theory of the vocal action
embodied in this doctrine. On the contrary, both the theory of "opposed
action" breath-control and the "breath-band" theory are held to be
utterly erroneous. For a further discussion of this subject see Chapter
II of Part II.]

The exercises for acquiring command of this "opposed action
breath-control" are easily understood; indeed, they will readily suggest
themselves to one who has grasped their purpose. Most important of these
exercises is a quick inspiration, followed by a slow and controlled
expiration. Exercises for breathing and breath-control are usually
combined; the student is instructed to take breath in the manner
advocated by the teacher, and then to control the expiration.

Teachers usually require their pupils to obtain command of this action
as a toneless exercise before permitting them to apply it to the
production of tone. Methods vary greatly as to the length of time
devoted to toneless drills in breathing and breath-control. Many
teachers demand that students practise these exercises daily throughout
the entire course of study, and even recommend that this practice be
continued throughout the singer's active life.

Simple as these exercises are in theory, they demand very arduous
practice. Control of the breath by "opposed action" is hard and tiring
muscular work, as the reader may easily convince himself by practising
the above described exercise for a few minutes.

No special rules are needed for applying this mode of breathing to the
production of tone. Theoretical writers generally do not claim that the
control of the breath brings about the correct laryngeal action, but
merely that it permits this action by noninterference. Several
authorities however, notably Shakespeare, maintain that in effect this
system of breath-control embodies the old precept, "Sing on the breath."
(Wm. Shakespeare, _The Art of Singing_, London, 1898, p. 24.) Other
theorists hold that the empirical precept, "Support the tone," refers to
this manner of controlled expiration. (G. B. Lamperti, _The Technics of
Bel Canto_, Trans. by Dr. Th. Baker, N. Y., 1905, p. 9.)

_The "Breath-band" System_

While most authorities on the voice advocate the system of
breath-control by "opposed muscular action," there are a number of
masters who teach an entirely different system. This is usually known as
the "Breath-band," or "Ventricular" breath-control. Charles Lunn, in
_The Philosophy of the Voice_, 1