| Share page | Visit Us On FB |
|
78 TRAINING THE SINGING VOICE
volitional activity. It is governed solely by the demands of the voice in singing. [Henderson 243, p. 31] Therefore, singing develops breathing but not breathing, singing. [Marafioti 368, p. 86] "Correct breathing for singers is correct breathing for all other people, and vice versa." [Shaw 538] tcWe breathe to sing, just as we breathe to speak. The only difference is that we prolong the act/* [Fleming 183] Finally, breath control does not imply a restraint of the breathing apparatus or an attempt to conserve the breath since breath expenditure is predetermined at the glottis by the intensity, pitch and duration of phonation. Therefore, breathing cannot be controlled locally. [Evetts and Worthington 167, p. 84]
INTERPRETATIONAL CONTROLS
By correct phrasing. The interpretation of a song is the artistic representation of it In which the singer presents his own conception of its underlying meaning and mood. (W) (c£ Chapter X) Interpretational values are communicational values in expression. Hence audience comprehension is of paramount importance. Mindful of his audience, the singer objectively transmits his musical ideas and feelings by means of vocal patterns that accentuate and enhance the comprehension of these ideas and feelings in his audience. A phrase is a musical thought. (W) Hence, correct phrasing demands the use of vocal patterns and expres-sional techniques that are appropriate to the musical thought of the song. Phrases are analogous to the sentences of a literary composition. They are usually punctuated by suitable pauses and the intervals between these pauses are uninterrupted musical units. [Grove's Dictionary of Music 708, Vol IV, p. 146]
In referring to breathing in singing, Williamson claims that breath control is a result of good phrasing and not the cause of it. [534] He believes that the maintenance of unbroken phrase units, regardless of their length would tend to develop good breathing. Some of the simpler sacred songs of Back are suggested by Mrs. Henderson as illustrations of excellent breathing exercises for beginners. These songs consist of fairly long phrase units that require sustained breathing for their proper interpretation. She adds, however, that it is advisable to shorten the last note of each phrase so that a breath may be taken when necessary without delaying the attack of the new phrase. [240, p. 60] Brown suggests that, after deciding where to breathe, the student should hum through each complete phrase of a song without a break, studying the effect thereof. This will condition breathing techniques in a practical but indirect manner. [65, p. 19]
It is Coleman's opinion that the taking in of the breath "must be |
||