For seventy years I have
used this method of breathing, and I am a perfect example of the
preservation of the voice now in my seventy-sixth year, and have every
note I ever used and can sing with as much power and breath control as
I ever could. I feel no weakness or lack of strength in any part of my
tone production.
I taught every pupil in this way and cured many of the tremolo habit
by showing them how to breathe properly and then use this art
intelligently. The art of breathing is not alone the thing to
understand. There are many other points of importance to remember,
but the art of breathing is the fundamental stone that has to be well
grounded to secure the lasting success of the conscientious and
intelligent student. Each person must feel the action of the different
parts that go to make up the vocal instrument, which strengthens my
assertion that each individual must have his own separate instruction
as he possesses the charm of his own personality and musical
temperament. Many students may have complete knowledge of how it
should be done, and yet in the performance they do just the opposite,
from a feeling of self-consciousness and the fear of being ridiculed
in their efforts to sing. The mind must first recognize, then control,
until automatic action is established and there is no danger of
self-consciousness. One must learn the elements of singing--no amount
of intelligence will enable a person rightly to interpret a song if he
has not first learned that department thoroughly.
Pages:
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288