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CONCEPTS OF BREATHING |
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1. The lungs are given ample freedom, resonance is increased and personal appearance is improved. [Greene 209, p. 290]
2. High chest position is more than a breathing technique. It is a matter of general physique and good posture. [Henderson 240, p. 82]
3. This high chest posture will help free the throat, jaw and tongue from all stiffness and strain. [Henley 260]
"Raise the chest before breathing/* says Clippinger. [104, p. 7] "See that it [chest] does not drop, particularly at the moment of attack/' [Jacques 299, p. 34] With a high chest, less breath intake is required, since the expanded thorax "automatically retains" more breath "in continuous reserve." [Henley 252] According to Hagara, the old singing masters taught that a high and stationary chest must be established before the first note is sung. [220, p. 113] That "the heaving of the chest should never be seen except as an emotional expression" is Warren's opinion. [640] "Clavicular or collar bone breathing means pulling up the chest by the neck muscles. This tightens the neck and spreads muscular tensions into the larynx, throat and tongue." [Hemery 238, p. 83] "Clavicular breathing has no place in artistic singing." [Henderson 243, p. 28] In respiration the chest should always remain stationary. [New York Singing Teachers Association 421, p. 31]
Four authors hold variant opinions, however. Marafioti quotes Enrico Caruso as saying that, in full breathing, the chest must be raised simultaneously with the drawing in of the abdomen. This evidently occurs with each intake of breath. "The ability to retain the breath until needed makes or mars all singing." [368, p. 158] Orton makes the assertion that raising the chest and pulling in the abdomen while breathing was a method taught by the old Italian masters of singing. It was quite common for their singers to sustain a tone for 30 or 40 seconds with this method of breathing. [439, p. 61] Scott claims that, in singing, rib and chest expansion have little or nothing to do with the intake or output of breath. Therefore, the expansion of these parts should be constant. [501, p. 46] Finally, Evetts and Worthington are opposed to holding the chest high and stationary in singing. They claim that it adds nothing to vocal resonance but increases the possibility of tension in the throat. [167, P-85]
VOLUNTARY VERSUS INVOLUNTARY BREATHING
Opinions are unevenly divided regarding this controversial topic, there being 24 statements in favor of and 11 against voluntary control of the breathing organs during singing. Some authors, like Shaw, would teach |
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