Professional Documents
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Di iiXU S
PR
This book
dreds of pupils.
book
#
nowledge of vocal
technic is based.
The S
cience of V
The V
oice
oice
ts Production and R
eproduction and
elatively
little was said about the application of these principles to the actual
work
discoveries and procedures which have been made during the inter-
vening years
en up in considerable detail.
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for the benefit of not only those teachers and singers who are follow-
possible. A
vii
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trained ear
uality variations
ercise j
"
Naturally, it is to be ex
even organized
n anticipation
ing, precise,
scientific investigation.
To mak
and pupil are addressed. The technical points involved and the
student which reveal the part each student must play, the errors to
lways, both student and teacher must realize that their personal
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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reak
singers
rise and fall with the seasons, but a voice carefully, properly and
conscientiously trained and used will remain a rich asset until the
es. C
areful
application will bring results which are often startling and always
appeared in The V
oice
ts Production and R
t which
vm
ect matter.
bring order to such a chaotic field as vocal teaching will meet with
determined
aaa
O NTE
NTS
PR
TE
H NI
O US
TI
L GLO S
L GLO S
TE
vn
33
UDGME
PE
NTR
H A
1. GE
NT O F
O R
O DUC
PTE
NE
MI
O I
NG TA
TI
LE
5)
LR
Longer Necessary (6
MA
NG TH E
esonator (6
8)
TH R
O A
sE
uilibrium (78)
nstrument (85).
3. DE
NT O F
LO PME
egisters (100)
Balancing of R
4. DE
venly R
udden "
(105)
Tone (74)
Tongue Posi-
LA
ising S
NG TH E
cale of I
O penings"
ueak
(104)
Loud S
"
"
LE
alue of
"
(MA
)"
NI
inging (108)
PULA
TI
F>
RlWhmT%?WR
%
O NS
hanges
and Psy-
ncorrect
Mix
ed
oices (112)
(111)
Unbalanced
egistration (114).
42
51
86
103
%
ed-register V
nGRGl=i lGZ=l^
(104)
and Q uality C
O pening"
egistration (110)
Tones (101)
O pening"
O penings"
(106
L MUS
	
O I
elationship Between
ntensity (103)
O pening"
W ork
NGE
egisters (102).
LO PI
%
Thyroid Manipula-
O ctave R
=TWm^%?T=i niW^^=l
H yoid Bone,
ntensity) (86
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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ontrol of I
TH E
%
egistration (C
%GTKR?T=iniW^^=l
7).
TO NGUE
Dark
ar (6
T (TH E
The Teacher'
tion (79)
#
ND
nstrument (75) E
lG]=TG
Tongue I
Position of Larynx
Q UE
9
NI
H NI
O N
2. O PE
NT
%
%
F) hGGiW?Rn%KGW?TG e Z=R?mi=%?WR^ f
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,01>
H A
PTE
PA
TTA
5. TH E
Laryngeal Pharynx
tion before A
ment and A
ture, to E
NTO NA
TI
ttack
O N 115
(117)
ttack
Muscles and A
(Throat) (115) A
ttack
(118)
ttack
Tongue-tie (118)
(119) I
stablish I
elax
Tongue I
a-
nstru-
Breathing
O ut"
Ges-
Tension on
ttack
nance of "
(125)
H old"
(124) "
Pre-tension and I
)"
Give"
(124)
Mainte-
Muscles (126
allacies in Tensing E
Timing"
of Tension (127)
Done in
"
traneous
Timing"
lurring (128) E
uilibrium (Larynx
lute C
Neck
O A
TI
Neck
ssential (131)
NE
ontrol (135)
(136
)R
(136
aving of V
inging (137)
H ead, C
Muscles (137)
H ead and S
pine A
Muscles E
ssential (139).
7. TH E
NI
MA
PULA
aw Lock
(142) J
ping the J
aw (145)
Technic, Neck
TA
(PS
Muscles (136
elax
a-
1
O N 140
(Middle Position)
Drop-
aw Lock
(147)
W histling (150).
BLI
H I
H O LO GI
onscious C
NG TE
LF
H NI
TO R
LI
MPR
O V
ME
actor (153) F
aulty E
mpossible
elf-listening (154)
elf-listening (155)
Practising O utside S
oice W ithout I
9. PR
O BLE
nterpretive A
MS
O F
dition of Lower R
alsetto (157)
egister (158) No I
ine
bility (155).
GI
TR
ntensity R
TI
O N 157
ises with A
'
n-
Technical
utility of F
d-
ntensity O verlap of
alsetto (159)
'
NTS
) 152
cal F
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Passing Through J
aw Manipulation (147)
8. E
TI
aw Tremolo (142)
and Neck
lignment (138) R
tion of Neck
or-
(137) Throaty S
auses Nod-
'
oice and
Dropping the J
' '%#'"&&j
eduction of S
Muscles C
orcing of V
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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bso-
132
) (129)
and
Development
inal S
Muscles (132)
ules (134)
, Tongue, Thorax
nergy (130)
egistration E
o-ordination, F
. TH R
O E
'
5
alsetto (16
0) Balancing R
egisters in W omen'
sV
oices (16
0)
$%# !&j#j%&'%'#"j
'
onstant (159)
elatively
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9. PR
O BLE
MS
O F
GI
TR
W eak
Lower R
egister Must Be C
nent Mix
ed R
(16
5)
4)
Use of F
arly S
10. V
ibrato (16
7)
Tremolos (176
(176
simo S
inging (179) C
Great V
and V
MO LO
16
egister
e-
ange
).
iolent
oices R
ed
O ctave R
ongs of Limited R
oloratura Technic-V
Middle"
5)
nduced Mix
eproduction
teady (178)
oices (180)
ontrol of I
ntensity (180)
alsetto and V
TR
ibrato (F
alsetto
emale)
(181).
11. MI
DR
GI
ocal C
Muscles (184)
of V
ed R
Muscular E
uilibrium of Laryngeal
planation of O ctave R
Break
s"
dom A
egistration (194)
oice (194)
Pure "
structive (195) R
tilage (196
ed-regis-
imilarity of Mix
omplete C
nates V
olume of Mix
ed and C
o-ordination S
limination of Break
O pen"
limination of E
ither R
stablishes
egister is De-
) Mix
ed R
o-
el-
limi-
egistration E
dj
ar-
ustment (196
Pure F
Mix
ed-register C
Both R
egisters
Proper S
ed R
tages (201) I
ound of a Mix
and Mix
ed R
ing the R
12. C
ibrato R
(208) R
(209)
"
Maj
O pening"
oice
TI
Middle R
NG TO NE
Tune (207)
nitial "
egis-
egister"
inging
and Blend-
egisters (204).
O NNE
lex
in S
ed R
(ME
inging (206
un (208) I
ntensity R
LO DI
LI
NE
) 206
haracteristics of a
ise with A
scending Pitch
"
Timing"
Gives"
and J
"
Giving"
and S
(209)
erk
"
Timing"
s (211)
O pening"
lurring (213)
and Maj
or Triad (210)
alue of Tongue I
oice S
0%z
ordinated R
z FQ QFD-R-[xa
eflection
O N 183
ffect of Lower-register E
ocal C
ter V
TI
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(185)
ords C
).z
ibrato
elatively S
4) Perma-
ND TR
Q uality, V
) Difference of V
in R
5) Use S
TO
.Little
ed "
tages (16
BR
2) A
ontinued)
3) Lower
4) Temporarily I
limination of Mix
in E
O N (C
egistration (16
egistration (16
irst (16
TI
nstrument for
lowly (212)
ccuracy of I
!)z
ntonation (213)
fg
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12. C
O NNE
TI
NG TO NE
(ME
LO DI
LI
NE
) (C
(98
on-
tinued)
owels in Maj
(214) F
Used (216
sV
or Triad (214)
) Maj
aw, Tongue I
dj
O pening"
at R
pecial Q uality C
ntonation (228)
Use of Lower R
alsetto"
(232)
imilar (233)
W hite"
Low Tones S
13. I
PR
W hat the S
inger S
TA
TI
ong (242)
of F
mportance (248)
irst I
tructure V
geal R
and C
ontrasts (256
hould Not S
Be Used for I
(258)
Throaty S
rtistic I
inging R
H igh Tones S
sA
2)
s"
eq
re I
Traditional A
4)
4) C
5) Lower R
egister (F
oice
H um-
(26
1)
spects of S
sV
annot
0)
ecordings (26
lur-
Tradition
inging
truggle (26
Tes-
Mere
ffect (259)
ingers (26
eq
motion (254)
nartistic
H amming"
ecital S
ibrato and E
motion (258)
hould Be No S
ii
Man'
inging (258)
onveys No E
olor, V
Musicianship
s (257) Tremolo C
Trick
nterpretation R
ffects
igures
ingers Lack
olor (257)
peech for S
0)
oft E
owels (253)
Many S
lurring I
3)
Mouth V
onsonants and S
annot C
nterpretation (257)
hifting of C
ccuracy (249)
e a W oman'
ubstitution of S
(26
inger C
ound Lik
uire A
ming C
ustment (252)
panding C
Throaty S
eq
ntensity (251)
t (252)
owels (253)
olor C
n-
ecitatives R
dj
tudy and I
The Music I
s Basic (250)
esonance A
situra (255) E
(256
now (238) H ow to S
ital (249)
limination
nterpretation (248)
Melodic Line I
(251)
oice Never
O N 238
hould K
terpret a S
cal S
voided (235)
Noisy (236
NTE
hould Be A
ues
alsetto
"
Noisy"
and
ccurate
of "
allacy of
onsciousness (229)
tart with F
n-
haracter-
mportance of C
mportance
Personal Q uality"
egister C
stablishment of Pitch C
hange (224)
hange (224)
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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(232)
egister in
egister C
egister C
(230) Male V
aw and
or
hord in R
Q uality C
or Triads and
istic of W ell-produced V
Technic (228)
Maj
ustment and R
en Tonic C
of "
or Triad (221) J
emale) (222)
hanging R
onstant Throat A
owels
or Triad (221)
hange (F
r6
Manipulations (219)
Performance (223) C
Use of R
dj
aw Manipulation (218)
egister C
oice (215)
emale V
Triad and J
3)
ustaining of
hanges of A
d-
emale) and
).
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14. TH E
15. UNS
Lack
PE
(290)
NG V
Larynx
ound (291)
elax
ation"
ocal Teaching I
peak
NDE
lll
26
H I
Loud S
ue (280) S
oice (297)
oice (297)
are (299) C
TH O DS
9
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%
276
amous
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cholarships
acts R
aulty Methods R
W ell-produced V
re R
NG ME
Teachers of
%9
e-
allacy (293)
ing V
s the "
ing V
rtists A
W ork
oncepts (290) F
Natural V
peak
Technic (298)
Great A
oice (294)
and S
TE
W rong (292)
Loss of V
O I
haracteristic (277)
cientifically Unsound C
garding S
NTI
Names (279)
of Power, Present-day C
"
oyal R
esult in E
Manipula-
mplification H as H armed V
oice R
arly
ocal
oad"
to Good S
inging (301).
302
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
: a\bsbyzRz
z
NDAO<HIALz F=z
TE
H NI
L GLO S
planations are brief and concise, and technical terms are avoided
ect
plana-
5 5
tions are not set down for the physiologist, who will understand all that
ex
planations.
ntagonistic Tension
W henever we mak
comes into tension. Thus, if one moves his arm outward, the muscles
which accomplish this gesture come into tension and the muscles which
inwards
ed. I
again
nistic muscles.
muscles. A
5
piratory
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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uilibrium is estab-
lished when both sets of muscles are in the proper balance of tension.
. Thus, for ex
ample, when
the muscles of the chest come into tension, the muscles of the dia-
ribs relax
ces-
relax
the neck
tak
The voice is actuated by means of the breath pressure, i.e., the breath
%
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pressure is higher than atmospheric pressure and the air above the
larynx
is at atmospheric pressure
ttack
ex
is
ecuted properly, all the muscles used in phonation, i.e., the muscles
of the larynx
, pharynx
and thorax
(inspiratory and ex
timed"
Proper attack
one six
piratory), come
uality.
ttack
: Diaphrag-
move out
has started.
erk
ed
attack
"
accomplished attack
erk
.I
t implies that
n properly
a-
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and held.
n the j
erk
ed attack
erk
from tension
into reverse
tension. Thus, if he j
erk
s the attack
erk
will be.
ll j
erk
ed attack
ustment is incorrect
of attack
the thorax
out"
lower ribs has been completed. Thus, the singer should "
lead,"
i.e.,
start the tension, with the throat. H e should not establish the breath-
f he does he
will inevitably blow breath, because the glottis has not been closed
ing"
.A
Lead-
j=q jR MV o Vq p=V = jV V
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of pPoM=V j= Vq jV ? ? lV =?M VX
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, even
lurred
. They
intensity may
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be slurred, i.e., the singer may start softly and build up the loud-
ust-
started.
is slurred. I
attack
, the resonance cavities are not properly shaped for the given
ustment is inaccurate.
duced properly.
Balanced Tension
eq
"
uilibrium.
rib muscles is
the larynx
ual-
ually developed,
Breath
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are balanced.
uilibrium: E
out"
back
hold"
must not be lost. The diaphragm and ribs must not move
in,
hold"
in order
to sing more vigorously, i.e., raise the pitch or lessen the intensity.
Breath ex
vocal cords (valve) have opened slighdy in the opening phase of their
vibration.
ocalized Breath
pira-
tory muscles and that after it has passed through the glottis (vocal
vocalized breath."
They think
for the
breath to travel at this speed (750 miles an hour), the singer would
have to blow more than ten times as hard as the worst hurricane:
into bits.
ward and
a relax
piratory
W hen eq
"
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rom this ridiculous notion, they tell pupils to direct this stream
of "
vocalized breath"
the masq
ue,"
"
hard palate,"
voice placement,"
"
put"
Breath C
nasal resonance,"
"
or "
"
"
singing in
it cannot be "
placed"
anywhere.
should be "
driven,"
piratory muscles
are relax
pulsion.
ex
pulsion. I
pelled (the
ed.
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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Breath E
pelled, or ex
hausted
during phonation.
low. I
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pulsion is very
really well produced can hold almost any tone in his voice, at normal
-30 seconds. I
pulsion
intensities. H owever, one can sustain a tone long enough to sing easily
ten-second phrase
Breath ex
"
opening up."
opening"
has been lost and the arytenoid muscles have not developed sufficient
urther development
training
indeed
the breath ex
pulsion. A
t an ex
seconds.
Breath Pressure
is at atmospheric pressure.
the glottis is closed and the breathing muscles are in tension. The
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f the glottis
is sq
ed, ex
The force which actuates the voice is the pressure of the breath
duced properly. I
of air. I
t is not phonation. I
during the breathing act. The glottis must be closed for phonation.
pand. A
pired the ex
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and ex
co-ordination is
f only one
set of these muscles becomes tense, the breathing act is initiated, the
ternal interfer-
ence, is impossible.
tory tension is eq
and forward"
"
ward"
pira-
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out
ualed by the
into the throat against the posterior wall of the laryngeal pharynx
sq
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and the ex
held,"
not blown.
. The ex
pired.
f they did,
the application of ex
. Therefore, in
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holds
his breath."
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req
Neck
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hest and S
pira-
uilibrium.
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The lower part of the lungs is far larger than the upper. Thus, it is
ex
f the neck
filled. W hen only the upper part is filled, relatively little breath is
actually inspired.
is not involved
hold"
uilibrium
breath tak
en is relatively unimportant.
"
O ut"
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out"
lower rib muscles. The chest and shoulders should not be involved
the attack
out"
should
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so
is "
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aw
chest and shoulders are tensed. The breath is blown through the con-
striction thus formed. The mouth acts as the resonator of the vowel.
W hen the singer produces his voice under such conditions, the
registration is mix
on-
closure
of
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the throat. W hen constriction occurs, the proper function of the voice
inging on C
onstriction
"
head voice,"
seek
"
covered tones,"
"
ue,"
"
breath control,"
etc., intentionally
this end.
on constriction,"
starts the
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tone softly, generally below the pitch, and swells into it. Thus, he
shoulders and breathes with his chest, which he also raises. H e pulls
his diaphragm in
H e may even press his tongue against his lower teeth, thus forcing
hyoid bone
.I
as far
oon S
houting, Blues S
nated, or mix
inging, Torch S
ustment. I
the cases where the pure lower register is used, the vocal apparatus
held back
sounds emitted are unpleasant, but they are not nearly so inj
ing"
or mix
."
The
urious
croon-
only.
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Ld MU
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coming together (the glottis closing) which occurs when the tone is
attack
tongue strik
click
to click
together
undoubtedly be inj
an ex
urious. I
tremely unlik
ely assumption
. The
ed in absolute constriction.
may
strik
"
overed Tones"
H ead R
head tones"
(see R
egistration-
egister).
covers"
-throaty
upper tones.
to "
throaty."
and mak
or
Drop the
impression of "
This sensation is
ustment.
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ed
such tones. A
n"
times it is mix
edgy"
tone is mix
on edge"
ome-
ed falsetto.
(by pro-
ed and shrilled).
tension (mix
ed registration). S
edge,"
i.e.,
apt to waver.
uilibrium
balanced so that the system is stabilized (does not move), these forces
are in eq
uilibrium.
ample: I
or ex
uilibrium
back
tension on the
not move.
gain: E
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sion on the arytenoid muscles. This means that the registration action
hyoid bone must balance and hold the shaping of the pharyngeal
the
eq
must be in
uilibrium
cessive development
lex
action of the true vibrato, which does not appear until the technical
development is advanced. A
ance of the vibrato. They are easy to accomplish, when the proper
/
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down the scale on the tremolo, and this is very harmful to the voice
ocussing the V
oice
vocalized breath"
(see Breath
ocalized
arise.
oice
forced when the singer produces full, powerful tones. This is abso-
lutely untrue. A
singing.
the more vigorous the blasting of the breath becomes, the more
uirement for
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ustment) is badly
n train-
ing the voice, when the tone is established softly at first and then
"
built,"
the singer forces his voice, because the initial, soft tone is
forcing.
ll men
"
covered"
"
masq
ue"
or "
placed'
voce"
head'
nown as "
'
ll singers who
mezza
ll "
orward V
oice Production
"
or "
voice forward"
mouth or head
placing the
notion of "
throat"
or "
"
ustment. The
throaty singing.
"
Give"
or ex
uilibrium, moving.
give"
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during phonation,
ing,
5
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given."
given."
HT
K<
;2B!
4
H B T
(< Q
'
2
T
(< *
+
k
K<
and
given."
The
give."
"
H am"
ctor
The "
ham"
en by the "
ic-
o
ham"
singer.
ham"
"
m,"
1."
"
n,"
and "
enunciates one word or syllable at a time and does not weld the sen-
ciates. 5. H e over-eq
to mak
. H e endeavors
e each and every word and syllable clear and distinct and thus
n over-articu-
"
H am"
H ead R
t.
sk
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emptied of its contents (the brains) and if its walls (the very hard
H ead V
tration
H ead R
head register"
(see R
egis-
egister).
is ex
perienced when
!D *
+
! N B
!
Q
h
!
@ h
' Hn
2 +D
the technic is deliberately throaty and the throat is closed. Many singers
H eld Back
on the neck
ue).
hold"
hold back
"
against
ring out freely, and because he loses the abortive sense of "
control"
sion in balanced eq
"
back
holding,"
10
"
hold"
"
hold"
larynx
uili-
G_D =A\
+
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( * !
T
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+
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+
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K
2
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<
!
H!
