Some—indeed, a great many—teachers direct their students to employ "abdominal" or "diaphragmatic" breathing, others "clavicular" respiration. A little consideration must convince those who have read the chapters on breathing that such distinctions, in which one part of an entire process is treated as if it were the whole, cannot be justified. By "clavicular" breathing some mean upper chest breathing, and others a form of respiration in which the shoulders (clavicles, or key-bones) are raised with inspiration in an objectionable manner. The latter is, of course, to be condemned; yet, very exceptionally, a tenor of excellent training may feel that he can, under the circumstances of the hour, reach a certain tone very high in his range only by the utmost exertion. We all know how a singer's reputation may be more or less ruined should he fail to reach such a high note—one, indeed, by which he may, owing to the vitiated taste of the public, have acquired a reputation beyond his artistic merits. Under these circumstances such a singer might be justified in a momentary use of every resource of what physiologists term forced respiration, including clavicular breathing; but in general any raising of the shoulders should be absolutely avoided.
When "clavicular" breathing is used in the sense of upper chest breathing, it is correct as far as it goes, but the term is not a happy one to employ in this sense, and it has led to error in theory and practice.
In the same way, "diaphragmatic" breathing is perfectly correct, but its exclusive use cannot be justified, for Nature teaches us otherwise. It is true that the lower part of the chest, which always should expand with the descent of the diaphragm, is wider than the upper; it is true that by a very well-developed diaphragmatic breathing a singer or speaker is fairly well provided with breath power; but why teach this method exclusively, when thereby the voice-user is being robbed of possibly from one quarter to one third of his total breathing efficiency?
It is likely that teachers have insisted on diaphragmatic breathing, especially in the case of females, because, unfortunately, prevalent modes of dress so restrict the lower chest, etc., that individuals instinctively seek relief in upper chest or clavicular breathing, in which case it may be observed that the actual breath power of the singer is very small. It cannot be denied that few people ever adequately fill the chest—least of all, few women—and if admonitions as to diaphragmatic breathing accomplish this purpose, the practice must be commended. But another remedy should obviously precede this one: the respiratory prisoner should first be released.
No doubt, in the most vigorous singing and speaking the lower part of the chest, with the diaphragm, is of the greatest importance, but often both the speaker and the singer, as in a short, rapid passage, require to take breath, and the only way in which they can really meet the case is by a short, more or less superficial action of the respiratory apparatus, in which the upper chest must play the chief part. There is no opportunity to fill the whole chest, so that any admonition in regard to abdominal breathing is then quite out of place.
The fact is, the voice-user should have control of his whole breathing mechanism, and use one part more or less than another, or all parts equally and to the fullest extent, as the circumstances require; and if the student has not already learned such control, the author recommends his practising breathing with special attention first to filling the upper chest completely, and then the lower. It must be remembered that for a long time breathing, for the voice-user, must be a voluntary process, which, as has been pointed out, is not the usual and natural one for the individual when not phonating, which latter is essentially reflex or involuntary. The voice-user, in other words, must, with a definite purpose in view, take charge of himself. In time, breathing for him too will become reflex—i.e., correct breathing for the purposes of his art will become a habit. It must be pointed out that the breathing for any particular composition, literary or musical, should be carefully studied out, for this is nothing else than determining how this part of the voice-user's mechanism can be employed with the best artistic result. This, fortunately, is now recognized by a large number of teachers, for the fact is, the artistic is at present much better understood and appreciated than the technical; were it not so, such erratic literature on the subject of breathing could never have appeared.
On another aspect of the subject there is room for much greater difference of opinion. Among even eminent singers and teachers there is lack of agreement in regard to the part the diaphragm and abdomen should play in the most vigorous (fortissimo) singing.
Singers of renown practise what may be termed a sort of "forced" abdominal or diaphragmatic breathing. The breath is so taken that the whole chest is filled, the diaphragm brought well down, and the abdominal walls drawn in (retracted), which gives the singer, in all parts above and below, a bellows with tense walls in all parts, with the great advantage that such breathing permits of a firmness otherwise unattainable, and he is enabled to exert his breath force with great certainty and power, and, as some maintain, with all the control necessary for even delicate effects.
Fig. 44. Intended to express to the eye the two views of respiration discussed in the body of the work (p. [113]-117). The dotted lines indicate the form of the chest and abdomen advocated by some as the best for the singing or speaking of long and vigorous passages.