Voice Production in Singing and Speaking Part 3

When one takes into account the large number of muscles employed in respiration, and remembers that these muscles must act in perfect harmony with each other if the great end is to be attained, he naturally inquires how this complex series of muscular contractions has been brought into concerted action so as to result in that physiological unity known as breathing.

It is impossible to conceive of such results being effected except through the influence of the nervous system, which acts as a sort of regulator throughout the whole economy. All the parts of the respiratory tract are supplied with nerves, which are of both kinds--those which carry nervous impulses or messages from and those which convey them to the nervous centres concerned; in other words, to and from the bodies of the nerve-cells whose extensions are termed nerves. These centres are the central offices where the information is received and from which orders are issued, so to speak.

The chief respiratory centre--_the_ centre--is situated in that portion of the brain just above the spinal cord, in its continuation, in fact, and is known as the _medulla oblongata_, or _bulb_. But while this is the head centre, at which the ingoing (_afferent_) impulses are received and from which the outgoing (_efferent_) ones proceed, it makes use of many other collections of nerve-cells, or subordinate centres--_e.g._, those whose nerve-extensions or nerve-fibres proceed from the spinal cord to the muscles of respiration.

[Ill.u.s.tration: FIG. 15. The purpose of this diagram is to indicate the relation between ingoing (afferent) and outgoing (efferent) nervous influences (impulses)--in other words, to ill.u.s.trate _reflex action_.

The paths of the ingoing impulses are indicated by black lines, and those of the outgoing ones by red lines, the point of termination being shown by an arrow-tip. The result of an ingoing message may be either favorable or unfavorable. The nervous impulse that reaches the brain through the eye may be either exhilarating or depressing. The experienced singer is usually stimulated by the sight of an audience, while the beginner may be rendered nervous, and this may express itself in many and widely distant parts of the body. An unfavorable message may reach the diaphragm or intercostal muscles, and render breathing shallow, irregular, or, in the worst cases, almost gasping.

The heart or stomach, even the muscles of the larynx, the limbs, etc., may be affected, and trembling be the result. On the other hand, the laryngeal and other muscles may be toned up, and the voice rendered better than usual, as a result of applause--_i.e._, by nervous impulses through the ear--or, again, by the sight of a friend. Even a very tight glove or a pinching shoe may suffice to hamper the action of the muscles required for singing or speaking. All this is a result of reflex action--_i.e._, outgoing messages set up by ingoing ones--the "centre" being either the brain or the spinal cord. From all this it is evident that the singer or speaker must guard against everything unfavorable, to an extent that an ordinary person need not.

The stomach, as the diagram is also meant to show, may express itself on the brain, and give rise, as in fact it often does, owing to indiscretion in eating, to unpleasant outward effects on the muscles required in singing or speaking. Of course, no attempt has been made in the above figure to express anatomical forms and relations exactly.]

When all the ingoing impulses from the lungs, etc., are cut off, if respiration does not actually cease, it is carried out in a way so ineffective that life cannot be long sustained. It follows that as the muscular contractions necessary for the chest and other respiratory movements are dependent on the impulses pa.s.sing in from the lungs, etc., breathing belongs to the cla.s.s of movements known as reflex--chiefly so, at all events. It will thus be seen that respiration is a sort of self-regulative process, the movements being in proportion to the needs of the body. The greater the need for oxygen, the more are the nerve-terminals in the lungs and the centre itself stimulated, with, as a result, corresponding outgoing impulses to muscles.

As the respiratory centre is readily reached by impulses from every part of the body, like one who keeps open house, there are many different sorts of visitors, not all desirable. If, for example, a drop of a fluid that produces no special effect when on the tongue gets into the larynx, trachea, or lungs, the most violent coughing follows. This is one ill.u.s.tration of the _protective_ character of many reflexes. This violent action of the respiratory apparatus is not in itself a desirable thing, because it disturbs if it does not exhaust, but it is preferable to the inflammation that might result if the fluid, a bread-crumb, etc., were to pa.s.s into the lungs.

In like manner, the deep breath and the "Oh!" that follow a fear-inspiring sight, a very loud noise, or a severe pinch of the skin, are examples of reflex action. They are quite independent of the will, though in some cases they may be prevented by it.

This reflex nature of breathing throws much light on many matters of great interest to the speaker and singer, some of which, as the formation of good habits of breathing, will be considered later.

