first steps in the cultivation of singing have been presented, as those
most effective also for training in speech. Although, on the surface,
singing and speaking are quite different, fundamentally they are the
same. Almost all persons have, if they will use it, an ear for musical
pitch and tone, and the neglect to cultivate, in early life, the
musical hearing and the singing tone is a mistake. To prospective
public speakers it is something like a misfortune. The best speakers
have had voices that sang in their speaking. This applies distinctly to
the speaking, for example, of Wendell Phillips, who is commonly called
the most colloquial of our public speakers. It has often been commented
on in the case of Gladstone, and applies peculiarly to some of our
present-day speakers, who would be called, not orators, but impressive
talkers. The meaning is, not of course that speaking should sound like
singing, or necessarily like oratory, but that to the trained ear the
best speaking has fundamentally the singing conditions, and the voice
has singing qualities; and the elementary exercises designed for
singing are excellent, in their simpler forms and methods, for the
speaking voice. In carrying out this idea in voice training, the
selections here given for the earliest exercises, are such as naturally
call for some slight approach to the singing tone. Some are in the
spirit and style of song or hymn; others are in the form of address to
distant auditors, wherein the reciter would call to a distance, or
"sing out," as we say. This kind of speaking is a way of quickly
"bringing out" the voice. Young students especially are very apt in
this, getting the idea at once, though needing, as a rule, special
cautions and guidance for keeping the proper vocal conditions, so as to
prevent "forcing." The passages are simple in spirit and form. They
carry on one dominant feeling, needing little variation of voice. The
idea is to render them in a way near to the monotone, that the student
may learn to control one tone, so to speak, or to speak nearly in one
key, before doing the more varied tones of familiar speech or of
complex feeling. We might say the passages are to be read in some
degree like the chant; but the chant is likely to bring an excess of
head resonance and is too mechanical. The true spirit of the selections
is to be given, from the first, but reduced to its very simplest form.
Difficulties arise, in this first step, in the case of two classes of
student: those who lack sentiment or imagination, or at least the
faculty of vocally expressing it, and those with an excess of feeling.
The former class have to be mentally awakened; for some motive element,
aesthetic appreciation or imaginative purpose, should play a part, as
has been said, even in technical vocal training. The latter class must
be restrained. Excessive emotion either chokes off expression, or runs
away with itself. Calmness, evenness, poise, the easy control that
comes from a degree of relaxation, without loss of buoyancy,--these are
the conditions for good accomplishment of any kind. This self-mastery
the high-strung, ardent spirit must learn, in order to become really
strong. This is accomplished, in the case of a nervous temperament, not
by tightening up and trying hard, but by relaxing, by letting down. In
the use of these passages the voice will be set at first slightly high
in pitch, in order to help in keeping a continuous sounding of tone
against the roof of the mouth and to a proper degree in the head. This
average pitch, or key, or at least the character of the tone, will be
maintained without much change, and with special care that the tone be
kept up in its place at the ends of lines or sentences, and be kept
well fixed on its breath foundation. The simpler inflections indicating
the plain meaning, will of course be observed, the tone will be kept
easily supported by the frequently recovered breath that is under it.
The back of the mouth will seem to be constantly somewhat open. There
will be no attempt at special power, but only a free, mellow, flowing
tone of moderate strength. In the exercise each voice will be treated,
in detail, according to its particular needs, and in each teacher's own
way.
At the time of student life, when physical conditions are not matured,
the counsel should repeatedly be given, not only that the voice, though
used often and regularly, should be used moderately, but also that the
voice should be kept youthful--youthful, if it can be, even in age--but
especially in youth, whatever the kind of literature used for practice.
Also youth should be counseled not to try to make a voice like the
voice of some one else, some speaker, or actor, or teacher. It will be
much the best if it is just the student's own.
VOCAL FLEXIBILITY
In the earliest exercises here given the tone will be, for the best and
most immediate effect, kept running on somewhat in a straight line, so
to speak; will have a certain sameness of sound; will be perhaps
somewhat monotonous, because kept pretty much in one key, or in one
average degree of pitch. It will perhaps be necessary to make the
utterance for the time somewhat artificial. The voice is in the
artificial stage, as is the work of an oarsman, for example, in
learning the parts of the stroke, or that of a golfer in learning the
"swing," although in the case of some students, when the vocal
conditions are good and the tone is well balanced, very little of the
artificial process is necessary. In that case the voice simply needs,
in its present general form, to be developed.
