BREATHING
He who breathes properly sings properly, it has been said; and there is
not a single authority of any weight, I venture to say, who does not
endorse that statement. The old Italian masters used to say, indeed,
that the art of singing _is_ the art of breathing; and the same idea was
put by Lamperti in another way when he observed that “the attainment of
proper respiration should be the first object of the student of
singing.”
On the same subject the words of a famous English singing teacher,
William Shakespeare, may be quoted. In his well-known work on the Art of
Song he lays down as the two fundamental aims to be set before himself
by the student: 1, how to take a breath and how to press it out slowly;
and, 2, how to sing to this controlled breath pressure.
It is when we come to consider the views of the different theorists in
detail that divergencies will be found to arise. But on certain
fundamental matters there will, I think, be found pretty general
agreement nowadays.
The great guiding principle to be borne in mind, in my opinion, is ease
and naturalness. This is one of those matters in regard to which nature
can be trusted much more safely than theorists and professors. I refer,
of course, to the actual process of breathing. As regards the subsequent
production of tone there is, of course, plenty to be taught. But the
actual process of inspiration and exhalation should be as natural and as
easy as possible.
[Illustration: LARYNX, WHERE THE VOICE BEGINS.
THE PIPE, UP WHICH THE AIR IS PUMPED TO THE LARYNX AND ON UP INTO THE
HEAD.
LUNGS, OR THE VOCAL BELLOWS.
ROUGH DIAGRAM OF THE LARYNX, TRACHEA AND LUNGS.]
Some wise words of Salvatore Marchesi may be quoted on this point: “When
explaining the physical, mechanical process of breathing to beginners
it is essential to make them understand that natural laws have provided
for its independence of our will, as is observed in sleeping. Therefore,
every intentional preparation or effort made in order to draw more air
into the lungs will produce the contrary result, hindering the freedom
of the natural process.”
But this is not to imply that breathing capacity cannot be cultivated
and developed by practice. On the contrary, a vast amount can be done in
this way, just as in the case of any other organ of the body, by means
of systematic exercise and practice. Everyone has heard, for instance,
of the wonderful way in which the breathing capacity of native divers in
the tropics is developed in the course of their calling, or of that old
man in the Bay of Naples who stops under the water with a watch in hand
for 35 seconds. Singers can acquire something of the same power, and
must do so, indeed, if they hope ever to achieve the best results. For
the production of good sustained tone is impossible if the art of
breathing is not properly understood and acquired.
Among modern singers no one attached more importance to breathing and
breath control than the late Signor Caruso, and no one, certainly,
attained more wonderful results in this way. He developed his powers to
such an extent indeed in this respect, that it was said that he could
move a grand piano by the expansion of the muscles of his diaphragm! And
whether this be true or not it is certain that his wonderful breathing
capacity was, as he himself used to declare, in large measure the secret
of his consummate art.
Try to avoid breathing through the mouth. Inhalation through the
nostrils purifies and warms the air before it reaches the throat.
Breathing through the mouth dries the throat and makes the voice husky.
Nevertheless, in singing declamatory music what are called half-breaths
through the mouth are necessary.
When practising avoid taking sudden breaths, though this may also be
necessary when performing publicly.
Practise once daily before a looking-glass and so correct faults of
breathing and grimaces.
Don’t heave the shoulders when taking breath. There should be no visible
movement of the body.
When practising breathing--and this should be done every day--inhale a
long slow breath to the full lung capacity, hold for one or two seconds,
and then exhaust in the same slow gentle way. This is rather exhausting,
and two or three periods of five minutes with an interval of say fifteen
minutes should be sufficient for each day.