I fully realize that much of what I have said will not be in accord with
what is preached, practiced and taught by many vocal teachers and I
cannot attempt to reply to any critics. I merely know what sensations
and experiences I have had after a lifetime of practical work in a
profession which has brought me a fortune. Furthermore I know that
anything anyone might say on the subject of the human voice would be at
variance with the opinions of others. There is probably no subject in
human ken in which there is such a marked difference of opinion. I can
merely try to describe my own sensations and vocal experiences. In
trying to represent the course of the sensation I experience in
producing a good tone, I have employed the following illustration.
Imagine two pieces of whip cord. Tie the ends together. Place the knot
immediately under the upper lip directly beneath the center bone of the
nose, run the strings straight back for an inch, then up over the cheek
bones, then down around the uvula, thence down the large cords inside
the neck. At a point in the center between the shoulders the cords would
split in order to let one set go down the back and the other toward the
chest, meeting again under the arm-pits, thence down the short ribs,
thence down and joining in another knot slightly back of the pelvic
bone. Laugh, if you will, but this is actually the sensation I have
repeatedly felt in producing what the talking machine has shown to be a
good tone. Remember that there were plenty to laugh at Columbus,
Gallileo and even Darius Green of the Flying Machine.
Stand in "attention" as directed, with the body responsive and the mind
sensitive to physical impressions. When opening the mouth without taking
in air a slight stretch will be experienced along the whole track I have
described. The poise felt in this position is what permitted Bob
Fitzsimmons to strike a deadly blow with a two-inch stroke. It is the
responsive poise with which I sing both loud and soft tones.
Furthermore, I do not believe in an absolutely relaxed lower jaw as
though it had been broken. Who could sing with a broken jaw?--and a
broken jaw would represent ideal relaxation. The jaw should be slightly
stretched but never strained. I think that the word relaxation, as used
by most teachers and as understood by most students, is responsible for
more ruined voices than all other terms used in vocal teaching. I have
talked this matter over with numberless great singers who are constantly
before the public, and their very singing is the best contradiction of
this. When you hold your hand out freely before you what is it that
keeps it from falling at your side? That same condition controls the
jaw. Find it: it is not relaxation. If you would be a perfect singer
find the juggler who is balancing a feather. Imagine yourself poised on
the top of that feather, and sing without falling off.