The next step in the training is to try a more varied use of the voice,
without a loss of what has been acquired as to formation of tone. The
student is to make himself able to slide the voice up and down in
pitch, by what is called inflection, to raise or lower the pitch by
varied intervals, momentarily to enlarge or diminish the tone, in
expressive ways; in short, to adapt the improved tone, the more
effective method of voice control, to more varied speech. In the early
practice for getting tone variation, the student must guard most
carefully against "forcing." Additional difficulties arise when we have
vocal changes, and moderate effort, in the degree of the change, is
best. In running the tone up, one should let the voice take its own
way. The tone should not be pushed or held by any slightest effort at
the throat. The control should, as has been said, be far below the
throat. In running an inflection from low to high, the tone may be
allowed, especially in the earlier practice, to thin out at the top.
And always when the pitch is high the tone should be smaller, as it is
on a musical instrument, though it should have a consistent depth and
dignity from its proper degree of connection with the chest. This
consistent character in the upper voice is attained by giving the tone
a bit of pomp or nobleness of quality. In taking a low pitch there is,
among novices, always a tendency to bear down on the tone in order to
gain strength or to give weight to utterance. The voice is thus crowded
into, or on, the throat. The voice should never be pushed down or
pressed back in the low pitch. This practice leads to raggedness of
tone, and finally to virtual loss of the lower voice. The voice should
fall of itself with only that degree of force which is legitimately
given by the breath tension, produced easily, though firmly, by the
breathing muscles. Breadth will be given to the tone by some degree of
expansion at the back of the mouth, or in the pharynx. As soon as can
be, the speech should be brought down to the utmost of simplicity and
naturalness, so that the thought of literature can be expressed with
reality and truth; can be made to sound exactly as if it came as an
unstudied, spontaneous expression of the student's own mind, and yet so
it can be heard, so it will be adequate, so it will be pleasing in
sound. The improved tone is to become the student's inevitable,
everyday voice.
THE FORMATION OF WORDS
The term enunciation means the formation of words, including right
vocal shape to the vowels and right form to the consonants.
Pronunciation is scholastic, relating to the word accent and the vowel
sound. Authority for this is in the dictionary. Enunciation, belonging
to elocution, is the act of forming those authorized sounds into
finished speech.
There is a common error regarding enunciation. It is usual, if a
speaker is not easily understood, to say that he should "articulate"
more clearly; that is, make the consonants more pronounced, and young
students are thus often urged into wrongly directed effort with the
tongue and lips. Sometimes in books, articulation "stunts," in the form
of nonsense alliterations, are prescribed, by which all the vowels are
likely to be chewed into consonants. The result is usually an
overexertion, and a consequent tightening, of the articulating muscles.
At first, and for a time, it may appear that this forcing of the
articulation brings the desired result of clearer speech, but it will,
in the end, be destructive to voice and bring incoherent utterance.
Articulation exercises too difficult for the master, should not be
given to the novice. All teachers of singing train voices, at first, on
the vowel, and it should be known that, without right vowel, or tone,
formation, efforts at good articulation are futile. Every technical
vocal fault must be referred back to the fundamental condition of right
formation of tone, that is, the vowel. Sputtering, hissing, biting,
snapping, of consonants is not enunciation. The student should learn
how without constraint, to prolong vowels; learn, if you please, the
fundamentals of singing, and articulation, the formation of consonants,
the jointing of syllables, will become easy. The reason for this is
that when the vowel tone is rightly produced, all the vocal muscles are
freed; the tongue, lips, and jaw act without constraint.
The principle of rhythm simplifies greatly the problem of enunciation.
It is easier, not only to make good tone, but also to speak words, in
the reading of verse than of prose. It is much easier to read a
rhythmical piece of prose than one lacking in rhythm. All prose, then,
should be rendered with as much rhythmical flow as is allowed
consistently with its spirit and meaning. Care must be taken of course
that no singsong effect occurs; that the exact meaning receives first
attention. In case of long, hard words, ease is attained by making a
slight pause before the word or before its preposition or article or
other closely attached word, and by giving a strong beat to its
accented syllable or syllables, with little effort on the subordinate
syllables.
The particular weakness among Americans, in the speaking of words, is
failure adequately to form the nasal, or head, sounds. The letters "l,"
"m," "n," are called vowel consonants. They can be given continuous
sound, a head resonance. This sounding may be carried to a fault, or
affectation; but commonly it is insufficiently done, and it should be
among the first objects of cultivation in vocal practice. The humming
of these head sounds, with very moderate force, is excellent for
developing and clearing this resonance. The "ng" sound, as in rung, may
be added.
