SECTION 10.

CORRECT APPLICATION OF THE DIAPHRAGM AND THE ABDOMINAL MUSCLES.

It must be particularly noticed that we should work less with the muscles which pass vertically over the stomach (musculi recti), than with those which cover the sides (musculi transversi and external oblique and internal oblique).

A painful pressure upon the stomach is experienced when the musculi recti work much more than the musculi transversi and external and internal oblique; they should work less. We must have such a control over the diaphragm and the abdominal muscles that the air can be emitted at will in any quantity.

If we are asked to state more particularly when it is best to apply side-breathing and when abdominal breathing, we should say: every tone-formation for lively and quick speech in light conversation and in song, is best attained by side-breathing, with the abdominal muscles strongly drawn in and held firm, but every tone-formation for sustained and weighty speech, for heroic song, can succeed only when produced by full abdominal respiration,

SECTION 11.

PECULIAR PHENOMENA DURING THE APPLICATION OF THE DIAPHRAGM AND ABDOMINAL MUSCLES.

Every one, who has learned this method of breathing, will, by exact observation of the rules and with a firm determination, be able to carry them out. Before long, however, it will strain him so much that he will begin to doubt whether he ever will be in a position to make this method second But the scholar must not allow himself to be discouraged; for this strain results from three

nature.

causes:

I. From being unaccustomed to make a more than ordinary use of these muscles.*

2. From their over-exertion, as the scholar, having become convinced of the efficacy of this method, tries to arrive as quickly as possible at the desired end.

3. From the occasional wrong application of the abdominal muscles; for the scholar, at first, will press upon the stomach more or less, since he uses the musculi recti too much and allows the lower ribs to sink, instead of keeping them firmly raised.

* We have already learned in treating of the muscles, that it is only by the force of habit that they can be brought to work with more than ordinary activity.

These three causes can be removed only by long continued, careful, correct practice, interrupted by the necessary pauses.

It must not be supposed that the mere knowledge of a method is sufficient for its application; for the application of a rule, practice, time and great perseverance are necessary.

SECTION 12.

INSPIRATION TO be Performed Noiselessly, and VisiBLE ONLY TO SUCH A DEGREE AS IS ABSOLUTELY NECESSARY.

Loud breathing is not only unbecoming, but also destructive of the organs, especially the vocal cords. This can be explained by the following: We have already learned that in inspiration the glottis expands, while the larynx slightly sinks, and during expiration it contracts, while the larynx not only regains its former position, but rises still higher. This is so by nature, and, if we acted accordingly, many mistakes would be avoided. But there are many who in inspiration compress the glottis as much as it contracts in expiration, by falsely using the muscles of the larynx, thereby hindering the descent of the larynx; this causes the disagreeable

sound of the air brought into friction against the walls of the glottis (the vocal cords).

This constantly recurring, forcible crowding through of the air produces dryness of the mucous membrane, even inflammation, which greatly hinders the formation of sound and not unfrequently leads to the total ruin of the vocal cords.

It is necessary, therefore, to pay particular attention that no incorrect muscular activity be developed, that the glottis, instead of being compressed, be widely opened, and the larynx be permitted to sink naturally. This will result if the air be inhaled only by means of the muscles of inspiration, the glottis regarded merely as a passage, and the vocal cords. not used for muscles of inspiration. In this respect it is with the glottis as with the nose, when we breathe through the latter.

Audible inspiration has also another cause. Most singers and speakers possess the fault of discharging the air from the lungs entirely before inhaling fresh air. When the latter is done, it is impossible (except, perhaps, in the case of the most perfect orators and singers) to avoid making the inspiration audible and disturbing.

To make inspiration inaudible, it is necessary that the aperture, through which the air is inhaled, be as

large as possible, that the larynx, and with it the root of the tongue, be drawn downward as far as possible, and the soft-palate raised.

Through long practice this process can be executed with astonishing rapidity, as is absolutely necessary in quick singing and speaking. The ability to regulate the diaphragm at will, is also necessary, because just as soon as the larynx sinks, the diaphragm contracts, and the abdomen is made to protrude. If we observe these rules, it is almost impossible to inspire audibly.

The exercise, which the pupil will have to make in order to understand the foregoing and to be able to practice it by himself, will be as follows:

Exercise for Inaudible Inspiration.

Fill the lungs with air, then strike any particular tone, and prolong it, singing until all the air in the lungs has been exhausted. Now take a fresh, quick inspiration inaudibly, and go on at once with the same tone, and repeat this several times, until 2. consciousness of the muscles involved in the operation is arrived at. The position. assumed by the organs will soon become familiar. It will be perceived that the soft-palate has been quickly drawn upward, and that the root of the tongue and the larynx have been drawn downward, and that the diaphragm has contracted. These movements all take place spontaneously; the pupil has only to become conscious of them and to perfect them.

Inaudible inspiration is a thing so important that too great pains cannot be taken with its practice;