PLACING THE VOICE
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._
[Music illustration: Hung-ee. Hung-oo. Hung-oh. Hung-aw. Hung-ah.
Hung-ee _etc._]
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._
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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.
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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.
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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.
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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 60.
_Sing softly_ in a pitch that is easy for the voice.
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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.
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
VIa
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
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.
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
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.
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
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.
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
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.
[Music illustration:
1. Ee
2. Oo
3. Oh
4. Aw
5. Ah
_etc._]
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.
[Music illustration: Ee-oo-oh-aw-ah _etc._]
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.
Exercise XII
FOR FACILITY AND QUICK VOWEL CHANGE
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.
[Music illustration: Ee-oo-oh-aw-ah _etc._]
The divisions (_a_ and _b_) of each of the above four variants may be
regarded as distinct exercises or not. For further practice use as
initial consonants any or all of the following: _b_, _p_, _m_, _f_,
_v_, _d_, _k_, _n_, _t_, and _l_.
Exercise XIII
ASCENDING AND DESCENDING SCALE
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.
[Music illustration:
Hung-ee
Hung-oo
Hung-oh
Hung-aw
Hung-ah
_etc._]
Exercise XIV
THE LONG SCALE
Sing this scale exercise in medium range, without blurring either the
vowel sounds or the notes.
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
[Music illustration:
1. Hung-ee
2. Hung-oo
3. Hung-oh
4. Hung-aw
5. Hung-ah
_etc._]
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:
[Illustration:
1 n_ee_
2 n_i_t
3 n_e_t
4 n_a_y
5 n_ai_r
6 n_a_t
7 n_i_gh
8 N_a_h
7' n_o_t
6' n_a_w
5' n_e_r
4' n_u_t
3' n_o_
2' n_oo_k
1' n_oo_.]
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.
Next, as suggested in Exercise X, use as initial consonants in
connection with the Vowel Scale the consonants _b_, _p_, _m_, _f_,
_v_, _d_, _k_, _n_, _t_ and _l_.
Keep before you the formula that articulation should _seem_ to be done
entirely with and through the upper lip; _i.e._, the _thought_ should
be that the words are projected through the upper lip.
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.
In practising scales start each a semitone higher until the _easy
limit_ of the voice is reached, and no farther. Gain will be more
rapid by working to deliver the tones within the voice's normal
compass. Then when occasional effort is made the organs will be found
ready to deliver the highest pitch of which the voice is capable.
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.