62
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ky
thcu[nqcr j\ fcX_c^Wh
"
holds"
hold"
ustment
ture and retain this posture while the tone is being sung.
hold"
holding"
H umming C
onsonants
m,"
"
n,"
and T'
are hummed
when the hum vowel associated with them is oversustained. The hum
"
ham"
great many
diction. I
t inevitably mak
the intensity level of humming is far below that of normal singing, and
the musical line is uneven unless the tones sung with the mouth open
are "
held back
,"
nterfering Tension
associated. C
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tagonistic muscles and changes the pattern for the proper technic to
uestion is
"
intonation."
constant during the entire duration of the tone. The ability to establish
stringing"
adj
it depends upon
ely to be inac-
curate.
W hen the singer slurs he is virtually never really in tune, because the
11
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e the k
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Pleasing q
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Masq
ue
ue is actually a grandiloq
tangible sensation is ex
free."
W hen
clearly defined. S
or "
in the masq
ue"
if the j
felt"
This tension is directed to the front of the face during phonation. This
in the masq
ue"
voice. I
is associated
t serves
uality. I
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adj
pharynx
legitimate, mellow tones can be produced, the pupil has to sing with
nrico C
ample of mellow
singing.
larynx
and to throatiness
gerous.
Nasal R
adj
ustable, highly damped cavity which could not, under any circum-
the j
aw is lock
perienced when
E
ing tension is
directed into the front of the face (the nose), and when the neck
muscles plus the muscles of the chest and shoulders are in a high degree
of tension.
12
'
aw lock
. The j
aw is lock
ed
singers who produce nasal tones actually dilate their nostrils in order
aw, neck
Natural V
naturally"
well produced. I
t is not a
be made if any given voice is trained properly and the technical con-
Thus, any voice can, theoretically, be made into what has hereto-
fore been designated as a great natural voice, provided that the pupil
is able to learn
ing, talent
not "
natural voice"
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vocal organs. A
, for ex
neck
) are different. A
.A
natural sound of the voice is not revealed until a certain stage of tech-
is mix
a thick
Proper training reveals the natural voice, in this sense of the word. I
been reached. A
"
natural voice,"
cords. I
the speak
ven
,a
if even a small portion of the cord itself is removed, the individual will
constriction. I
13
opened up"
and registered,
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&*
ue"
is lik
mezza voce"
singing,
, mix
ed register, etc. A
ll such
the tone. Thus, a loud, noisy tone is always associated with a "
drifting"
pitch.
edging"
it
white"
she is merely
noisy.
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mo\}$
Phonation means the act of producing tone with the human voice. Legiti-
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whistling."
neck
singing.
"
timed"
tension);
for ex
which should occur at the proper moment for the changes of pitch,
Pull indicates the muscular tension which brings any part of the vocal
pull"
muscles "
"
pull"
ribs "
pull"
pull"
pull"
not "
14
pulls"
balance each
give"
(move).
other, eq
e place.
This term is also used to convey the idea that the singer has built
the back
t
n contrast to
true phonation, we find throaty singing which has been termed "
'
"
%
&
de
[B`
f
) N S 6X
M
'
#M
$M
o
ABCM
eflex
ction
.A
reflex
. W e can breathe
at will, i.e., when and how we desire to do so. The digestive process
is altogether reflex
. The correct
ustments
es must be brok
en down
of the larynx
5
against the pressure of the breath. There are two sets of muscles which
stretch the vocal cords. There are, therefore, two, and only two, regis-
ters
the F
alsetto R
egistration does not primarily control pitch ranges but rather inten-
sity. I
er
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as the pitch descends and does not go as far down as the lower register.
t is also true that the falsetto register can be carried an octave higher
than the lower register. Nevertheless, the two registers overlap through-
out the main body of the voice and the function of the registration
uality, and
soft effects of the voice. The lower register gives strength, power and
Balanced
n work
up more than an octave above the highest tone which can be pro-
and, at the front, to the pin. The string is tightened, and the pitch
tension. I
crack
crack
give"
the back
15
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is destroyed
is
2 N
. .
.(
u N ;
.( 2
@
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"
.
Q
(
of the string must be firm and hold, if the piano is to retain its tuning.
back
ends must hold and, if either one outpulls the other, the string-
89
ing is destroyed and the pitch will waver and become untrue.
Break
There is a "
break
,"
or "
gap,"
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falsetto, at any given pitch, is not strong enough to meet the softest
or B flat, it is
intensity of this B flat, sung in the pure falsetto, does not drop so
clef
flat
voice, starting in the lower register, the change into the falsetto
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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occurs at this E
change occurs lower, and at higher intensities the lower register may
blend"
mix
ed registration, ex
The break
ex
hest V
flat
does not
s voices.
they feel, for the lower tones of the voice. The trachea and bronchi
are, indeed, added to the resonance system for low tones. This does
"
adj
chest tones."
a register change. S
16
2 .
2
(
. . (y 2
.
y 4
( *
.
u.(
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bQ . "
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ustment for their lowest tones, even when not told to do so and
uch "
chest tones"
H ow-
ed,
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ed lower
o-ordination of the R
egisters
( 3
the singer can swell smoothly from the falsetto to the lower register
without any q
occurs only at an ex
ruined. A
o-ordination
f it is
when both registers are fully developed and balanced, and when
is eliminated
established. I
t leads to ex
ed registration and
alsetto R
register,"
egister
arytenoid
'
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uality, high
tones and soft singing depend primarily upon the proper isolation
the "
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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stringing"
holds"
no added tension on the lower register muscles has come into action,
ed registration.
H ead R
adj
open"
the throat is open, but because they are white and shouty. This
openness."
KI
0$
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ation of
dark
head tones"
or "
. There-
covered tones."
The
in the head."
head tones"
or "
covered tones"
cannot sing
17
.z
: a\bsbyzRz
"
H ead"
or "
covered"
e it ever increas-
ingly throaty, and render it impossible for the singer to interpret the
music artistically.
solated R
human voice. I
mix
K V/
"
;
Q
K Vc
d
/
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s
solated regis-
tration has been engendered only when a pure falsetto register and a
Lower R
egister
register,"
thyroid
thyroid muscles. The lower register is in action for the higher inten-
sities and for the lower pitches. The purity of the lower register is
s voice
s. A
s voice should
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s voices,
t a high
or pianis-
simo effects on very high tones, a man may legitimately employ the
pure falsetto. A
well-produced speak
es, is
The lower register tension stretches the vocal cords and "
holds"
any given tone, must be present in the lower register, if the vocal
relax
(mix
stringing"
properly. I
es and ex
The lower register is pure when the added tension on the thyroid
muscles comes into play in co-ordination with all the arytenoid ten-
then of eq
ually pleasing q
Matched R
uality.
open,"
remains constant for both registers sung at the same pitch, with the
same vowel and vowel color. Thus, when a tone can be sung in the
intensity and also sung in the lower register at, of course, a higher
ustment
/
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Middle R
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the pure lower register. Therefore, the middle tones inevitably be-
come thick
and mix
sort of mix
, mix
ed falsetto technic is
falsetto
what mix
mix
ed lower register
tively pure falsetto for the upper tones. Under these circumstances
there are three pitch ranges which are characterized by three differ-
ent voice q
incorrect
adj
ustments.
Mix
ed F
alsetto R
egister
Mix
of develop-
7
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1
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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ed after by ex
cessive
thyro-arytenoid tension.
Mix
forced. The
resultant tone is very throaty and generally shrill. The higher tones
of the tone. A
Mix
ed Lower R
sq
ueak
voice"
ed falsetto ex
uality
ed
or screams.
cept inasmuch
ed lower register is
derived from the lower register rather than from the falsetto.
ustment to a greater ex
=
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The q
uality of a mix
can be reached are very throaty indeed and absolutely white and
shrill. The middle tones may be loud, but the low tones are weak
Mix
ed R
egistration
Mix
ing.
and the lower register are undeveloped and the establishment of the
19
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panied by ex
'
produced in constriction. C
omplete mix
Mix
ed R
egistration (I
nduced)
f a tone is sung in ex
generally occurs. A
treme constric-
ed registration
ed
acteristics despite the fact that the space between the hyoid bone
and the thyroid cartilage has not been permanently closed. This
ed registration.
Mix
n cases of permanent
ed R
muscular mix
to meet the hyoid bone, so that the space between the thyroid car-
tilage and the hyoid bone is nearly or completely closed. This con-
t indicates an ex
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and a poor q
uality voice.
The individual who does not sing, but who employs a mix
ed
ed registration. A
speak
hibit this
ing voice of
rapidly.
O ctave R
established, there is an ex
egisters
open"
well-produced
carried up to a pitch ex
t can be
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tone which can be reached in the lower register sung with the throat
opened. F
or ex
ample: I
sung with the throat opened in the lower register, the G, one octave
open"
sq
ueak
the E
ueak
tremely
tones"
in
, or even
such sq
because
ll
20
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tone at the time. H owever, the octave reflection must, at all stages,
Unbalanced
es.
B
"
+
u
S D V
!K
S
+
"
G
+S S S
Q
K *
S
D V
+
W
+ 2
D
stronger
t is a con-
dition which must persist through all stages of the training process,
elax
ee F
orward V
oice.
relax
ocussing the
V ++
k; Q y
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2 ..
!
";D
w
0
!K *
K V
+
2
! hD
"
it would be much better to say so, because these muscles come into a
high degree of tension when the muscles of the throat, i.e., genio-hyo-
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esonance A
dj
esonance adj
uencies which
geal cavities when the technic is correct and with the mouth when it
is throaty
incorrect.
esonance adj
mouth
tuning"
of cavities
pharynx
uencies of the
larynx
O pen
Maj
or O pening
first maj
when this action is established for the first time, the voice suddenly
"
opens up"
to a very mark
opening,"
21
maj
or
D[wpsaGcs
S
S +
@
"
"
W G
B
b
+Q
! S
+
K
"
b
+!
n
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K
Q
b
y
+!;
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or
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+ D W S
+
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+
K V
kb
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drive"
tion of tone.
O pen Tone occurs when the tongue has pulled away from the pos-
lished.
open tones,"
these
and not
tones produced with the base of the tongue drawn away from the
slightly dark
ustment,
O pened Up
opened;
"
O pened up"
, because of tension
C N
y TL
L<
Q
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the tongue is pulled away from the posterior wall of the laryngeal
pharynx
periodic "
openings"
tak
e place. E
opening,"
changes occur. S
in the
or vocal
Q L
! + /
L;K * /
! %
LK *v
L
TL
< L K
L
!
L!
K * Y L
v<
/ v
L
b
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v
L
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! LL;
K
L v L
L
K ^Y+
L
v Q
LK L
L
!v M9
/ v n +
/ L
K
nearly approx
imated.
and the q
ed degree. A
uality, i.e.,
which only augments slightly after real opening has been attained.
shaped, or "
tuned,"
are
or vowel color. F
ustment.
marily upon the position of the base of the tongue which is held
22
because
+
bK
* L
/ L%
L
L
d
!L L / Q
! L ! +!
Z}
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soft palate and the opening between the tongue and the uvula
tuned"
resonator.
Positioning of the R
esonance C
tuned"
"
et"
of the R
esonance C
tuning"
of the resonance cavities for the resonation of the tone. W hen the
haping the R
esonance C
set"
and when it is
set."
shaped"
and in throaty
shaped."
Throaty
"
or "
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dark
white"
(
E
5 2Qg
/ ( o
?
o
5?
tension. A
and j
)&.34
aw are
ustment is much in
.!04 )&.!%++4
(/ 5
evidence. Generally, the chest and shoulders are tensed and the
J ]UdR6^g
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| ( R F o
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blown"
in a high degree of
tension.
, chest, shoulders, j
effort.
Diction S
ach and
23
*
E /2$ $
$ S*
0 * R U [[Y 5
| /
/
E N
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R
- - - U 5
( F E
F
F -5 4 (=
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the "
m'
s,"
"
n'
s"
and "
l'
s"
cause the added vowel, or hum, with which they are associated is
throaty.
aw Lock
Most j
aw lock
lock
drops his j
0
@
( *0
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! 0 `0
0 0 b` Q `
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4 P;
P" M9 `
0 "
P
b`D
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0
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0
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P D
ed position is
aw assumes when it is
aw.
"
ustment is employed.
"
position. The j
. The lock
aw in the middle
lock
Lip Position
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about 83), the lips should be opened slightly, raised off the teeth
and neither spread nor pouted when the technic is correct. W hen
ustment is employed.
be brok
ustment. A
tuning"
the mouth
Mouth
X .gpXtXge+i `0
0 `
0
h = 0
0
0!"
0 0
0P
P
`0 0 0
( w0
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b
!6
(
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0
Q
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Y
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y 0 0
/P 0 0
bD ` 0
l @
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K 0 0
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b
(
open"
) resonance adj
ustment is to be attained.
the j
aw is lock
ed.
ust-
ment.
aw lock
Diction S
ustment. (S
ee
inger).
Pouted Lips
24
)gwsS .gpXsTgc
0 0
" P
" / 0 0@
_
+ 0 b` @ /P `" P
bd
A
)gwtSXeN
`0
0!
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bD
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, the
lips are pouted and certain mouth vowels demand the setting of
oo"
and dark
"
together
ee."
W hen the
never be opened all the way, because the forced pout mak
t can
es it
impossible for the singer to open his mouth beyond the middle
lock
they never
adio Technic
radio technic"
produce
6
\ 9A/ *" ( w
0' ( "
_ 9
"_ w ^ ( " "
"
'A;
diction singers."
obj
ectionable q
the low intensity level employed, the registration may not mix
in
tone, or a "
sq
ueak
a mix
tone,"
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radio technic"
is most inj
urious
nodules on their vocal cords, and many others suffer from chronic
laryngitis. S
it is not art.
radio and his performance is actually far more effective than that
uality
ed;
ed
)$!%4 9
9$ + 99+ " + *"
generally mix
ed
aw is lock
ed
generally
etting the J
aw is out of
25
setting"
..!%4 14
" 9 " O* "
"g
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
of the j
the middle
lock
position. I
aw "
sets"
the neck
tension.
resonance adj
t is always a
who want to sing loudly and who have little or no falsetto develop-
ed lower register.
hut-off Tone occurs when the tongue has been drawn back
against,
shut off,"
+DeaU>o ,UT8o oGGy YLm YL omWL YB ELLm K{Bm EBHc BWB\m
throaty.
pread Lips
uality. W hen
the lips are spread, the corners are separated in a sort of forced
grin. The j
+WY805o
middle
position.
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aw is lock
sq
ueak
voice"
singer. The
technic is incorrect
technic is correct.
"
mix
ueak
Tone"
treme constriction.
shrill q
uality
lik
e a steam whistle
e a whistle.
Many light sopranos use this technic for their upper tones when
absent. I
sq
ueak
voice,"
but
sq
ueak
voice,"
"
wallowed Tongue"
and the q
uality is thick
26
"
swallowed"
ed.
'
Ei ki
Thick
Throaty"
"
Thick
throaty"
swallowed."
6
K8# #.? . ,,, ,+
., # , !#. ! . .
(
! .. . B
0 +
. N
... !#
( # (, .
,#+
)
(6? ~ . 7 (
! # !
.9. + 9
!# #
, ! ,6
The genio-hyo-glossus
, nearly touching
. The q
uality of such a
is often mistak
dark
ness."
ness."
active throati-
the j
"
aw is lock
Thick
throatiness"
heavy."
t is ex
sings baritone, and with the dramatic soprano who sings contralto.
Throaty Tone
untuned"
not "
shaped"
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therefore "
is constricted and
ustment.
# L
?G p#
?G # ,
S
6
M# # #+ # =
# =#
). ,# 6
M# # 9 # . p!x
,2
., .6 4# , . !.
..
S
+ !# ,
(
+ # 0` B
6
blown"
"
W hite Throaty"
"
ed.
white throaty"
. The
throaty"
oft "
white-
up, but very often, especially for loud tones, its base is dropped
"
white throaty"
t is
to be k
nown as "
the tenor q
uality."
so-called "
27
soprano q
uality."
t is characteristic of the
,z
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
mix
GK
white throaty"
forced grin
Tuned R
their j
aws
esonance C
avity
"
tuned"
freq
always lock
uency or freq
Tuning the R
uencies.
esonance C
resonance cavities in order that they may resonate for the vowel
freq
uencies. I
have been so shaped that they are coupled acoustically with the
cale
venly-rising S
cale
tuned."
means that when he starts to sing at the bottom of his range and
+41M8o
each succeeding
(higher) tone is slightly louder than the tone immediately below it.
f he sings up the scale, employing a full, free tone, and the intensity
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faulty
f this curve
is unable to interpret the music effectively, with the result that the
stroyed.
work
ed out correctly.
ntensity S
cale
can be sung. The full volume of each tone in the voice, at any given
the pitch, but when the technic is faulty, this rise is uneven and,
generally, too rapid. The pitch scale is, then, associated with a
ed
soprano.
uality of
teristic q
faults. A
28
y
'
C g_hg
h`
\ C 7` ) O T X J-> 7 $
+
#! F" # #
H
!A
ed out
properly.
lurring occurs when the characteristics of the tone are not established,
pitch
and the time form is destroyed. The slurrer cannot accent. Therefore,
urthermore, he is "
lik
out of tune"
a rather un-
ely contingency.
W hile the singer whose technic is correct must be able to swell and
decrescendo the tone, the pitch slurrer often slurs the intensity also.
ach time he sq
ueezes up into
resonance adj
ustment
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The vowel
pairs the q
position. S
e on a defined
ed registration.
tance or Posture is the position of the body which the singer assumes
during phonation. I
f the
body is badly balanced on the feet and legs, the technical efficiency
the relax
nother lies
not be "
back
swayed"
in a pronounced curve. I
ely to give
must
relax
ed.
the nerve impulses which actuate the muscles) at the proper instant.
moment of attack
in phonation. I
.I
e part
must change (augment) if the pitch rises, and vice versa. The changes
timed"
act moment
s2 } # # / # "
G
9
D
* + + / / " / Q" A pG/C
Wv clG9 * + H c99v HD
#H
# Q "
# H +H !
/ ]d F
#D
#+
#!/
+#n "
N " # x # #
"
# SB
# Ga pl
Hu!
D
#
Y
Q A */" #
/ # #
H / H!
D * #D */
!
# H#!
D " k <
" F
/Y! F + d
@!
!A
7/v9/9d1l " +# / Q! D
* n H D
G + n#
" /H # H #"
#
F Q
g
*
H
+!
H A
* F
o## /# HD * nd
+
G!" Q F#F HY
+#D !
# # H ;H
D
at which the pitch change occurs. The tongue must come into tension
,o
t
}
# # / # #
/
+ ## h # +
D
*
#! H ;! # H
# / # @D V/ # Q # @ +#
+
g V
/ # H /
# h N #
" HF FD *
<U
Z}
k7y
tgcu[npcr l] ecX_c^Wh
, and if the
muscles of the tongue become tense too soon or too late they do not
ll changes of adj
adj
s sk
timed"
time"
his
ustments properly.
tone,"
which
ly (unconsciously).
it may be
ciently;
is out of the muscles and the response to the nerve impulses for the
max
ustment can be
attained.
The attainment of the proper state of tonus in the pupil is one of the
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,Y7QULU
o giGg i = iGQ dQ i| =BtQ G|iGi|
GG |t
resonance cavities.
sq
ueak
voice,"
this is k
nown as a "
aw tremolo."
even spread to the chest, which then becomes involved in this tetanic
flutter.
becomes involved.
ed registra-
breathing muscles
tion. A
soft, and the tone is not forced, or pushed. The absolute tremolo is
t may
gQ |eQ
giGg =G=Q gi ^z ^ Qzv
i z=i|=i|QN i| =
Q giGg i=tt GvQ gQ g=# :gQ i|Q|i i Q
^
=|N gQ |Q i | ^GQN
gQN! :gQ =BvQ Qzv i
Q Qet= =|N zGg =iN 3 z= e ^z 0 %% zQ
a most unpleasant q
30
uality.
