direction of the rib-lowering muscles. Theoretically,
the downward pull is "controlled" by the upward pull. 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 rib is lowered with a degree of strength equal
to the excess of the downward over the upward pull. If the downward pull
equals five units of strength, and the upward pull four units, the rib
is lowered with a pull equivalent to one unit of strength. Exactly the
same effect would be obtained if the downward and upward pulls were
equal respectively to twenty and nineteen units, or to two and one
units. Further, the result would be the same if the downward pull
involved the exertion of one unit of strength, and there was no upward
pull whatever. In every case, the actual result is equivalent to the
excess of the downward over the upward pull.

In the case of the expiratory pressure of five units of strength being
"controlled" by an inspiratory contraction of four units, nine units of
strength are exerted, and the same result could be obtained by the
exertion of one unit. There is a clear waste of eight units of strength.
The power of the expiratory blast is just what it would be if one unit
of strength were exerted in an "uncontrolled" expiration. The singer
exerts just nine times as much strength as is necessary to effect the
same result. This is why the practice of breath-control exercises is so
extremely fatiguing.

So far as the effect of the expiratory blast on the vocal cords is
concerned, "controlling" the breath has no influence whatever. The vocal
cords respond to the effective air pressure; they are not affected in
any way by the opposed contractions of the breath muscles.
"Opposed-muscular" breath-control is a sheer waste of time and effort.

Probably no particular harm has ever resulted to any singer's throat
from the practice of breath-control exercises. But the attempt to hold
back the breath has a very bad effect on the singer's delivery. The
"breath-control" type of singer is never found in the ranks of the great
artists. There is something utterly unnatural about this holding back of
the breath, repugn