CHIEFLY ON RESPIRATION.
We will now turn our attention to the different ways of breathing.
In throat or collar-bone breathing (the wrong method) the region of the
upper ribs is most strongly distended; the collar-bone, part of the
breast-bone, the shoulders, the spine, and in laboured breathing even
the head, take part in this mode.
It is fatiguing and injurious, yet it is very general, both in speaking
and singing; and in time it would make the voice weak and tremulous.
There is little doubt it produces a tendency to sore throat. Some
authorities even say that imperfect respiration is one of the causes of
consumption, and that practising deep breathing in the proper manner is
a preventive.
Most likely if you were told to inhale deeply, you would open your
mouth and try to expand the chest from above. This is quite wrong; it
is styled collar-bone breathing.
It is a mistake to suppose the upper part of the chest is the chief
reservoir of air required for the voice; that is brought into play by
nature at times of exhaustion only.
Now for the proper mode: diaphragmatic or abdominal respiration. The
diaphragm is a muscular membrane stretching from the front to the back,
and in a state of rest is arched upwards towards the lungs, but on
inhaling, its sides contract and the arch is flattened, causing the
cavity of the chest to become enlarged, and the air rushes in by the
windpipe and distends the lungs. When the muscles are relaxed, the
elasticity of the lungs squeezes out the air, and the diaphragm is
drawn up again to its original form.
A good position in which to acquire this mode of inspiration, is to lie
down at full length on the back, the head as low as the body, and begin
to inhale slowly (the clothes must be quite loose), then you will find
the parts below the ribs expand like a pair of bellows. Another way.
Sit on a chair—it must not be low and easy—with your hands folded
behind it and breathe leisurely; or, stand perfectly upright, put your
hands behind you, and draw in the air gently but deeply, retaining it
for ten seconds or more, then let it go as slowly as possible.
Do not try to take too deep a breath at first, or you will find you
cannot retain it. Your power will gradually increase.
Practise, without singing, sometimes in one of these positions,
sometimes in another, twice or thrice a day, but not for many minutes
at a time. It will strengthen the lungs and organs of digestion. You
will now have found how important it is for the clothing to be loose, I
hope.
It is well to close the mouth when one wishes to take breath.
Especially at long rests the singer should do so, as it prevents the
throat and vocal chords from getting dry. If they do become so the
voice loses sweetness.
Remember a good tone does not depend on the great volume of air
ejected: indeed, too much breath expended will make it uncertain. Flat
singing is now and then the result of this forcing. The air must be
given out gradually, not jerked out.
Avoid coughing; it is an injurious habit easily got into; if you feel
an inclination to do so before beginning to sing, check it if possible,
and instead quietly swallow.
Let me advise you not to eat nuts or similar dry things before singing,
and here is another hint. Do not sit in a low chair with the feet
perched up on a stool after meals, as the digestive faculties cannot
act well in such a position. With an impaired digestion the voice may
become affected.
Never talk in the open air if the weather is cold and damp, nor when
travelling, nor at any time, if it can be avoided, where there is much
noise.
Many persons wrap up the throat excessively. One of my pupils came
once with no less than two silk handkerchiefs under a fur-lined cloak,
besides wearing a boa. A silk scarf is enough even for the winter; fur
is not healthy to wear unless it is in the form of a loose mantle.
It is a good plan on getting up each morning to bathe the neck with
cold water, afterwards drying well, using plenty of friction, also to
gargle the throat with cold water.
For the expansion of the chest, I strongly advise the use, night and
morning, of an elastic chest expander. It must be strong enough to
require a distinct effort to stretch it, and the exercise must be
persevered with for ten minutes at a time, until the muscles begin to
ache. By-and-by it can be used for a longer period.
The singer must observe the laws of health, remembering that the vocal
organ is but an instrument, though played on by the soul.
A few more words before closing this article. Perchance one of my
readers may be anxious to sing well, though unable to have the benefit
of receiving lessons. In that case, I do not advise the study of
exercises, unless some tuition has first been received from a competent
person, as bad habits are so easily formed though not so easily got rid
of.
Let the songs you choose lie well within your range of voice, without
runs or shakes; nothing being more absurd than to hear ornaments badly
executed.
When it is possible, try to hear a professional render a song that you
know. There are many ballad concerts given, and the music that will be
performed is generally advertised. Take your copy with you, and mark
all places where breath is taken, where a _crescendo_ is made, and
where the time is slackened or accelerated. You will get a good lesson
on a song in this way, and if you persevere your style will by degrees
improve.
Before singing a new song, practise the accompaniment well, then study
the words, making it a rule to recite them, that you may give proper
effect to both music and poetry. Try always to bear in mind, what is
worth doing at all is worth doing well.
MERLE’S CRUSADE.
BY ROSA NOUCHETTE CAREY, Author of “Aunt Diana,” “For Lilias,” etc.