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and a precise adjustment. In singing two or more tones legato of the same pitch there is only one adjustment, but a new attack and a new adjustment are made without inhaling when a change of pitch is desired. The vibrations can be sustained and at will held in the resonance chamber or permitted to pass out through the oral cavity, where they can be used for the articulation of sounds.

The exercises given in Plates Nos. 7, 8, and 14, on the open sound of the vowels, should now be practiced with the ringing and echo effects. Most of the exercises should be practiced in tones of a soft quality, but it is beneficial occasionally to try the voice with the full power of the lungs. The depth of the catch breaths may be gradually increased until they constitute full inhalations if it does not hinder the relaxation of the power-producing muscles.

The full respirations materially increase the power and facilitate the execution of longer phrases. This is very desirable in the practical use of the voice. In using full respirations, the diaphragm is thrown outward and downward as the chest is inflated by the inhalation; the diaphragm is then pinched in, the power muscles of the superior register relaxed, and the bony frame left to a complete collapse, all at once. This maximum power of the vocal organs can then be, at will, dispensed through the controlling force. All increases in the volume of tones should be attempted by efforts to enlarge the resonance chamber and the lung cavity with a free use of the sounding board.

QUESTIONS FOR TOPICAL REVIEW

Where is the resonance chamber located?

For what use is the resonance chamber intended?

How can the size of the resonance chamber be improved?

What takes place when the air columns strike the ethmoid bone?

What takes place with the disintegration of the air columns?

What is commonly called the natural voice?
How is the ring of a bell imitated? ·

Demonstrate how the ring of a bell is imitated with the voice.

What is meant by singing "staccato"?
What is meant by singing "legato"?

How is the execution of long phrases facilitated in the practical use of the voice?

How is the full respiration used in tone production? How are the tones increased in volume and resonance?

CHAPTER XIII

THE VOICE

As with all our other faculties, the voice is at its best when used without thinking of its complexity, and especially without having the mind on any of its component parts, although there should always be a mental alertness for the observation of at least three points, namely, the physiological cause, the physiological effects, and the psychological object. Time should be devoted every day to its technique, and this should be especially applied to the defective parts; for with the voice as with all physical achievements, the paramount consideration is the normal condition of all the component parts.

The strength of a chain is no greater than its weakest link. The weak tones of

the voice are the cause of most failures, and by them many artists are brought to premature end. The weak tones can be strengthened and they should be cultivated until they become equal to the best part of the voice. This can always be accomplished through appropriate breathing exercises, an intelligent application of the

PLATE NO. 15

Original plate. These vocal exercises, practiced at various parts of the compass, are especially well adapted to equalize

the tones

method by which their natural action is restored, by using them freely while speaking as well as in singing, and by constantly using, during the act of breathing, the part of the lungs from which they originate.

The exercises in Plate No. 15 are especially desirable when the weak part of the

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