'
ZA
Most beginners ex
& l & H &3 \e& &
&
& & % ' &
'
ll absolute tremolos
studies.
Tremolo V
&
H ' %
H &
&
%&3 4+ & %0
uency. I
the tone is soft, it may be very rapid, when the resultant sound is a
sort of bleat. This bleat can also occur at rather high intensity,
uency is slow
when the tone is relatively loud, and the movement may tak
e the
very wide, especially when the movement is slow, and in some bad
it
ment. I
!)-&4 )$&#&4 / & % %
often too slow, although it may be too fast, or even of the proper
uency
about six
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(vibrato) freq
pitch movement is, of course, too wide, and it is usually too wide
at any freq
vibrato
it is of a somewhat j
erk
y nature.
true vibrato, when the voice has been completely opened up and
thorax
reason of the fact that the tongue does not hold firm and the
pitch definition.
lack
uality. A
ny tone which
s life, vibrancy,
by which the voice is moved from tone to tone, and also by which
vibrato
on"
and "
off"
to all the muscles used in phonation, i.e., the muscles of the thorax
31
xz
20 %
P > +
2 '$ % tD$
* & % %
&H & &$
D *
&H g
&
&
3 4$ 0 && * & '&/
% ]& &2 &/ % &3
4 % Vx
K^?
@ @Pg + ! D & &H l$
$z
: a\bsbyzRz
larynx
and tongue. I
t should be regular. I
a second
f it is irregular, the q
4
'/
"
! '"/ $ d ',
0 Q
$
/
$Q $ K
w$
"&,
Q" / D
"
$
! &
$
/ ' $
d
[
!" $/ D
5 " &
' $ "
&
"$/ [5k
5 d
!
! D
Q" $
5 5
$
"
uality
uency of 6
-6
.2
t goes from
variation also varies with the intensity and goes from almost zero at
t normal intensity
decibels. The q
uiet
mood a narrower than normal vibrato can be employed, and for very
dramatic effects an ex
tone, is employed.
on the vibrato."
W hen a slur is
The true vibrato can occur only when complete opening has been
"
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oice Placement"
ized breath"
(see Breath
placed"
vocal-
placed."
in the
pronounced constriction.
&
5 "
! Y"
&"
! '$
"4
&
0 ! Y"
H ["",
$
!' "
&
" $ $ $
5/
f the lips are pursed up and tensed and the breath is blown through
nother form
"
neck
whisding,"
or '
laryngeal whistling"
, by means of the ex
whisding."
intense ex
ternal pressure.
32
occurs
ternal
laryngeal
, which is subj
ected to
$
!
!"
'
5, L
"' /
[
$wY3 &
"', ' L
"x
&
5 $
"4, ! d $
4"
$
3 ",
!
!"&
'
/ D
, ""
'' " $ $ "
&
"' D
5 zd
4, &
5 !z
4 0/
B<
Z}
k7y
tgcu[npcr l] ecX_c^Wh
O US
TI
L GLO S
This glossary has been written to help the reader get the most out
of this book
.R
of the book
ll ex
for the benefit of the layman, i.e., the reader who is not a physicist or
physiologist. I
t is q
paragraphs.
The acoustical section has not been set down in alphabetical order,
the seq
book
principles of physics
especially of acoustics
carefully.
coined terms. Their meaning is definite and precise, but this meaning
now ex
ound is a perception of the mind received through the ear and produced
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these pres-
sure pulses being transmitted in all directions from one layer of air to
the nex
t.
Note: W hile the air particles are being rapidly crowded together
and separated in a given layer, the air itself does not travel or move
sound from its source to the ear. The air acts only as a transmitter of
ust
without moving.
freq
sions and rarefactions of the air particles in. the production of sound.
The loudness of the tone depends upon the amplitude of the sound
wave.
33
%*+ /
> + - + U -
0
) ) )
W
-)
h
!(;
$$z
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
s pitch and
req
has a freq
uency of 256
or ex
ample:
lik
Periodic
uency
flutter regularly
vibrations.
Pressure Pulse
nD=n|
the air particles around it. O ne vibration, i.e., compression and rarefac-
ound is trans-
string,
wave consists of one compression and one rarefaction of the air par-
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progressively to a max
gressively to a max
to zero. A
sound wave is
Pure Tone consists of one speed of vibration only and has no overtones
or harmonics. I
e an S
t is
ect
has a freq
has a freq
uency of 1024
mined by its length and tension. The pitch rises an octave if the length
34
'
+
4 Q
>
! ++
'4
' D
and the degree to which the air particles are rarefied and compressed
increases.
O vertones
fundamental. I
into thirds
the fundamental (i.e., a fifth above the octave above the fundamental);
into q
fundamental;
freq
uencies
pitches
uencies which
ll the
overtones are always present whenever the vocal cords are brought
or an elec-
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trically produced source of sound can generate a pure tone, i.e., a tone
the freq
% euGeqVu
'! 4+
'
D w
!
2 G !2 +
2
+
4 Y
A
uency of the full length of the string, thus producing the first
4
2
!
'
'4
2
44A V 4
2 !
%
G !
+
4 4 G !
W
44 G
9 4Y/4' 4'
h
'
D ! 4 +
! Q
@
4!+
2 G
9
!
A
overtone, which has a pitch one octave higher than the fundamental.
source of sound. I
etc.
Q uality depends upon the arrangement of the fundamental and its over-
2 n
A *
G ! W
"
Y
2
4 +
.
K
4
2 9Aad
"
G !
2 4
2
;2 K"
4
4 44! +
'
'
D
certain amount of the second overtone, the third, the fourth, the fifth,
etc. This composite sound produces a certain effect on the ear which
we perceive as the q
35
weD=aFeu=^
G!2 +
2 4
'!
Q
D V
+
'4
/4
'
'42
2
"
SA
0w=^Vu
+
D *2 4
2
4
2 + % Y "
4
4
%2
" 2 "
A *
+
+
G
! D *"
S H
'
"
_
2 4 2
A2 ' 4 B
/
! ' /
d
44HnSA
%
Y|
k7y
#
tgbu[nobr j\ dbX_b^Wg
2 q q= V q kq MVMq k= V =V MqPVof
V P =V% 8kq PV PVVqV fP H=P =q jqMk
q = aMq a kV Mk=fV a qMk VV =P PV
Pof kV qV = P q =qVP%
uality, which
ound S
t is another term
i.e., how much fundamental and how much of each of the overtones
are present in the tone. Thus, the sound spectrum determines the dis-
energy between the fundamental and each of its overtones. Thus, the
sound spectrum shows the energy distribution in the tone. This energy
ctually we have found that the fundamental is strong only when its
freq
uency falls in or near the lower vowel band. The energy distribu-
owels and C
onsonants
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vowel is
perceived when the overtones in two areas are accentuated. This accen-
Table I
haracteristic F
LO W
H I
req
Q UE
NC
GH
PE
O UND
uencies:*
uencies of the V
owel S
ounds for S
peech
Q UE
NC
(low band)
#&.W9 $
(high band)
(pool)
400
475
500
800
1000
(put)
(tone)
850
(talk
(ton)
00
700
950
1150
d V
*9 =
d
= bAlV
Id A
V \
V \
= AV
q x
V \=
9
(father)
825
750
550
1200
1800
1900
(tap)
(ten)
er
B equ,=
Ba,?
[[
~
[[
[[
[[
~
~[
~~[
~[[
~~[
[
~
hf equ,=
hf a,?
[[
[[[
~[
~[
~[
[[
[[
[[
[[
[[
[[
[[
%
Z}
k7y
tgcu[npcr l] ecX_c^Wh
uality
of a phonated tone may be said to be the vowel. True, there are other
onsonants are noises produced by the tongue and lips with the
larynx
out of action. The vocal cords are not in vibration during the
"
1"
) req
m,"
"
n,"
sound, but this sound, however short it may be, can be considered as
an added vowel.
"
vowel,"
of freq
olor is "
dark
"
white"
when the
the energy content of the tone far more than does a mere change
between a "
dark
"
and a "
white"
uality difference
motion in singing is ex
pressed by
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ex
pression with the human voice depends upon color or vowel modifi-
cation.
uency. Thus,
sound travels 1100 feet per second, in air, at normal temperature and
.(
11 feet in length. I
f the freq
Musical I
ntervals
O ctave 1:2
Perfect F
ifth 2:3
Perfect F
ourth 3:4
Maj
or Third 4:5
Damping Material (S
ound A
bsorption)
celotex
nown as absorb-
ualities. R
damped
37
*B
~
=ajTcN )=sFmT=^ 4gweD @pgmjsTgc
. B. B B3 B
!3." G9
" 3
F3 .3 3 3'
( 3@
" 3 .3 3 B 3 B "
3333 B.B 3 G
3( 3"
3" I B
3"
" "
3(
.3
B > B
3 3 3
' 3 F
B .3
3 ! " B
BP
Y|
ky
thcu[nqcr j\ fcX_c^Wh
surfaces.
a great deal of absorbent material. Thus, when the walls and floor are
dead"
and its
f the room'
absorbent material, the room is very dead indeed. W hen the most
over 95%
is req
eliminated. The voice sounds absolutely dead and soft when produced
in such a room.
life"
reverberation
in
to be used. A
any "
dead spots,"
live"
an echo.
eflection of S
the one in which light is reflected from a white surface or mirror. The
more or le"
)773_IUTo U=o +UeT5o !Q=V/Vo 4QKGo !Iio ;!Q,o VbQ4!)/o r !o G!IJ/Qo V>G=D!Qo [Ko
[;/o KI/o =Io f;=)<o C>9<[o =Vo Q/8/)[/,o4QKGo !o f<=[/o VcQ4!)/o KQo G>QRKQo ;/o
/VVbS/o NbCV/Vo V`>B/o [;/o ;!Q,o VbQ5!)/o !I,o !Q/o Q/82[/,o 5RKGo =\o f>[;o
GKQ/o KQo D0VVo /6)=/I)io !))KQ,>I9o [Ko [</o Q/8/)_I9o );$!)[/Q?V_)Vo K4o
[</o VbQ4!)/o f;=)<o );!Q!)[/Q?V_)Vo ,/N/I,o C!Q9/Cio bNKIo =[Vo ;!R,I/VVo
;/o Q/e/Q'/Q![=KIo );"Q!)[/Q?V[=)Vo K4o !Iio QMGo <!CCo KQo !b,=[KR?bGo
,/N/I,o bNKIo [</o ,=Va'b[>KIo K4o [</o Q/8/)[>I9o !I,o !'VKQ'/I[o G![/Q>!Co
f<=)<o =[o )KI[#IVo
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which it contains.
instrument, etc.
singer, speak
er,
and impinge upon the ceiling, floor and walls of the auditorium. They
'
faces
wards
perceived by the ear only when this sound pattern has been established.
registration is mix
ed
"
carrying q
onductor of S
ound
ny gas, liq
38
uality."
VcQ4!)/Vo
</Io VKbI,o =Vo >I=[=![/,o 4QKGo !Iio VKbQ)/
V>I9/Qo VN/!B/Qo
=IV[QcG/I[o /[)Io [</o V[!9/o K4o !Io !b,=[KQ=bGo =[o =Vo [Q!IVG=[[/,o =Io !CEo
,=Q/)[=KIVo </o VKcI,o f!e/Vo [S!e/Co ![o !o VN//,o K4o $ $!! 4//[o !o V/)KI,o
!I,o =GN>I9/o bNKIo [</o )/=C=I9o 8KKQo !I,o f!CCVo K4o [;/o !b,=[KQ=cHo </io
!Q/o [</Io !'VKQ'/,o =Io !o 9Q/![/Qo KQo C/VV/Qo ,/9Q//o 'io [;/o !'VKQ'/I[o VcQm
4!)/V
[<=Vo =I)Cb,/Vo [;/o G/G'/QVo K4o [</o !b,>/I)/!I,o Q/8/)[/,o 4QKGo
[;/o Q/8/)[=I9o VbQ4!)/Vo Vo [;/o VKcI,o f!e/Vo !Q/o Q/8/)[/,o '!)Bf"Q,Vo
!I,o 4KQg"Q,Vo '/[g//Io [;/o R/8/)[>I9o VcQ4!)/Vo !o SJ\Fe M[1OCe =Vo 'b=C[o
bNo <=Vo N![[/To =Vo )KGNC/[/Cio 'b=C[o bNo !I,o /V[!(C=V;/,o o [;/o VKbQ)/o
K4o VKbI,o =Vo Q/:bC$o !I,o N/QV=V[Vo CKI9o /IKb9<o </o VKcI,o =Vo )KGNC/[/Cio
N/Q)/=e/,o'io [;/o /"QoKIFio f;/Io [;=Vo VKbI,o N![^/Uo ;!Vo '//Io /V[!'C=V</,o
</o /V[!'C=V<G/I[o K4o [;/o VKbI,o N![[/Uo ,/N/I,VobNKIo [</o Q/e/Q'/Q![=KIo
[>G/o KQo N/Q=K,o K4o [;/o !b,=[KQ=bGo
</Io [;/o VKbI,o N![[/Uo f!e/QVo
'/)!bV/o [</o N=[)<o /V[!'C=V<G/I[o =Vo IK[o f/CCo ,/7I/,[;=Vo K))bQVo f</Io
[</o C!QiI9/!Co !,AbV[G/I[o =Vo =I!))bQ![/o !I,o =Io N!Q[>)cF!Qo f</Io [</o
Q/9=V[Q![=KIo =Vo G=h/,
[;/o ]^ >I[/IV=^io K4o[;/o [KI/o I/e/Qo <!Vo [;/o )<"I)/o
[Ko 'b=C,o bNo [Ko =[Vo G"h>GbGo I,/Qo Vb)<o )=Q)bGV[!I)/Vo [</o eK=)/o C!)BVo
)%&9o Pb!F>[io
UT5e3aUYo U=o LbI- Iio 9!Vo C=Pb=,o KQo VKC=,o f<=);o )!Io ^Q!IVG=[o VKbI,o
f!e/Vo =Vo !o )KI,b)[KQo K4o VKbI,o <= 9!VV/Wo !Q/o )KI,b)[KQVo !Q,o VKC=,Xo
'
different conductors. I
ome
# H # Hz '# z ''# # ''"
H H #
#
A
#
#
0
H
A V# #
H # #
A *
!
H
!
!A "
!
A
# H #
A
ympathetic V
ibration
into vibration are of such a size, shape and character that they have
the same natural speed of vibration, either one will come into sympa-
thetic vibration, if the other one is brought into vibration and placed
near it. Thus, if two strings, tuned to the same pitch, are placed in
prox
string of half
the length will also come into sympathetic vibration, because the
vibrating string has segmented and produced the first overtone, which
any obj
pick
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esonance C
avity (R
it will
resonance cavities of the voice are the pharyngeal cavities plus the
trachea and the bronchi, and when the technic is incorrect, the mouth
cavity.
resonance cavity is a cavity filled with air or gas which has rela-
tively hard, non-absorbent walls, and which does not contain soft
absorbent material which would dampen the cavity and thus destroy
tor. I
be adj
in order to "
shape"
ustable
tones, generated by the vocal cords, which are accentuated for the
tuned"
of the tone being sung. O nly a tuned cavity will act as a resonator of
the voice;
a non-adj
ustment deter-
pick
s out"
pass"
freq
uencies to which
very
ustment
adj
ustable cavities (i.e., the sinuses and the nasal cavity) cannot
39
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n singing,
with air.
f a tuning fork
f the fork
middle C
256
have to be 6
512 cycles
it would
.44 inches. The air in the tube resonates because the pres-
ex
vibrates
or the tone
actly the right space of time, in order to correspond with the swing
of the fork
.I
will correspond ex
f the
tube were to be of any other length, the impulses would not cor-
moment, i.e., when the swing has reached the limit of its movement.
f the push is delivered too soon, it will tend to slow down the move-
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ingly so as the timing becomes worse, i.e., further away from the top
tuned"
coustic C
oupling
tuned,"
sound. Thus, when the resonance cavities of the voice are so shaped
that they will resonate with the vocal cords, they are acoustically
coupled with the vocal cords in the most efficient manner. W hen the
resonance adj
ried, for the pitch and vowel being produced, through the acoustic
ounding Board
or pluck
ed. A
lso, the
present than when the string vibrates alone, because the surface of the
sounding board is in contact with a far larger volume of air than the
string.
The piano uses this principle. The strings of the piano are rigidly
attached to the sounding board through the bridge and, whenever the
40
ey is struck
]D` ) S6X
5 $M
o
"'
board amplifies and enriches the sound produced. This effect occurs
also with the body of a violin, cello, etc., to which the strings are
forced vibration.
is struck
and pressed
contact. The sounding board effect does not occur because of prox
imity,
.I
bones of the body, neither is it attached to the hard palate nor to the
"
masq
the "
ue"
masq
the front of the face. Thus, the notion that the hard palate,
ue,"
the "
nance instrument
Decibel is the ex
it is not lik
e the piano.
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of intensity may be ex
ten to one.
pressed.
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Thus, while ten decibels represent a power ratio of ten to one, three
n increase of three
uantity if a very
soft sound is raised three d.b., and it may be a very large one, when
three d.b. doubles the amount of sound energy and represents an in-
crease in intensity eq
depends upon several factors such as ear sensitivity, pitch, sound spec-
trum, etc. I
41
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UDGME
PE
NT O F
O R
MI
O I
NG TA
LE
TE
be j
Q UE
ND
s techniq
ue may
this j
tak
cussed in The S
H NI
NT
cience of V
oice, The V
!
# # " #
oice
ts Production and
New Y
ork
esearch Products I
nc. (S
of E
lectrical
lectric C
The two papers which had the most direct bearing upon this q
lished in the J
coustical S
ournal of The A
coustical S
No. 4, A
in the J
ournal of the F
rank
ociety of A
lin I
rank
nstitute
o.).
ues-
ociety of A
lin I
merica
ol. I
pril
1931.
The chief interest of this approach lies in the fact that the j
udg-
scientific theories.
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
s technical,
which follows.
physical ex
voice
(<:(8
the voice is so badly produced (so throaty), that its natural caliber
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what the voice really is than will the actual sound of the voice.
42
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of the neck
space between the hyoid bone and the thyroid cartilage is opened
muscles are
is bad, and when the space between the hyoid bone and the thyroid
cularly) mix
. W hen it is fix
muscles is
aw should also be ex
f the lock
is
lock
amined. I
their j
also be ex
aw may
aw should
amined.
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
en into account.
ust-
ment for so long, and set it so badly, that the general contour of the
the posture of the body, the curve of the spine and the back
neck
egistration in W omen'
sV
oices
B. F
alsetto R
1. I
2. I
s it "
3. I
4. I
s it developed?
5. A
thick
7. I
43
of the
egister
open"
, pushed or "
breathy"
shut off'
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. Lower R
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egister
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s it pure?
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s it "
3. I
s it developed?
4. I
open"
and throaty?
D. Mix
ed R
egistration
1. I
2. I
3. I
4. A
re two mix
5. A
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eliminated?
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ed?
ed registers used?
s the mix
ed?
7. I
ed?
ed registration?
is it sharp or flat?
. The Break
1. C
illfully?
2. W here are the registers changed when singing loudly and where
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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3. I
there mix
4. I
or is
s the break
dodged by mix
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register.
egistration in Men'
.A
sV
oices
B. F
alsetto R
1. I
egister
and pure?
