Following the subject of requirements for a vocal career, let us get
right down to the technical side, and review the ideas of artists on
Breath Control, How to Practice, What are the Necessary Exercises, What
Vowels Should be Used, and so on.
All admit that the subject of Breath Control is perhaps the most
important of all. Lehmann says: "I practice many breathing exercises
without using tone. Breath becomes voice through effort of will and by
use of vocal organs. When singing, emit the smallest quantity of breath.
Vocal chords are breath regulators; relieve them of all overwork."
Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest
factor of all is the breathing. To control the breath is what each
student is striving to learn, what every singer endeavors to perfect,
what every artist should master. It is an almost endless study and an
individual one, because each organism and mentality is different."
Marguerite d'Alvarez: "In handling and training the voice, breathing is
perhaps the most vital thing to be considered. To some breath control
seems second nature; others must toil for it. With me it is intuition.
Breathing is such an individual thing. With each person it is different,
for no two people breathe in just the same way."
Claudia Muzio: "Every singer knows how important is the management of
breath. I always hold up the chest, taking as deep breaths as I can
conveniently. The power to hold the breath and sing more and more tones
with one breath, grows with careful, intelligent practice."
Frieda Hempel: "The very first thing for a singer to consider is breath
control--always the breathing, the breathing. She thinks of it morning,
noon and night. Even before rising in the morning she has it on her
mind, and may do a few little stunts while still reclining. Then, before
beginning vocal technic in the morning, she goes through a series of
breathing exercises."
David Bispham: "Correct breath control must be carefully studied and is
the result of understanding and experience. When the manner of taking
breath and the way to develop the diaphragm and abdominal muscles, is
understood, that is only a beginning. Management of the breath is an art
in itself. The singer must know what to do with the breath once he has
taken it in, or he may let it out in quarts when he opens his mouth. He
learns how much he needs for each phrase; he learns how to conserve the
breath."
Oscar Saenger: "The management of the breath is a most important factor,
as the life of the tone depends on a continuance of the breath. The
student must cultivate the power of quickly inhaling a full breath, and
exhaling it so gradually that she can sing a phrase lasting from ten to
twenty seconds. This needs months of arduous practice. In all breathing,
inhale through the nose."
Yeatman Griffith: "Breath control is indeed a vital need, but should not
be made a bugbear to be greatly feared. Most students make breathing and
breath control a difficult matter, when it should be a natural and easy
act. They do not need the large amount of breath they imagine they do,
for a much smaller quantity will suffice. When you open the lips after a
full, natural breath, do not let the breath escape; the vocal chords
will make the tone, if you understand how to make a perfect start."