Читать книгу Whistling as an Art - Agnes Woodward - Страница 8

Table of Contents

In whistling, as in singing, the deep breathing (diaphragmatic breathing) is employed. The diaphragm is a strong muscle, arched in shape, upon which the lungs rest, and which forms a partition between them and the abdominal organs. When inhaling, the diaphragm lowers and distends, thus giving room to the increased body of air in the lungs. Breathe through the nostrils slowly, filling both lower and upper lobes of the lungs. Hold a second and during exhalation allow the diaphragm to recede slowly to its normal position. For the production of tones to be held for some time, this process retains the breath longer than chest breathing, and is the only correct method for whistling.

It should be understood that the air leaves the upper lobes of the lungs first, being followed by that in the lower lobes, at which time the diaphragm recedes slowly to its natural position. Regular breathing exercises should be practised daily for the development of perfect control.

Place the hands on the sides, thumbs supporting the muscles of the sides, inhale through the nostrils, counting 10 slowly during inhalation, hold while a count of 5 is made, and then exhale during a count of 20, or until the breath is entirely eliminated. Repeat this exercise several times a day, preferably just before practice of whistling. By this means the muscles of the diaphragm become strong, firm and pliable, and are able to retain the distended position much longer than when first tried. Also much longer passages in whistling may be executed with greater ease.

Another exercise for the development of the diaphragmatic muscles is as follows: Place the hands on the sides (position as mentioned above), thumbs bracing the body, and slowly while inhaling, bend the body backward, until the muscle in the pit of the stomach pulls considerably, then slowly let the body return to first position, exhaling gradually. By constant practice, this body-bending exercise produces excellent results, even without thought of the breath. Be sure, however, that the motion backward is gradual and easy, and not jerky or spasmodic.

In whistling, the chin and lips (particularly the lower one) are tensed, the tongue is allowed to be loose and flexible, and the support (propelling power) comes from the diaphragm. The tone is focussed and controlled by the lips which are immobile during the actual production of the sound, while the work is executed by the tongue.

In high notes (plain) the tongue lies near the upper edge of the lower teeth (inside), great tension being felt in the lip and chin muscles.

In the low notes (plain) the tongue lies easily against the lower part of the lower teeth (inside), and on very low tones, draws back in the mouth away from the teeth, and there is the sensation of a cavity being formed in the center.

The chest should be elevated at all times: the feet together, the left foot a little in advance of the right foot, the heel resting against the instep of the right foot and the weight of the body thrown over the balls of both feet, thus giving proper position and poise.