Improper division of words into syllables is a common fault. The word
"constitution," for example, is made "cons-titution," instead of "con-
stitution;" "prin-ciple" is pronounced "prints-iple." A clean, correct
formation should be made by slightly holding, and completing the
accented syllable. The little word "also" is often called "als-o" or
"als-so" or "alt-so"; chrysanthemum is pronounced "chrysant-themum";
coun-try is called "country," band so forth. In the case of doubled
consonants, as in the word "mellow," "commemorate," "bubble," and the
like, a momentary holding of the first consonant, so that a bit of
separate impulse is given to the second, makes more perfect speaking.
There is a slight difference between "mel-low" and "mel-ow," "bub-ble"
and "bub-le," "com-memorate" and "com-emorate." These finer
distinctions, if one cares to make speech accurate and refined, can be
observed in words ending in "ence" and "ance" as in "guidance" and
"credence"; in words with the ending "al," "el," or "le," as in
"general," "principal," "final," "vessel," "rebel," "principle," and
"little." If that troublesome word "separate" were from the beginning
rightly pronounced, it would probably be less often wrongly spelled.
One should hasten to say, however, that over-nicety in enunciation,
pedantic exactness, obtrusive "elocutionary" excellence, or any sort of
labored or affected effort should be carefully guarded against. The
line of distinction between what is perfect and what is slightly
strained is a fine one. Very often, for example, one hears such endings
as "or" in "creator," "ed" in "dedicated," "ess" in "readiness," "men"
in "gentlemen," pronounced with incorrect prominence. These syllables,
being very subordinate, should not be made to stand out with undue
distinctness, and though the vowels should not be distorted into a
wrong form, they should be obscured. In "gentlemen," for example, the
"e" is, according to the dictionary, an "obscure" vowel, and the word
is pronounced almost as "gentlem'n,"--not "gentle_mun_," of course,
but not "gentlem_e_n." The fault in such forms is more easily
avoided by throwing a sharp accent on the accented syllable,
letting the other syllables fall easily out. The expression of
greeting, "Ladies and gentlemen," should have a strong accent on each
first syllable of the two important words, with little prominence given
to other syllables or the connecting word; as, "La'dies 'nd
gen'tlem'n."
In the same class of errors is that of making an extra syllable in such
words as "even," "seven," "heaven," "eleven," and "given," where
properly the "e" is elided, leaving "ev'n," "heav'n," and so forth. The
mouth should remain closed when the first syllable is pronounced; the
"n" is then simply sounded in the head. The same treatment should be
given to such words as "chasm" and "enthusiasm." If the mouth is opened
after the first part of the word is sounded, we have "chas-_u_m,"
"enthusias-_u_m." The little words "and," "as," "at" and the like
should, of course, when not emphatic, be very lightly touched, with the
vowel hardly formed, and the mouth only slightly opened. The word "and"
is best sounded, where not emphatic, with light touch, slight opening
of the mouth, and hardly any forming of the vowel; almost like "'nd."
These words should be connected closely with the word which follows, as
if they were a subordinate syllable of that word.
Often we hear such words as "country," "city," and their plurals,
pronounced "countree," "citee," and "citees"; "ladies" is called
"ladees." The sound should properly be that of short "i" not of long
"e." The vowel sound, short "a," as in "cast," "fast," "can't," must be
treated as a localism, and yet it is hardly necessary to adhere to any
decided extreme because of local associations. Vocally, the very narrow
sound of short "a," called "Western," is impossible. It can't be sung;
in speech it is usually dry and harsh. As a matter of taste the very
broad sound of the short "a," when it is made like "a" in "far," is
objectionable because it is extraordinary. There is a form between
these extremes, the correct short "a"; this ought to be acceptable
anywhere. It is suggestive to observe that localisms are less
pronounced among artists than among untrained persons. Trained singers
and actors belonging to different countries or sections of country,
show few differences among themselves in English pronunciation. Among
localisms the letter "r" causes frequent comment. In singing and
dramatic speaking, this letter is best formed at the tip of the tongue.
In common speech it may be made only by a very slight movement at the
back of the tongue. A decided throaty "burr" should always be avoided.
In the case of vigorous dramatic utterance, the "r" may be quite
decidedly rolled, on the principle that, in such cases, all consonants
become a means of effectiveness in expression. In the expression of
fine, delicate, or tender sentiment, all consonants should be lightly
touched or should be obscured. Enumeration of the many kinds of
carelessness of speech would be to little purpose. Scholarly speech
requires a knowledge of correct forms, gained from the dictionary, and
vocal care and skill in making these forms clear, smooth, and finished
in sound.
