of
the voice. Weak breathing is a prime cause of throaty tones. In such
cases an effort is made to increase the tone by pinching the larynx.
But this compresses the vocal cords, increases the resistance to the
passage of the breath, and brings rigidities that prevent proper
resonance. The true way is to increase the wind supply, as does the
organist.

CORRECT BREATHING ILLUSTRATED

The following figures show the outline of correct breathing. The inner
abdominal line shows the limit of expiration; the outer line shows the
limit of full inspiration.

Figure 9 shows the limit of full expiration and inspiration of the
male, side view.

Figure 10 shows the lateral expansion of the ribs in both expiration
and inspiration, front view of the male.

The expansion cannot be great at this part of the chest, as the side
is so short a distance from the backbone to which the ribs are
attached. The movement of the ribs in front is much greater, as Fig. 9
shows.

Figure 11 shows the front expansion and contraction in the breathing
of the female, side view.

Figure 12 shows the lateral expansion of the chest in the female,
front view.

These diagrams are made from photographs, and thus true to life. It
will be noticed that there is no difference in the breathing outline
between these subjects. The female subject, though a good singer, had
had no training in breathing. She previously insisted that she used
only the chest breathing, and did not use the abdominal muscles, but
actual test revealed the condition to be that shown in Figure 11 and
convinced her that she was mistaken.

[Illustration: FIGURE 9.]

[Illustration: FIGURE 10.]

[Illustration: FIGURE 11.]

[Illustration: FIGURE 12.]

It is not unlikely that many other singers who now think they are
using only the high chest respiration would, if subjected to the same
test, find themselves similarly mistaken.

The contraction incident to forced expiration is much more tense than
the enlargement of forced inspiration. When singing or speaking,
forced inspiration is not used. Experience shows that the change in
size of the body during speaking or singing is usually small.
Occasionally, long passages in music demand that the expulsive power
of the breathing apparatus be used to its limit.

ECONOMY OF BREATH

The quantity of air taken in with a single inspiration is, in quiet
breathing, according to Prof. Mills,[3] from twenty to thirty cubic
inches, but this