2. H ow developed is it?
4. I
5. I
open"
or is it constricted?
. Lower R
egister
1. I
s it pure?
2. I
s it "
open"
4. I
5. A
44
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ed R
1. I
2. I
3. I
s mix
4. I
s a mix
5. I
s the mix
mix
ed registration?
.I
egistration
ed?
ed?
s mix
ed fal-
. The Break
1. I
without mix
and
c : l
ing?
2. I
without mix
3. I
ing?
range?
4. I
s a mix
esonance A
dj
. Pharyngeal R
ustment
esonance A
dj
ustment
1. I
2. A
4. I
hold"
in position?
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
s the q
.C
erk
ing or
ing?
8. I
ustment
9. I
s the "
10. I
opening"
s the "
opening"
11. I
vowel colors?
B. Mouth R
1. I
esonance A
dj
ustment
2. H ow badly lock
ed is the j
position?
4. A
muscles?
7. I
45
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rise or drop ex
wards?
cessively?
or
Z}
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screamy q
uality or is it "
shut off"
#
intensity?
8. A
diction singer"
9. Does the intensity drop at a given tone in the scale because of con-
employ a techniq
11. I
head voice"
or "
covered tone"
(sing "
in the masq
41"
ue"
) or
44%
s the tongue pulled forward and over the teeth or pressed against
4;"
12. I
s the tone ex
cessively "
white"
or "
dark
"
The Breath
. Breath "
1. A
H eld"
3. I
hold"
in eq
l
Y}
@
uilibrium?
shoulders?
5. A
.C
7. I
ed during phonation?
giving"
go through"
the
timed"
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
sk
illfully?
8. I
"
and tongue?
give"
B. Breath "
1. I
Blown"
open"
or is it "
held back
"
2. I
s the ex
rib
muscles collapse?
3. I
4. I
5. I
blast?
.I
7. I
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s the breath ex
on the neck
treme tension
muscles?
46
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attack
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")
V
ibrato
.I
B. True V
ibrato
1. I
2. I
3. I
uency '
lZ :0G
(about 6
a second) or is it
4. I
given intensity?
5. I
. or is it too wide
7. C
8. Does the vibrato control the rhythmic effects: time spot, accents,
etc.?
9. C
trills, etc.?
.A
bsolute Tremolo
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
2. I
3. I
TZ [< :%V
5. I
s it a tongue tremolo?
. H as it spread to the j
7. I
s the larynx
8. I
9. I
D. V
1. I
ed registration?
ibrato
(closing tension)?
2. To what ex
involved?
3. I
s the freq
4. I
5. I
s it enough lik
.I
or high pitches?
47
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.
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Diction
1. I
s the diction good or does the singer mouth the vowels, hum the
by check
3. A
ea"
ham"
actor?
4. Does the singer use his lips for forming the vowels?
5. I
diction singer"
Musicianship
2. I
think
of the words"
"f`J7J5V`FJ\o
uality
#
4. A
;$
5. Does the singer possess a nice feeling for the emotional and
press
#
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
tra breaths?
8. C
#
S
Posture
1. I
s the singer'
V
gestures?
2. A
aw, shoulders,
#
Psychological
1. I
2. I
3. I
4. I
self-listener"
dead"
&Y`cf^<o
tent?
and unemotional?
5. Does he retain the energy and activity for the middle and lower
48
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go for"
the upper
tones?
. Does he "
voce"
7. I
hold back
"
mezza
f the singer goes off pitch, is it because he has a bad ear or be-
8. Does he go "
dead"
ludes?
mawk
e cheap,
10. I
place,"
"
focus,"
or "
proj
ect"
his voice?
[g
g
position?
peak
ing V
oice
1. I
2. I
*\<5LJVCo 1YJ7<o
normal speech?
3. I
screams, etc.?
s the normal pitch of the voice at the proper pitch for the given
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
4. I
5. I
mouth resonated?
.I
s the q
7. I
without break
ust-
ed
ustment?
8. Does each vowel center in pitch or does the pitch move on a single
tone (vowel)?
9. A
be clearly intelligible?
10. A
11. A
m,"
"
n,"
12. A
of the "
13. A
tune"
stressed?
14. I
of the words?
15. Does the intensity of the voice rise in an even scale with the pitch?
16
49
.I
s the q
and T'
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17. I
#2
#4
19. I
hammy"
natural"
and unaffected, or
(
er employ provincial,
20. I
up and lack
21. I
carry,"
or is it brok
(#
en
((
poignancy and
22. I
s the facial ex
words or is it "
23. A
dead"
()
and lack
ing in animation?
(+
24. Does the voice tire when used at high intensity for a considerable
period?
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50
! "# $ >
'
'
NTR
O DUC
TI
O N
only one legitimate reason for learning how to sing: To enable the
t. S
pression. E
subj
is to become an artist. I
properly-trained, "
opened-up"
very
"
intimately,"
cute,"
sing
impatient with
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
The q
factors:
1. A
(6
a second), a'
at pianissimo) the q
3. A
dead steady"
cept
ustment, or shaping,
51
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(ex
uality is unpleasant.
vowel (q
uency
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: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
W hen these factors are satisfactory, the power output must per-
opened up."
imum q
natural voice"
before "
opening
up.
ll these factors can be trained. This is, indeed, what the train-
so-called "
natural voice"
it can be "
made."
can reach the heights, because the ability for learning how to sing
must be tak
en into account. A
ill are
start without any notable voice may become very fine singers, if
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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t is in dealing
. H owever,
uestion of "
work
ing out"
static"
actuating the parts involved are brought into tension. These tensions
held"
and maintained in eq
uilibrium. The
reader must banish from his mind any concepts based upon the
ected,"
"
directed,"
"
focussed"
or "
placed,"
felt"
"
pro-
blown out"
in a "
stream"
or controlled.
it is produced properly
breath."
vocalized
52
!'
IDE@M
!
34
<
.A
is governed
B. V
ribs. (S
ee F
piratory)
ig. 1.)
ibrator
R8 R
- C+ !C &
c0 E'N-1<,Z ;QI"8&IZ K !*0 & 5!0 P
2
!
+
c7 8 K D S*8 z
ctuator
.R
.I
the voice,"
ee F
- 2
8EW<VZ [ " &&"
2&&&W"B05
8 K D
S8 z
.g
ig. 2.)
esonator
The resonator of the voice is the pharyngeal cavities and, for some
of the lowest tones, the trachea and bronchi. The shaping of the
fundamental
. Breathing Muscles (A
ee F
ig. 3.)
7z d
-2B-EW<,&8Z"S1N1&IZ &"2:
2
" NE"-&Z
E@<"-1Z k ! 2 '
**
2
2&C !* 2
8 K D
S8 % z
ctuator)
ee F
ig. 2 F
.)
1. Diaphragm
ib (lower, back
rib) muscles. (S
ee F
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2. R
ig. 1.)
function oppositely.
That is, the diaphragm distends outward and forward when in ten-
-
B -@8#Z !
2
C
+
+"
$
&
"
++
+
8 K D
T8 z S8 P
-+
+
!!
be held in balanced eq
piratory muscles.
and main-
The "
work
done"
uili-
brium. I
n essential
req
uisite for a proper technic lies in the ability to control and time
53
z
z d K
" 7 P
8 K D
T3 z
breath control"
&g
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
give"
relax
starts to blow the breath, i.e., initiate the breathing act, with the
ig. 1
Breathing A
pparatus
is ex
piratory
muscles.
W hen the technic is correct, the upper breathing muscles (those of the
upper ribs
is done by means
of tension on the muscles of the lower ribs, especially the lower back
ribs,
and the tone becomes throaty. W hen this occurs, either the diaphrag-
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54
M
1 " 3M 54M 7:M
"B> M\;0_ABP>kXX0\0_dk
BVN ^ygUp FlN T^^NM |ZrV <M |VNg rVN rVhlF~ Zp N~jFgMNM KNLFypN hR rNgpZhg
hg rVN [gpjZlFrhl dypL^Np FgM FlN NdjrZNM hS FZl NLNjr Rhl rVN lNpZMyF^
KlNFrV |VNg rVN rVhlF~ Zp LhgwFLrNM
KNLFypN hR rNgpZig hg rVN N~j[lFrhl
dypL^Np
4g jVhgFrZhg KhrV rVN ZgpjZlFrhl FgM N~jZlFrhl dypL^Np FlN [g rNgpZhg
FgM rVN KlNFu Zp
rVNlNRhlN {ZlryF^^ VN^M
EVNg rVN rNLVgZL Zq LhllNLr rVN yjjNl KlNFrV[gU dypL^ rVhpN hR tVN
y jOl lZKpLVNpr FgMpVhy^MNlp FlN lN^F~NM FgM rVN +hl] Zp MhgN K dNFgp
h rNgpZhg hg rVN dypL^Np hR rVN ^h|Nl lZKp
NpjNLZG^c rVN ^h|Nl KFL] l\Kp
HgM uN MZFjVlFUd
'
'
'
'
'
'
>
$&'%'
! ' \z
give"
always be relax
ed during phonation. I
into the muscles of the abdomen, the technic is not interfered with,
, the tone
becomes throaty.
relax
ed
B. Laryngeal Muscles (V
The larynx
ibrator)
of the trachea
flesh which, when tensed and brought together, close the opening
of the trachea and stop the air from entering or leaving the lungs.
@
,)5 % ,% B
& ' .'
C
%
< @ E
(
%/
(
Y , (%(
* # ( ,
( . E(<
@Y
E)(5 % >,) E
%Y ( (&Y
#%
%
%%
,' % %(
, (&' 5!
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B
( ,
/ %
7
, / ,
( 0 5%# ` 'h
P N @ ,
#& 0
#
% ( (
)
>,N ` D
C| ,
WZ9\\bZ9g
r
,
/
,
# * (
%
8
(
,
(
%
,
< @
#,
E)5 ~
,
,)5 %
% %
#
(<
'z
permits the individual to inspire the air into the lungs and to ex
pel
it from the lungs. The space between the vocal cords, which is
ee F
ig. 2 F
.) During
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. (S
ee F
ig. 2 A
-D.)
ig. 2 D and F
ee
imum length
nown as "
The larynx
mix
ed registration"
the
breath is applied, the vocal cords come into vibration and sound
ment.
55
stretch
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2
'(
%&
)* >
->
>
+>
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<:K
.;7K4B<=4:7DK4?6K!HD5=7DK@8KE;7K4C?IK
(penuifuoo) x
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t(t!
cn x
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'
30S
H O S
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K
LM
'
*!,-4M
,5 2*M
The larynx
to the tongue. I
- n5
$
< F v
dam'
sA
pple)
ee F
ig. 2.)
to the cricoid cartilage when they are in proper tension for phona-
tion.
are:
ee F
-
$
" p
"
" 7" 2
<
-
L$
. n
V$
$ !! ' ! ^
<
-
B v
z k
L$
z - $ L$
%z - * L$
#
g -
Ln
$g -
$
KD S< z
ig. 2.)
arytenoid muscle
the
and mak
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ternal
the space
neck
and tongue
muscles.
thyroid and the cricoid cartilages, and when in tension, bring these
two cartilages nearer together thus stretching the vocal cords, pro-
vided that the arytenoid muscles also are in tension so that the
give."
and, when they are tensed, they shorten the cords, thereby raising
the cords, but at the same time they lengthen them. The stretching
action raises the pitch and the lengthening action drops the pitch.
larynx
are in balanced eq
uilibrium.
59
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
hold"
stringing"
of the
eq
Because there are two groups of muscles which stretch the vocal
ocal development
nated properly. I
outpulls
uilibrium of
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ny prema-
mix
ed registration (ex
cessive
thyro-arytenoid tension).
cavities
esonator)
ee F
ig. 3.) I
mouth is used.
it is "
tuned,"
ustable
produced.
the throat
shape of the cavity changes with each alteration of the pitch, the
vowel and the vowel color. This opening and shaping of the throat
which "
position"
$M
o
MO UTH
TR
ig. 3
H E
esonance C
avities
.C
undamped and which can be shaped for the resonation of the tone.
The trachea and bronchi are added to the resonance system for the resona-
adj
longer
usted by means of the pharyngeal cavities alone. These cavities then become
look
cavity
The nasal cavity is highly damped with loose folds of flesh and it is not
adj
.6+d
2 &4= / < d
The position of the base of the tongue determines the shaping of the pharyn-
geal cavities. I
'd
ed position
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14,d
2&4= 0 < d
"($d
l /S|A?
l$
i
$
3Yli 3[! 2.
! A F p/|
2
F
Z}
k7y
tgcu[npcr l] ecX_c^Wh
the tongue muscles and the muscle which is attached from the chin
PA
LA
MUS
TY
MUS
GE
NI
O -H Y
H Y
O I
ig. 4
US
US
LE
MUS
LE
LO -GLO S
TO -GLO S
O I
LE
D BO NE
W hen the base of the tongue is drawn forward, it opens the throat and
shapes the pharyngeal resonance cavities for the resonation of the tone.
the most important muscle is the one which pulls the base of the tongue
ual
importance is the muscle which is attached from the hyoid bone to the chin
the genio-hyoid muscle. The fibers of these two muscles, which insert into
the chin and into the tongue and hyoid bone, are more or less parallel and
both muscles come into tension for phonation when the technic is correct.
The muscles used to push out the tongue are antagonistic to the genio-hyo-
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glossus muscles. Thus when the tongue comes forward, the genio-hyo-glossus
muscles relax
should come into tension for the resonation of the tone, and which
ee F
shape the resonance cavities, but they also determine the position
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
of the larynx
ee F
ig. 12 A
-C
.) W hen these
muscles) come into tension and the base of the tongue is dropped
muscles (see F
ig. 26
) always accompanies
nown as "
throaty
singing."
es place in stages. A
balance is lost, eq
ll three
f this
voice deteriorates.
ation
the j
muscles,
lip muscles, which function for the same purpose, the tongue mus-
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on the ex
cessive tension
noid muscles. i
ed and
and j
aw. (S
ee F
ig. 24A
-E
.) O ther
not be tensed, despite the fact that a proper state of muscle tone
be over-relax
the muscles which should be used during phonation, and put out
in this book
larynx
, tongue, j
a remark
Table I
able degree.
f any
down also. I
e the lights on a
t is similar
: a\bsbyzRz
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Q5;HA FF
TA
BLE
M]M d
]n
O F
TE
NS
PR
NC
PA
L MUS
PR
NC
PA
LI
ctuator
O N
NTE
LE
US
NG MUS
LE
4
(Pressure
3cV
'l:c:Y}:lC }CzL
.LCu |CxL
-L B:Cu lB |CxM &cL |CwL
2cwHL |CxM
+l:
(CLlL Ll: Mi
(l: Li
CrCi id Mx@>i R
ll: Mi
Rq`V
"LiH |ExN
.LCu |CwM
&lCdlH |CxL
3YL |EwM >:YiiE
3c>LiH |CxM cM YLiYw :H N
YLldlH |ExM
(CLlL d:MiHMi
0LN
R dO
BL>
of the
breath)
Diaphragmatic muscle
Lower, back
Neck
rib muscles
hest muscles
houlder muscles
nspiratory. plus
piratory tension
cessive ex
conj
$
muscles
piratory tension in
d KhV
ation of
0c:YL:w
C:ilL
inspiratory tension
B.
ibrator
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(Larynx
-:
rytenoid muscles
rico-thyroid muscles
*LlYw |CxM
*L~ldlH |CwL
,? |CxL
-l |CwL
.LCu |CwL
3Ll dL |CxM ::Y
llC dL YLiYx :H
cL YLldiH |CwL
Thyro-arytenoid muscles
Neck
muscles
genio-hyoid muscles
esonator
(Pharyngeal
cavities)
Genio-glossus muscle
Genio-hyoid muscle
aw muscles
Lip muscles
Neck
muscles
opening"
eq
uilibrium
process.
"
held,"
"
hold"
hold"
holds"
occur when
singing"
or, q
neck
throaty
whistling."
< slssi b
J slt m~
hapter 1
GE
NE
LR
MA
oice, I
ts Production and R
epro-
findings.
"4<8E
ing of the vocal apparatus are now solved. The nature of the
': ''*:
duced is also clear. But, most important of all are the tremendous
advances in the training of the voice and the procedures which can
be employed.
mak
treme "
carrying up"
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method for developing the laryngeal muscles was that of first isolat-
done even when such upper tones in both registers were sung with
absolutely necessary. I
uite ugly
{ R) " "E 1%E <:E 81@<%1.E .E 481D
@<%1.E $ - & - - 1
. ) PR) R R "
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$I R R -1 & dR 1 1
b &7
$ R . 1 ) " )1
- ) ,7 i1# R
1 " ; ^1 & RE " .
R " &# Rhs "7
< slssi b
J slt m~
S
? g
"
(
" , ,+
!6E
"
$
S$
+ .
? "?$+S 5
halted before a certain stage was reached, the pupil was in the
ur-
thermore, the scale was uneven, both from the intensity and the
carried through completely, the pupil was left with what the unin-
voice."
stage became conceited and thought that he could really sing when
the training process, the pupil, in carrying up the lower register and
establishing the very high falsetto tones in the early stages of train-
uality.
g
" , l
"
,
! 5
?( ? +
S ,+ "
+
"
?(,
S+"
" d +5
y"
"$
?
+
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,
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+Sd +
"
$5 8
+
$ ! $
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+ 16.E g d +5
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+ ! ? +,?
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+ $ S+ % 5
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took
to develop the laryngeal muscles, pupils could not use such tones
in performance. Thus, despite the fact that often the lower register
uite ad-
uality.
Legitimate, free, open, high tones are established very much sooner,
and when they are established, they are never lost, unless the pupil
))
< slssi b
J slt m~
8SG8G>CSGqu >q
The Teacher'
sE
ar
not mean that a teacher can be trained in a few lessons. The process
matter.
physiological adj
to sense the
O f course, he must k
he must k
now
patent method"
process. E
ll that
tools"
work
patent method."
set"
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or a "
ed, and
far
t is
s one work
s along
ach case
< slssi b
J slt m~
hapter 2
O PE
NI
NG TH E
TH R
O A
T (TH E
TO NGUE
esonator
ect.
gaseous or liq
uid
$5=8E
solid,
mitted through the air, the air particles are alternately grouped more,
tions.
