EXERCISE I.—While the lips are closed, give a nares tone represented by
the letter _m_; then opening the mouth, without changing in any degree
the character of the tone and not allowing any breath or voice to pass
through the mouth, prolong the tone, holding before the mind the ideal
concept for direction of tone previously described. The lips should be
again closed just before the tone ceases. Repeat this on different
intervals of the scale, ranging from a comparatively high pitch to a
comparatively low one.
The reason the sound represented by _m_ should be used in securing this
freedom and direction of tone is because this letter best represents the
tone which proper resonance of the nares produces. In vocal practice,
one should begin on a comparatively high pitch and descend to a lower
one, because the front of the nares resounds the high notes of the
scale, and therefore assists in fixing consciousness of the direction of
tone. Then, too, while using the voice, the mind should never hold as an
object of thought the idea of going up to a tone, for the reflex action
of such an idea upon the vocal organs is to produce a squeezed and
strained effect. The mind should develop the consciousness of being
higher than the note it would give, so as to feel as if descending upon
a note, rather than trying to reach to its height. If this first
exercise, which gives direction to the vocalized column of air, is
practised on successive intervals of the scale, it will fix this
direction as a habit. Hence, it is very important that there should be
much repetition in descending and ascending the scale; otherwise, the
voice might be open and resonant on some notes, while on others it would
be constricted and forced, and consequently bring those false breaks
into the voice which have been called registers. Registers are not
natural to the voice, but created by its wrong use.
_EXERCISES FOR FORMING TRANSIENT RESONANT CHAMBERS FOR BEAUTIFUL WORD
ELEMENTS._
EXERCISE II.—Sing the sound represented by _m-nom_ on the different
intervals of the scale, commencing on a comparatively high pitch,
descending and ascending a number of times. Begin the tone with the pure
nares resonance as described in the previous exercise. Allow the sound
which is represented by _m-n_ to blend with the resonance which
constitutes the vowel _o_, closing the lips before the tone ceases. In
this exercise we blend the vowel _o_ with the resonance in the front of
the nares, thus directing the mind, which guides the vocal action, as
far as possible from the throat, where it would cause constriction.
* * * * *
EXERCISE III.—To gain greater facility for uniting the free resonant
elements of speech in a forward and downward curve, other words may be
practised, viz., _Most-men-want-poise-and-more-royal-margin_.
Each word should first be sung separately on each note of the scale,
repeating the word several times on each interval. With each repetition
the mind should be concentrated upon the ideal form of the word, thus
making the resonant mold more and more perfect.
A few words of explanation in regard to the vocal elements used will
make the exercise more clearly understood.
M-O-S-T. The resonance in forming the _s_ being near the teeth, and that
forming _t_ being a puff of breath at the point of the tongue, aid in
fixing the attention of the mind upon the imagined curve.
M-E-N. The added resonant element in this word is _e_, which, by being
joined to _m_ on the one side and _n_ on the other, will assist in
directing the mind to the curve while giving the vowel _e_.
W-A-N-T. Here we have the aid of the letters _n_ and _t_ together with
the position of the lips for _w_ in assisting to join the vowel _a_, as
heard in _awe_, to the expanding globe moving in the forward and
downward curve.
P-O-I-S-E. In this word we are again aided in locating the resonance by
the necessity of forming the sounds of _p_ and _z_ at the very front of
the mouth.
A-N-D. Here the student has his chief assistance in the resonant
element, represented by the letter _n_, and somewhat by the letter _d_,
for bringing the attention of the mind to the globe in its relation to
the curve while forming the resonant element represented by the letter
_a_.
M-O-R-E. Here again the student has the assistance of the frontal nares
element, represented by the letter _m_ with the vowel _o_, which by this
time he has joined with it. The new resonant element in this word is
_r_. In forming this element there seems to be a prevailing tendency to
constrict the throat, but now, by joining it with elements which have
been associated in the mind with the expanding globe, this stricture is
removed.
R-O-Y-A-L. The next word to be joined to this chain is _r-o-y-a-l_. Here
we are depending upon previous practice in giving it the luminous curve
tendency.
M-A-R-G-I-N. The new elements in this word are the sound of _a_ as heard
in _far_ (_ä_), and the vocal element represented by _g_. The letter _g_
represents an element, in forming which many people constrict the
throat, giving what is called a “throaty” tone. Our object in using _a_,
as heard in _far_, in this connection, is to introduce the largest and
freest transient chamber of resonance which the organs of the mouth are
capable of forming. The Italian _ä_ has been much used in vocal
practice, and it is a good element, providing it is not introduced too
early in a student’s course of study, and if in its introduction it is
always joined to the frontal nares mold as in _ma_. After practising
upon the elements of speech described above, the student may practise
them in the sentence form. _Most men want poise and more royal margin._
Repeat this exercise upon various intervals of the scale, beginning upon
a comparatively high pitch, and descending to a comparatively low one.
