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

The gentle practice in easy range of the exercises given in the chapter following, will do much to restore a normal condition.

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.

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.

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.

Practise this softly on any pitch easy for the voice.

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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.

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.

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.

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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.

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.

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.

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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.

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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.

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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 59.

Sing softly in a pitch that is easy for the voice.

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Pronounce the word hung at once, opening