das wäre der Text! sorry beim vorherigen fehlt die hälfte..
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BREATHING AND BREATH CONTROL
The exercises which follow have been taken from The Control of the Breath ( Dodds and Lickley), which is published by the Oxford University Press. Students who wish for a full description (with numerous illustrations) of the mechanism of respiration and its action, are directed to this volume, in which will also be found a number of exercises for securing facility in every application of breath control, both in singing and speaking.
The majority of students who present themselves for instruction are to have poor chest expansion at the front and sides of the waist. The expansion of the upper part of the chest is usually better, and in many cases quite good. Both sexes suffer from the same deficiency, and although in women it is usually more evident than in men, the difference between the sexes is not nearly so marked as in the days of the tight-laced corset, and the (now happily) old-fashioned “wasp” waist. The student must in the first place obtain experience in expansion of the lower part of the chest.
EXERCISES FOR SECURING THE CORRECT METHOD OF BREATHING
Exercise One
This should be practised in bed with the body clothed in loose attire so that the movements are unhampered. Lie flat one the back with the head slightly raised by a pillow. Place one hand on the front of the body at the waist-line. Now breathe naturally in and out quietly through the nose, without trying of follow any particular method. You will find that the hand is being gently moved up and down by the respiratory actions. After you are quite sure of this fact, place one hand on each side of the body at the waist level, as if placing the arms “akimbo”.
Notice the side expansion that is produced by the action of the breathing mechanism. Then place one hand in front as before, keeping the other on the side: observe that you get the expansion simultaneously at the two places. Do not overwork the mechanism at first by too violent breathing, gentle exercise is quite sufficient to begin with. Practise for two or three minutes in bed when opportunity offers, until you have thoroughly grasped the sensation of using the mechanism of respiration in this manner.
Exercise Two
When quite sure of the correct performance of exercise one, the student may recline on an armchair, with his feet stretched out straight in front, and his head laid back. Place a small cushion so that it gives support to the “small of the back”. The body should now be in a posture similar to that of lying in bed, save for the angle to the floor. The ordinary clothes, however, are now worn, so that the conditions demand more control than those of the previous exercise. Breathe slowly through to nose, and endeavour to secure the exact result which was achieved when practising exercise one. This is a greater step forward for women than for men, and may take them a little longer to master satisfactorily, because of their corsets and waist-belts.
Exercise Three
Exercises one and two will not permit the student to take a complete inspiration; the recumbent position of the body does not allow the movement of the ribs to be more than partial. If, however, the exercises have been successfully accomplished, the student may now endeavour to breathe correctly while in a standing position. Stand against a wall or door, with heels, shoulder blades, and the back of the head all touching it. Place one hand as before in the centre of the waist in front, and try to obtain the same result as in the previous exercises. Do not take too much breath, especially at first. See that your method is correct, and leave quantity alone. Practise quietly until certain of your ability to control the mechanism of inspiration.
Exercise Four
Step away from the wall or door, and endeavour to keep the body in the same posture. Now practise quietly, always inhaling through the nose, and aim breathe exactly as in the previous exercises.
Exercise Five
Inspire as in exercises three and four, to expand at the waist; when this is accomplished, continue the inspiration until the upper part of the chest has also expanded. The shoulders must not move, nor must the abdomen be drawn in: the inspiration must cease before the latter occurs. The result will be a complete inspiration. Practise this gently and silently for two or three minutes whenever opportunity offers, not only in the house but also in the street, train or ‘bus. Make it your persistent endeavour to establish a habit of always breathing in this way. Of course the inspirations, but at other times they may quite well be partial inspirations of the same type.
EXERCISES FOR STRENGTHENING THE BREATHING MUSCLES, AND FOR
TEACHING CONSCIOUS CONTROL
For the Muscles of Inspiration
Exercise Six
Take a full inspiration, hold the breath for ten seconds, then allow it to escape quietly. Do this several times.
Exercise Seven
When walking along the street, inspire gently for six steps: retain the breath for twelve further steps, then allow it to escape quietly. Practise at intervals.
For the Muscles of Expiration
Exercise Eight
Take a full inspiration, hold it for five seconds, and then blow it out smartly through then mouth, as though blowing out a candle held about two feet from the face. Practise every morning before clothing yourself. To begin with, do this exercise four times, afterwards gradually eight, but rather increase the force if the expiratory blow.
Exercise Nine
Take a moderately full inspiration. Sing softly any note about the middle of the compass of the voice (G will suit the majority of voices) Hold this steadily and softly for twelve seconds. Increase the length of the note as muscular strength and control improve, but remember that the note must be steady, no quivering or breath trembling must be apparent in the tone.
Exercise Ten
Practise as in the previous exercise, but gently swell and afterwards diminish the note; the control of the tone must be consciously at the front of the waist. This exercise will from a link with future singing practice, and serve as an introduction to the valuable messa di voce.
VOWEL-SOUNDS
Throughout the exercises which follow in Parts One, Two and Three, pronounce the vowelsounds thus:
AH as in Bar
EH “ Bet
EE “ Bee
AW “ Ball