3Hwli@ylt
(1100 feet per second) in free air. This rate of travel has nothing to do
with the rate of emission of the breath which only travels with a velocity
and does not travel out from its source in a stream of air.
rlhe pressure of the breath in the lungs provides the motive force by
which the vocal cords are vibrated and it is the source of the pressure
pulses which result from the alternate opening and closing of the vocal
cords.
having flex
freq
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tuned"
to the necessary
which V
tuning fork
tuning fork
sound.
f a series of eq
fork
will be pick
s.
sion: V
ibrating at its full length, this string will give out a definite pitch
n ex
wire at the same tension, but of half the length, will produce a funda-
< slssi b
J slt m~
uency
an octave higher. A
length will produce the fifth above this octave, and a string a q
uarter
the length, two octaves above the fundamental of the first string, etc.
uppose that one goes to the piano and holds down the k
tone middle C
(256
ey for the
have raised the damper from the strings and thereby made it possible for
cycles) by strik
ing the k
the damper to come down on the string and damp this tone out, middle C
(256
cycles) will be heard to ring out. This string can only have been
256
ing the k
ey which pro-
uency of
vibrations per second must have been generated. But this freq
uency
is that of a string of half the length of the one whose fundamental is 128.
similar
, is held down.
the ex
or electric oscillator, is
brought into vibration, it vibrates at its full length to produce the funda-
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harmonic overtones. E
4, 80, 96
, 112,
128, etc.
ny phonated sound can have not only a definite pitch, but also a
definite q
uality. The q
sound spectrum).
case of "
vowel sound."
uality"
or "
timbre,"
vowel"
ust-
ed
of q
the q
uality of the tone varies in the individual according to the sizes and
concentrated in the fundamental and the vowel areas. The variable factors
singer'
s point of view, q
uality
the "
color."
great ex
tent, tak
n writing the E
uality
(
v
H' 2
'
}e
'
G6
' f
' /
6( G
' >
'
B 6
_ (+ X ' > x
(
( 6 '
( 6
(
6 > M6
_
l0
X BL' B '
( L'
(
' _
(+ X ' > 3 '
6 tntth`
G tnt x = k
a, e, i, o and u. This does not mean that there are only five vowel sounds.
for ex
father."
man"
a"
is far dif-
amples, but
the point is apparent. Not only do each of the vowel letters represent
a,"
"
i"
and "
o"
are
of overtones
the fundamental. (S
ed freq
ee Table I
acoustical glossary.)
at the larynx
adj
act
cavities. (S
a. A
dj
ee F
ustable cavities:
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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1. The mouth.
b. Non-adj
'
ustable cavities:
usting the
the vowel and fundamental which are being phonated. H ence, while
the fix
ed cavities must have some effect upon this system, and therefore
the singer'
3n M:m AEEa ebRanED bsn nM:n nME egbBYE[ Rm baE bG :DVsmnRaK nME
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]bsnMRm mEn'
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mEYECpvE gEmba:nbgm bG nME vbRCE RanEg:DVsmn[Ean AEnwEEa nME Y:g{aKE:Y
bg:Y :aD a:m:Y eM:g{aKEm :aD v:gR:nRbam Ra nME mR}E bG nME beEaR`K nb
nME [bsnM AEnwEEa nMEsvsY: :aD nME EeRKYbnnRm bg nME A:mE bHnME nbaKsE
s problem.
The vowel sound can be resonated either by the shaping of the mouth
(pharyngeal) cavities. I
ed or definite position;
and these
boundaries include the soft palate, the tongue and the epiglottis. But
these members are also the boundaries of the pharyngeal cavities, and
mouth is "
set,"
ble;
set"
set,"
oral and nasal pharynges, and variations in the size of the opening to
the mouth, between the uvula and the epiglottis or the base of the tongue
70
'
"'
(see F
set"
system with great precision and sensitivity for all the freq
the resonance
uencies which
adj
ust!
BR
NS
LS
TR
UE
NI
UM
O C
O C
DA
M'
O I
DC
BO X
O I
W I
NDPI
ig. 5
PE
LC
LC
(TH Y
U11m <8m X I(C1m <Zm NKUU<+E1m 2KRm [91m U<J81Rm ZKm U1Zm Z91m 1UKJ(J.1m
UfUZ1Im d<Z9m 8R1(Zm NR1.<U<KJm (J0m U1JU<Z<c<_m 3KRm %&> Z91m 71P`1J.<1Um d9<.9m
U:K`E0m +1m R1UKJ(Z10m &91m IK`[9 m d9<.9m <Um (m U=J8E1m .(c<_m .(JJKZm >JZ1Ri
(0A`UZm
O R
O R
PPLE
(TR
ross S
TI
(LA
LA
H E
GE
NX
The above shows the vocal apparatus and should be referred to many times
ed nasal cavity
are clearly shown, as is the trachea, which for the low tones becomes involved
W hen the technic is good, the mouth and lips may be held in constant
nversely,
the mouth and lips can be moved while the pitch, the vowel, or both,
71
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G 0' #G '(G
5
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q
' 0@
@p0
2 g *
*
'
@ 0@ (@
72
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*
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g
H H q
0
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*
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pq |
[
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0
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' ( 2 3 $*
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0@
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0
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*
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8
x 7*
J $ % w : ,-9&": *.: !:
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Y
of the fact that the pharyngeal cavities can and should be employed as
W hen the technic is faulty, the mouth is set, and set rigidly, in a
definite position for the vowel, and any movement of the lips or j
modifies the q
unpleasant, throaty q
aw
uality.
aw reflects ten-
bound to occur.
The use of the mouth as the vowel resonator presupposes the collapse
cavities should be used as the resonators of the tone. The mouth cavity
ustment).
n view of the fact that the sound is communicated to the outer air
through the open mouth, this cavity must have some effect upon the
uality. The vital point, however, is that, in good technic, the mouth is
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is never "
set."
n a man'
sounds can be formed over the entire range of the voice. This, however,
s.
for the singer to produce the same vowel sound for a vowel whose fre-
mental, is called for, the vowel sound must, perforce, be modified, since
lower freq
unction
ex
ee"
(as in "
f a woman, for ex
meet"
) on a high C
ueak
"
ee"
vowel.
for the upper tones is not as serious as one would at first suppose. The
reason for this statement lies in the fact that it is the consonants, far more
e for intelligibility.
uality char-
Thus, during the production of the consonant sound, the vocal cords are
72
< slssi b
J slt m~
t cannot be phonated. F
urthermore, any
attempt to sing through the consonant is utterly destructive from the point
cussion. F
interrupting phonation. I
tion factor as the consonant, because the problem with which he has to
movements of the tongue, lips, etc., interrupt phonation and form the
consonants.
The base of the tongue constitutes the front wall of the laryngeal
pharynx
(see F
the tongue. I
holding open"
of the
throat depend upon the tension on, and the position of, the base
of the tongue.
Tongue Muscles
may be look
t book
these
on anatomy. H owever,
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ato-glossus. (S
ee F
ig. 4.)
acting with the genio-hyoid muscle, holds the base of the tongue in
igs. 4 &
(see
shape"
for
ee F
ig. 4.)
n view of the fact that the hyoid bone is held firmly in position
is correct, and that the base of the tongue is held forward, but not
73
holds"
)(!25 2.&.5
The ex
is "
shaped"
because
'
are relax
ed, the tongue and hyoid bone will drop, and the resonance
by dropping the
"
ee."
ah"
is resonated
"
ee"
is
the dark
g
$7 \'
m
m
$4
;?
!
?
4
4$! ! '
$ cqA|
!l!
5?4 4 4
4?-
FE
-+ ! -
I FE
%
45
4- '
$
'
%
?
-
"d4 !
"
g I }5X $I
?
!
"
'
$ -
5 X
D
!
g ;
l 4! '5 I
FE,
4
+FIEl 4I
7
D '
3
l
D l
4 J$
!
'
xVq
!
4 x
%
?J%3$!
- -
%
5 !
' g
!
-
$
, =qj
4, 5
X $
4
!
-
4
4
4
}I
F$
E
5 {
$ ?
!
5 \ ? '
?
4 4 4
!
'
4
-
?!4 F
;5 { v 5 5
!$D D
!3 $4
$D V
m
! $4
$45T $
' ,
uency band of
base of his tongue in order to form this vowel. W hen he does so,
"
ee"
also drop
open, pharyngeal
"
it is thick
resonance adj
dark
ustment the
and throaty.
base of the tongue pivots at the hyoid bone which is held up, in
point. The base of the tongue and the hyoid bone should never
W hile it is true that in most cases where the singer drops his
a"
dark
"
or "
mellow"
tone. S
incorrectly
to produce
t is, therefore,
the tongue which articulates the consonants and the base of the
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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pharynx
. (S
ee F
igs. 3 &
shapes"
the laryngeal
5.)
Dark
Tone
duce a "
dark
"
opening"
n practically
white"
tone consists of the fundamental (the pitch of the tone being sung) and
ustment, in two
areas, or bands.
W hen the lower band of overtones is strong with regard to the upper, the
>r] 6kgG
The sound spectrum can be photographed and the vowel and vowel q
(dark
74
ee The S
cience of V
read"
uality
f
"F
E
4 ? $
4 FIE
?4 %'
5 \4% 4
-
''4 4?4 D E
< slssi b
J slt m~
ueak
screaming. I
tial, "
"
dark
ing or
the throatiness.
Tongue I
igure 6
nstrument
ment which fits under the tongue and which can be used to press
the tongue is raised and pointed upward and then pressed straight
back
not down. (S
ig. 6
Tongue I
ee F
igs. 7 &
9.)
nstrument
This instrument was designed for the purpose of developing the muscles
of the tongue
teacher is inestimable, because its use speeds up the process of training the
voice to an ex
t. I
ect
The width of the end which presses against the tongue is about 3.25 cen-
timeters and its height about 2.25 centimeters. The over-all length of the
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so that it will not touch, and hurt, the little cord under the tongue. These
press against the gums and hurt the pupil. The two top views in this illus-
with chromium. S
used.
75
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> 16]
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sa wB,w Ew ETT ]aw wa0B ,]4 Bmw wB6 TEwwV6 0am4 ]46m wB6 wa]>6 )B6s6
>6]6m,T 4EZ6]sEa]s s66Z wa .6 .6sw .60,s6 E8 Ew 6m6 ,] T,m>6m Ew aT4
dm6ss ,>,F]sw wB6 >Zs ,]4 Bmw wB6 ddET )B6 xa wad E6s E^ wBEs ETTs
wm,wEa] ,m6 ,0w,T sE6
)B6 E]swm[7]w sBaT4 .6 Z,46 a8 sw,E]T6ss sw66T am a8 0add6m C6,FT dT,w64
EwB 0BmaZEZ (w,E]T6ts sw66T Es .6sw
"w Es a8 0ams6 6ss6]wE,T wB,w wBGs E]swmZ6]w .6 sw6mEVE64 6,0C wEZ6 Ew Es
s64
5
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without pressure
straight
attack
horizontally
the tone. A
back
s he mak
es the attack
reflex
ee F
ig.
11.) The muscles of the tongue must not be tensed before the
moment of attack
ig. 7
nstrument
n using this instrument the pupil must point the tongue upward toward
the roof of the mouth, being careful not to bend it over back
wards or tense
the under surface of the tongue with the opening facing downwards so as
not to press against the little cord under the tongue. W hen the tongue has
been relax
not downward
. Notice
so that the
of the instrument rests in the curve between the thumb and first finger. This
act resonance
position (shape) for the resonation of the pitch and vowel, at the
.I
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t is the
reaction of the tongue against the instrument that brings the proper
back
back
76
s throat. (S
ee
5
G ;7;Q; V'8>
M;8;D-@X+30>
& ( " # %X ! X X
ig. 8
elax
ig. 9
nstrument
ig. 10.) This is harmful and produces the opposite result from
ed Position
the one desired, because, when the tongue drops down the throat
and the tongue muscles which are antagonistic to the action of the
, throaty tone
is produced.
mak
tremely
dark
"
tone immediately. I
these muscles. I
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77
5eZ.
'
$&'%'
! ' \z
ig. 10
nstrument
him to produce an ex
to bunch up the base of the tongue and does not bring the genio-glossus muscle
into tension.
uilibrium
Nevertheless, work
act. E
are of eq
`
?M
is harmful
not beneficial
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the system. F
uilibrium of
hold"
open, in
the larynx
cavity.
The concept of eq
tuned"
uilibrium
78
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'
: >
$M
o
hold,"
and thorax
back
pand
ert an eq
ual pull
against each other, and balance, thus holding the pressure of the
the eq
"
hold"
is lost. (S
ee F
ig. 24.)
larynx
is maintained by the eq
. The eq
uilibrium of the
pull"
of the thyroid
tension, depends upon the pitch and loudness of the tone. This is
ed out. (S
ee F
ig. 36
eq
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uilibrium in its ex
pharynx
ee F
ig. 4.)
Tongue Position
W hen using the tongue instrument, the tip of the tongue must be
pointed up toward the roof of the mouth. This enables the teacher
.)
.,%3"5 .0(2(.,5
W hen the instrument is not being used, the tip of the tongue
pulled forward. (S
ee F
79
: a\bsbyzRz
zob\bz3g =VNg
NDAO<HIALz F=z CB8?A>5Ez
>
pitch. I
(tone).
ig. 11
The base of the tongue is drawn forward because the genio-glossus and the
Note that the tip of the tongue is pointed down, and drawn back
somewhat
from the teeth. Note, also, the folded posture of the tongue. W ith the tongue
"
ee"
vowel, because
the back
resonance adj
tak
es part in the
of the back
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80
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'
>>
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o
to use, or shape, the pharyngeal cavity too far down, he will inevit-
Many pupils cling to this technic because they feel a double con-
ig. 12
and that the hyoid bone is held in position. These are conditions for an open
not throaty
tone.
Dropped larynx
siderable distance and that the hyoid bone has dropped also. This happens
when a "
thick
"
aised larynx
trol
white,"
then produce ex
of the cavity pertains to the muscles of the tongue and the hyoid
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3+ Z
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n the first, the tip of the tongue is pulled forward, and its base
back
81
and up. (S
ee F
ig. 12 C
white-throaty"
ome misguided teachers tell their pupils to press the tongue against
tone.
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n ex
produced when the base of the tongue is dropped and the body
thick
throatiness
uality. I
ig. 13
ee F
dark
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thick
ig. 12 B.)
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The index
under the
hyoid bone, and the thumbs placed under the chin. The teacher should then
iness the effort necessary to hold up the hyoid bone may be relatively slight,
sure ex
, thick
-throaty tone.
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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a dark
H yoid Bone
Position of Larynx
82
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hyoid and mylohyoid muscles, which form the floor of the mouth,
ligaments. (S
NDE
ee F
igs. 2 &
NGE
4.)
(Press Up)
TH UMB
3
F
ig. 13
/3
This figure indicates the point on the hyoid bone against which the
index
finger should press up and, in certain cases, forward when this manipu-
at
which the thumbs should rest. The manipulation is performed with both hands,
symmetrically.
W hen the base of the tongue is held forward, i.e., when the throat
is "
opened,"
9&
igs.
11).
the tongue have come into tension, the hyoid bone descends and
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
83
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the larynx
n ex
sign of throatiness. (S
ee F
igs. 10 A
&
is, therefore, a
12 B.)
n practice,
the tongue and hyoid bone are far more often dropped than raised
ed registration.
muscle should also become tense, thereby holding the hyoid bone
swallowing"
of the tongue.
hyoid bone, with the thumbs pressing up under the chin, and lifting
it up j
s the tone. (S
ment. I
igs. 13 A
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attack
ee F
&
e the adj
ists, it
to use the tongue instrument until this condition has been alleviated.
because such tones tend only to drop the hyoid bone still further.
ation of
teacher can ex
84
ee F
ig. 4.)
incredibly strong!
ust-
well as up.
B.)
the
< slssi b
J slt m~
usually indicated. I
ing
nstrument
a tool for
helping the tongue action and developing the tongue muscles which
are harmful.
, it must be relax
ed. I
f it
by force
ness. I
the pupil'
right hand, and let the rod rest in the arch between the thumb and
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the first finger of the left hand in somewhat the same manner as a
ee F
tongue back
The reader must not imagine that there is. some secret, magic
s ear
uality
when he uses it. This means that the teacher must not only k
now
a good tone from a bad tone, but also that he must be able to detect
deliberately, at a throaty q
aim,
goal.
85
)g
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DE
hapter 3
LO PME
egistration
(C
ontrol of I
NT O F
TH E
LA
NGE
L MUS
LE
ntensity)
!9%LW3Qe k
1. The actuator
2. The vibrator
3. The resonator
1$&
0**K
problems of registration.
register"
of three registers
!#./,0#)(5
)(0-)&5 ) 5
(0(.#045
The entire q
There are two groups of muscles which stretch the vocal cords and
% ?YM BGBox
( ?YM \ExBox
) ?YM xM}omBox
muscles)
The q
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
groups of muscles.
ince there are two, and only two, groups of muscles in the larynx
W hen, for a soft tone which is being swelled, the tension on the vocal
cords is being held against the breath pressure by means of added tension
the arytenoids
the thyroids
into action.
fibers and bring into tension the muscles which should be in action in the
86
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'
'
ists. F
teacher must, from the very beginning, build up the concept that prona-
definite balance between the action of the two groups of muscles which
actuate the vocal cords. The arytenoid action predominates for the high
male or female
has two
female voices.
1. F
alsetto
n its pure form the falsetto is very light in the middle of the range
and increases rapidly in power as the scale is ascended. This register has
or "
mix
"
if pushed
2. Lower R
uality.
egister
ness for the given vocal organs without the voice crack
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
imum loud-
ing.
must first be isolated so that they may be properly developed and ulti-
W hen both registers are fully developed and properly resonated, they
co-ordinate of their own accord, provided that the proper concepts, espe-
cially that of the voice mechanism as a single unit, have been engendered
in the pupil'
this has been done co-ordination is automatic. The attempt must never
igs. 14-17):
udg-
ment, because there are no available means for actually measuring them.
the tension were employed for raising pitch only, has been chosen.-
is undoubtedly used for bracing the vocal cords, while some is used for
what is happening q
ualitative picture.
(F
tension on, first, the arytenoid group of muscles and then on the thyroid
rises.
87
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q
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Notice that at the pianissimo, i.e., the lowest possible intensity under
s the
certain point (still a very soft tone) while the tension on the thyroid
100 .
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ig.
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@ 3/((0)@ =76)@
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imum intensity.
PP
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@
@
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@
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j z
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L=
Lower R
s: R
egister C
B= "
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= "
P.P P MF
7
klz
CY
10 20 50 100 200
500 X
14
UR
NTE
NS
TY
-A
BI
TR
UNI
TS
12Y
56Y
> 00
Diagrammatic R
of the R
B (F
egisters
BY
o-ordination
igure 14) shows the same phenomenon for a middle tone. Notice
is considerably greater than that of the low tone. Notice also that the
initial tension on the thyroid muscles is greater, and that on the arytenoid
ing on added
from this point on, the tension on the arytenoid muscles remains virtually
(F
`
30z
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MY
Q
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88
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!
! !
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8z
Q
here, however, that the initial intensity, i.e., the intensity at the pianissimo,
muscles, but in this case, the thyroid muscles do not start tak
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high tone.
.F
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@Y
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"
P
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middle tone.
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
"
"
egister
alsetto'
;
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muscles is far greater than that on the thyroids. Notice also that the
thyroids remains constant until a very high point of intensity has been
reached.
(F
igure 14) represents a low tone, but not the bottom of the range
degree. I
n this A
on the group of muscles which characterizes the register, and not the
actual tension on the muscles. Thus the register action in one or the
Notice that in B (F
up to M.F
above this intensity. Let it be very clear that, while the tension on the
t the moment
(F
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the max
for the very high tones, the falsetto only is used, unless the intensity is
absolutely fortissimo.
t very high pitches the falsetto muscles can hold the tension of the
vocal cords against the pressure of the breath up to nearly the max
imum
possible intensity, although the lower register muscles are always "
behind"
the falsetto. A
t the low pitches the falsetto only goes a very little way,
and actually, for such pitches, this register is such a light whisper as to
be practically toneless. I
eq
nF
ig. 15 the proper balance of the registers, over the entire range
n singing up the scale from the lowest pitch, the falsetto register is
added q
uite rapidly at first and slows down in the middle pitch region,
imately an eq
ual co-ordina-
&
ed registration (F
igs. 16
ualitative only
and are derived from observations made during the process of isolating
nF
ig. 15 the intensity indicated is the normal intensity for the given
(F
for C
(F
89
imately to eq
nF
ig. 14 it will be
ed
;
z
!;
AY*Y
J IQ
E
FY F
FY
Y
0@ *
< m
0 X
H
*
/
"% %
! @
\8 %
3 H
0!
