By Peter Allsop
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My theory about this subject called singing originates with the day we are born. As infants, we come into the world crying, announcing that we are here and are all right. We are then hugged, fed, played with, cuddled, kissed, and touched by hospital staff and family. What a neat experience. Imagine the feeling of filling the delivery room with our sound and having people respond in this manner. As we grow older, we yell and scream in play and even begin to think in terms of organized sound called speech, music, and singing.
It can be subverted by unconsciously poor body use or by bad training, but in everyday breathing the body tends to find effortless movement. Singing in the head voice can be—and usually is—subverted by the cultural norms of the singing we hear and learn and for all the physiological reasons to “push” already mentioned. If our natural tendencies and the desired processes have been subverted, we need to know how to retrain ourselves. What new or corrective orders can we give our bodies to rectify bad habits?
Moreover, many of them have at some time worked for some great singers. In fact, experimentation has shown that the total volume of air moved in and out of the lungs is essentially the same whether a singer uses “thoracic” or “diaphragmatic” breathing. The differences are not considered significant by pulmonary specialists, even those familiar with the phenomenon of singing. The respiratory valve is the primary controller of the breath. If there is constriction in the pathway of the breath, breathing will be labored.
Arcangelo Corelli by Peter Allsop