Unfortunately for the nervous debutant, his breathing is anything but what he could wish it. The pale face and almost gasping respiration, in the worst cases, are not unknown to the experienced observer. In such cases the preventive (_inhibitory_) influence of certain ingoing impulses is but too obvious. Such undesirable messages may pa.s.s in through the eyes when the young singer looks out on the throng that may either approve or condemn; or they may originate within, and pa.s.s from the higher part of the brain to the lower breathing centre. The beginner may have high ideals of art, and fear that they will be but ill realized in his performance. His ideals in this instance do not help but hinder, for they interfere with the regular action of the breathing centre. A few deep breaths after the platform has been reached greatly help under such circ.u.mstances. It is also wise for the singer to avoid those songs that begin softly and require long breaths and very evenly sustained tones. It is much better to begin with a selection that brings the breathing organs into fairly active exercise at once. One feeble, hesitating, or otherwise ineffective tone is in itself a stimulus of the wrong kind, sending in unfavorable messages which are only too apt to reach the breathing and other centres concerned in voice-production; but of this subject of nervousness again.

It is important to realize that sounds, whether musical or the reverse, are produced by the outgoing stream of breath, by an expiratory effort. Breath is taken in by the voice-producer in order to be converted into that expiratory force which, playing on the vocal bands, causes them to vibrate or pa.s.s into the rapid movements which give rise to similar movements of the air in the cavities above the larynx, the resonance-chambers, and on which the final result as regards sound is dependent. Important as is inspiration to the speaker and singer, expiration is much more so. Many persons fill the lungs well, but do not understand how to husband their resources, and so waste breath instead of converting every particle into sound, so to speak. After the larynx has been studied the importance of the expiratory blast will be better understood.

For the voice-user, it cannot be too soon realized that _all breath that does not become sound is wasted_, or, to express the same truth otherwise, the sole purpose of breathing is to cause effective vibrations of the vocal bands. In these two words, _effective vibrations_, lies the whole secret of voice production, the whole purpose of training, the key to the highest technical results, the cause of success or failure for those who speak or sing.

Before the larynx, the apparatus that produces sound-vibrations, can be effectively employed, the source of power, the bellows, must be developed. To some Nature has been generous--they have large chests; to others she has given a smaller wind-chest, but has perhaps compensated by providing an especially fine voice-box. Happy are they who have both, and thrice happy those who have all three requirements: a fine chest, a well-constructed larynx, and beautifully formed resonance-chambers. If with all these there are the musical ear and the artistic temperament, we have the singer who is born great. These are the very few. To most it must be--if greatness at all--greatness thrust upon them, greatness the result of long and patient effort to attain perfect development. Indeed, even those with the most complete natural outfit can only reach the highest results of which they are capable by long and patient application. Those who do not believe in attainment only through labor would do well to abandon an art career, as there is already a great deal too much poor speaking and bad singing.

CHAPTER V.

BREATHING WITH SPECIAL REGARD TO PRACTICAL CONSIDERATIONS.

The first great requisite for a voice-user is a well-developed chest; the next, complete control of it, or, to put it otherwise, the art of breathing, as briefly explained above.

The chest may be large enough, yet not be, in the physiological sense, developed. The voice-user is a sort of athlete, a specialist whose chest muscles must be strong and not covered up by very much superfluous tissue in the form of fat, etc. Whatever the public may think of the goodly form, the singer must remember that fat is practically of no use to any one in voice-production, and may prove a great hindrance, possibly in some cases being a cooperative cause of that _tremolo_ so fatal to good singing.

[Ill.u.s.tration: FIG. 16. The appearance of a well-developed, healthy person, with special reference to the chest.]

[Ill.u.s.tration: FIG. 17. The appearance of the chest after undue compression, as with corsets.]

[Ill.u.s.tration: FIG. 18. In this figure, the dark curved line in the middle is meant to represent the position, etc., of the diaphragm, beneath which, and fitting closely to it, are the liver, stomach, and other abdominal organs, in this case not pressed upon or injured in any way. This represents the normal human being.]

[Ill.u.s.tration: FIG. 19. A condition the reverse of that represented in the preceding. The vital organs are pressed upon, with results some of which are obvious; others equally serious are not such as appear to the eye.]

The voice-user should eschew ease and take plenty of exercise, but most of all must he use those forms of exercise which develop the breathing apparatus and tend to keep it in the best condition.

Walking, running, and hill climbing are all excellent, but do not in themselves suffice to develop the chest to the utmost.

To the beginner the following exercises are strongly recommended. They are highly important for all, whether beginners or not, who would have the best development of the breathing apparatus.

Deep breathing, such a use of the respiratory organs as leads to the greatest possible expansion of the chest, should be learned and practised, if not absolutely before vocal exercises are attempted, at all events as soon after as possible. As in all cases where muscles are employed, the exercise should be _graduated_. It may be even harmful to attempt to fill the chest to its utmost capacity at once.

