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In the opposed-action system of breath-control, the action of the rib-raising muscles is continued throughout the expiration, as a check upon the pull in the opposite direction of the rib-lowering muscles. Theoretically, the downward pull is "controlled" by the upward pull.
This fault is never observable in artists trained in the real traditional Italian school of singing not necessarily by Italians, but in the traditional school of the old Italian masters. The choppy method of singing is noticeable, not in all, but in many German singers. It is due to incomplete breath-control, for which in turn carelessness in matters of hygiene largely is responsible.
In its practical aspect this system of breath-control is the direct opposite of the "opposed muscular" system. In one the breath is expelled powerfully, the object being to bring a strong expiratory pressure to bear on the larynx. In the other system, the air is held back, in order that the larynx be exposed to as slight a pressure as possible.
As for the particular fallacy contained in the theory of ventricular breath-control, that must be reserved for a later chapter. Suffice it to say here that this theory disregards the two basic mechanical principles of tone-production, Pascal's law, and the law of the conservation of energy.
There is little danger that Caruso ever will break his collar bone in producing high C, and his delivery of the romance, "Una furtiva lagrima," in L'Elisir d'Amore, is a most exquisite example of breath-control and of voice-management in cantabile; while Plançon's singing from a chest absolutely immobile, even in long and difficult phrases, is so effortless that his performances are a delight to every lover of the art of song, his voice flowing out in a broad, smooth stream of music.
After the movements are understood and all restraint is removed, then study the tone on all degrees of power, but remember when singing soft and loud, and especially loud, that the first principle of artistic singing is the removal of all restraint. The second principle of artistic tone-production is Automatic Breathing and Automatic Breath-Control. Theory.
To express this idea in figures, let the expiratory or downward pull on the rib be said to involve the expenditure of five units of strength. According to the theory of opposed-action breath-control, this downward pull would have to be opposed by a slightly less upward pull, say four units of strength. Thus graphically presented, the fallacy of the "opposed-muscular" theory is clearly exposed.
"The tone thus produced and thus delivered, with perfect breath-control, will set the whole body sympathizing, from the sole of the foot to the crown of the head.
Sympathetic sensations are indeed sometimes cited in proof of certain theories of breath-control, and also of nasal resonance. Both these topics are worthy of separate attention. Sympathetic Sensations and Nasal Resonance One of the most widely accepted theories of the vocal action is that the higher notes of the voice are influenced by reinforcing vibrations located in the nose and forehead.
Of these anatomy has received by far the most attention from vocal scientists. The laws of acoustics, bearing on the voice, have also been carefully considered. Beyond the theory of breath-control, little attempt has been made to apply the principles of mechanics in Vocal Science.
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