Los Angeles herald., 1909-12-19


1t could not were it not for the fact
that the abdominal muscles tighten
and force the diaphragm gradually up,
allowing sufficient air to escape 10
produce tone.
The expanded chest acts as KIND
of reservoir, retaining a reserve fund
of air, upon which the abdominal mus
cles and diaphragm can draw in pro-
ducing tone, the function of the dla-
phragm being to hold back on the
voice and that of the abdominal mus
cles to force 1t out.
1 have a breathing apparatus that
l built to use in my lectures, which
shows the chest, the windpipe, the
bronchial tubes, the lungs, the dia-
phragm, the abdominal muscles and
the action of these muscles in breath
ing and singing.
A large glass percolator, such as they
use in drug stores, serves as the chest.
A piece of rubber tubing inserted in
the neck of the percolator acts as the
windpipe A piece of glass tubing,
with two prongs, attached to the wind
pipe. serves as the bronchial tubes.
To the end of each of these tubes l
have a thin rubber bag fastened Sc
curely these bags are supposed to
represent the lungs.
Across the base of the percolator,
which is the larger end, and open, l
have tied a piece of rubber dam, or
sheeting. This serves as the dia-
phragm.
Holding the percolator on my knee
with my left hand, 1 pull the dia-
phragm down with my right hand,
which Immediately initiates the bags
on the inside which represents the
lungs.
Then by forcing the diaphragm up
gradually, gradually defiate the
lungs. In the latter instance my right
hand would represent the abdominal
muscles, forcing the diaphragm up,
just as it takes place In singing.
And right here let me call your at
tention to the fact that while the lungs
are debated by this action, the glass
jar or percolator remains the same
size, which would represent the chest
being held expanded to the end of
the tone. And thus you see that suffi-
cient air is allowed to escape for tone
production by forcing the diaphragm
upward by abdominal pressure.
And thus l demonstrate how the dia-
phragm and abdominal muscles con-
stitute the two actual powers en-
ployed in voice production, the chest
being held expanded to the end of the
tone In order to retain a reserve fund
of air, upon which these two powers
can draw in producing tone.
1 will take pleasure in showing this
breathing apparatus to any one calling
at my studio In Blanchard Hall build
ing.
Now, the principal reason so few
people learn to sing, whether they
study in America or Europe, is due
to the fact that they never master the
action of the breathing muscles, with
out which 1t is impossible to enjoy
that perfect freedom of throat that is
so necessary to correct singing.
And 1 assert again that any one can
learn to sing who will master the ac-
tion of these muscles, which must first
be located and then strengthened by
breathing exercises.
OF course, the voice must be placed
properly. which means that the nose
roof of mouth, pharynx, eustachian
have their proper proportion of air vi
brations during voice production.
Now, my assertions are not merely
theories.
l have substantiated them In hun
dreds of cases, restoring what seemed
to be ruined voices and producing
beautiful voices in cases where no
voice seemed to exist.
In conclusion, allow me to state that
THE HEBER COLEMAN SYSTEM
OF SCIENTIFIC VOICE CULTURE
is not a new method of singing, as has
been thought by some. 1t is merely
a system of teaching based on prac-
tical demonstrations of the action of
the breathing muscles, which fact has
been clearly shown in my numerous
writings and lectures on voice culture.