Since the vocal organism first became an object of systematic study, discussion has been constant as to whether the human vocal instrument is a stringed instrument, a reed instrument, or a whistle. Discussion of the question seems futile, for practically it is all of these and more. The human vocal organs form an instrument, sui generis, which cannot be compared with any other one thing. Not only is it far more complex than any other instrument, being capable, as it is, of imitating nearly every instrument in the catalogue and almost every sound in nature, but it is incomparably more beautiful, an instrument so universally superior to any made by man that comparisons and definitions fail.

ELEMENTS

The human vocal instrument has the three elements common to all musical instruments,—a motor, a vibrator, and a resonator; to which is added—what all other instruments lack—an articulator.

1. The respiratory muscles and lungs for a motor.

2. The vocal cords for a vibrator.

3. The throat, mouth, and the nasal and head cavities for a resonator.

4. The tongue, lips, teeth, and palate for an articulator.

These elements appear in as great a variety of size and proportion as do the variations of individual humanity, and each element is, moreover, variable according to the will or feeling of the individual. This susceptibility to change constitutes a modifying power which gives a variety in tone quality possible to no other instrument and makes it our wonder and admiration. The modification and interaction of these various parts produced by the emotions of the singer or speaker give qualities of tone expressive of the feelings, as of pain or pleasure, grief or joy, courage or fear.

Figure 1

TIMBRE

The minute differences in these physical conditions, coupled with the subtler differences in the psychical elements of the personality, account for that distinctive physiognomy of the voice called timbre, which is only another name for individuality as exhibited in each person. The same general elements enter into the composition of all voices, from the basso profundo to the high soprano.

That the reader may better understand the proportion and relations of the different parts of the vocal apparatus, a sectional drawing of the head is here produced, showing the natural position of the vocal organs at rest. As the drawing represents but a vertical section of the head the reader should note that the sinuses, like the eyes and nostrils, lie in pairs to the right and left of the centre of the face. The location of the maxillary sinuses within the maxillary or cheek bones cannot be shown in this drawing.

The dark shading represents the cavities of the throat, nose, and head. The relations of the parts are shown more accurately than is possible in any diagram. It will be noticed that the vibrations from the larynx would pass directly behind the soft palate into the nasal chamber, and very directly into the mouth. The nasal roof is formed by two bones situated between the eyes; the sphenoid or wedge-bone, which is connected with all other bones of the head, and the ethmoid or sieve-like bone. The structure of these two bones, especially of the ethmoid, consists of very thin plates or laminÆ, forming a mass of air cavities which communicate by small openings with the nasal cavity below. Thus, the vibrations in the nose are transmitted to the air spaces above, and the effective qualities of the head vibrations are added to the tone.

THE LARYNX

The larynx or voice-box contains the vocal cords. Just above the vocal cords on each side is a large, deep cavity, called the ventricle. These cavities reinforce the primary vibrations set up by the cords and serve to increase their intensity as they are projected from the larynx. The larynx is the vibrating organ of the voice. It is situated at the base of the tongue and is so closely connected with it by attachment to the hyoid bone, to which the tongue is also attached, that it is capable of only slight movement independent of that organ; consequently it must move with the tongue in articulation. The interior muscles of the larynx vary the position of its walls, thus regulating the proximity and tension of the vocal cords. The male larynx is the larger and shows the Adam's apple. In both sexes the larynx of the low voice, alto or bass, is larger than that of the high voice, soprano or tenor. The larynx and tongue should not rise with the pitch of the voice, but drop naturally with the lower jaw as the mouth opens in ascending the scale. The proper position of the tongue will insure a proper position for the larynx. The less attention the larynx receives the better.

THE VOCAL CORDS

The vocal cords are neither cords nor bands, but instead are thick portions of membrane extending across the inner surface of the larynx. On account of familiarity the name vocal cords will still be used. They are fairly well represented by the lips of the cornet player when placed on the mouthpiece of the instrument. The pitch of the tone is fixed by the tension of the vocal cords and the width and length of the opening between them. Their tension and proximity are self-adjusted to produce the proper pitch without any conscious volition of the singer. They can have no special training, needing only to be left alone. The work of the vocal cords, though essentially important, is, when naturally performed, light and consequently not exhausting. If the larynx and all of its supporting muscles are relaxed as they are in free and easy breathing, then when the air passes out through the larynx, the vocal cords will automatically assume a tension sufficient to vocalize the breath and give the note the proper pitch. The normal action of the cords will never cause hoarseness or discomfort. The sound should seem to be formed, not in the throat,—thus involving the vocal cords,—but in the resonance chambers.

