But even more important, perhaps, is the fact that when breath is taken through the nostrils the singer may find that on opening his mouth to sing the tongue and soft palate are in an unfavorable position for good tone-production; his sounds may be muffled, throaty; but if breath be inhaled through the open mouth, and not through the nose at all, the tongue tends to lie flat, and this organ and other parts assume the correct position for good intonation.
Mouth breathing, for the purposes of tone-production, is the only method which has physiological justification. Many singers especially complain of having trouble with the tongue; some believe it too large, others that it is beyond their control. These so-called large tongues have one advantage—they may exercise a great influence on the quality of the tone; and correct breathing brings them to good behavior. The author has time and again, by explaining the influence of mouth respiration, brought sudden joy to the heart of the singer who had been all his life troubled with the tongue, and worried by the consciousness that his tones lacked in clearness, carrying power, etc.
Nose breathing is of course to be used exclusively when the subject is not phonating. During the latter many opportunities occur to close the mouth; and the idea that drying of the mucous membrane of the mouth, etc., will occur by reason of mouth breathing in speaking and singing is purely imaginary.
EXERCISES.
The student, whatever his degree of advancement, will find the exercises about to be recommended, or others closely resembling them, of great value.
It cannot be too well borne in mind, obvious though it is, that all speaking and singing, whatever else they be, are tone-production; hence the first thing for every one to ascertain regarding himself is the extent to which he can form and hold tones of good quality—in other words, the success with which he can establish the essential co-ordinations or harmonious actions of the breathing and laryngeal mechanisms, and maintain them for a considerable length of time.
Many singers can produce a fairly good and powerful tone, but it is a sort of vocal explosion rather than a tone, which will continue to do the singer's bidding for as long as he will. The correctly produced and sustained tone is the foundation of all that is best in voice-production; all the rest is but a series of variations on this. Hence the author recommends the following practice to all, whatever else they may do or have done. It is to be a test of inspiration, attack, economy of breath, adjustment of the vocal bands, the resonance-chambers, etc.
1. Inhale slowly through the somewhat open mouth, filling the chest moderately full, and at once attack so as to produce a tone of but moderate force, but of the best quality possible.
2. Continue to hold this tone as long as the breath is easily sufficient, taking care that the tone be on no account sustained after there is the slightest difficulty in maintaining it of the same quality and power as before. Steadiness and perfection in quality are to be the chief considerations.
3. The student is advised, after a few days' practice in this manner, to note with a watch the time during which he can hold a tone under the restrictions above referred to, and to endeavor to increase the holding power daily by a little. It will, of course, be necessary to fill the chest more completely day by day.