What is called "placing the voice" or "tone production" or "focusing the voice" is, as already stated in the previous chapter, chiefly a matter of resonance—of control of the resonator. Now vocalization is largely vowelization, and vocal tones are a complex of sound and resonance. The character of a vowel is given it by the shape of the vowel chamber; and the shaping of the vowel chamber depends upon delicate adjustment of the movable parts,—jaw, lips, cheeks, tongue, veil of the palate, and pharynx. While this adjustment is made through more or less conscious muscular action, the parts must never be forced into position; local effort to this end will invariably defeat itself. The important consideration in all voice movements is a flexible, natural action of all the parts, and all the voice movements are so closely allied, so sympathetically related, that if one movement is constrained the others cannot be free. It is a happy fact that the right way is the easiest way, and a fundamental truth that right effort is the result of right thought. From these axiomatic principles we deduce the very first rule for the singer and speaker,—THINK the right tone, mentally picture it; then concentrate upon the picture, not upon the mechanism.
WHEN IS THE VOCAL ACTION CORRECT?
There are two sound criterions for judging the correctness of vocal action,—first, the ease of the action, its naturalness, its flexibility. As Mills concisely states it: "He sings or speaks best who attains the end with the least expenditure of energy." Second, the beauty of the result. Harsh, unlovely tones are a sure indication of misplaced effort, of tension somewhere, of wrong action. On the other hand the nearer the tones approach to perfection the closer does the organism come to correct action. Beauty of tone, then, is the truest indication of proper vocal action.
Judgment as to the relative beauty of a tone depends on the training of the ear. Pupils should habitually listen to their own voices, for between the hearing and feeling of the voice a knowledge of progress can be obtained. The function of the ear in governing voice production is thus stated by Prof. Mills: "The nervous impulses that pass from the ear to the brain are the most important guides in determining the necessary movements." Mr. Ffrangcon-Davies maintains that, "The training of the ear is one-half of the training of the voice." The student should improve every opportunity to hear the best singers and speakers, for both consciously and unconsciously we learn much by imitation. Good examples are often our best teachers.
Keeping well in mind the principles stated above, we are now ready to begin their application in placing the voice—that is, in setting it free—not by learning some strange and difficult action, but by cultivating normal action.
EXERCISES FOR PRACTICE
The following exercises are designed for the primary development of a correct tone and for the test of the perfection of every tone at every stage of development. They are based upon the assumption that all tones of the voice should be focused and delivered precisely alike. Their use should constitute a part of the daily practice of the singer or speaker.
I give but few exercises for each point to be gained. Intelligent teachers and pupils will add an infinite variety to suit each case, but the exercises given appear to me to be the best for initial practice. It is important that each exercise in its order shall be thoroughly mastered before taking up the next. Only in this way can rapid progress be made, for it is not the multiplicity of exercises, but the thoughtful application of principles in the few, that leads to results.
The sound of hng will always place the voice in proper focus by developing the resonance of the nose and head. The thin bones of the nose will first respond to the sound and after practice the vibrations can be felt on any part of the head and even more distinctly on the low than on the high tones. To attain this, repeat the sound hung times without number, prolonging the ng sound at least four counts. To insure the proper course of the vowel sounds through the nasal passages, follow hung with the vowel ee, as this vowel is more easily focused than any other; then with oo, oh, aw and ah.
Ah is by far the most difficult sound to focus and should never be used for initial practice. Much valuable time has been lost by the custom of using this sound at first. It should come last.
The h is chosen to introduce the vowel sound because in the preparation to produce the sound of the letter h the epiglottis is wide open and the vocal cords entirely relaxed, and because less change of the tongue is required when the vowel sound follows.
Preliminary Exercise
Practise this softly on any pitch easy for the voice.
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Begin the tone quietly on an easy pitch and continue it softly to the end. Later, after these exercises are mastered on one pitch, use every note within the easy compass of the voice. Leave stridency of tone to the locust. It is no part of a perfect tone. It never appeared in the voices of the most famous singers. Those who allowed themselves to use it passed off the stage early in life. Much better results will be obtained by practising without any accompaniment. The sound of the piano or other instrument distracts the pupil, prevents both pupil and teacher from hearing the voice, and hinders progress.
IMPORTANT DIRECTIONS
The manner in which Exercise I and those that follow is practised is of the utmost importance. Therefore carefully note and apply the following:
1. Fully pronounce the word hung (u as in stung) at once, and prolong the tone, not on the vowel sound but on the ng sound. This establishes the proper head and nasal resonance at the very beginning of the exercise.
