
the vocal chords breath turns into
tone and must be properly guided to
the various resonance cavities, such as
the roof of the mouth and the nasal
cavity, besides many other auxiliary
chambers.
BY overcharging the lungs it will be
easily seen how one loses control of
the muscles and blows out too much
air for the vocal chords. This will
produce frequently singing off the key,
or tremolo. An excellent practice
for the control Of breath emission is
to take a full breath, hold it awhile
and then blow thru the teeth quietly
and steadily producing a sound like
the emission Of steam. Another prac-
tice is to take a breath and count in
7xyI7f Syo jof1 ma cfo ~ w
numbers as possible. Still another
good practice is to take a breath and
hum very quietly, watching the steadi-
ness of tone and the sensation Of hay
ing the hum upon the lips.
Besides this, there are many useful
exercises for the singer, such as hold
ing the chest firm and painting quickly,
taking care that the muscles of the
diaphragm do the work. There is
also a most important practice for the
singer in getting control Of the mus
cles Of the diaphragm. First take in
a breath and give it out in short puffs.
At each puff let him put his hand just
below the chest and press outward
with those muscles. This has been
called lung sweeper" and has a
great influence in producing a proper
vocal attack
The physical side Of breathing is the
great limitation to the singers, art. II
DeuOOVeS, .LlleIc1OIe, every COHSC1ell'
tious singer to study how best to
gain control Of breath and to develop
| it's possibilities to the highest perfec-
! ton. It is the foundation Of all good
vocal production, and may either make
or mar frequently his artistic inter.
probation. Just as one might build 9
magnificent organ with an inferior
| bellows, so the most splendid voca
mechanism is valueless and may ir
time be destroyed by the failure tc
breathe properly.
| Besides quality Of tone the equal
ization Of vocal registers and the ex
tension Of range depend upon a steady
breath supply. Above the purely me
chanical side Of voice production, it il
essential for the proper delivery o
musical phrases to have at ones com
mand enough breath to successful,
accomplish the composers intention
One is frequently impressed with tn
fact that singers, above all classes Q
musians cut up and mar the beaut
of musical phrases in their failure t
secure a proper breath supply.
Another point in the art of breath
ing correctly is to breathe noiselessl
and reposefully. Nothing is more dis
turbing for the public than to feel tn
effort to the vocalist to secure
breath supply. Such exhibitions sho7
improper training on the part Of tn
singer and will in time impair tn
voice: A great blessing to the singer
preacher or man in public life Is tn