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CONCEPTS OF BREATHING |
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"Practice in correct breathing should always precede all exercises in singing," she warns. [493] Armstrong would have at least six months of practicing breathing exercises before singing lessons are commenced. [23] The type of pre-vocal training is not always endorsed although there is wide agreement that the acquisition of superior breathing habits is a primary consideration in learning to sing. According to Stanley, such work must not be associated with the act of phonation. [578] "Chest capacity must be increased as an independent activity." [Jacques 299, p. 12] Thirteen authors emphasize the separation of respiratory and phonatory training routines, insisting that the foundation of singing is perfect breath control [Byers 89], and that "breathing should be the first function to receive attention." [Wharton 655, p. 20]
PHYSIOLOGICAL FACTORS
Action of ribs and diaphragm. Howe makes the general statement that the correct method of breathing requires a combination of rib raising and
diaphragmatic contraction. [284, p. 10] Hemery is more specific. He asserts that the diaphragm contributes one-third of the expansion of the chest
while the rib movement contributes two-thirds. [238, p. 21] Stanley believes that the rib muscles are always held firm while the diaphragm varies in tension with the variations in vocal pitch. [577, p. 328] Aikin supports this view, stating that a well trained singer keeps his ribs expanded while the diaphragm moves in opposition to the abdominal muscles. Thus breathing in singing becomes entirely diaphragmatic and abdominal. [4] Conversely, Evetts and Worthington believe that where the respiratory movement is intensified for any reason whatsoever, only the lower rib movements should be increased. [167, p. 90] Wilcke favors the so-called combined type of respiration in which both thorax and diaphragm play an important part. "It should be made clear that pure abdominal or exclusively costal breathing never occurs." [664, p. 16]
The diaphragm should be considered exclusively as an organ of expulsion, according to Armstrong. [22] Apparently it serves only a passive role in inspiration. Warren speaks of two main points of expansion in the body during breathing. These are located near the solar plexus in front and at the base of the shoulder blades in back. The sensation of breath support comes from an interplay between these two opposite sides. [640] Witherspoon favors a combination of rib and diaphragmatic movement known as diaphragmatic-costal breathing. In this coordination, rib movement may be voluntarily controlled. [677, p. 56] This rib control is especially noticeable during the moment of breath suspension which this author claims is an important part of the singing act. It |
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