Public Speaking | Page 7

so far as it can be a conscious physical
operation, is determined chiefly by the action of the breathing muscles
about the waist and the lower part of the chest. The voice may be said
to have its foundation in this part of the physical man. This foundation,
or center of control, will be rightly established, not by any very positive
physical action; not by a decided raising of the chest; not by any such
marked expansion or contraction as to bring physical discomfort or
rigid muscular conditions. When the breath is taken in, by an easy,
natural expansion, much as air is taken into a bellows, there is, to a
certain degree, a firming of the breathing muscles; but this muscular
tension is felt by the speaker or singer, if felt at all, simply as a
comfortable fullness around, and slightly above, the waistline, probably
more in front than elsewhere. An eminent teacher of singing tells his
pupils to draw the breath into the stomach. That probably suggests the
sensation. When the breath has been taken in, it is to be gently
withheld,--not given up too freely,--and the tone is formed on the top,
so to speak, of this body of breath, chiefly, of course, in the mouth and
head. For the stronger and larger voice the breath is not driven out and
dissipated, but the tone is intensified and given completer resonance
within--within the nasal or head cavities, somewhat within the pharynx
and chest. This body of breath, easily held in good control, by the lower
breathing muscles, forms what is called the vocal "support." It is a
fixed base of control. It is a fundamental condition, and is to be steadily
maintained in all the varied operations of the voice.
Since this fundamental control of voice is so important, breathing
exercises are often prescribed for regular practice. Such exercises,
when directed by a thoroughly proficient instructor, may be vocally
effective, and beneficial to health. Unwisely practiced, they may be
unfitted to vocal control and of positive physical harm. Moderately
taking the breath at frequent intervals, as a preparation or
reënforcement for speaking, should become an unconscious habit.
Excessive filling of the lungs or pressing downward upon the abdomen
should be avoided. In general, the hearing of the voice, and an
expressional purpose in making the voice, are the better means of
acquiring good breathing. For the purposes of public speaking, at least,

it is seldom necessary to do much more, in regard to the breathing, than
to instruct a student against going wrong. The speaker should have a
settled feeling of sufficiency; he should hold himself well together,
physically and morally, avoiding nervous agitation and physical
collapse; he should allow the breath freedom rather than put it under
unnatural constraint. Perfect breathing can only be known by certain
qualities in the voice. When it is best, the process is least observed. The
student learns the method of breathing mainly by noting the result, by
rightly hearing his voice. He must, after all, practice through the
hearing.
The discussion of vocal support has brought us to the second main
principle, the government of the throat. The right control of the voice,
by placing a certain degree of tension upon the breathing muscles,
tends to take away all pressure and constraint from the throat, leaving
that passage seemingly open and free, so that the breath body or
column; as some conceive it, seems almost unbroken in continued
speech, much as it is, or should be, in prolonging tone in singing. The
throat is opened in a relaxed rather than a constrained way, so as to give
free play for the involuntary action of the delicate vocal muscles
connected with the larynx, which determine all the finer variations of
voice. Whatever kind of vocal effort is made, the student should
constantly guard himself against the least throat stiffening or
contraction, against what vocalists call a "throat grip." He is very likely
to make some effort with the throat, or vocal muscles, when putting the
voice to any unusual test--when prolonging tone, raising or lowering
the pitch, giving sharp inflections, or striking hard upon words for
emphasis. In these and other vocal efforts the throat muscles should be
left free to do their own work in their own way. The throat is to be
regarded as a way through; the motive power is below the throat; the
place for giving sound or resonance, to voice, for stamping upon words
their form and character, is in the mouth, front and back, and especially
in the head.
The last of the three main considerations, the concentration of tone
where it naturally seems to be formed, is often termed voice "placing,"
or "placement." The possible objection to this term is that it may
suggest a