ruth, however, it is mixed costal, diaphragmatic and clavicular;
but, aside from the awkwardness of combining all three terms in
characterizing correct breathing, the clavicles play a less important
part in it than the diaphragm and the ribs. In their relative importance
to correct breathing the diaphragm comes first, the ribs next and then
the clavicles. I feel certain that Dr. Poyet means the coordination of
the three when he speaks of mixed costal and diaphragmatic breathing,
and that Dr. Van Baggen also means this when he speaks of diaphragmatic
breathing. In fact, his description of diaphragmatic breathing involves
the ribs; and if he omits mention of the clavicles, this may be
explained by the slight part they play in correct breathing, merely
topping off, as it were, the action of diaphragm and ribs.

Dr. Van Baggen, in the breathing-exercises which he describes as
beneficial for restoring a voice impaired by misuse, lays emphasis on
the control of expiration and on the brief retention of the breath
before exhaling it. In his first exercise the abdomen is pushed forward
and contracted, the idea of breathing being excluded in order to
concentrate attention upon making the movements correctly.

The second exercise consists of these same movements, but now combined
with inspiration and expiration through the nostrils. When first
started, the exercises are limited to a few minutes four or five times
a day. When this method of breathing has become natural to the patient,
there is added the brief retention of the breath and expiration under
control--that is, gradual expiration. This constitutes the third
exercise.

In this it is recommended to inhale slowly through the mouth, which
should be in position to pronounce _f_, that is, not too open. Hold the
breath while mentally counting three. Exhale, pronouncing a prolonged
_s_ and finishing on _t_. The pronunciation of _f_ during inhalation
and of _s_ and _t_ during exhalation is advised in order to provide
evidence that inhalation and exhalation are carried out evenly and
without shaking or breaks.

Built upon this is the exercise for teaching the vocalist to inhale
quickly, hold his breath a brief space, and exhale as slowly as possible,
as must be done in singing. The inspiration now is through the nostrils;
the pause is not quite so long, but the expiration on _s_ and _t_ is
longer--say as mentally counting 40 would compare with counting 10.

Whoever has read ca