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The "breath-band" advocates hold that the glottic stroke is the key to correct laryngeal action. As a rule they instruct their pupils to attack every tone, throughout all their practising, with the stroke of the glottis. In the course of time the automatic valvular action is supposed to become so well established that the singer can dispense with the glottic stroke in public performance.
This is also true, although not to the same extent, among the "breath-band" teachers. And to render the confusion on the subject of breathing and breath-control complete, instances might be cited of controversies between teachers who agree as to the correct mode of inspiration, and yet disagree on the manner of controlling the expiration.
On the contrary, both the theory of "opposed action" breath-control and the "breath-band" theory are held to be utterly erroneous. 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.
Every singing bird, every animal whose vocal mechanism consists of lungs and larynx, illustrates the same mechanical principle of vocal action. Only passing mention is required of the fallacy of the breath-band theory. The idea of any necessity of relieving the vocal cords of the expiratory pressure is purely fanciful.
Needless to say, these teachers usually recognize that this explosive sound is very harsh and unmusical, and utterly out of place in artistic singing. An important claim of the "breath-band" teachers is that their doctrine contains the explanation of the traditional precept, "Support the tone." Their idea is that the throat, being "firmly set," furnishes a secure base for the tone to rest on.
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.
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." Th. The "Breath-band" System
In the methods of all the "breath-band" advocates, the first and most important step toward perfect tone-production is held to be the acquirement of this automatic breath-control. As in the "opposed muscular" system, the initial exercises are toneless drills in breathing.
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.
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