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For a powerful tone, the breath blast is greater, therefore the ventricles are more widely inflated, and the opening between the 'breath-bands' becomes narrower. The action is always automatic; once the tone is correctly started, the singer need pay no further attention to the operation of the 'breath-bands. All that is necessary is to maintain a steady breath pressure."
To produce a tone according to this system, the lungs must be filled and the breath held in the manner just described, while the vocal cords are brought to the proper degree of tension; then the tone is started by allowing the 'breath-bands' to separate very slightly, so that a thin stream of air is forced through the opening between their margins.
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. The theory of breath-control by "opposed muscular action" takes no cognizance of this operation. "Control of the breath in singing is effected by this automatic valvular action.
This is done, indirectly, through the movements we advocate, through the position and action of the body. The motor power lies in the diaphragm and in the abdominal and intercostal muscles. The controlling force lies in the chest, in a properly adjusted larynx and the approximated breath-bands. These two forces must be balanced during the act of singing.
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