times; then drop your arms to your sides, relax and rest a few moments,
repeating this exercise several times until it comes easy.
[Illustration: five images of the rib-cage doing breath exercises.]
Go before an open window every morning, place your hands as in figure 4,
inhale through the nose, (don't raise the shoulders) see that the
expansion is as great under the left hand as under the right hand (as in
figure 5) while holding the breath count 5 (aloud) then exhale while
holding the hands in same position, repeat this exercise 5 times in
succession. A positive cure for all forms of nervousness.]
Be sure when =inhaling= you do not use enough muscular exertion to take
enough breath to cause lifting of the shoulders, which is decidedly
wrong.
Place your hands as in the first position, exhale, then inhale and,
while you keep the ribs extended against your hands, which is done by
holding the breath and by muscular tension, speak the sentence, "This is
a beautiful day," then exhale, inhale again, holding the breath while
you repeat the sentence. Repeat this several times, then drop your arms
to the sides and rest.
It is better at the beginning to take =too little= breath than to take =too
much=. Most beginners take too much breath, which makes it impossible to
control it. Until you understand control of the breath, it is better to
only take enough to extend your ribs against your hand as far as they
will go =without discomfort=.
Don't let anyone tell you that "diaphragmatic," "intercostal" or
"abdominal" breathing =alone= is the only safe course; perfect breathing
is a =combination= of these and more.
By practicing the above exercises you will find in a short time all the
organs that nature intended to be used for breathing will be in play.
The reason the beginner is instructed to place the hands on the ribs is
to work from the =central= point, and as the student progresses, by
continuation of the exercises it will be found that the costal,
intercostal, dorsal, diaphragmatic and abdominal muscles are all doing
their share.
Place your hands as in the first position. =Exhale--inhale.= Sustain the
syllable "saw" on an easy medium tone. As you attack the tone do not let
the ribs collapse, but as you sustain it, let the ribs very slowly
collapse under the palm of your hands. Try to resist so as to not let
too much breath escape. Don't let your chest collapse any more than is
absolutely necessary. The lower the tones you sing the =less= resistance
you need, while the higher tones you sing the =more= resistance you need.
In order to sustain a high tone, =draw in= slightly under the ribs,
leaving the chest extended. Singing the tone, now takes the place of the
=exhaling= exercise.
[Illustration: musical notation, saw ...saw ...saw ...]
The word "saw," besides giving you the vowel "ä," also gives you the
correct sound of the Italian "ah" and what the "ah" should be in
singing.
The average beginner sings too much on the tone color of "a" as in =hat=,
which, as you ascend the scale, would finally land the tone in the
region of the back of your neck.
In learning to sing the "ah" or Italian "ä," always use words like
"saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone.
THE VOWELS
a e i o u
Pronounced: a as ä in saw
e as a in fate
i as ee in meet
o as o in note
u as oo in moon
Example--
[Illustration: musical notation demonstrating pronounciation ä [=a] ee o oo]
In ascending the scale, you should cover the tone. To cover the tone
simply put a little more "o" in your "ah," so that by the time you are
up near your high limit tone you should almost be singing "so," "lo,"
"dough." This enables you to find your head tone. It will not be "low"
or "dough" but a good "ah." If you do =not gradually curve the "ah" into
an "o"= toward your high tones, you will find them turning into the "a"
as in hat.
In producing head tones there are two valuable exercises I would
suggest.
[Illustration: THE VOWELS, images of faces pronouncing the vowels:
a as ä in saw. e as [=a] in fate.
i as ee in meet.
o as o in note. u as oo in moon.]
Positions of the mouth in pronouncing the vowels.] Drop your jaw as in
singing "saw"; leave the jaw dropped singing "saw," but curving your
lips into an "o." You will find an "oh" with fine head resonance and an
open relaxed throat.
Example--
[Illustration: musical notation, ä o ä o ä o ä o ä o ä o ä o ä o ä o]
Sing this exercise in all the keys within your range.
Some find their head tones first by humming through the nose, while to
some this suggestion would be of no value.
If you have a break or any trouble going from your high to low tones,
practice the exercise from the high tone down instead of from the low
tone up.
Example--
[Illustration: musical notation,
o a o a o a
saw saw saw
]
If you have trouble rolling your "r's", which is absolutely necessary,
practice the following words in two syllables, not, however, dropping
the tone.
Example--
Tree as tau-ree.
Trust as tau-rust.
True as tau-rue
Breeze as b-reeze.
Train as tau-rain.
Bright as b-right.
Brown as b-rown.
=After= you have mastered the rolled "r" through the above exercises,
pronounce them in one syllable as they should be.
Next, take up your consonants before the vowel
[Illustration:
musical notation,
Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo
Daw, day, dee, do, doo Daw, day, dee, do, doo Daw, day, dee, do, doo
Faw, fay, etc. Faw, fay, etc. Faw, fay, etc.
Gaw, gay, etc. Gaw, gay, etc. Gaw, gay, etc.
Haw, hay, etc. Haw, hay, etc. Haw, hay, etc.
J, k, l, m, n, p, q, r, s, t, v, w, y, z.]
until you have covered all the consonants.
Then your final consonants, as in "late," "date," "light," "bright."
In the word "date," make your "d" and your "a" distinct and =on the tone=,
but as you pronounce your "t," which must also be distinct, drop the
tone so as not to leave an "after-tone." This must be done in all words
except those ending with "m" and "n."
Next build sentences from words which seem most difficult to you and
sing the entire sentence on one sustained tone.
Example--
[Illustration: musical notation repeating Now the day is over. Now the
day is over. Now the day is over.]
In a song where some particular phrase or sentence seems difficult to
you, sing the entire phrase or sentence on one sustained tone,
pronouncing the words distinctly until you have gone down several tones
=below= and several tones =above= the pitch in which it is written, singing
it over and over on the one sustained tone in all the keys of your
range. I cannot tell you of the benefit you will derive from mastering a
difficult phrase or sentence in this manner.
For the hardness and muscular contraction under the chin, which has
undoubtedly been brought about by "methods" advocating the placing of
the tip of the tongue against the back of the lower teeth, put your
thumb well up under your chin and see that there is no contraction
(hardness). Leave your tongue perfectly limp, and hum first through the
nose, gradually turning the humming into an "äo," "äo," "äo," then to
"oä," "oä," "oä," sustaining the tone and keeping the thumb pushed well
up under the chin to feel that there is no contraction. By using this
exercise you will be able to overcome this common fault in a very short
time, but you must go at it systematically.
In singing songs pronounce your words perfectly and distinctly, letting
the palate, glottis and larynx take care of themselves. If your method
of singing is good, =nothing= can injure your voice.
As this book voices the sentiment of some of the most brilliant lights
in the profession, and contains facts based on years of actual
experience, it is not egotistical for me to say that its careful,
thoughtful and conscientious perusal will give to the student of voice
culture assistance that will be of =inestimable value= in reaching his
goal.
Start with ease and naturalness and the chances are excellent for your
pathway to be illumned with =success=.
THE AUTHOR.
End of Project Gutenberg's What Every Singer Should Know, by Millie Ryan