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CONCEPTS OF BREATHING |
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14. "Usually when a singer thinks he has a big breath, he merely has tight muscles/* [Williamson 672]
15. "Breathe naturally, as if asleep/' [Rimmer 464]
16. "Emotion [or intense feeling] is the coixect source of the singer's breath and always gives adequate support to the tone/* [Be Brayn 131]
Singing develops breathing. This principle is a corollary of natural breathing methods. It follows that, if breathing is to be ignored by the singing student, the breathing organs will develop their own natural action as part of the act of singing. According to Witherspoon, they need never be practiced separately, for exaggerated local effort interferes with the coordinations involved and defeats its own purpose. [677, p. 63] Conklin claims that the mental preparation of any tone includes the automatic preparation of the right amount of breath for that tone. This is a reflex action and should not be obstructed by employing conscious breath controls. [121, p. 32] Obviously then, breathing will improve as voice production improves since the two are reciprocal functions of the same vocal act.
Drew recommends that breath control may be practiced by attempting to sing an absolutely steady note at varying intensities. [147, p. 176] We automatically develop breath control by properly sustaining the tone. [Huey 286] "Do not take a conscious breath," warns Thomas. Singing induces unconscious breath action which gradually becomes "automatic through conditioning and repetition/' [609] Direct the attention of the student to the sound of the voice, not to breath control. [Shaw 518, p. 182] Proschowsky maintains that the art of breathing rests fundamentally upon the art of tone production, the latter being governed entirely by the "inner hearing or tone thinking" of the singer. [455] In this, he claims, the perfect tone demands perfect economy of breath usage in phonation. "Breathing must go hand in hand with phonation/' says Huey. [285] "The more the vocal cords are trained in the right way, the less air will they require to vibrate," adds Marchesi. [369, p. 8]
Stanley believes that artificial breathing exercises tend to obstruct phonation and that singing demands unique breathing coordinations which cannot be developed by gymnastics but only by the act of singing. [577, p. 514] Christy quotes" as follows from an outline of theory issued in 1925 by the American Academy of Teachers of Singing: "The correct practice of singing in itself tends to develop and establish the mastery of breath." He is tempted to add his own comment, however, that "the student will develop more rapidly if taught how to breathe." [97, p. 41]
In conclusion, this group holds the opinion that breathing is not a |
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