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CONTROL OF THE BREATH. |
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abdominal press is used, as directed above, the voice will be sustained right to the end of each phrase. Thus one of the greatest faults in reading or speaking is overcome, namely that of allowing the voice to fall away at the end of each phrase to such an extent that the audience have to guess the last sound or perhaps the last two sounds. This fault completely kills musical speech and prevents the real meaning of the subject-matter from being clearly conveyed to the hearers. It leads to loss of voice sooner or later in those who have much voice-work to do, for the pressure is not sufficiently equalised on both sides of the cords, and they become strained; and it is impossible to keep the voice placed upon the bony vaults of the mouth or nose. If the voice continually strikes against the soft parts, it will cause tension and friction and so congestion of those parts; hence one of the causes of the so-called clergyman's sore throat.
35. Prevention of Breathy Sounds.—By the regulation and timing of the abdominal press, and by the careful placing of the upper end of the column of air, the breath is brought to the cords at the right time. Voice appears to be sounded in the front of the face as soon as the abdominal press is made, and to be stopped when that press is taken off. This prevents any kind of breathy sound from the escape of air between the cords before they are approximated, which also has a damaging effect upon the delicate vocal bands. This seems to be the explanation of the old Italian method of thinking of the sound before making it. Concentrate the attention upon the front of the face, then make the abdominal press. This will prevent shock of the glottis and also breathy sounds. |
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