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How long should vocal exercises be practiced? What quality of tone should be sought at the beginning?

What is the peculiarity of the voice called "mezzo voce"?

Demonstrate how the basic characteristic is removed from a tone. How does this affect the voice? Upon what is the success of the present and the gradual building of the voice dependent?

CHAPTER IX
TIMBRE

It is an amazing fact that of all things created and manufactured no two are the same. The "two peas in a pod," when subjected to a powerful microscope, become as different as two hills seen across a valley. The timbre of the voice is a distinguishing characteristic of a person. A made-up voice does not ring true. Like an artificial complexion, it might appeal at first, but it does not charm. It rather invites ridicule, and it is the first provision a clown makes. The individual qualities can be cultivated to better advantage. The teacher should be careful to discourage any inclination a pupil may have to imitate. Some demonstrations as to the application of power and the results are often helpful,

but the pupil should appropriate the mode of action without losing his individuality.

The timbre of the voice depends mostly on an individual peculiar arrangement of the basic part of a tone and its sustaining harmonics. The most apparent differences in voice timbres are caused by the closed and dispersed harmonics, which are naturally selected. When the selection is natural, the harmonics are never the same in two individuals.

The production of the octave harmonic, as illustrated in Plate No. 12, should be practiced only as much as may be necessary to make the pupil realize how the acting power of the registers can coöperate and be interchanged in their relative part in rendering a harmonious tone. With this understanding, the pupil should apply the action of the three registers at the same time, but without a conscious selection of

the harmonics, so that the natural selection may be made through the subconscious, by reflex action. These tones will be of the characteristic voice timbre of the individual.

The exercises of Plate No. 7 may be used at first, and later the exercises of Plate No. 14, for the production of harmonious tones with the natural timbre of the pupil's voice.

QUESTIONS FOR TOPICAL REVIEW

How should the voice be cultivated?

Against what should a pupil be guarded when receiving demonstrations?

What constitutes the timbre of the voice?

What is the cause of great differences in voice timbre?

What is peculiar in the natural selection of the harmonics?

What is the principal object in the practice of rendering the octave harmonic?

How is the natural timbre of the voice realized in harmonizing a tone?

CHAPTER X

FALSETTO

Most people who have lost the natural voice occasionally produce some inharmonious high tones, called falsetto, because they lack the natural sustaining harmonics.

Falsetto tones are produced in two ways: First, the tone is produced by the right application of the power and the controlling force of the superior register without the cooperation of the inferior registers for the production of the natural harmonics. A pupil in this condition should exercise on scaling down his falsetto tones into the middle register. Part B of the exercise in Plate No. 11 is helpful at first, and Part A after the harmonization has taken place.

Secondly, some falsetto tones are produced without the desired application of the power

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