It is better to breathe very moderately for several days. Any such symptoms as dizziness or headache accompanying or following the exercises indicate that they have been too vigorous, too long continued, or carried out under unsuitable conditions. Above all must the air be pure, and the body absolutely unhampered--most of all, the chest--by any form of clothing. Last century most ladies and some men applied to the chest a form of apparatus known as corsets, under the mistaken belief that they were for women a necessary support and improved the figure. They no doubt were responsible for much lack of development, and feeble health, and, as has been proved by examination of the body after death, led to compression of the liver and other organs. No voice-user should use such an effective means of preventing the very thing he should most desire, a full and free use of the breathing apparatus.

Before carrying out the exercises suggested or others equally good, the student is recommended to be weighed, and especially to have the chest carefully _measured_. This can be done with sufficient accuracy by the use of a tape-measure. It will be well to take the circ.u.mference a few inches above and below a certain point, so that it may be ascertained that the chest expands in every region. The measurements should be taken under the following conditions:

1. The chest should be almost or wholly divested of clothing.

2. Its circ.u.mference is to be ascertained--(_a_) when the breath has been allowed to pa.s.s out gently, and before a new breath is taken; (_b_) with the deepest possible inspiration; (_c_) after the deepest possible expiration, which has been preceded by a similar inspiration.

After about three weeks the individual should be again measured, by the same person, in exactly the same way, in order to learn whether there has been development or not, and, if so, how much. It is important that the measurements should be made at exactly the same horizontal planes, and with this end in view it is desirable to put a small mark of some kind on the chest, which may remain till the next measurements are made.

The method of breathing recommended is as follows:

1. Inhale very slowly through the nostrils, with closed mouth, counting mentally one, two, three, four, etc., with regularity.

2. Hold the breath thus taken, but only for a short time, counting in the same manner as before.

3. Exhale slowly, still counting.

After a few moments' rest the exercise may be again carried out in the same way. These exercises may be in series, several times a day.

The following warnings are especially to be observed:

1. Never continue any exercise when there is a sense of discomfort of any kind whatever. Such usually indicates that it is being carried out too vigorously.

2. Increase the depth of the inspirations daily, but not very rapidly.

3. The inspirations and expirations should both be carried out very slowly at first.

4. Cease the exercise before any sense of fatigue is experienced.

Fatigue is Nature's warning, and should be always obeyed. It indicates that the waste products which result from the use of the muscles are acc.u.mulating and proving harmful.

After a week of such exercises the following modification of them is recommended:

1. Inhale with the lips slightly apart.

2. Gradually increase the length of the time the breath is held, but let it never exceed a few seconds.

3. Through open lips allow the breath to pa.s.s out, but with extreme slowness. The student should try to increase this last, somewhat, daily, as it is above all what is required in singing, and also in speaking, though to a somewhat less degree--a slow, regulated expulsion of the breath.

If when the chest is full of air the subject gently raises the arms over the head, or directs them backward, he will experience a sense of pressure on the chest. If this be carefully done, its effect is to strengthen, and it is especially valuable for those inclined to stoop.

The recommendation to inspire through the open lips applies only when one is in a room, or in the open air when it is warm enough and free from dust. But the student should learn to inspire through the slightly open mouth, as to breathe through the nose in speaking, and especially in singing, is objectionable for several reasons which can be better explained later; so that the rule is to _breathe through the nose when not using the voice, and through the mouth when one does_.

Though all the exercises thus far referred to tend to develop the diaphragm and abdominal muscles, these may be strengthened by special exercises. The diaphragm is the soft floor of the chest, and must at once bear the strain of the air that acts on the approximated vocal bands, and a.s.sist in applying that pressure with just the amount of force required, and no more; hence it is important that this muscle be both strong and under perfect control. This large central muscle is probably not only the most generally effective of all the respiratory muscles, but has an action more precise and often more delicate, more nicely controlled, than that of any other. It is possible to make very powerful movements of this muscle, and an exercise that will cause it to descend deeply and remain in a tense condition is valuable. To effect this, one pushes it down as far as possible, and holds it there for a few seconds, then permits it to relax gradually. The extent to which this is successful can be inferred from the degree to which the abdominal wall bulges forward.

The sudden though slight movements required in those forms of vocalization that bear more or less resemblance to what vocalists term _staccato_, and which are so effective in dramatic speaking and singing, can be prepared for by larger but sudden movements of the diaphragm, as when one taking a full breath imitates coughing movements, but in a regular and measured way, the throat being used but little. At the same time, or separately, the abdominal muscles may be effectively exercised by being drawn in and thrust out with considerable force.