This discussion has perhaps suggested the extreme of accuracy in
speech. But as has already been said, any degree of overnicety, of
pedantic elegance, of stilted correctness, is especially irritating to
a sensitive ear. Excessive biting off of syllables, flipping of the
tongue, showing of the teeth, twisting of the lips, is carrying
excellence to a fault. The inactive jaw, tongue, and lips must be made
mobile, and in the working away of clumsiness and slovenliness of
speech, some degree of stiltedness must perhaps, for a time, be in
evidence, but matured practice ought finally to result, not only in
accuracy and finish, but in simplicity and ease in speaking.
MAKING THE POINT
When the student has made a fair degree of progress in the more
strictly mechanical features of speech, the formation of tone, and the
delivery of words, he is ready to give himself up more fully to the
effective expression of thought. Of first importance to the speaker, as
it is to the writer, is the way to make himself clear as to his
meaning. The question has to be put again and again to the young
speaker, What is your point? What is the point in the sentence? What is
the point in some larger division of the speech? What is the point, or
purpose, of the speech as a whole? This point, or the meaning of what
is said, should be so put, should be so clear, that no effort is
required of a listener for readily apprehending and appreciating it.
Discussing now only the question of delivery, we say that the making of
a point depends mainly upon what we commonly call emphasis. Extending
the meaning of emphasis beyond the limit of mere stress, or weight, of
voice, we may define it as special distinctness or impressiveness of
effect. In the case of a sentence there is often one place where the
meaning is chiefly concentrated; often the emphasis is laid sharply
upon two or more points or words in the sentence; sometimes it is put
increasingly on immediately succeeding words, called a climax, and
sometimes the stress of utterance seems to be almost equally
distributed through all the principal words of the sentence.
The particular point of a sentence is determined, not so much by what
the sentence says as it stands by itself, as by its relation to what
goes before or what follows after. The first thing, then, for the
student to do is to become sure of the precise meaning of the sentence,
with reference to the general context. Then he must know whether or not
he says, for the understanding of others, exactly what is meant. The
means of giving special point to a statement is in some way to set
apart, or to make prominent, the word or words of special significance.
There are several ways in which this is done. Commonly a stress or
added weight of voice is put upon the word; generally, too, there is an
inflection, a turning of the tone downward or upward; there is
frequently a lengthening out of the vowel sound, and a sudden stop
after, in some cases before, the word. Any or all these special
noticeable vocal effects serve to draw attention to the word and give
it expressive significance. These effects are everywhere common in good
everyday speech. In the formal art of speaking, they have to be more or
less thought out and consciously practiced.
Emphasis is determined by the comparative importance of ideas. An idea
is important when, being the first to arise in the mind, it becomes the
motive for utterance. We see an object, the idea of high or broad or
beautiful arises in the mind; we so form a sentence as to make that
idea stand forth; this idea, or the word expressing it, becomes vocally
emphatic. In this sentence, "He has done it in a way to impress upon
the Filipinos, so far as action and language can do it, his desire, and
the desire of our people, _to do them good_," the idea "to do them
good" is the one that arose first in the mind of the speaker and called
up the other ideas that served to set this one prominently forth. It is
the emphatic idea. It should be carried in the mind of the student
speaker from the beginning of the sentence. Again, an idea is important
when it arises as closely related to the first, and becomes the chief
means of giving utterance concerning the first. This second idea may be
something said about the first; it may be compared or contrasted with
the first. Being matched against the first, it may become of equal
significance with it. "Who is here so _base_ that would be a
_bondman_?" Here the idea "base" is used to emphasize the quality
of "bondman," and becomes equally emphatic with that idea. Other ideas,
or other words expressing them, being formed around these principal
ones, will be subordinated or more loosely run over, since they simply
serve as the setting for the principal ones, or the connecting links,
holding them together. Sometimes an idea arising in the mind grows in
intensity, asserting itself by stronger and stronger successive words.
For example, "He _mocks_ and _taunts_ her, he _disowns, insults_ and
_flouts_ her"; and, "I impeach him in the name of human nature itself,
which he has cruelly _outraged, injured_, and _oppressed_, in both
sexes in every _age, rank, situation_, and _condition of life_." The
impressiveness in delivering these successive words is increased not
because they are in the form of a climax, but they are in the form of a
climax because the thought is so insistent as to require new words for
its expression. The student will be true and sure in his emphasis only
when he takes ideas into his mind in the natural way; that is, he
should seize upon the central idea before he gives utterance to any
part of a statement. If that idea is constantly carried foremost in the
mind, he will then, in due time, give it its true emphasis. So, in the
case of a climax, he must realize the spirit and force behind the
utterance, and not depend upon any mechanical process of merely
increasing the strength of his tones.