2. In passing from ng to ee be very careful not to change the initial focus or lose the sensation of nasal and head resonance. Do not therefore move the lips or the chin. The only change at this point is the slight movement of the tongue required to pronounce ee, which must be a pure vowel without a trace of the preceding g.
3. In passing from ee to oo, from oo to oh, and so on, do so with the least possible movement of lips and chin. The initial sensation of nasal and head resonance must not be lost.
4. Each vowel sound must be distinct in enunciation and pure in quality. Avoid blurring one with the other. Give each its true individuality.
5. As jewels of different hue hung on a string, so must this exercise be the stringing of vowels on a continuous stream of sound.
Exercise I
TO ESTABLISH NASAL AND HEAD RESONANCE
This is an exercise for focusing or placing the voice and developing the vibrations of the nasal and head cavities, the most essential parts of the resonant apparatus. If the nostrils are kept fully open, no nasal twang will be heard. The strength of the tone will correspond to the force of the vibrations of the nose and head, which can be plainly felt by resting the finger lightly upon the side of the nose. The vibrations may eventually be plainly felt on the top and back of the head.
Attack, that is, begin the tone, softly and on no account force it in the least. Pronounce the full word at once, prolong the ng four counts as indicated, and sing the five vowel sounds on a continuous, unbroken tone. Articulate entirely with the lips and without moving the under jaw. In this, as in the following exercises, keep the under jaw relaxed and open the mouth so as to separate the teeth as wide apart as is consistent with the action of the lips. See also the illustrations of proper lip position given at the close of Chapter II.
Practice this exercise on any pitch easy for the voice.
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Repeat this many times until the nose and head vibrations are fully recognized and established. After mastery of this exercise is acquired, any words ending in ng may be repeated. The word noon sung quietly on each note of the voice with the final consonant prolonged will be found helpful.
EXERCISES FOR SPEAKERS
When the placing of the voice is accomplished on the one tone (Exercise I), the speaker can go on with practice in reading and reciting, allowing the voice to change its pitch at its will, only being careful that all the tones are alike in quality.
A profitable exercise for speakers is to pronounce any word or syllable ending with ng, as ming, bing, sing, ring, ting, and follow it with some familiar lines in a monotone, being sure that the tone is the same and produces the same vibrations in the nose and head.
In the case of a person already a public speaker, this new rÉgime may not immediately manifest itself in performance, but gradually the right principles will assume control, and speaking be done with ease and effectiveness. Continual daily practice of exercises should be kept up.
If a speaker has a musical ear and some musical knowledge, he will derive great benefit by following out the practice of the exercises for singers. In no way can the voice for speaking be improved so rapidly or decisively as by musical training.
Exercise II
TO ESTABLISH HEAD AND NASAL RESONANCE
As in Exercise I, sing softly, seeking purity of vowel sounds and quality of tone. Fully pronounce hung at once, prolonging the ng four counts as indicated. Pass from one vowel to the next with the least possible change in the position of the lips and chin. The stream of sound is to be unbroken, the tone focus unchanged, and the sensation of resonance in the upper chambers continuous.
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Exercise III
UPPER RESONANCE CONTINUED
Follow the directions for Exercise I. Sing quietly in a pitch that is easy for the voice, and modulate up or down by half steps.
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Exercise IV
UPPER RESONANCE CONTINUED
The last exercise carried the voice an interval of a third; this carries the voice an interval of a fifth. Follow carefully the directions of Exercise I. Be sure to pronounce hung at once, prolonging the tone not on the vowel but on the ng. Sing softly. Vary the pitch to suit the voice.
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Exercise V
UPPER RESONANCE CONTINUED
The last exercise carried the voice an interval of a fifth, this one has a range of a sixth, while Exercise VI has a range of an octave. Carefully follow the Important Directions on page 59.
Sing softly in a pitch that is easy for the voice.
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Exercise VI
TO ENLARGE THE THROAT AND THUS MAGNIFY THE TONE
Pronounce the word hung at once, opening the mouth well. Prolonging the ng sound as indicated will insure the proper focus.
Sing the five vowel sounds throughout the scale as indicated. At first practise only on scales that are in easy range.
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VIa
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Exercise VII
FOR PRODUCTION OF THE VOWEL SOUNDS IN PROPER FOCUS
Produce the hung at once, and add the vowel. Be sure that the vowel sound follows the same course as the "ng" sound which precedes it, and produces the same sensation in the nose.
