Resonance in Singing and Speaking by Thomas Fillebrown (book suggestions .TXT) 📕

Inhale as in I; hold the breath four counts (seconds) or more; then expel the air vigorously in one breath through the wide open mouth. The beginner is often helped in acquiring a deep breath by slowly sipping breath. Therefore as a variant to Exercise II practise:

Through the smallest possible opening of the lips, while mentally counting, inhale very slowly and steadily; hold two to four counts, then expel the air all at once through the wide open mouth.

To more completely arouse dormant muscles that should play an important part in breathing, place the hands against the sides, thumbs well back, take, through the nostrils or the slightly parted lips, six short catch-breaths, moving the ribs out at the side with each catch-breath. Hold the breath two counts, and exhale through the mouth with six short expiratory puffs, drawing the ribs in at the side with each puff.

Inhale as in I, while mentally counting one, two, three, four, etc., until the inhalation seems complete. Hold the breath four or more counts; then exhale through the nostrils slowly and evenly while mentally counting to the number reached in the inspiration. With practice the number of counts will gradually increase. Do not, however, force the increase. The muscles that control inspiration are powerful; do not, therefore, make the mistake of seeking to control expiration by contraction of the glottis. Practise these exercises with an open throat and depend on the breathing muscles for control of the outgoing air. Remember that singing is control of breath in exit.

Inhale through the nostrils quickly, deeply, and forcefully (one count); hold two counts; exhale through the nostrils evenly, steadily, and as slowly as possible while mentally counting one, two, three, four, etc. With practice gradually increase the number of counts for the exhalation.

The Cavalier, Don Carlo Broschi, better known as Farinelli (1705-1782), the world's greatest singer in bravura and coloratura, was a pupil of Porpora and Bernacchi. There was no branch of the art which he did not carry to the highest perfection, and the successes of his youth did not prevent him from continuing his study, or, when his name was famous, from acquiring by much perseverance another style and a superior method. His breath control was considered so marvelous in that day of great singers, it is said, that the art of taking and keeping the breath so softly and easily that no one could perceive it began and died with him. He is said to have spent several hours daily in practising the following exercise:

As in Exercise III, sip the breath slowly and steadily through the smallest possible opening of the lips; hold it a few counts, then exhale very slowly and steadily through the smallest possible opening of the lips.

Farinelli's exercise is not for beginners.

For ventilating and sweeping the lungs, for quick refreshment after fatigue, and for use always at the close of your exercises, inhale through the nostrils slowly a complete breath; hold two to four counts, purse the lips tightly and expel through them a small puff of air, hold two counts, puff one, hold two counts, puff one, and so on until the exhalation is complete. A few trials should convince you that this simple exercise is of great value.

In both singing and speaking, the sustained delivery of long phrases or sentences sometimes makes unusual demands on the breath supply. It is a law of good singing that every phrase should end with the breath unexhausted. When the flow of text and music forbid the taking of a full breath, half-breaths must be quietly taken at convenient points. Instead of letting the whole reservoir of motive power exhaust itself and then completely refill it, we should, by taking these half-breaths, maintain a reserve. A notable advocate of the use of the half-breath in singing is that past mistress of sustained and smooth delivery, Marcella Sembrich.

The subject of registers has always been the bête noire of vocalists, a source of controversy and confusion. The term "register," as commonly used, means a series of tones of a characteristic clang or quality, produced by the same mechanism. The term "break" is generally used to indicate the point at which a new register with sudden change appears.

The advocates of registers lay stress either on the changes in laryngeal action, or the changes in tone quality. Before the days of the laryngoscope, registers were treated simply as different qualities of tone, characterizing a certain portion of the voice's compass.

Those who encourage the cultivation of register consciousness claim to do so for the sake of the differences in tone-color which they associate with the different "registers." The purpose of the following chapters is to show that the quality or color of a tone is altogether a matter of resonance, and not a question of laryngeal action.

Moreover, the mechanism of the larynx is not voluntary in its action, but automatic, and even if a singer knew how the vocal cords should act it would not help him in the least to govern their action. The fact is that the results of laryngoscopic study of the vocal cords have been disappointing and contradictory and investigators have failed to define what correct laryngeal action is. There are those who even deny that the vocal cords govern the pitch of the voice.