THE EPIGLOTTIS

The epiglottis is the valve which closes over the upper opening of the larynx. It not only closes the mouth of the larynx when food is swallowed, but aids materially in converting into tone the vibrations set up by the vocal cords.

THE PHARYNX

The pharynx extends from the larynx to the nasal cavity. The size of the opening into the nasal chamber is controlled by the soft palate and is frequently entirely closed. The size of the pharynx is varied by the contraction and relaxation of the circular muscles in its tissue; when swallowing its walls are in contact. The pharynx acts as does the expanding tube of brass instruments. It increases the force and depth of the tone waves. The wider the pharynx is opened, without constraint, the fuller the resonance and the better the tone.

THE UNDER JAW

The under jaw furnishes attachment for the muscles of the tongue and hyoid or tongue bone. It also controls, owing to the connections of the larynx with the hyoid bone, the muscles that fix the position of the larynx.

The pterygoid muscles, which move the under jaw forward and backward, do not connect with the larynx, so their action does not compress that organ or in any way impede the action of the vocal apparatus. A relaxed under jaw allows freer action of the vocal cords and ampler resonance. The under jaw should drop little by little as the voice ascends the scale, thus opening the mouth slightly wider with each rise in the pitch of the tone. In ascending the scale it is well to open the throat a little wider as you ascend. The delivery will be much easier, and the tone produced will be much better. At the highest pitch of the voice the mouth should open to its full width. At the same time care must be taken not to draw the corners of the mouth back, as in smiling, because this lessens the resonance of the tone and gives it a flat sound.

The under jaw must have considerable latitude of motion in pronunciation, but by all means avoid chewing of the words and cutting off words by closing the jaw instead of finishing them by the use of the proper articulating organs, which are the tongue and lips.

THE SOFT PALATE

Writers on the voice have almost universally claimed that the principal office of the soft palate is to shut off the nasal and head cavities from the throat, and to force the column of vibrations out through the mouth, thus allowing none, or at most a very small part, to pass into the nasal passages.

This contention implies that the vibrations are imparted to the upper cavities, if at all, through the walls of the palate itself, and not through an opening behind the palate. This is entirely at variance with the facts as verified by my own experience and observation and the observation of others who are expert specialists. The true office of the soft palate is to modify the opening into the nose and thus attune the resonant cavities to the pitch and timbre of the note given by the vocal cords and pharynx. To develop the vowel sounds, the soft palate should be drawn forward, allowing a free passage into the nose; it should be closed only to form the consonants which require a forcible expulsion of breath from the mouth.

The uvula, the pendulous tip of the soft palate, serves as a valve to more accurately adjust the opening behind the soft palate to the pitch of the voice. In producing a low tone the soft palate is relaxed and hangs low down and far forward. As the voice ascends the scale the tension of the soft palate is increased and it is elevated and the uvula shortened, thus decreasing the opening behind the palate, but never closing it. In fact the larger the opening that can be maintained, the broader and better the tone. The author was himself unable fully to appreciate this until he had become able to sense the position of the soft palate during vocalization.

THE HARD PALATE AND TEETH

The hard palate and upper teeth form in part the walls of the mouth. As they are solid fixtures, nothing can be done in the way of training. They furnish a point of impingement in articulation, and play their part in sympathetic resonance.

The bones which form the roof of the mouth serve also for the floor of the nasal cavity.

The under teeth also serve as walls of resistance to support the tongue during the performance of its functions.

THE NASAL AND HEAD CAVITIES

The nasal and head cavities are resonating chambers incapable of special training, but their form, size, and the use made of them have a wonderful effect upon the resonance of the voice. If the vibrations are strong here, all other parts will vibrate in harmonious action.