The vowels are arranged in the order chosen because ee is the most easily focused while ah is by far the most difficult to focus, and hence the worst possible sound for initial practice. Think of the tone as being made in the nose and head.
Let there be no break or stopping of the tone when passing from the ng sound to the vowel. Simply change the tone into the vowel desired by the proper change in the articulating organs.
Sing the five vowel sounds connectedly, being sure that each vowel is correctly placed before passing to the next. The proper use of the lips will aid greatly in focusing the vowels. Start with the scale that is in comfortable range.
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Exercise VIII
TO ENLARGE THE THROAT AND FOCUS THE VOWELS
Open the mouth well and be sure that the vowel sounds are delivered as in the previous exercises; this will insure largeness with proper resonance.
When practising this exercise, be careful, as with the others, that each vowel sound in its order is correctly given before passing to the next. Only in this way can rapid progress be made.
The words bing, sing, ting, fling, swing are excellent to use for further practice.
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Exercise IX
QUICK CHANGING NOTES WITHOUT CHANGING RESONANCE
The important point in this flexible exercise is to keep the vowel-color, the focus or resonance, unchanged throughout the phrase. Begin quietly, give the ng freedom and the upper resonance will adjust itself. This phrase is longer than in previous exercises; be sure then that you still have breath at the end—breath enough to sing further. Sing quietly. Pitch the exercise to suit the voice.
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Exercise X
FOR AGILITY
Sing each vowel sound separately before passing to the next. Be sure to start each vowel sound in purity and maintain it without change. Pitch the exercise to suit the voice.
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For variants on the above use as initial consonants b, p, m, f, v, d, k, n, t, and l.
Exercise XI
TO DEVELOP THE USE OF THE LIPS AND UNDER JAW
When practising this exercise protrude the lips and raise them toward the nose as far as possible; also make an effort to enlarge and widen the nostrils. This exercise may be practised more quickly than the preceding, but never at the expense of clearness of vowel distinction. Carry the exercise higher or lower, and in different keys, to suit individual voices. With a slight initial accent sing each two-measure section smoothly as one phrase. Avoid accenting each separate vowel sound. To do so would produce a series of jerks.
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After practising the above as written modify it as follows:
1. Bee-boo-boh-baw-bah.
2. Pee-poo-poh-paw-pah.
3. Mee-moo-moh-maw-mah.
4. Fee-foo-foh-faw-fah.
5. Vee-voo-voh-vaw-vah.
6. Dee-doo-doh-daw-dah.
7. Kee-koo-koh-kaw-kah.
8. Nee-noo-noh-naw-nah.
9. Tee-too-toh-taw-tah.
10. Lee-loo-loh-law-lah.
Be careful not to blur the vowel sounds; each must be distinct and pure, and the change from one to the next must be made with a minimum of effort and without disturbing the focus of the tone.
As in the previous exercises practise quietly with unvarying focus and aim to finish the phrase with breath unexhausted. Pitch the exercise to suit the voice.
Sing this scale exercise in medium range, without blurring either the vowel sounds or the notes.
The exercises thus far given have employed the five vowel sounds found most helpful in gaining a free resonance. These should now be supplemented by the use of all the vowel sounds. It is obvious that unless the singer is at home with every vowel and on any pitch in his vocal range perfect pronunciation is impossible. In Chapter II a Scale of Vowel Sounds is given. For convenience it is repeated here:
Having so far mastered the previous exercises as to establish a free head and nasal resonance, take the Scale of Vowel Sounds and apply it to the now familiar exercises.
When by practise of the exercises given the voice has been focused and resonance established without any instrument, scale exercises and simple vocalises may be taken up with or without the piano.
When sufficient progress has been made in mastering the execution of scales and easy vocalises, the pupil will be ready to begin the study of songs. If one foregoes the singing of songs during the few weeks occupied with primary lessons, results are obtained much more quickly.
While practising exercises or songs the less the pianoforte is used, except to compare the pitch, the better. Such practice increases the confidence of the performer. The instrument prevents the singer's listening to the tone he is producing and judging of its effectiveness.
Pupils with high or very low voices may continue their practice higher or lower as the voice is soprano, or bass, or contralto, but much practice on the extremes of the voice is unadvisable. If pure tones are produced in the medium range of the voice the highest or lowest tones will be found ready when called for. Therefore practise the extremes of the voice only enough to know the limits of the voice and to be assured the tones are there.
When the singer can perform the preceding simple exercises and know that the tones are all focused, or placed and delivered, precisely alike, he is ready to practise any scale, down or up, and to execute any musical exercise or song for which he is intellectually fitted.
