Correct Breathing and Voice Production

Fig. 1.

A.Hardpalate.
B.Soft„
D.Uvula.
E.Tongue.

One of the most delightful sounds in the drawing-room is the music of the human voice, uplifted in song to a soft pianoforte accompaniment, if, of course, the voice be tuneful, easily produced, and sympathetic, and the breathing taken without effort.

The first steps to be considered in singing are (1) correct breathing, (2) voice production, (3) clear pronunciation. The tongue should be hollowed behind the teeth, not rolled up in a ball, thus closing the vocalist’s throat. The uvula, so called because of its supposed likeness to a grape, should be lifted to the roof of the soft palate, the mouth presenting a hollow open chamber, through which the notes issue in clear, bell-like tones ([Fig. 1]).

The beginner will find this a difficult matter, and effort and will are needed to keep the tongue down and the uvula up. The position of the former may be demonstrated by means of the handle of a teaspoon pressed against it. The tongue will prove rebellious until practice makes it perfectly easy and natural to subdue it in the necessary manner.

In breathing, inhale a long slow breath through the nose only, keeping the mouth closed. The air should originate in the upper part of the diaphragm, and be held until the ribs are slowly inflated, balloon fashion, when it should be exhaled through the open mouth, gently and without effort until the ribs contract. Never push the ribs to lengthen the expiration of breath.

A good plan to insure easy and quiet breathing is to count slowly to ten while the chest box is being inflated, and also when the air is being exhaled. In this manner the breath will be prevented from coming and going in spasmodic gasps and jerks. The number ten may be increased gradually to twenty or thirty, until the student is able to produce breath sufficient for the phrase vocalized. Regular breathing exercises should be taken every day before singing, the hands being placed upon the ribs, in order to feel and insure their gradual rise and fall.

An anatomical study of the throat, windpipe, and lungs should be made ([Fig. 2]), and this will considerably help the student to understand the difficult mechanism of voice production.

Fig. 2.—Throat, windpipe, and lungs.

Practice gradually adds new notes to the voice, but the young singer must be careful not to strain the vocal organs by endeavoring to sing high and low notes before they are naturally developed.

Concones and every variety of singing exercises should be practiced before a song is undertaken. Over-practice is harmful. Vocal organs should never be fatigued or unduly taxed, and half-an-hour’s practice is ample—indeed, more valuable than an hour at a stretch.

Singing directly after meals should be avoided, and the throat must not be coddled in furs or compressed by high collars.