In her thoughtful Philosophy of Singing, Clara Kathleen Rogers, while upholding "registers," says that considered physiologically "the different registers of the voice should be regarded by the singer as only so many modifications in the quality of tone, which modifications are inherent in the voice itself." She then adds significantly: "These modifications are not brought about by conscious adjustments of the parts employed, as any interference with the parts will produce that obstacle to quality we call a 'break.'"

One of the greatest of modern singers, Mme. Lilli Lehmann, in her interesting work, How to Sing, says: "Do registers exist by nature? No. It may be said that they are created through long years of speaking in the vocal range that is easiest to the person, or in one adopted by imitation." She speaks of three ranges of the voice, or, rather, three sections of the vocal range, as chest, middle, and head, saying, "All three form registers when exaggerated." After speaking of the hopeless confusion that results from clinging to the appellations of chest, middle, and head register, confounding voice with register, she concludes:

"As long as the word 'register' is kept in use the registers will not disappear, and yet the register question must be swept away, to give place to another class of ideas, sounder views on the part of teachers, and a truer conception on the part of singers and pupils."

The trend of recent thought on this subject is further shown in Ffrangcon-Davies' important work, The Singing of the Future, where, having in mind "the useless torture to which thousands of students have been subjected," he characterizes "breaks" and "registers" as "paraphernalia supplied by credulity to charlatanism"; and adds: "How many a poor pupil has become a practical monomaniac on the subject of that break in my voice between D and D sharp!"

My own studies convince me that there is but one register, or, rather, no such thing as register, save as it applies to the compass of the voice; and that chest, middle, head, and all other registers are creations of false education. Training based upon the theory of many registers results in an artificial and unnatural division of the voice.

The organ of the voice has long been considered the analogue of every other instrument except in regard to registers. Investigation indicates that it is analogous in this respect also. Compare the voice instrument with the pianoforte, violin, and organ and the similarity will plainly appear. The artificial instruments undergo no change when making a tone of higher or lower pitch other than the attuning of the vibrator to the pitch desired. All other parts remain the same. So when the voice is correctly focused and delivered, the only change incident to altered pitch is that made in the vibrator so as to give the proper number of vibrations for the pitch required. If the scale is sung down, using the same vowel sound for the whole scale, the comparison will be appreciated; the pupil will not be conscious of any change in the vocal organ or experience any difficulty in descending the scale. Faithful advocates of the theory of many registers say: "Whenever in doubt about the production of a tone, sing down to it from some tone above it, never upward from a tone below," for they find that singing down "blends the registers." This we believe is because in singing down muscular and nerve tension is gradually relaxed and consequently there is no "register" change in the voice.

A study of the church organ will, I think, make this matter clear. The organ has many so-called registers, as the vox humana, flute, oboe, etc. These differ in the character of tone produced, because of the size and shape of the different sets of pipes and the material, wood or metal, of which they are made. But each similarly constructed set of pipes forms only one register, and the pitch of the set varies from low to high without any abrupt change in quality. All the tones are produced by the same methods and means, the bellows, the vibrator, and the pipe. In length and diameter, the pipe is proper to the tone produced: a short pipe of small diameter for the high tones, and a long, wide pipe for the bass tones.

The short vibrations of the high tones are perceived by the ear as affecting the air only, while the tones of the lowest bass pipes shake the solid foundations as well as the superstructure. So with the human voice. The coarser tissues cannot answer to the short vibrations of the upper tones, because they cannot move so quickly, while they can, and do, respond to the vibrations of the low tones. This may cause some difference in degree, but not in kind. With all tones focused alike, the low tones of the human organ may be regarded as head tones plus the vibrations of the coarser tissues.

It has been said of registers that they are "acoustic illusions which disappear in the perfectly trained voice." As soon as the singer has learned to use his voice normally all these defective changes disappear.

The following incident illustrates the fact that registers are an artificial creation: A young lady who had been a patient of the author since her childhood studied elocution in a metropolitan city, and to improve her voice took vocal music lessons of a teacher of more than local repute. He found no end of trouble in teaching her to "blend the registers," and she had utterly failed to acquire the art. One summer she came back for professional services and told her troubles. During the few weeks of her stay she followed the author's suggestions, and was fully convinced of their correctness and efficiency. Upon returning to her lessons, she followed, without any explanations, the method that had been outlined for her. Her success in "blending the registers" was a surprise to her teacher who heartily congratulated her upon what she had accomplished during the summer.

Another case is that of a young lady who was under the author's direction as to vocal culture from childhood. As early as four