TONE PRODUCTION

"The first thing to be considered is the position of the body; for

beauty of tone cannot be obtained unless all efforts harmonize to

produce the desired result. An easy, graceful, buoyant position is

essential; it can be cultivated in front of a mirror, from the first

lesson.

"Tone production is the result of thought. Picture to yourself a

beautiful tone; sing it on the vowel Ah. If you stood in rapture before

an entrancing scene you would exclaim, Ah, how beautiful. Producing a

beautiful tone rests on certain conditions. First, breath control;

Second, Freedom of throat; Third, Correct focus of tone.

"We know that a stiff jaw and tongue are the greatest hindrances to the

emission of good tone. Muscles of chin and tongue must be trained to

become relaxed and flexible. Do not stiffen the jaw or protrude the

chin, else your appearance will be painful and your tones faulty.

"To think the tone forward is quite as important as to sing it forward.

Without the mental impression of correct placing, the reality cannot

exist. It is much better to think the tone forward for five minutes and

sing one minute, than to practice the reverse. One should practice in

fifteen-minute periods and rest at least ten minutes between. The

student should never sing more than two hours a day--one in the morning

and one in the afternoon. As most singers love their work, many are

inclined to overdo.

"Do not tamper with the two or three extreme upper or lower tones of

your voice lest you strain and ruin it permanently. Never practice when

suffering from a cold.

"Ideal attack is the tone which starts without any scooping, breathiness

or explosiveness. Breathe noiselessly, the secret of which is to breathe

from down, up. Faulty emissions of tone are: nasal, guttural, throaty

and tremulous. I will give you examples of all these from the record No.

33, which will show you first the fault and then the perfect example. If

the pupil studies these perfect emissions of tone and tries to imitate

them, there is no need for her to have the common faults mentioned.

Vocal Mastery Talks with Master Singers and Teachers, Comprising Interviews with Caruso, Farrar, Maurel, Lehmann, and Others · 第 245 / 287 题