reath in singing is effected by this automatic valvular
action. To produce a tone according to this system, the lungs must be
filled and the breath held in the manner just described, while the vocal
cords are brought to the proper degree of tension; then the tone is
started by allowing the 'breath-bands' to separate very slightly, so
that a thin stream of air is forced through the opening between their
margins. The tone is ushered in by a slight explosive sound, which is
nothing but the well-known stroke of the glottis. So long as the
expiratory pressure is steadily maintained, this tone may be held, and
yet no strain is imposed on the vocal cords. Perfect control of the
breath is thus attained. For a powerful tone, the breath blast is
greater, therefore the ventricles are more widely inflated, and the
opening between the 'breath-bands' becomes narrower. The action is
always automatic; once the tone is correctly started, the singer need
pay no further attention to the operation of the 'breath-bands.' All
that is necessary is to maintain a steady breath pressure."

In the methods of all the "breath-band" advocates, the first and most
important step toward perfect tone-production is held to be the
acquirement of this automatic breath-control. As in the "opposed
muscular" system, the initial exercises are toneless drills in
breathing. The basic exercise, of which all the others are variations,
is as follows: "Fill the lungs, then hold the breath an instant, and
forcibly contract all the chest muscles. Then force the air out slowly
and powerfully through the glottis." Practice of this exercise is always
accompanied by a hissing sound, caused by the escape of the air through
the narrow slit between (presumably) the "breath-bands." Tone-production
by the same muscular action is very simple, and requires no further
explanation.

In its practical aspect this system of breath-control is the direct
opposite of the "opposed muscular" system. In one the breath is expelled
powerfully, the object being to bring a strong expiratory pressure to
bear on the larynx. In the other system, the air is held back, in order
that the larynx be exposed to as slight a pressure as possible.

The "breath-band" advocates hold that the glottic stroke is the key to
correct laryngeal action. As a rule they instruct their pupils to attack
every tone, throughout all their practising, with the stroke of the
glottis. In the course of time the automatic va