The San Francisco call., 1904-02-05
INSTRUCTIVE JTUDEng
BY YMOIEDAlEN AND
,kNsS1F1EN

or a lfemOlO. An eXCSilenI pIdcliCe IOI
the control Of breath emission is to
take a full breath. hold it while and
then blow through the teeth quietly
and steadily, producing a sound like
the emission of steam. Another prac-
tice is to take a breath and count in
whispers quietly and staccato as many
numbers as possible. Still another good
practice is to take the breath and hum
very quietly, watching the steadiness
Of tone and the sensation of having 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 CT the
diaphragm do the work. There is also
most important practice for the sing
er in getting control of the muscles
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 a
lung sweeper" and has a great infu-
ence in producing a proper vocal at
tack
The physical side Of breathing is the
great limitation to the singers art 1t
behOoves. therefore, every conscientious
singer 10 study how best to gain con-
( troll Of breath and to develop its pos
sibilities TO the highest perfection. 1t
is the foundation of all good vocal pro-
duction, and may either make or mar
Frequently his artistic Interpretation
Just as one might build a magnificent
organ with an inferior bellows. so the
most splendid vocal mechanism is
valueless and may in time be destroyed
by the failure TO breathe properly
Besides quality of tone the equaliza-
ton Of vocal registers and the extern
sion of range depend upon a steady
breath supply. Above the purely me-
chanical side of voice production. it is
essential for the proper delivery of
musical phrases 10 have at ones com
mand enough breath to successfully
accomplish the composers intention.
One is frequently impressed with the
fact that singers, above all classes of
musicians. cut UP and mar the beauty
of musical phrases in their failure to
/ secure a proper breath supply.
Another point in the art of breath
ing properly is to breathe noiselessIy
7 and reposefully. Nothing is more dis
turbing for the public than to feel the
effort of the vocalist to secure a breath
supply. Such exhibitions show i'm
proper training on the part Of the
singer and will in time impair the
voice. great blessing to the singer,
! preacher or man in public life is the
fact that a full, deep breath does much
toward establishing a mental poise and
giving them a sense of repose before
the public. The healthful effects Of
good breathing recommend themselves
to US when we look over the list of
great singers. The artists of the opera
who visit us yearly are almost as
Splendid physical specimens as one
woUlC care to see.
The student of voice will find out
! door exercise most valuable, especially
/ long walks, and he should cultivate
| holding his chest high, breathing slow
lythrough his nostrils and occasional
ly walking a few PAGES in one breath
He viii find himself invigorated all
day by short walk of this kind.
Games and outdoor exercises are all
valuable. provided they are not over
done, and provided further they do
not cause him to use his voice in calls
and cries
Indoor exercises are most valuable
/ especially in cold and disagreeable
weather. The best attitude for the
/ body in breathing is to lie fiat on ones
/ back with the hands under ones head.
/ The chest, through this means, is ele-
waited and the muscles of the abdomen
are brought into play. Another pose
for the body during breathing is to
put stick on the shoulder and hold
it with both hands, thus throwing the
chest out Still another good practice
is to stand with the back and the head
against the wall and go through the
exercises above mentioned. Besides
the actual act of breathing, there are
some good exercises for strengthening
the muscles of the diaphragm. In
general, there is very little danger of
breathing too much, and the student
OF voice will find in case of cold or
hOarseness that he will still occupy
himself with his breathing exercises
which in many cases will be of benefit
TO the cold itself. In singing his
songs the student should cultivate the
art of reposefully giving out his
phrases and should try to make his
/ hearers feel the same sense of an un-
| limited breath supply.