The Psychology of Singing | Page 9

exertion by which it is controlled. In this way the
singer may have perfect control both of the speed and of the strength of
the expiration."
[Note 3: This statement of the doctrine of breath-control must not be
construed as an endorsement of the theory of the vocal action embodied
in this doctrine. On the contrary, both the theory of "opposed action"
breath-control and the "breath-band" theory are held to be utterly
erroneous. For a further discussion of this subject see Chapter II of
Part II.]
The exercises for acquiring command of this "opposed action
breath-control" are easily understood; indeed, they will readily suggest
themselves to one who has grasped their purpose. Most important of
these exercises is a quick inspiration, followed by a slow and controlled
expiration. Exercises for breathing and breath-control are usually
combined; the student is instructed to take breath in the manner
advocated by the teacher, and then to control the expiration.
Teachers usually require their pupils to obtain command of this action
as a toneless exercise before permitting them to apply it to the
production of tone. Methods vary greatly as to the length of time
devoted to toneless drills in breathing and breath-control. Many
teachers demand that students practise these exercises daily throughout
the entire course of study, and even recommend that this practice be
continued throughout the singer's active life.
Simple as these exercises are in theory, they demand very arduous
practice. Control of the breath by "opposed action" is hard and tiring
muscular work, as the reader may easily convince himself by practising

the above described exercise for a few minutes.
No special rules are needed for applying this mode of breathing to the
production of tone. Theoretical writers generally do not claim that the
control of the breath brings about the correct laryngeal action, but
merely that it permits this action by noninterference. Several authorities
however, notably Shakespeare, maintain that in effect this system of
breath-control embodies the old precept, "Sing on the breath." (Wm.
Shakespeare, The Art of Singing, London, 1898, p. 24.) Other theorists
hold that the empirical precept, "Support the tone," refers to this
manner of controlled expiration. (G. B. Lamperti, The Technics of Bel
Canto, Trans. by Dr. Th. Baker, N. Y., 1905, p. 9.)
The "Breath-band" System
While most authorities on the voice advocate the system of
breath-control by "opposed muscular action," there are a number of
masters who teach an entirely different system. This is usually known
as the "Breath-band," or "Ventricular" breath-control. Charles Lunn, in
The Philosophy of the Voice, 1878, was the first to propound the theory
that the breath may be controlled by the false vocal cords. There is
reason to believe that this idea was also worked out independently by
Orlando Steed ("On Beauty of Touch and Tone," Proceedings of the
Musical Assn., 1879-80, p. 47). As a number of prominent teachers
base their entire methods on this theory, it is worthy of careful attention.
The "breath-band" theory may be stated as follows:
"When the lungs are filled by a deep inspiration and the breath is held,
the glottis is of necessity closed so tightly that no air can escape. In this
condition the expiratory muscles may be very violently contracted, and
still no air will escape; indeed, the greater the strength exerted the
tighter is the closure of the glottis. Obviously, this closure of the glottis
cannot be effected by the contraction of the glottis-closing muscles,
strictly speaking, for these muscles are too small and weak to withstand
the powerful air pressure exerted against the vocal cords.[4] The point
of resistance is located just above the vocal cords. The sudden air
pressure exerted on the interior walls of the larynx by the expiratory
contraction causes the ventricles of the larynx to expand by inflation.

This inflation of the ventricles brings their upper margins, formed by
the false vocal cords, into contact. Thus the opening from the larynx
into the pharynx is closed. This closure is not effected by any muscular
contraction, therefore it is not dependent on the strength of the
muscular fibers of the false vocal cords. It is an automatic valvular
action, directly under voluntary control so far as the contraction of the
expiratory muscles is concerned, but independent of volition as regards
the action of the false vocal cords. On account of their important
function in this operation the false vocal cords are called the
'breath-bands.' Closure of the glottis by the inflation of the ventricles
imposes no strain on the vocal cords.
[Note 4: One of the strongest arguments of the "breath-band" advocates
is based on this action,--the resistance of the closed glottis to a
powerful expiratory pressure. The theory of breath-control by "opposed
muscular action" takes no cognizance of this operation. It will however
be shown in