This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections ...
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Product dimensions: 7.44 (w) x 9.69 (h) x 0.07 (d)
Read an Excerpt
Ill FUNDAMENTAL BREATHING The first thing a singer must learn is how to control his breath. Every one breathes and most of us find it no effort to do so. But try to sing and you discover that you must first acquire a system of managing the breath. If you have no system your tones are unsteady or they refuse to cling to the pitch. Your phrases are broken. Your singing is labored and spasmodic. You are an organ pipe fed by defective bellows. In this, the fundamental feature of vocal technics, there are as many differences among professors as in the later details of the art. All the teachers agree that good tone production, whichis the basis of all good singing, rests upon the management of the breath, and that it is therefore essential that every pupil should acquire a correct method of breathing. The teacher, when asked what he means by a correct method of breathing, will tell you that he means one which is in accord with nature, which is not artificial or strained. After that comes the deluge. You would not suppose that there could be more than one such method, but you will find by inquiry that there are several. One set of masters will tell you that in order to draw in your breath according to the laws of nature you must begin by causing your abdomen to protrude in order that your diaphragm may have room to operate. The next set will tell you that this is radically wrong, and that in beginning an inspiration youshould contract the muscles of the abdomen, causing it to flatten. Another set will tell you to pay no attention at all to your breathing, but just get as much air as you can into your lungs and then go ahead and sing. After you have drawn in the breath, you have to expelit, because it is with the expulsion of the air from the lungs through the vocal cords ...
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