"When the lungs are filled by a deep inspiration and the breath is held, the glottis is of necessity closed so tightly that no air can escape. In this condition the expiratory muscles may be very violently contracted, and still no air will escape; indeed, the greater the strength exerted the tighter is the closure of the glottis. Obviously, this closure of the glottis cannot be effected by the contraction of the glottis-closing muscles, strictly speaking, for these muscles are too small and weak to withstand the powerful air pressure exerted against the vocal cords.[4] The point of resistance is located just above the vocal cords. The sudden air pressure exerted on the interior walls of the larynx by the expiratory contraction causes the ventricles of the larynx to expand by inflation. This inflation of the ventricles brings their upper margins, formed by the false vocal cords, into contact. Thus the opening from the larynx into the pharynx is closed. This closure is not effected by any muscular contraction, therefore it is not dependent on the strength of the muscular fibers of the false vocal cords. It is an automatic valvular action, directly under voluntary control so far as the contraction of the expiratory muscles is concerned, but independent of volition as regards the action of the false vocal cords. On account of their important function in this operation the false vocal cords are called the 'breath-bands.' Closure of the glottis by the inflation of the ventricles imposes no strain on the vocal cords.
"Control of the breath in singing is effected by this automatic valvular action. To produce a tone according to this system, the lungs must be filled and the breath held in the manner just described, while the vocal cords are brought to the proper degree of tension; then the tone is started by allowing the 'breath-bands' to separate very slightly, so that a thin stream of air is forced through the opening between their margins. The tone is ushered in by a slight explosive sound, which is nothing but the well-known stroke of the glottis. So long as the expiratory pressure is steadily maintained, this tone may be held, and yet no strain is imposed on the vocal cords. Perfect control of the breath is thus attained. For a powerful tone, the breath blast is greater, therefore the ventricles are more widely inflated, and the opening between the 'breath-bands' becomes narrower. The action is always automatic; once the tone is correctly started, the singer need pay no further attention to the operation of the 'breath-bands.' All that is necessary is to maintain a steady breath pressure."
In the methods of all the "breath-band" advocates, the first and most important step toward perfect tone-production is held to be the acquirement of this automatic breath-control. As in the "opposed muscular" system, the initial exercises are toneless drills in breathing. The basic exercise, of which all the others are variations, is as follows: "Fill the lungs, then hold the breath an instant, and forcibly contract all the chest muscles. Then force the air out slowly and powerfully through the glottis." Practice of this exercise is always accompanied by a hissing sound, caused by the escape of the air through the narrow slit between (presumably) the "breath-bands." Tone-production by the same muscular action is very simple, and requires no further explanation.
In its practical aspect this system of breath-control is the direct opposite of the "opposed muscular" system. In one the breath is expelled powerfully, the object being to bring a strong expiratory pressure to bear on the larynx. In the other system, the air is held back, in order that the larynx be exposed to as slight a pressure as possible.
The "breath-band" advocates hold that the glottic stroke is the key to correct laryngeal action. As a rule they instruct their pupils to attack every tone, throughout all their practising, with the stroke of the glottis. In the course of time the automatic valvular action is supposed to become so well established that the singer can dispense with the glottic stroke in public performance. Needless to say, these teachers usually recognize that this explosive sound is very harsh and unmusical, and utterly out of place in artistic singing.
An important claim of the "breath-band" teachers is that their doctrine contains the explanation of the traditional precept, "Support the tone." Their idea is that the throat, being "firmly set," furnishes a secure base for the tone to rest on. This explanation is of course utterly unscientific, and it cannot be said to throw any light on the meaning of the precept. "Singing on the breath" is also referred to this system of breath-control, but with no more coherence than the "Support of the tone."
No necessary connection obtains between systems of breath-control and those of breathing strictly speaking, that is, of inspiration. As has been said, the great majority of vocal theorists adhere to the "opposed muscular action" breath-control. In this number are included advocates of every known system of breathing. Bitter controversies have been carried on between champions of different modes of breathing, who yet agree that the breath must be controlled by "opposed action." This is also true, although not to the same extent, among the "breath-band" teachers. And to render the confusion on the subject of breathing and breath-control complete, instances might be cited of controversies between teachers who agree as to the correct mode of inspiration, and yet disagree on the manner of controlling the expiration.
Both systems of breath-control cannot be right; if one is correct, the other must necessarily be absolutely wrong. Instead of attempting to decide between them, it will be seen that both are false, and that the theory on which they rest is erroneous. This discussion is reserved for a later chapter.