$
<
m % zZ\8 X
2 3
: m < B! !) % # <.
X
\8 %
! # . ) ): ) %$ 4% 4
<.
"
2
W hen the voice is used properly, its normal (or natural) intensity
ig. 14.
ig. 14 indicate the actual intensity range of the voice over its complete
pitch range.
100
75
<
50
-'
<
LU
25
2
/
LS
LO W E
GI
O C
TA
>J
TTO
TE
G
J
AJ
=J
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
cK x [
7
<J
D
ig. I
of the R
Diagrammatic R
egisters as a F
GI S ? L
M @ B E OP @ N
?J
o-ordination
unction of Pitch
This figure illustrates the registration action at normal intensity for each
(three octaves).
The perpendicular ax
treme bottom of
pure falsetto.
W hen the technic is correct, both groups of muscles are fully developed
t also depends
upon the proper co-ordination of the laryngeal muscles, and upon the
vocal cords. A
held in ex
imate the
imation. A
, and the
< % 4
4% # &5)%! <I:A.5 5)! % .1 )!
% ! S !0..& :"
) . = #5 .% "%:/. ) 5) & l
& % !)S % # )= . % %$ )& 4
4%A X
#&
$ " ! # # I:# % )! ) /%<
.&
"0 L" 8 \ /.0 " ! @.
@
vocal cords gradually separate until, at the lowest possible intensity (this
intensity varies according to the natural power of any given voice) they
are so far separated that the air rushes out and the tone becomes nearly
a pure whisper. F
90
QL\
%VO )3
$V5O|5ii5V; 1Av|AAj5Vqj qFQA 0|qvA| #qq|>Vj5Vqj
1ERA1AOVA| 5%j;VqjqF0V;R
< slssi b
J slt m~
whisper is that, while the vowels and consonants can be definitely dis-
attack
s a tone. F
into action in the correct balance and stretch the vocal cords to the
action. S
begin to strain, or overload, under the tension necessary for the holding
of the tension of the cords against the increasing pressure of the breath
"
on"
vibrato impulse. A
approx
pitch is higher, the falsetto action goes further, and when the pitch is
lower this action does not go so far. Note: The falsetto does not go out
fect. I
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irk
by Lunn and S
amples as C
aruso, E
mmy Destinn,
ammarco.
approx
uestion.
emember that the entire vocal mechanism acts as one single co-ordi-
nated unit. H ence, if the registers are perfecdy co-ordinated, the resonance
adj
aulty
ustment,
may curtail the range by an octave or even more. The production of good
soft tones, and above all, of high tones which are free and vibrant is
(constricted) tones
"
head tones."
n practice we do
of faulty registration.
may lack
development.
female vocal organs, despite the fact that we often find women using the
91
ed lower register
U~U_\ _v_E[ _
> dE ` vE` P__ U~Y_~q ~[_E U[~~ 3 EU~U_ _ Z
_U_ _f`U ~U_ 9_ w__f_ U~[_ w_ w__E
f fE _p~F~
/~w_ w_ E_~[ w_ w~Y Qw q f Fr_E U_
E EU Y___
Aw_` ~ ES_ [~j__U_ ~ fU~ P__` w_ E_ F[
g_E_ UE pE [_~_ w_ eEU wE _ f_ lY _ ~t w_
dE_ E_ ~`Z dE_ e __Uw E _ E e ~q~q w~_
J _ EE _ _~v_ w_ _ _p~_ ~_Z _ _u~_
F^ ` E fE_ ~ E Y___Z 3 __ P~ wF
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
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k9NWY97z ^9@F_d9^z -U;W^dhU0d9No
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z W^z 9U790kW^z dWz d^0FU
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ZhYFN_z
z
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8
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W;zdC9zN0^oU@90NzSh_5N9_
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z ;0hNdoz5WW^7FU0v
dIWUz W;z dC9_9z Sh_5N9_z W55h^_z '9dz h_z 5WU_F79^z _WS9z W;z dC9z 50_9_z W;z ;0hNdqz
6WW^7FU0dIWUz ;WhU7z FUz 05dh0Nz Y^05dF59 z
the problem of the vocal teacher should center largely around the unde-
the lower register only of their male, and the falsetto only of their female
pupils.
coon shouters."
form these unpleasant sounds, with the result that the registers ultimately
of development
tion of these muscles occurs. Let us consider some of the cases of faulty
(Mix
ed registration will be ex
range is ex
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lWS0Uz h_FU@z dCI_z d95CUF5z F_z @9U9^0NNozd9^S97z 0z 5WWUz _CWhd9^z/KdCzdC9z
S0N9z kWF59z dC9z [h0NFdoz F_z 0Nl0o_z dC^W0doz 0U7z dC9z CI@C9_dz dWU9_z lCF5Cz C9z
50Uz ^905Cz 05dh0NNoz SF77N9z dWU9_
z 0^9z 9md^9S9Noz dC^W0doz 0U7z _d^0FU97z
coon shouter."
ing. A
W ith the
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
as
hardly lik
ely to attempt to sing all the time in the pure falsetto register.
nown ex
tone.
of the one who comes under heading number one, where little more than
ustment alone. S
however, mere sq
ueak
urthermore,
they tend to disappear after a few years, unless the lower register is
developed and they are related to, and balanced with, it.
them.
between
This is far better than the conditions outlined under headings 1 and 2,
or B'
, because the
$Q
mere fact that a woman is actually using her lower register, indicates
t may be as well to mention here that the pupil who starts with a
definite break
in training a voice is to find and isolate both registers, and before this is
92
,1!8 / $01/08 )78 8 308 3*,,/$+18 *8 5$1"88 /&8 15*8
1!) 8
;
$; .519);
done no vocal development is possible. Thus, the pupil who starts with
of development, as the one who started with one register and has found
ed
registration, has succeeded in separating the voice into two parts and
The man who uses the pure falsetto for his soft tones will indeed be
mak
and mix
Mix
registration: Mix
break
no natural voice."
tremely unpleasant q
50
20
10
L=
ee F
ig. 16
ed registration:
.)
b +J b6
w
w
egister
*
10 20
O UND PR
50
100
ig. 16
egistration
93
alsetto (S
alMtto
Lower R
2S
ed F
ed
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
a. Mix
ed lower register. I
despite the ex
ing.
ed registration is
UR
Diagrammatic R
NTE
NS
epresentation of Mix
TY
ed F
BI
TR
UNI
TS
=)
alsetto
!
HJ
J
)J
!"J
5,
#$J
!"J
/
9J
9J
;J
<
>
?+
4*
} U Z Z l }Z} mJ O mJ ~ m
5-.
%VM
$V5M{5ii5V; 1Av~AEn5Vqn qI .VA> '7cAq
1AMV{5Wqj
< slssi b
J slt m~
igure 16
ed falsetto registration
pitch. Notice also that, as the intensity increases, the tension is added
simultaneously. F
ed falsetto characteristic or q
uality
That this is true is indicated by the fact that, in actual practice, anyone
mix
ed falsetto q
The q
uality of a woman'
s voice it is ex
part of the voice has any real power. The vibrato is absent and, in many
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ed lower registration
f high tones can be reached at all, and this may be possible, they
b. Mix
ed Lower R
egistration (S
ee F
ig. 17.)
This is the inverse of the case discussed above. W hen the singer
attack
s the
ed falsetto.
Notice that, in this case, the tension on the thyroid muscles, at the
attack
than indicated in F
ig. 16
, the added
The q
pronounced
ed registration.
which actuate the vocal cords is correct at the inception of the tone and,
group, until the point is reached at which they are fully loaded. A
t this
94
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ed-register tone,
ed lower register,
ed falsetto or mix
(
0 F F $ F ,
!
2 M
, F
0F
$
!
( F
$ 0$,
,!> 3F0 (1!u
F
@
$, , S:
(
,(
F ( $ F
@
[
;
)o :.=
$ 7 S: S " : $ ,
)o! ,
2
en up by both groups of
ing.
such a tone is swelled to the greatest possible intensity, the lower register
never comes into action, because the characteristics of the lower register
do not appear. I
ed-register
other than by the elimination of this form of technic and by the separa-
L=
Lower R
agistar
u ,J v E
a H a
alsatto
2 5 10 20
O UND PR
UR
NTE
NS
TY
BI
TR
UNI
TS
50
ig. 17
Diagrammatic R
epresentation of Mix
ed Lower R
egistration
n mix
9$
to the rate of ex
95
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pulsion diminishes
t the same
@J
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( F F 10,
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d
,
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F2
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< slssi b
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breath ex
its max
phenomena of mix
NTE
ig. 18
NS
"
ee F
igs. 18 &
19.) F
ed registration, see C
.I
+R1(\9m 1eN`GV<KJm 1JFIOX (Vm \91m <J\1JV<\gm R<V1Vm 3SKIm ##m \Km m \m <Vm (]m
<\Vm I(e<I`Im (\m ##m (J0m (\m <\Vm I<J<I`Im (\m !m \91m JKSI(Em GK`0J1VVm
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X KSm (m 3`S\91Tm 0<V/`VV<KJm K3m \91m
N91JKI1J(m K3m I=e10m S18<V\S(\<KJm V11m 9(N\1Sm
X
t is at
hapter 11.
TY
Breath-intensity"
urves of a W ell-produced V
oice
the max
imum loudness
imum ex
.F
. to F
.F
n this case the breath output is a function of the laryngeal muscles and
of the vibrato
holding"
.F
. it starts in the
imum, tension is
thus, the
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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amount of falsetto tension rises with the pitch. The higher the pitch
the louder the intensity at which the lower register tension should
be added.
(3)3
%-%*.2G
give"
(move),
:^d TXI ^ > CI O ^I AI>^ Iqd~ qIE >Y>d~ d~I~e
O > ydEEqI ~I X A > IqqECIE dCI
9dCI ^> ^I y>dyz Iqd~ d > d>~ddy
>~E ^> d E
ZIdIq ~dq 8!3! > Orq OII ~I d I>C^JE ^I~ d > dI ~dq
^I y>dyy qE~IP!3!d I>C^IE! 9dCI >r ^> ^I E AIII~
'' >~E 8!3! d O> XI>I ^>~ d ^I dI Oy 8"3! 3"3!
5~ ^d C>I ^I AI>^ d > O~Cd~ O ^I q>~YI>q yCqI >~E
O ^I dA>f K! ^I d~XI d ^rEdX ^d AI>^ >~E d ~ Aqd~Y e
>Y>d~ > C~dCd~!
that the pitch is thus held constant and that the vibrator (vocal
96
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-#=O+SSIe ]28(2e M+18OS+Me K+MO8OSOe )XM8B1e S2+e K+M8I)e I-e #))+)e S+BO8IBe
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#))+)e SIe S2+e S2_MI8)e @YO(>+Oe Se O2IY>)e &ce (>+#Me S2#Se S2+e KMIKIMS9ICe
I-e #N_S+BI8)e SIe S2_MI8)e S+BO8IBe )+K+B)Oe YKIBe S2+e K8S(2S2YOe U2+e
#@IYCSed-e-#=O+SSIe S+BO8IBeM8O+Pe \8S2eS2+e K8S(2e 2+e 2815+Me S7+e K8S(2e
U2+e >IY)+Me U2+e 9BS+BO8S_e #Se ]28(2e U2+e >I]+Me M+18OS+Me S+CO8ICe O2IY>)e
'+e 6AADAj
!2+e )+[+>IK@+BSe I-e U2+e #M_S+BI8)e @YO(>+Oe 8Oe +OO+BS8#>e 8-e #e KYM+e
-#=O+SSIe 9Oe SIe '+e +OS#&>8O2+)e 2+e #M_S+BI8)e (#MS8>#1+Oe (#Be &+e 2+>)e
/M@=_e9CeKIO8S9ICe)XM8B1eK2IB#S8IBeIB>_e\2+CeS2+e#M_S+CI8)e@YO(>+Oe
#M+e -Y>>_e )+[+=IK+)e !29Oe @+#DOe U2#Se S2+_e )Ie CISe 18[+e @I[+ e
U6#Se U6+e L9S(2e 9Qe T3ZPe 4+?*e (IHS$ESe #C)e U6#Se S2+e [9'M#SIMe [I(#>e
2/
;7;Q; V3X
M;8;D-@X+30>
& ( " # %X ! X X
cords) is firmly strung, with the result that the tone produced,
uality. I
register has been isolated, purified and developed fully. The develop-
vocal
improvement is im-
ig. 19
"
Breath intensity"
ed out properly.
urve of a Throaty V
oice
AjsCv ]v Tsfe vhW ^{X {XG tGve{ {X={ {XG }jiL lujEAGE
hCGsvAXAjhC]{]jhv
]vjMmeG=v]hWn=e]{6{]v ]fljvv]@eGMjs{XG
ll]e{j lsjCAG = ljGsMe {jhG jM WjjC n=e]{ heGvv {XG ejGs
sGW]v{GsX=v@GGh]vje={GCls]TGC=hCCGGejlGCMee":XGCGGejl
fGh{ jM G=AX jM {XGwG {j Wsjlv jM fvAeGv CGlGhCv ljh {XG
K]VQ8`KVSj =hC vGl=s={G CGGejlfGh{ jM {XG {j sGW]v{Gsv" <]{Xj{
vAX ]vje={]jh =hC ls]TA={]jh hj jsa X={GGs A=h @G CjhG jh
{XGe=shWG=efvAeGv 5GhAG {GAXh]A=ejA=e]flsjGfGh{ ]v ]f
ljvv]@eGheGvv{XGlsj@eGfvjMsGW]v{s={]jh=sGksaGC j{lsjlGse"
throaty
voice.
Notice that the breath output rises evenly widi the intensity in a straight-
line curve.
n this case the singer is blowing his breath through a constriction. The
control of intensity is a function of the breath blast and of the degree of con-
striction
pharynx
Thyroid Manipulation
Development of Lower R
!
$%3
3
egister
Muscles
pull"
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pull"
t is of immense value. I
97
pull in"
>
;>
the lower
"#3
G
!G
5
3
3
and undeveloped,
3
2*3
EG
GG
$+$),1G
;7;Q;W4X/UX
X M<7; E A X+40>
' ) " # %X ! X X
enormous degree. F
the falsetto.
ig. 20
Thyroid Manipulation
ts employ-
ed degree.
n certain cases, it enables the teacher to train and develop voices which
pose the development of the crico-thyroid muscles (lower register). The in-
dex
fingers of each hand are placed on the upper, posterior edges of the
thyroid cartilage, while the thumbs touch, but, in many cases, do not press
down, the center point of this cartilage. H owever, there are cases in which
the manipulation may be more effective when the thyroid cartilage is pressed
pulling-in"
brings the lower register into action and helps these muscles to "
hold,"
until
such time as their use with the aid of the manipulation has so developed them
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muscles.
, or altogether absent,
udicious
use of this manipulation serves to maintain the relative balance in the state
5
registers.
(KGj2HiZVK?j/6SKXdO6bKVSj
cannot be employed until the hyoid bone manipulation has become effective.
"
openings"
of the voice.
21
;7;Q; V3X'8>
M;8;D-@X+30>
& ( " # %X ! X X
NDE
NGE
(Press Down)
ig. 20
This figure shows the point on the thyroid cartilage on which the index
t also shows
the point in the front of the thyroid cartilage at which the thumbs should
touch. The thumbs, however, only touch and do not press at this point. The
t is
20A
ee F
ig.
& B.)
weak
lished, or "
pulled in."
99
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G
,= $& (3#/ '&= ,= ()18= ,!$(#= ;&= ,2!/')5) = /= -=
&= '4 '3,= '3/'$= '= &= ,/# -= /')8= '= ) -2/!'&= &=
/,= / 4&.,= .= = )/=()''= '=/= /)3/= '= / ,= /')8 =
= (*'3)= ,= ,= '##'5,
= = /)= %)#8= (#,= /= &6=
&)= '= = &= '&= /= 3(()= ('-/) ')= ,= '= 0= 08)' =
)/ #= &= (3##,= '5&= 5 /= = &/#= +$= ()--3)
= = =
-)3
=
&= /= #'5))!-/)= %3-#,= &= /= /'&3= $3-#,= )=
5"= /!,= (),,3)= &&'/= = 7+/= /''= ') #9= 3/= /= $8= =
&).= # //#= 8= # //#= 3&/ #= &= -'#3/#8= (3)= ) -/)= ,= ,/:
# ,= ')= (3##= & =
&= 0= ,/# ,$&/= '= = (3)= 3##84#'(= #'<)= ) ,/)=
>
M;8;D-@X+30>
& ( " # %X ! X X
becomes q
often be "
pulled in"
the entire process of developing the voice. They eliminate the long
and sung. I
opened-up,"
pulled in"
5
) )* )
*
' =* )
U
)*
5
B*-
4 *
+c N +c
Y
2
-C 3
* *
4 *
4
*
* a
*
@
e
5
)
,2
)
4
) B
)*
~
*
* B m
,) b
and established
space below the treble clef) and proceed up the scale, one semitone
throaty, "
white,"
thick
n the case of a
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because all his singing has probably been done in this register and
ed falsetto
arduous.
O ctave R
elationship Between R
egisters
n the
an octave above the highest lower register tone that he can produce,
100
-S)Z0` 0@)S:JFQ8;K`
1S[11F` 16:QS1NQ`
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
, *
o . \
\
u
W
*
*
.
*
u
e
e . 5
@
-
3C b*
* .
*
-2 OC . 5
*
*
*
b* -UOC X
b*
* B
b 3*
U
.
above high C
advanced.
high C
dark
"
shut off,"
range which can be covered in the early stages of training, but the
poor q
uality, "
shut-off"
uality
uick
eliminated.
ueak
woman, or "
shut-off,"
sq
mix
"
Tones
ueak
"
does not mean that he or she actually has a wide range, because
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a"
white,"
flex
high C
"
mix
ueak
, G, or even C
above
f men resort to
sound lik
sq
shut-off,"
e a light tenor. Despite the fact that these are not legitimate
lieve they are great singers because they can go very high. The
teacher then has the problem not only of eliminating these worthless
ueak
ing him,
ust
singers, despite the fact that they have never produced a single
101
talk
ies."
"
5 *
-b3C %D
-UOC ,
U
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
egisters
pulled in"
by
O nly such tones, and no others, should ever be produced. The pupil
"
open"
opening."
uent stages of
and is harmful. E
ach "
manifest itself ex
open,"
open,"
lower-register
tone.
"
open"
es
some time before the pupil can produce very high tones, but this is
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102
x
< slssi b
J slt m~
hapter 4
DE
LO PI
NG TH E
O I
(MA
NI
PULA
TI
O NS
venly R
ising S
cale of I
ntensity
#3;7E '
This implies a scale in which the intensity rises evenly with the
are fully developed, and properly balanced, the singer can use
treble clef. I
at this E
is j
flat
wide-open"
below
G
/ N*N
"e,
* (G N $%
G,G*@ NG
$+))
NGN/
N G $N*NG/N5
a semitone
es, irre-
voices.
H ence, the lowest tone sung falsetto at full voice by the male
voice is actually E
voice. A
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or ex
itorna V
incitor (from V
erdi'
e Tamor mio"
s the
treble clef. I
103
( NG,
* (@ / , (+ "
":
,
N*5 Z
+@ *
<
.#
,N*5
v
;$@ G
%=18.E %.%=18E "
$ 3
% E e[@
v
"!
