The Child-Voice in Singing / Treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs

by Francis E. Howard

Exercises which are adapted to the formation of good breathing-habits are much more to the point in practical teaching than efforts at explanation. Therefore, a few hints are given, which, it is hoped, may be of practical value, for it is very important that good breathing-habits be formed in school singing.

The change in structure which the larynx undergoes at puberty, demolishing as it does the boy-voice, and rendering of no avail the training of childhood in so far as it affects the larynx, does not extend in its effects to the breathing-apparatus. So, a habit of breath-management, good or bad, formed in school may continue through adult life. Special breathing-exercises are sometimes recommended, but their efficacy may be doubted, even if the length of time devoted to the music lesson permits them. The inclination of pupils in such exercises is to raise the chest and fill the lungs too full of air. The result is too much air pressure at the vocal bands, and a stiffening of throat and jaw muscles. The tone then will be loud; in fact, strong pressure of air at the vocal bands is almost sure to force them into the fullest vibration; that is, into the thick register, and, as a result of contracted throat, the tone will be pinched, or throaty. It is recognized, however, that it is just as easy to teach good habits of breathing as bad.

This exercise may occasionally be given: The pupils first standing, shoulders well set, but with no pushing out of chest, place hands at the waist so that the movements of normal breathing may be felt. Now let the pupils take a little breath quickly. The movement at the waist must be outward and downward, never inward, at inspiration. The breath may be held a few seconds by keeping the waist expanded—keeping an imaginary belt filled, for instance—and then let go by relaxing at the waist. If, however, there is any stiffening of the throat, as if it were thought to cork up the air in the lungs, the object of the exercise, in so far as it relates to the formation of good breathing-habits suitable for easy vocalization, is defeated. Every teacher must use his judgment in this matter of breath-management in singing. If pupils are, unguided, using correct, easy methods, there is then no need to interfere. If some are inclined to take too much breath and lift the shoulders, a few hints may put them on the right track. Loud singing and had breathing-habits go to-*gether. If the first is desired, the lungs must work at full capacity, and hard blowing from the lungs forces the voice. On the contrary, soft singing promotes quiet habits of breathing; and, if the pressure of air at the larynx is moderate, soft tone is possible. If thin, soft singing alone be allowed, quiet deep breathing will be practiced instinctively.

The easy control of the muscles whose relaxation permits the exhalation of air from the lungs is, as already said, gained by their proper exercise in speaking and singing, for the same mechanism is called into operation in speech as in song. In childhood the lungs can neither hold as much, nor retain it so long and easily as in adult life.

There is no better way, perhaps, to acquire the ability to regulate the air-pressure at the vocal bands than by soft, sustained singing. The “continuous tone” described in a preceding chapter, secured in scale drill by letting each child breathe at will, is an excellent exercise for developing good breathing-habits. As there is no nervous tension whatever, each pupil will naturally sustain tone until the need of another breath is felt, when it will be taken quickly and the tone at once resumed.

To sum up: Sit or stand in good position, the chest neither pushed out nor in a state of collapse. Avoid any, even the slightest, upward movement of the shoulders. Point out the movements at waist occurring at inspiration and at expiration if necessary, not otherwise. Let the breath be taken quickly, not too much at a time, and as often as need be, and sing softly.

Attack.

The beginning of each tone is called attack. The common faults of attack in class-singing are sliding to the pitch instead of striking it accurately, and beginning to sing with the mouth still closed, or only partly open. When the attack presents the combined effects of these two common habits, a quite realistic caterwaul is the result.

Both faults may be generally overcome or prevented by calling attention to them. Good mental attention is the most infallible cure for slovenly habits of attack. It may be that there are in all schools a certain proportion of the pupils who have very weak and imperfect vocal organs; in their cases, even good attention cannot overcome physical inability.

In repose the vocal bands are separated to allow the free passage of air to and from the lungs. At phonation the bands are drawn toward each other, meeting just as it commences. There need be no preliminary escape of air. Also the resonance cavities above should be open, that the vibrations generated at the vocal bands may find expansion and resonance. The mouth and throat should then be opened a moment before tone is attacked, when, if the pitch to be sung is clearly pictured in the mind, both the “slide” and “hum” will be avoided.