To the mind of the audience, personality and poise and the ability to "put over" a song may excuse vocal shortcomings. But although as part of an audience I agree, and enjoy interpretation as much as anyone, as a teacher I feel that too many students think they "get by" on their interpretations and feel with many other musicians that more tonal beauty, and less personality, might be an excellent thing for our present-day singers. Learn to sing courses.
I do not agree with those who believe that a student should not be taught songs until he has worked on vocalises for years. That would be as dull as endless five-finger exercises on the piano without a single piece to sustain his interest. Both voice and interpretive ability should be developed simultaneously and reach their ultimate goal together. Surely no performer should call himself a singer whose vocal technique is inadequate to cope with the interpretive demands of his songs! Such a person may succeed in only a limited fashion, where voice is not of paramount importance, and where a microphone can work miracles; but anyone who hopes to become an artist in the singing world must have as complete a vocal technique as possible, as well as interpretive ability.
The question of "coloring" the tones of the voice is always a problem to the advanced student. His natural instinct is to express an angry phrase with tones that are forceful and loud, yet which too often result in tone that seems to center in the mouth and thus loses its overtone and brilliancy. Too often, too, a joyful phrase will cause a white or too open tone, again lacking correct focus.
It is true that all sound, all tone, must be colored, dramatic or light, sad or gay, according to the composition sung, but the tone must be colored and produced in the correct way. All tones, whether they are forte or pianissimo, light or heavy, must be formed with the correct arch and focus, and then modified as to color. The subject of breathing for singers is a controversial one. Although breathing should be as easy as . . . well, breathing, it is often made an arduous and unpleasant task. Why, I don’t know, but 1 have a guess that the tightlacing and the corsets of yesteryear had a good deal to do with it.
Since it is a fact that the lungs are largest at the bottom, and that when a person breathes unconsciously, as in sleep, the ribs expand and contract with each breath, it seems absurd to say that a breath should be taken by raising the chest and the shoulders. Such muscular exertions cannot help the breathing in any way whatsoever.
High breathing, which some singers and teachers unfortunately practice, is very unsatisfactory, being a hindrance rather than a help. First, because it strains the muscles of the shoulders; second, because the lungs, which are largest at the bottom, are never properly filled; third, because the upper chest alone cannot give the singing tone that correct support which the diaphragm can.
High breathing is almost always accompanied by stiffness and strain of the muscles of the throat and face, and naturally prevents the possibility of relaxation that is so necessary to easy, free flowing tones.
Correct breathing and breath control should be a simple process which after sufficient practice should be second nature, not calling for any actual effort.
Since our object is to fill the lungs to their fullest extent, when it is necessary to do so, they should be filled in the most natural way possible, and if this is done without strain, the ribs and chest will expand in what is called diaphragmatic breathing.
Standing erect, quietly take a deep breath through the nose. Relax the shoulders; the chest, diaphragm, and ribs will expand as you breathe. Holding the breath, tap the ribs or diaphragm not too gently. The strong diaphragm that is practiced and controlled will not quaver. A tone held through this process will not shake. The loose, uncontrolled diaphragm will, on the other hand, collapse and the tone will shake and stop.
A strong, supple tone must have sufficient breath support. When the muscles of the diaphragm are strong enough to control the breath and give this support, every tone will be full-bodied and strong.
It is sometimes of value for the student to keep the hand on the diaphragm for a few minutes while practicing breathing, making sure that the ribs are expanding and the diaphragm is supporting the breath.
The amount of breath necessary depends upon the type and character of the phrase or tone to be sung. Although there must always be a sufficiency of breath, that breath when supplied to the vocal cords must be controlled, else a breathy or shrill tone will result.
First, the attack must not be breathy; second, the tone itself must not lack breath, or allow too much breath to escape; third, the breath must be controlled so that enough will be left within the lungs to continue the phrase until the next breathing space is reached. The process of filling the lower portions of the lungs is called diaphragmatic breathing because the diaphragm relaxes and is lowered as the lungs fully expand. The diaphragm is a strong layer of muscle that separates the lungs from the intestines and the stomach. When the stomach is not too full, and the diaphragm is not unnaturally tensed, a full breath lowers the diaphragm, and forces the ribs outward. When, on the other hand, the stomach is full, it does not permit the diaphragm any leeway, and it is impossible to take a comfortable, full breath. One should therefore never sing directly after a meal.
Tight garments that constrict the ribs and diaphragm also hinder correct breathing, not allowing for full rib expansion. 1 have known singers who liked to wear some sort of corset or belt about the waist that they could push against, feeling that this gave them easier breath support. Such a contrivance is entirely unnecessary, and indeed unwise, for the body muscles should be so developed that they will support the breath and control the diaphragm without external aids.
The most urgent requirement of correct breathing is that there should be enough breath, but not too much. The fact that one can hold one’s breath for several minutes does not make one a singer. The ability to breathe deeply is vital, but it is the actual control of that breath that strengthens or weakens the singing tone. It is an interesting fact that a person with a longer breath capacity will also have a wider range and his voice will respond to placement more easily than that of a person of smaller or shorter breath. As a singer’s breath develops, so too will his range.
Sufficient breath supports a tone, gives it body; but too much breath creates a breathy tone that approximates a tone made by a wind instrument played with much breath escaping outside as well as inside the instrument.
The average student, however, is seldom bothered by too much breath. Too little is the usual complaint, and when nervousness adds its toll, the voice is pinched and tight and lacks support and strength. Nervousness tends to tense the diaphragm and abdomen muscles, and when the diaphragm is not relaxed and controlled, the breathing will be shallow and inadequate.
To calm such nervousness, the singer must relax, take a few deep breaths to lessen diaphragm tenseness and only when this relaxation has been accomplished, breathe adequately and start to sing.
Everyone realizes the necessity of breathing through the nose. The throat and mouth become dry and uncomfortable after a few breaths through the mouth alone. But for the singer, breathing through the nose is doubly important, because the fine hairs in the nostrils tend to cleanse the air as it is inhaled, and also warm it to body temperature at the same time. There are occasions when a catch-breath through the mouth is imperative because of the short time allowed for a breath in a passage, but a full breath should always be taken through the nostrils. Correct breathing is simple, yet adequate breath control demands continual practice. I think it unnecessary for the student to take silent breathing exercises before the singing teacher for any length of time. As soon as the student has grasped the principle of diaphragmatic breathing, singing and breath control should be developed simultaneously. A student should not be asked to waste time and money in respiratory calisthenics without voice accompaniment. As vocal studies progress, tone exercises should become more complicated, demanding ever greater breath control. Breath control is therefore developed at the same time as tone technique and always as required by the latter.
Breathing exercises taken in spare time or while going about general duties can be extremely beneficial. Here are some simple exercises that will give the beginner practice in diaphragmatic breathing, control, and support:
1. Inhale quickly, hold the breath for approximately fifteen seconds, then exhale in short, quick gasps.
2. Inhale slowly, hold the breath for approximately fifteen seconds, then exhale quickly.
3. Inhale quickly, hold the breath from fifteen to twenty seconds, exhale slowly.
Comments on this entry are closed.