*"@
( ! (
@ )* 1
$ * /5
@ d(
e / $(
"
E-18E-%1 E
"
$ Z
G(
G ) "
) "
] Z
"
*G )
#
@ %
G! $
y
"
)"5 f @ /@
@ "
$
) "( ,
)
5
XGG (,
,
!0
I
(@ N$%
x
< slssi b
J slt m~
of the proper balance between the two registers is not very difficult
pulling in"
opened up."
of the
an octave above
uilibrium, between
open,"
opening"
carry up"
out this
opening"
"
openings"
"
O pening"
may occur.
n"
opening"
"
opening"
.nGhVhQ
mak
tuned,"
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of the neck
"
opening"
"
laryngeal pharynx
a sudden "
ation, of tension
.I
opening."
opening"
f this "
opening"
undeveloped, voices.
udden "
O penings"
and j
opening,"
the breath ex
pupil mak
e no attempt to check
opening"
the ex
cessive breath ex
pulsion
only means which he can use to bring about this reduction in the
104
< slssi b
J slt m~
ex
opening"
and
opening"
opening"
is being established,
,j
aw and antagonistic
sudden "
opening"
pulsion,
for this purer and better falsetto, may be high and, at times, ex
tremely high. I
pul-
blow out, or ex
tion.
The breath ex
ently disappear for a short space of time, but before very long a
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mix
opening."
muscles of the j
aw and neck
aw and neck
muscles. F
or
and j
"
O penings"
and Q uality C
ny permanent "
opening"
and j
aw muscles occurs.
hanges
ustment, so
uality is modified.
uality
"
opening."
sudden "
105
"
whiter"
or "
dark
er"
openings"
;(
" )3 ) m) $
" *I
*
# $
" F
w )
)*I
3"3
$] T# *
" ,
p
$# )3 ;(
*3 F
w
# *
*
# , $"( "
#
* *
#
$
"
3
$#
)*(*
) )3 *I#J
*
( $*
# % 3
*( $
.
mGgVgQu >gF2~>_V} S>gQJu
Z 3$ F
w *
* J$#
* $
**3 d( $
t]
T * $ ,
*
*
33*
d( lF. 3
F3I3wl *
) (
$
F
]w X ( 3 * 3(#
(G F
w
**(] 8 **
$
x
< slssi b
J slt m~
4
,
2 4
3
t
f
F^} 1Ao;i} Ko} T c
T Q
breath ex
f he "
holds back
,"
and tries to
opening"
occurs
this
drive"
req
uired.
O pening"
opening"
opening"
as it occurs, however
T
I|
2
A
@
I
c c
a>I
2
T
-T
|
j
-T
5
T
2 mT
3
I 5
2
Fi;1o}
F
a
I
5
2
- C
4
-J C
-T
,p
X' -OC
)
"
opening"
striction. S
inj
is most
urious.
opening"
opening"
occurs only
den "
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openings"
stages. "
O penings"
opened up"
in slow
uch a condition is
seldom found with talented pupils who have not been subj
to inj
ected
opening up"
down active
open up"
the voice
suddenly.
opening up"
openings,"
do develop or open up. W hen a big voice, which has been "
shut off,"
able. A
"
shut off."
106
&'
c
545?6B/C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
the
is far lower than that of a very small voice which is, even slightly,
"
opened up."
tE
lectrical R
esearch Products, I
1000 times, i.e., 30 decibels. H owever, these pupils were not tested
at the start of the training process and their voices were not par-
"
O pening"
Now, in realizing this fact, the teacher must also understand that
(* =
, / ) l=
"
**(l
(m
*
$=+ )
= = (
((
"=
= g=
" = ,+ = ,
* * ? , +@
}
Z* *==*
(*@f*M@==+*=
"
*= ,
*@ (
=
*@
" =+
$@ %
E * )M i
,@ (
= =
" =
* = g ,
*
=p
*(=+
"(
M f "=
=($ = +
" =
=+
"(@ (m
,
* *
( = + ) = =
(
* ) "(+
(M 8 $= =
*=
"
=)
( @ M {( [( = = =
@ )( +
= *
[$ )+ * = = )+
= (((=M
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
opening up"
the voice is
up"
opened
produces far more power than the biggest one which is only
has been fully opened and which is used with energy and freedom,
held back
"
pitiful.
opened up."
uite
shut-off"
naturally "
open"
107
lectrical R
e-
$ =)
(+ = "
=
"
$@
( = =(= ,
M =* =
**(@
+*
*= "=
$( ) "
)
=) M 8 $*= *=
" }
( ,
* N
* = +*
*
)$
$ "= $
"
$ =)+= )"
M
f =@ $= ,
* * }
(
(* "= $
)
+
= =+
@ =
, = "* Z ,
* *
= ) "(+
= ( e + = "
$@
( "= ) = =(
| = ,
(@
m( ,
* * !*IE "
$=*M 8
= =(
=+@ ( * @ )d(
"(M
8 N =+ (
" &
= = }(m
,
*=
== }
(MEi$()$=
,
= + * , g
=
=(=+ }
,
* 8
=+
=**
$ M 8=
( = =
)*
$
=+ ;* = "
< slssi b
J slt m~
search Products, I
single tone test for the curve. The pupils either failed to rise or they
inging
uestion of singing
IU1\ %;F8:F8\
this work
e pupils sing
the throat. S
legitimate singing. A
es, and
The mix
ed-register
t is the power over a wide range that counts, and even then
uality, "
open,"
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only good-q
en into account.
There are stages in the training process when the loudness may
ed-falsetto
purified, the intensity nearly always drops, and drops a great deal
for the lowest tones for which it can be employed. O f course, when
the falsetto has been finally purified and fully developed, it is very
the
certain pitch
about middle A
tone softly enough in the lower register and the less advanced pupil
s he is
teaching according to the principles here laid down and who merely
mak
ing in ex
actly the
108
XeFxrxF>XF >_Fe
interpretative talent.
Loud S
or "
opening,"
1 X{ UF rlFx lFx > XEF x>eRF U> Cle{ >eE FFe UFe
le_!RllEu>_X lrFe MxFF leF{ C>e BF >]Fe Xel >CCle
;
y
zF
Uz W D z
Uz
Q Tz
HQ
es the form of q
uality
uality.
down,"
"
"
"
"
ue,"
head voice,"
breath control,"
"
"
etc., methods!
n the cases
mak
es his voice more throaty and the voice never lasts very long.
26
&
B) the j
, (see F
ig.
(see F
ig. 4)
develop, the higher and lower tones start to degenerate and are
lost and the power of the entire voice decreases very greatly. There
shutting off."
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
one of "
the constrictor muscles. O nly too often nodules form on the vocal
cords of victims of this sort of training and then even surgery only
W hen a singer who uses a throaty technic loses his voice, his only
recourse
is to stop singing,
weak
en from lack
of use. I
f he does this he
may sing again for a time, but the loss of voice will inevitably recur.
the voice is such that the mere use of the instrument is harmful.
109
toning
forward placement,"
g
g ? AH6
!
\
*C 65
N
$KN
(KN5C
6(P !(P N
$K
N?H !X(K
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E
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!
H
HGH CH 5? H C (
3 H( !
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7
!C G
! !
! G
+
d ! $ ( 7
?
(
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( G +
vH
H 6H
k
H 7( y `;
v W AH
C
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5
?
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GT y `5; z
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X X X 5
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& XK , X
? NC5 g;P Y
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a
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<Z32\ $38:OPL-P:IF\
Mix
ed R
egistration
no voice"
may progress better and faster than those who have what some
registration is mix
possible to break
it down. A
ed;
ig. 21
uite efficiently.
The Larynx
and Mix
ed R
egistration
mix
ed registration. Note the space between the hyoid bone and thyroid carti-
lage in A
, and observe how this space has become closed in the case of mix
ed
registration indicated in B.
such time, however, as the manipulation has become effective and permanently
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ed registration
ed. I
t is interesting to note,
tion is unavailing in ex
treme cases.
very weak
110
give"
Gz
Hz
O & Y
Vz
Q Tz
HQ
21 A
&
ee F
igs. 12 B &
B.)
artilage
inserted, q
fingers are
ust at the ex
% F , !!
%
"
% :
!
:
"
; "W
V \" e E "
+
"g
"
@
4 O
3
" "+
separating the hyoid bone and the thyroid cartilage and at the same
ee F
ig. 22 A
&
B.) This is
.S
everal
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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neck
the hyoid bone and the thyroid cartilage was wider on one side than
B
! @
"
"!#
"
E
>
9 "
"
t
7
E
"
l
on the other.
, manual ad-
for all the conditions encountered in each particular case, and the
necessary adj
111
545?6B1C .C
'
c>635C:9C2=;C
* ! + & ( )C % C ! C
d{BFEoeJ>eE>xFUFrxZeDZr>_leF{UZDUU>FBFFeF{>B_Z{UFE
r l E>F
must be done and are the principal ones which have been established
up to date.
W ork
Mix
ed-register V
oices
is the higher falsetto and the higher lower-register tones that are
"
whiteness"
with as "
should not be ex
dark
"
uite a "
white"
uality, this
not throaty
aq
yFRZ{Fx D>e > Ox{ BF {eR le_ ZU tZF > UZF t>_Z UZ{
UZFeF{{ }Ul_E el BF FDF{{ZF! 8WF M>_{Fl a{ BF {eR
ig. 22
The index
ed R
egistration
in the space
attack
forward pull. I
f he hesitates, he is apt to ex
perience a chok
ing sensation. I
sion, its fundamental purpose is to separate the hyoid bone and thyroid carti-
ed-
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H owever, in certain cases, after the separation has been made, the lower
fingers in a clock
wise direc-
tion and pulling down. This down pull must not depress the hyoid bone, and
the hyoid bone may often have to be raised while this manipulation is being
made.
112
ed registration,"
nown as "
per-
UY
$D@l
+1SDVdM1bDUSl =UXl +Dh:6l .:@D^bX1bDUSl
G=. AR+.| 8R:.b W4 .$)= =$R+ Ai ARi.bl.+ b$l=.b 4$b ($)H AR l=. iX$).
(.ly..R l=. =}WA+ (WR. $R+ l=}bWA+ )$blAN$:. i.. A: &&= $R+ l=.R Xb.ii.+
4Wby$b+ lW i.^$b$l. l=. (WR. $R+ )$blAN$:. $i Ps)= $i XWiiA(N.
=Ai P$RAXsN$lAWR Psil (. P$+. $l l=1 PWP.Rl $l y=A)= l=. XsXAN Ai lW
$ll$)H l=. lWR. . Psil (. ARilbs)l.+ lW iAR: $i iWWR $i =. =$i 4.Nl k=.
4Wby$b+ ^sNN 4 =. =.iAl$l.i =. Ai $Xl lW .|X.bA.R). $ )=WHAR: i.Ri$lAWR 4
=. b.iXWR+i XbWPXlN} RW +Ai)WP6Wbl Ai 4.Nl
#=AN. l=Ai P$RAXsN&lAWR +W.i l.R+ lW XsNN AR $++AmAWR$N )bA)W
l=}bWA+ l.R
iAWeE Ali 4sR+$P2Rl$N XsbXWi. Ai lW i.X$b$l. l=. =}WA+ (WR. $R+ l=}bWA+ )$blA~
N$:. y=A)= =$x. (.)WP. lWW )NWi.N} $XXbW|AP$l.+ (.)$si. W4 l=. PA|.+~
b.:Ail.b )WR+AlAWR b$l=.b l=$R lW $s:P.Rl l=. NWy.b
b.:Ail.b l.RiAWR
Wy.x.b AR ).bl$AR )$i.i $4l.b l=. i.X$b$lAWR =$i (..R P$+. l=. NWy.b
b3:Ail.b P$} (. XsNN.+ AR (}bWl$lAR: l=. lyW AR+.| 8R:.bi AR $ )NW)HyAi. +Ad.)
mAWR $R+ XsNNAR: +WyR =Ai +WyR XsNN Pvl RWl +.Xb.ii l=. =}WA+ (WR. $R+
l=. >}WA+ (WR. P$} W4l.R =$x. lW (. b$Ai.+ y=AN. l=Ai P$RAXsN$lAWR Ai (.AR:
P$+.
=AiP$RAXsN$lAWR Ai ui.+ WRN} AR )$i.i W4 PA|.+ b.:Ailb$lAWR z=A)= l.)=RA)$N
4$sNl Ai P$RA4.il.+ (} $ )NWisb. W4 l=. iX$). y=A)= i=WsN+ (. Xb.i.Rl (.ly..R
m=. =}WA+ (WR. $R+ m=. l=}bWA+ )$blAN$:. =Ai )WR+AlAWR Ai HRWyR $i X.b
P$R.Rl Psi)sN$b PA|.+ b.:Ailb$lAWR $R+ oAi P$RAXsN$lAWR Ai m=. (.ik P.'Ti
+xAi.+ 4Wc YcXtk -WyU n?Ai } d|n_n e Xx k.)=RA)$N fXw
;
$ %Y
Uz W D z
Uz
Q Tz
HQ
fied, but they cannot be reached because they are situated at the
back
of the larynx
. (S
ee F
NDE
(Press F
NGE
orward)
ig. 22
ed R
egistration (concluded)
This illustration indicates the points between the hyoid bone and thyroid
during phonation and thereby alleviate and finally effect the cure for mix
ed
registration.
falsetto. I
weak
n cases of mix
the lower register must not be carried up too high (never above C
on the third space of the treble clef) and then developed, in cases
of mix
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113
Hz
#DAl
+1SDVdM1cDUSl=UXl+Dh:6l.:AD^cX1cDUSl4US4Md6:6l
I 6<\r =FFg\`Va<PKr <K$= _%\r `6%r SP=K`\r %_j%%Kr `6%r 6mP=$r PK%r K$r _6mVP=$r
V_=F4%r `r j6< 6r `6%r =K$%lr 1K3%Wr ]6PgE$r SV%]]r +PVjV$r _Pr ]%SV_%r _6%Ir
$gV<K4r T6PK`=Pr K$r `6%V%mr FF%i=_%r K$r 2KFGmr %0% _r _6%r gV%r +PVr I=l%$r
V%qPQr
;
! 1-.71:+;(;
# 41-. 3% 2; i{
"
,,
58/(
eN
(
)
+
"( ()* d( ) ($
+
$(*5 (
)$
)~ ( "
*.E N
/
? * + G
,
" $
N*I+ / "5
with the lower register, which generally tends to develop far more
uick
Unbalanced R
egistration
There are many cases of students who start with fairly pure, but
9 gA>_>gDGE 3GQVuxq>yWji
be "
pulled in"
$()(
)
G G (? }Iw
"
M Z
)*@
d( ) <@ ) )
) @
I * ) (
$+
)*
$,+ 5
cannot be subj
cult. I
on the neck
ever, the teacher must proceed carefully and slowly. H e must never
tak
proper balance, or eq
dark
"
s soon as the
114
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$
< slssi b
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hapter 5
TH E
TTA
NTO NA
TI
O N
Laryngeal Pharynx
(Throat)
a. C
onsciously controlled
b. R
eflex
!CVb:Xl l
still alive. Thus, from the brain center, which supplies the reflex
nerve
muscular system of the body. W hen one is seated in what we might term
a"
relax
ed,"
as "
tonus"
or "
muscle tone."
uch reflex
nown
cease. A
,L[H83,B\ "9,L[HZ\
'9LI,P\
tension
tension is k
P#Y
428(4;8/@C 42964//C
8 $?C #8 ;9409(C 46C249C ;26C 428(4;8C 42964/C
dead,"
tremely placid
4C 0;8/C (2C 9&C &;02C 4@C C C 6/?C =&(/C 9&C (2)<);/C )8C
89(//C /*< C &;8C 64,3C 9&C 6*2C 296C =&(&C 8;55/(8C 9&C 6$?C 26<C
(05;/88C C 69(2C %6C 4C 928(42C (8C 0(29(2C 9&64;%&4;9C 9&C 29)6C
0;8;/6C 8@890C 4C 9&C 4@
C &2C 42C (8C 89C (2C =&9C =C 0(%&9C 961C
C 6/?C 40469/C 548(9(42C 9&(8C 5489;6C oz 249C 0(29(2C @C 2@C
428(4;8C !469C 46C 0;8;/6C 42964/C ;9C @C 6842C 4C 9&C 6$?C 928(42C
42C 9&C 0;8/8C =&(&C 960(2C 9&C 5489;6C ;&C 6$?C 928)42C (8C .24>C
8C 942;8C 46C 0;8/C 942C C 9&C (2)<(;/C =6C 94C )C 8;2/@C &C
=4;/C 4//58C @C 6842C 4C 9&C 9C 9&9C 9&)8C 6$?C 0;8/C 942C =4;/C
8
C ; 884)9(42C 4C 9&C 4259C 4C 0;8/C 942C =)9&C 9&9C 4C 5489;6C
8&4;/C &/5C 9&C 66C 94C ;26892C 9&(8C 5&240242
C
2C /*C =C #2C <6@C 9@5C 4C (2(<(;/C 640C 9&C ?960/@C 5/(C
56842C =&4C (8C 4<66/?C 2C 6/9(</@C C 94C 9&C &(%&/@8:;2%C
2;649(C 42C =&4C (8C /=@8C (2C C 56424;2C 899C 4C 928(42C &@8(4/4%(A
//@C 9&C (!62C 9=2C 9&8C 9=4C 88C /(8C (2C 9&C %6C 4C 6$?C
0;8/C 942C 569(2(2%C94C &
C 9C )8C (29789(2%C 94C 249C (2C 4229)42C
2C 884(9(42C 9=2C 9&C 899C 4C 0;8/C 942C 2C 9&C 9056029C 4 C
9&C (2(<);/
C
;5548C C 56842C 8(99(2%C (2C C 6/9(</@C 6/?C 5489;6C 89698C 94C 04<C
C =(//C 82C 4;9C 640C &(8C 428)4;8C 6+2C 296C 26<C (05;/88C =&('C
6(2%C (294C 928(42C 9&C 0;8/8C =&(&C 0;89C C 05/4@C )2C 9&C 40B
5/)8&029C 4C 9&(8C 04<029
C
<6@C 0;8/C =&2C (2C C 899C 4C 6/9(</@C &(%&C 6/?9(42C 0;89C C
64;%&9C;5C94C C 69(2C %6C 4C928)42C46C (9C =(//C9;//@C 8&449C 4"C
46C 40C (294C 42:9(42C &2C 9&C 899C 4C 0;8/C 942C (8C 944C /4=C %8
9&C (2(<(;/C )8C 4<66/?C 9&C 0;8/8C =)//C &<C 94C C 64;%&9C ;5C
94C C 899C 4C 928)42C 9C =&(&C 9&@C =*//C 42969C 46C 04<029C )8C 548A
8*/C &6C 9&C +2(<(;/C 0(29(28C 944C &(%&C C 899C 4C 942C 02@C
0;8/8C =(//C /6@C C mz C 899C 4C 42969(42C 2C 840C 4C 9&8C 0;89C
9&646C C 6/?C ;29(/C 9&@C &<C 66)<C 9C 9&C )/C 899C 4C 942C
#
8 9&9C 42(9)42C =&6C 9&C 8/.C &8C 2C 9.2C 4;9C 4C 9&0C 2C 9&@C
6C -;89C 9C 9&C 54(29C =&6C 9&C 55/)9(42C 4C 9&C 428+4;8C 26<C (05;/8C
to the highly-strung,
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
cally the difference between these two cases lies in the degree of reflex
the individual.