When responding to the perfectly focused tone the thin walls of the cavities and the contained air vibrate with surprising force, often for the moment blinding the singer when sounding a note intensely.

Having in my surgical work demonstrated the existence of a hitherto unrecognized connecting passage or canal between the air cavities of the face and those of the forehead,[2] the play of resonance in the cavities above the nostrils is more easily understood. The function of the cavities known as the frontal sinuses (see Fig. 1) has long been a mystery, but now that their direct connection with the lower cavities is proven, and the great significance of resonance is also beginning to be recognized, the mystery disappears. The same may be said of the other sinuses—ethmoidal, sphenoidal, and maxillary, and their interconnection.

INFLUENCE OF THE RESONANCE CAVITIES ON THE PITCH OF THE TONE

In instruments changes in the length and form of the resonance chambers affect the pitch as well as the quality of the tone. This is demonstrated in the trombone, French horn, and other wind instruments. The lengthening of the tube of the trombone lowers the pitch of the tone, and the projection of the hand of the performer into the bell of the French horn has the effect of raising the pitch of the sound. If the variation in length or form is only slight, the result is sharp or flat, and the instrument is out of tune. In the human instrument all the organs act together as a unit; so the fact that the cavities alone may affect the pitch is practically of no great significance.

THE TONGUE

The tongue and the lips are the articulating organs, and the former has an important part to play in altering through its movements the shape of the mouth cavity.

The tip of the tongue should habitually rest against the under front teeth. The tip of the tongue, however, must frequently touch the roof of the mouth near the upper front teeth, as when pronouncing the consonants c, d, g or j, l, n, s, and t. The back part of the tongue must rise a little to close against the soft palate when pronouncing g hard, and k, and hard c, q, and x. The soft palate comes down so far to meet the tongue that the elevation of the latter need be but very slight.

When speaking, the demand is not so imperative, but when singing, the body of the tongue should lie as flat as possible, so as to enlarge the mouth, especially when giving the vowel sounds.

If the tongue is sometimes disposed to be unruly, it is the result of rigidity or misplaced effort in the surrounding parts. This tendency will only be aggravated by artificial restraint of any kind. The true way is to dismiss tongue consciousness, let go, and a normal flexibility will easily manifest itself.

THE LIPS

The lips, equally with the tongue, are organs of articulation. The upper lip is the principal factor of the two; the under lip seems to follow the lead of the upper. The lips need much training, and it can readily be given them. While practising to educate the lips, both lips should be projected forward and upward, at the same time pronouncing the word "too." Bring the edge of the upper lip as high toward the nose as possible in practice. This will bring the corners of the mouth forward and lift the lips clear and free from the teeth, and thus add one more resonance cavity. This position of the lips also gives freedom for pronunciation. "The upper lip plays the most active part in the shaping of the vowels. It should never be drawn against the teeth when producing vowel tones; indeed, there should be often a little space between the upper lip and the teeth, so that the vibrations of the sound-waves can have free play."

THE NOSTRILS

The nostrils should be dilated as much as possible, as a free, wide, open nose gives a free, well-rounded tone, while a contracted nostril induces the nasal tone so much dreaded. A proper training of the facial muscles makes this dilation possible. Lifting the upper lip and projecting it forward aids the action to a great degree.

There is a strong tendency to unity of action between the nostrils and the lips and the soft palate. The soft palate moves downward and forward when the upper lip protrudes and the nostrils dilate, and moves backward and upward when the nostrils are contracted and the upper lip allowed to rest upon the teeth.

As a rule the best singers have full, round, wide, open nostrils, either given by nature or acquired by practice.

THE FACE

Not only must the lips and nose be trained, but the muscles of the face also. These muscles are capable, if educated, of doing important service.

The artist on the operatic stage or the speaker on the platform, without facial expression begotten of muscular activity, may lessen by half his power over an audience. To train the facial muscles is a complicated task. To do this, stand before a mirror and make all the faces ever thought of by a schoolboy to amuse his schoolmates. Raise each corner of the lip, wrinkle the nose, quilt the forehead, grin, laugh. The grimaces will not enter into a performance, but their effect upon it will be markedly beneficial.