By the practice of these exercises the student develops the ability to
make each word and element of speech perfect without breaking the
steady, sustained current of the tone.
* * * * *
EXERCISE IV. Sing _ma-za-ska-a_, commencing upon a comparatively high
pitch, descending and ascending the scale.
After having made the true forms of the above-mentioned elements of
speech habitual, the student may concentrate his practice upon the
resonant form of _a_, as heard in _far_. Thus, this vocal element, being
joined with the consonants _m_ and _z_, is aided in making its most
perfect resonant mold, while _s_, being forward to give the right
direction, and _k_, being strongly projected by the pharynx resonant
chamber, the _ä_ is sent forward, like a ball from a gun, thereby
developing projection of tone until at last the student may venture to
practise upon _ä_ alone.
While expressing these separate elements, each must be held in the mind
as a luminous globe moving in the forward and downward curve. Repeat
this exercise on different intervals of the scale. It may also be given
in the form of arpeggios.
In practising these exercises, the student must be careful never to
strain the voice either for the purpose of reaching a high or a low
note. He should attempt to reach no pitch until it is perfectly easy for
him to do so. He should practise most upon those notes which are easily
within the compass of his voice, not continuing to repeat an element on
the same interval of the scale, but changing at least one note with each
successive repetition, that the voice may develop an evenness and the
habit of reaching the resonant chamber which gives the right quality for
the pitch.
=_RHYTHM._=
It is obvious that the vocal exercises above described develop musical
expressiveness both in song and speech. Rhythm is an act of the feelings
more than it is of the intellect. The student should allow the feeling
of rhythm to take full possession of him while he executes the musical
variations. Rhythm causes the force of the voice to exert itself
melodically. Were it not for rhythm, the tone would move forward in a
sort of sameness in force. One can no more endure to listen to a voice
that is not rhythmical in force than he can to one that is monotonous in
pitch. The feelings are benumbed by monotony, while they rejoice in
harmonious variety. Originally the word rhythm meant motion. Later it
was used to express the relation of measure to motion. To-day the word
meter and the word rhythm are sometimes used synonymously.
Rhythm is the name of the sense of relationship existing between
duration and motion. Without rhythm there can be no real melody. In
poetry the rhythm celebrates the exact relationship the thoughts sustain
to each other. The rhythm creates a deeper interest, and consequently a
deeper feeling, than would be created if this relationship were not
celebrated by the regular recurrence of certain pleasing sounds. In
prose composition the relationship between the thoughts may be as
perfect, but this relationship, although expressed melodically, is not
as rhythmically emphasized.
Thought in voice form always manifests itself rhythmically. In
sculpture, painting and architecture, that which corresponds to rhythm
in music and poetry is called symmetry. Symmetry involves proportion,
and gives a feeling of life to these forms of art.
=_QUALITY OF VOICE._=
There are certain characteristics of voice which are denominated
“qualities.” Among these are: Color, Form and Equilibrium. By color of
voice I mean that quality which affects us when we hear it, just as
color affects us when we see it; so that color as applied to voice is
really the name of the feeling it produces, which is the same as that
produced by color received through the sense of sight.
We judge of form of voice as we judge of color of voice, that is, by its
effect upon the feelings. There are certain tones which affect us as
certain forms do.
When we see objects in equilibrium, we speak of them as being well
poised, or centered; they give us the feeling of certainty; right tones
affect us in the same way. Other tones which lack center give us the
same kind of mental pain which things do when we perceive they are not
in equilibrium.
Color appeals to the feelings; form appeals to the intellect;
equilibrium appeals to the will, so that color, form and equilibrium
appeal to the mind as a unit.
_THE FOUR FORMS OF EMPHASIS._
Force (Energy),
Pitch,
Volume,
Time.
Each form possesses a distinct meaning and expresses definite states of
mind.
Force indicates the degree of energy a particular thought arouses in an
individual. Pitch includes slide or inflection, and indicates the
feeling aroused by the thought. Volume indicates the condition of the
will—whether it is perfectly free or struggling against difficulties.
Time indicates the value the intellect places upon the thought. All
forms of emphasis may be reduced to these four; and these four may be
combined in an infinite variety of ways.