Sometimes emphasis must be made to stand so strong as not merely to
arrest the movement of thought, and fix the mind of the hearer upon a
point, but to turn the attention of the hearer for the moment aside; to
draw his mind to the thought of something very remote in time or place
or relation, as in the case of making momentary reference to some
historic fact or some well-known expression of literature. Allusions
and illustrations, then, should be given, not only with color but also
with special emphasis. Byron, contemplating the ruins of Rome, calls
her "the _Niobe_ of nations." The hearer's mind should be arrested, his
imagination stirred, at that word. Words used in contrast with one
another are given opposing effect by contrasting emphasis: "Not that I
loved _Cęsar_ less, but that I loved _Rome more_." "My _words fly up_;
my _thoughts remain below_." When words are used with a double meaning,
as in the case of a pun, or with a peculiar implication, or are
repeated for some peculiar effect of mere repetition,--when we have, in
any form, what is called a play upon words,--a peculiar pointedness is
given, wherein the circumflex inflection plays a large part. "Now is it
_Rome_ indeed and _room_ enough, when there is in it but one only man."
"I had rather _bear with_ you than _bear_ you; yet if I did bear you, I
should bear no _cross_, for I think you have no _money_ in your purse."
"But, sir, the _Coalition_! The _Coalition_! Aye, the _murdered
Coalition_!"
Although, as has been said, the usual method of making a point is to
give striking force to an idea, very often the same effect, or a better
effect, is produced by a striking sudden suppression of utterance, by
way of decided contrast. When the discourse has been running vigorously
and inflections have been repeatedly sharp and strong, the sudden stop,
and the stilled utterance of a word, are most effective. Only, the
suppressed word must be set apart. There must be the pause before or
after, or both before and after. Robert Ingersoll, when speaking with
great animation, would often suddenly stop and ask a question in the
quietest and most intimate way. This gave point to the question and was
impressive.
We have been considering thus far only primary or principal emphasis.
Of equal importance is the question of secondary emphasis. The
difference in vocal treatment comes in regarding the principal emphasis
as absolute or final, as making the word absolved from, cut off from,
the rest of the sentence following, and having a final stop or
conclusive effect, while the secondary may be regarded as only
relatively emphatic, as being related in a subordinate way to the
principal, and as maintaining a connection with the rest of the
sentence, or as hanging upon the words which follow, or as being a step
leading up to the main idea. The vocal indication of this connective
principle is the circumflex inflection. The tone will be raised, as in
the principal emphasis, but instead of being allowed to fall straight
to a finality, it is turned upward at the finish, to hook on, as it
were, to the following. The weight of voice will be less marked, the
inflection less long, and the pause usually less decided, than in the
case of the primary emphasis. "Recall _romance_, recite the names
of heroes of legend and _song_, but there is none that is his
peer." At the words romance and song there is a secondary emphasis; the
voice is not dropped, it is kept suspended with the pause.
A common failing among students is an inability to avoid a frequent
absolute emphatic inflection when it is not in place. Many are unable
steadily to sustain a sentence till the real point is reached. They
fail to keep the voice suspended when they make a pause. It is very
important that a student should have a sure method of determining what
the principal emphasis is. He should, as has already been said, follow,
in rendering the thought of another, the method of the spontaneous
expression of his own ideas. He should take into his mind the principal
idea or ideas, before he speaks the words leading thereto. He should
then, at every pause, keep the thought suspended, incomplete, till he
reaches that principal idea; he should then make the absolute stop,
with the effect of finality, afterwards running off in a properly
related way, such words as serve to complete the form of expression.
Take the following sentence: "I never take up a paper full of Congress
squabbles, reported as if sunrise depended upon them, without thinking
of that idle English nobleman at Florence, who when his brother, just
arrived from London, happened to mention the House of Commons,
languidly asked, Ah! is that thing still going?" It is rather curious
that very rarely will a student keep the thought of such a sentence
suspended and connected until he arrives at the real point at the end.
He will first say that he never takes up a paper, though of course he
really does take up a paper. Then he says he never takes up this kind
of paper; and this he does not mean. So he goes on misleading his
audience, instead of helping them properly to anticipate the form of
statement and so be prepared for the point at the right moment. He
should not, as a general rule, let his voice take an absolute drop at
the places of secondary emphasis.