Comparative Methods

RE 1. Use of pure resonance will lay aside all dependence on breathing.
2. Thinking of proper resonance will start the breath.
3. Tone is the result of resonance, so we do not need any great
amount of muscular control and adjustment in the breathing ap¬
paratus .
4. If you do not get proper resonance, you are not breathing properly.

SP 1. Sing your phrase as you would speak it, and the breath will take
care of itself. CO-OR 1. Co-ordination among various parts of the breathing mechanism is the important factor.
2. The larynx and abdominal muscles must have co-ordination to pro¬duce a good tone.

COMPARATIVE METHODS

The correct method of breathing requires a combination of rib
raising and diaphragmatic contraction.

EF 1. Direct control of the breathing mechanism is necessary.
2. Physical exercises to enlarge the chest and strengthen the breath¬
ing muscles are an absolute necessity.
3. Separation of respiratory and phonatory training routines must be emphasized.
4. Torso action, not breathing, should be taught. Expand to breathe - do not breathe to expand.

SC 1. Intercostal high-abdominal (diaphragmatic) breathing for inhala¬tion and intercostal high-abdominal breath support for exhalation are the most efficient types of breathing for singing.
2. The diaphragm and the intercostal (rib raising muscles) are the most important muscles of inhalation. The high abdominal and intercostal (rib lowering muscles) are the most important muscles for exhalation. The diaphragm is not a muscle of exhalation.
3. The breath supply must not only be under pressure in singing but must also flow in a continuous stream.

PHP 1. Phonetic Placement is dependent on the proper breath support. PPA 1. A proper inspiration prepares the throat for good tone production, and during the tone production the mind can be used to a better advantage in remembering placement sensations or interpretations. 2. Basically, breath control should be an enunciation or diction con¬trol, supported by a pressure flow of the breath.

REG 1. Register changes are affected by proper or improper breathing.
2. If there is a break in your register, you are not breathing correctly.
3. Resistance to the passing stream of breath is only one of several functions which have to be exercised at the glottis, which is the gateway to the lungs in one direction, and the organ of breath control in the other.

RES 1. Respiration is the power behind the tone, the foundation of inter¬pretative singing, the life-giving force of all vocal tone.
2. The first thing the singer must do is to learn to breathe properly. Phonation Concepts

BC 1. Tonal beauty is vowel purity and clarity.
2. The art of singing lies in the avoidance of rigidity and the adop¬tion of the open throat.

EM 1. Let the emotions control phonation.
2. The nervous system controls phonation.
3. The muscular activity in phonation is a conscious desire for oral expression.

IN 1. Motivation controls phonation because it stimulates the proper desire to express.
2. Singing should be a soul satisfying experience rather than a self-conscious manipulation of the vocal mechanism.