H e will send out, from his conscious brain center, nerve impulses which
bring into tension the muscles which must be employed in the accom-
ation, must be
shoot off"
or come into contraction. W hen the state of muscle tone is too low, i.e.,
sible. W here the individual maintains too high a state of tone, many
therefore, be relax
are j
115
ust at the point where the application of the conscious nerve impulse
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will bring them into contraction, before the movement can be accom-
plished.
system of the body should maintain this ideal condition normally. Under
ex
slack
"
cept those which are in tension because they are maintaining the pos-
tic to these tensed muscles, i.e., those muscles whose function is to reverse
To mak
piece of elastic: I
elastic, it will be found that the elastic will stretch until a certain point
of tension has been reached, and then, not until then, the weight will
start to move. I
the slack
n other words, the weight will not move until the slack
Too high or too low a state of tonus must lead to inefficiency of action,
relax
slack
e up the
before the muscles can come into contraction. W hen the state of
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the conscious nerve impulses can be utilized in order to bring them into
ment.
The goal of the singer, or of the participant in any other field of activity
muscle
tone. This corresponds to the state of the muscular system of the athlete'
set"
at the mark
en for relax
ation by
"
ed state. I
t is not a state of
flop."
W hen teaching vocal technic or, for that matter, many other technics,
some unq
.S
uch
between relax
flop"
this action.
emotion. V
uestion of controlled
song or speech.
very time, before the singer starts to sing, he must first relax
much as possible
116
as
l YYUp)
;
!; .5.9);
relax
f he is
emotionally "
dead pan"
dead"
pressionless
relax
being over-ex
"
ed. O ver-
cited
musical phrase
es a breath.
ciate free phonation with emotion, he also learns how to come into a
ttack
f he slurs or "
feels up"
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center of pitch. I
must be mix
es. I
TP,0?\
tension is only sufficient for the tone one octave below the tone to
engender mix
The attack
ed registration.
ttack
sung. No "
elax
ttack
self listener"
ation before A
s;
that discussion
e a proper attack
ttack
before the inception of a given act cannot be used for that act,
117
!;
of the attack
) 4E ) > "0 #0"0 " " T
Z 9 B0 * cF>"Z #F#@4* "0
@
0+ ] #@Z#@"0 F "$ $ @T s
0$ 0 "; ] #@@
0 0 7+ Y
* i
00"-" ) 0 @ n
4>+
act moment
the tone. The preparation for this act is, then, one of relax
ing ten-
sion, not of setting it. The proper tongue muscles must become
.I
lished.
Pre-tension
0qG xGguVjg
attack
ed condition
the attack
>0F )$ v " @ 7 x|AAjB> y @
B9 D i !*
@*+ ,
@@$
@
)> !0 * @"
"
0e"4+
act moment of
in a relax
beneficial.
Tongue I
nstrument and A
ttack
, the
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bly pre-tense it and then bring the antagonistic muscles into ten-
Tongue-tie
mind: Bad tongue-tie. The little cord under the tongue is some-
.I
118
6jgQ~G
xVG
0F 0%"# $
0@$
0% > 0)c"; ] @% @
"RF*@
7; Y " *
F \\"#+
0* )0)c7 @i
@
0) "@)0$
$ O
LZ mFZ # ) "$ 9j;Rx b
0 O0 F; `Fi@$ O ""#@ )h
"f>OR"%)4 B ) q@#@ q"" F 0" 0 d
/
< slssi b
J slt m~
may sever the little cord under the tongue. This very minor opera-
effectively. (S
ee F
Tongue-tie"
ig. 23
"
e it possible to work
ig. 23 A
&
B.)
B shows the normal tongue with the relatively long cord underneath it. The
nA
, an abnor-
mally short cord is indicated. Note that in this case the tip of the tongue
cannot be pointed but is actually pulled down, when the tongue is pointed
upward, with the result that a small in-curve is formed at the tip of the
tongue. I
pupil to assume the proper position of the base of the tongue for the pharyn-
in such cases, the only effect is to bunch up the base of the tongue against
, thereby engendering ex
treme
throatiness.
operation.
ttack
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after. F
D
D ^?Rq^{ eA1{ NR[M(K{ dRN8j1{ qBd?{ d?1{ [1K(dBo1Kw{ KRN9{ -R[.{ jN.1\/'d={ B`{ #=/{
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of the tone.
119
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act
=
3
y
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, ,
)
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h
%
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ig. 24
Posture
a large influence on the ability of the singer to hold the breath with the lower
back
rib and diaphragmatic muscles, and also because it influences the tension
on the neck
muscles. A
of the neck
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Gz
%D@l-U^beX:l
Hz
!"Y
! 0 ; .509); &;
"4;
? 9 QA . Q <Q
Uz
Q Tz
HQ
ig. 24
Posture (concluded)
bent. The feet are slightly pointed out, separated a short distance and one
foot is placed a short distance in front of the other. The body is firmly and
ncorrect posture;
ed.
ncorrect posture;
ncorrect posture;
and neck
are
and in.
wards from
the hips, thus throwing the spine out of alignment and forcing two curves
out.
uilibrium, or "
ed.
, chest and
hold,"
of the
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breathing muscles.
F
)Gj0V^dZDj<VS<OdADAj
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;7=Q;V3X '8>
M;8;D-@X+30>
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I
nspiration
ex
pansion tak
and back
ee F
#
J
(
! J !!
=; `
F
#)
J # ; d `; %z
=#9 # J
9
!
BJ9(
#
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95;a ( !
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I ; I
#
#
I
!; !
7
IJ ;,
(
J !
!
!(
IJ ; ,
IJ
# # Qqf@jO QA 9|A5Q_jO i;dE
; d `; ; z ,
J
(
# =# 7 # (
; Y
7
#
#;d
Qqf>_jOqFQA9|A5Q_jOi;dA
= !
P
#
b ; U
P # !
b (
#
P I ;
or this reason
the singer'
rom
be considered. A
eq
ed. F
uilibrium. E
uestion of
down of eq
their eq
uilibrium. The eq
fundamental importance
in tension. (S
ee F
ig. 25 A
&
e part, co-ordinates
is ex
breath control"
es
which is
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Breath control"
hold"
"
O ut"
to E
Gesture
in eq
stablish I
nspiratory Tension
s a tone he must ex
"
out,"
only
uilibrium.
give"
ing absolutely
relax
or move. This
tively slowly, and must continue through, and a little after, the mo-
ment of attack
the necessary degree of tension, which depends upon the pitch and
tone. A
of the
fter the breath has been inspired, the continuation of the "
122
out"
J
##9
=#
5
J;
I #
( Oq qjq
#
( 75
J9
E U!P = !; ,
U(P # (
(
s
!
(
(
(
9;,
(
(
7
;
C(
CN
x (
7(
J
7
; ,
l = 5
;,
#
9;
x
< slssi b
J slt m~
ig. 25
held"
for phona-
ribs
drawing at the left, the pull is forward and out at the diaphragm, and back
give"
W=>?Y
:;
<Y78
+,
VY
9Y
! KNOQ
pansion
on the muscles
at the back
uilibrium. A
uilib-
rium, i.e., the balance between the two groups of muscles, must at all times
be maintained. Note that the chest and shoulders should not interfere with
this "
hold"
ment of attack
held"
ex
rib muscles.
The tension may spread down to the abdomen but it should never spread
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
#D@l
&TM6DR@lcB:l X:1cBl
6>]r >FFg]bVb>PKr ]6Pj]r b6&r IKK&Vr >Kr j6> 6r b6&r V&b6r >]r 6&F$r +PVr S6PKn
b>PKr Pb&r b6br Pb6r b6&r Dr K$r +VPKbr P+r b6&r bPV]Pr br b6&r FPj&Vr Dr X>]r
K$r br b6&r $>S6V3Ir V&r &lSK$&$r K$r ]r >K$> b&$r mr b6&r VVPj]r PKr b6&r
$Vj>K3r br b6&r F&+br b6&r SgFFr >]r +PVjV$r K$r Pgbr br b6&r $>S6V3Ir K$r Dn
jV$r K$r Pgbr br b6&r FPj&Vr Dr V>]r 6&r ]>K3&Vr >]r 6PF$<K3r b6&r &lSK]>PKr
K$r SV&]]>K3r Pgbr 3>M]br b6&r >KSgFFr 6&V&r Ig]br &r KPr 3>i&r PKr b6&r Ig] F&]r
j6> 6r 6PF$r b6>]r Pgb
SgFFr $gV>K3r b6&r &Kb>V&r &l& gb>PKr P+r r Ig]> Fr S6V]&r PVr
23gV&r 6&]&r bjPr SgFF]r Pgbr K$r Dr br b6&r Dr K$r +PVjV$r K$r Pgbr br
e&r +VPKbr Ig]br &l bFmr FK &r K$r 6PF$r >Kr &Ug>F>V>gJr ]r b6&r b&K]>PKr ?Ko
!V&]&]r +PVr r V>]&r >Kr S>b 6r PVr r $& V&]&r >Kr >Kb&K]>bmr b6&r SP]bgV&r K$r &Ug>F>n
V>gIr hez b6&r GK &r &bj&&Kr b6&r bjPr 3VPgS]r P+r Ig] F&]r Ig]br br FFr b>I&]r
&r I>Kb>K&$r Pb&r b6br b6&r 6&]br K$r ]6PgF$&V]r ]6PgF$r LPbr >Kb&V+'V&r j>b6r
b6>]r 7PF$r P+r b6&r $>S6V3Ib> r 3>K]br b6&r Dr V>r Ig] G&]r
6>]r PK$>b>PKr P+r FK &$r 6&F$r &lSK]>PKr Ig]br &r &]bF>]6&$r br b6&r IPp
I&Kbr P+r bb Dr
6&r b&L]>PKr Imr ]SV&$r $PjKr bPr b6&r $PI&Kr gbr >br ]6PgF$r qeuerz ]SV&$r
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! 1-.71:+;(;
# 41-. 3% 2; i{
Tension on Laryngeal and Pharyngeal Muscles in A
the larynx
EY w ow TYTw oN oY Yw c Y NNT~ N N
starts at
the tension on which muscles is not completed until after the initia-
w c oY Y* A w N oY TY c oY mw w YNPwoYV
breath. I
pulsion of the
pira-
muscles, i.e.,
and with the tensing of the tongue muscles for the shaping of the
n other
words, if the mental picture of the tone is not absolutely and clearly
uncertain, the glottis does not close properly, and any accuracy of
adj
out a reason
with-
always has a blurred tone concept and is, therefore, never able to
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, the throat
larynx
muscles.
and tongue
leads. The
thorax
f the
close because of tension on its own intrinsic muscles and the breath
leads,"
the attack
should actually
Maintenance of "
H old"
this "
hold"
hold,"
) until he tak
es a new breath. F
urthermore,
w YcTY P ,
cal phrase. I
ttack
is being changed, despite the fact that the degree of tension in-
uili-
124
Pw c oY PYNowm TY PY NwNwYV w wY c o\
;
! 0 ; .509); &;
?9 A.Q
Give"
There are a great many ways in which the pupil may "
relax
give,"
i.e.,
give"
destroy the eq
. The diaphragm
ee
ig. 24.)
Pre-tension and I
nterference
The tension on the muscles used in phonation must occur for this
act. I
pre-tension."
N0V0FQ:IF`)F.` FS1O30N1F-0`
, this
E" L
" A^i}
I 4 ) +
o " A^i} . V h
-. !
" )
"
%
.
W ork
or energy must be ex
pended to produce
%'
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of work
used in phonation. I
phonation. "
Pre-tension"
incorrectly
with
d "+g
". =
B "I
"
""
O ,!
o
+ L
" "I 4 ! o " .
o
" {
with phonation.
ed and,
during the process of training the voice, the tension on them should
always be lessening. I
the work
mented.
uation.
Thus, if:
125
I 4
% %
,o%
o
+
"
@
I
X7
" Q"I
% V'c
X E " N ..+
7
7
"
l
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
Then: W = X
+ 2Y
+ Z
work
done"
work
done"
,
LbU' 'K ) )
I %
' ' ! ' I)4 '
U' 9 %'K ' % \'
)
x
')4% J ) q
''( xc
N' 9 'K '
'h'
q
'n
'(
( xc
N' 9 K ' '!
'
'( xc
U 9 K ' ) 4
J'
'+
! '
\J'
J )%(
)
J % '
( '
' ) x
!'
( % '
9 %
g' + ')
'!
' % \' J '
)
% '
' q '%)
4+ ,
)
' %
'
'! I
x ' q '%) )%
+ ,
(
') ' 9( V
A
9
g' ( % )
' 9 4
( q
'
')''+
v '
' '(
( O
J
'j
'
9
' '
+ w
M
' q '' n
(
7
) (
)
+
uired in
in order to
"
work
done"
work
done"
work
done"
in order to over-
and Z
the reader will readily understand why it is that the singer who has
mak
and Z
n ex
would be impossible for the singer to produce tone at all. The ten-
sion Z
be overcome by an eq
must
, i.e., mak
ea
at all, as applied
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
s work
no means great;
ease.
and Z
to minimum propor-
allacies in Tensing E
traneous Muscles
tensed to "
"
support"
school of thought"
be tensed to "
s should
muscles not used in phonation helps those muscles which are used.
must be tensed for that act, all the other muscles in the body should
126
ed.
>_a>CVIuVg6IguXgQxq>gIj~u)~uCaIu
,
( ) q
''D
')4% J
' N K
!
+ ,
N
'
'
\K
!
)9
' Nq
\+K ,
\
' '
)
)
\
)%+
, J
)
+ a
)% q
'
)J
(
'
)x4
J'
')
%
qxVii qj
,
< slssi b
J slt m
U
/
7 F
#= U
* ( V
V
#
= >
"
#
#
<
[\
# :
r " # * (
'
=
> 7s
H
f
5
a 73
F
*
breath clutch"
s. O ne need hardly
the muscles not used in phonation is to increase the effort the singer
is mak
rack
thing ex
f the "
it is q
f a tennis
pre-tension"
omplete "
pre-tension"
"
Timing"
of Tension
The pupil who tenses his entire body and then tries to attack
at all
"
toning up,"
the
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pares himself by tensing and then throwing this tension into reverse.
he is able to "
time"
"
Timing"
pitches and loudnesses of the tones he has to sing with great preci-
when he tak
only
as completely as
larynx
ustment, on the
the loudness should not be varied on any single tone. They must
be perfectly "
timed"
accurate "
"
timing"
timing"
ill in
really "
127
open"
technic.
;
!;
Timing"
and C
Y8
W [ [
<
A<
B< m
8
<2 w
A< <
<k
^ $
< < A
(
84 B <
k|
A^ = 8 <
*
8 b A2 ,
8 UA4K
A< !
[ 8
x; ,
$
h 8
[ 4 < A < 8
[ 2 ,
8
h
< < <
[
$
< [<= 4 j Bb O 2
w
<=$
< 4 % # %
8 <
= 2 ,
$
$
h f 8
< [4
8
8
8 %p f %D 8 B 4!4
8 $
: D
m #K [
fOD
m<< U )K $ $ [ <Z :o
]
$
R4#
:
: Z 8 9 Of fK
[ x
<
!DK 8
Z mB
<<o W
^<$
f
! 4< [ 82 : U 9[K R < D J
< % !K [ m 8< D 8
<
$
<A
8 4 2
m
[ ! [
<|h ! 8
[
#
2 ,
< # < % )#
A 8 4
) %
A8^$
< 8
[ 4
[=
^$ <
!
8
U:!K
8<48
Z#
o
loudness
not
swelling or mak
emotional"
effect is
with which we are most concerned. The degree of tension and the
will "
tie up"
n conj
giving"
inging "
off k
ill in "
giving,"
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to sing legitimately. I
open"
technic,
ey"
timing"
if he wants
breath is tak
without "
give"
lurring
tuning"
cavities for the pitch and vowel, occur. Because the registration is
mix
ed, the laryngeal co-ordination for pitch does not change and
give,"
"
chok
e-off"
he lik
128
6Srj>x7GCSgVC>gE 5_~rqVgQ
,
:
<[$x
[4j
$
c f
8
< :4 < $ U:K
#
4 ff
!
#
R<D 2
: f O
=$
< :< c f 8
[
%
$
$ < D U:!DK U
^c
% %
[
4 <$
A
<$
[49$ %
:|:|2 ,
r <jB
x
< slssi b
J slt m~
art"
req
ing a noise
uires no technical sk
singer."
torch
merely by slurring into and out of the tone and by fading the loud-
uilibrium
Larynx
The establishment of eq
the eq
, Tongue, Thorax
depends upon
The establishment of eq
thermore, this eq
, larynx
ee F
ur-
n each
develop ex
ercises which
W hile it is the ex
cess of ex
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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glottis, the problem, from the standpoint of the singer, rests pri-
phonation does not occur for any other act. Thus, the proper func-
perienced
tension of the ex
er-
erly. Breathing ex
technical harm.
129
: +K d :
- e> jL 9:
4
: >-
- . :
.
. -
B L:-j B-+
s voice
,
} O -
= .
}
. .!#-
B -> B> -
> 2
,
}
- .
!
. c .
:
+ ` n
(
E
*
# !!. #
( X
C
=D = B> -:D - B4
.!.
+ y d `: + ,
(
#
. - =.
} >
:R -
.R# -
:
2
: =
< slssi b
J slt m~
)@)G-0.`
0Z0@IKD0FU` )G.` G0N7^`
Balanced Development and E
nergy
ex
pulsion
cessive
the "
opening."
opening,"
with the ex
f he
uired, it is
ert
.) the breath ex
pulsion goes
down, because the glottis closes more completely when the technic
is correct. I
t is far easier for the pupil to sing a full than a soft tone,
provided that his throat is not constricted. Thus, the louder tone
uires less
Development of Balance
thorax
, larynx
and pharynx
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of the technic
(tongue)
simultaneously,
is
0Z0@IKD0GU` I4`
)@)G-0`
ed on, he
can help this phase of the technic by doing everything in his power
lack
of "
hold"
uires work
req
give,"
which
uire-
ments.. The process is now very direct and far more efficient than
it has ever been in the past, but it is not easy, and the teacher must
not only understand how to handle the problem, but he must also
be willing to work
130
very hard.
c
545?6B1C .C
'
'
$ >635C
* ! + & ( )C % C ! C
egistration E
ssential
proper work
on registration. W ork
laryngeal pharynx
hold"
bsolute C
n the final analysis, when the technic is perfect, the registers are
o-ordination F
inal S
tage of Perfection
even a high C
simo. A
and the throat is held open at all intensities over the entire range,
ui-
ed and
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131
< slssi b
J slt m~
hapter 6
TH R
O A
Neck
Muscles
TI
NE
"R5vB|
are relax
see F
. '"+ **:
the
ig. 2 F
,GD]+~uD_Gu
W hen the voice is throaty, the arytenoid muscle does not come
and j
aw.
1. S
terno-mastoid
2. S
terno-hyoid
3. S
terno-thyroid
4. Thyro-hyoid
5. O mo-byoid (S
ig. 26
ee F
ig. 26
.)
The illustration on the opposite page shows the principal muscles of the neck
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Note the fact that the sterno-mastoid muscles are attached to the mastoid
efficient conduction of sound to the inner ear. The greater the tension on
o
2
M
+
o
these muscles, the more efficiendy they will act as conductors of the sound
directly to the ear and also the throatier the tone will become.
other neck
t is probably j
. There are a
muscles which
has been raised, and has, therefore, served the same purpose. They can also
set"
occurs in co-ordination with the production of a throaty tone, and very often
132
3 h
3c*>
3 h* >
,~cO>
'cLO> Z O
x
< slssi b
J slt m~
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.z
M
45
!
!
TY
,%&
!"
'()*+
#$z
z
^
%
6
z
12
%
C
0
Bz
Q
+ Q
"
' Q
9
+ \ O +
+
I
Q 5 A
?
z U +
e
radio technic"
teacher. This
ig. 27
O ver-developed Neck
ust why!
inger
Note the prominence of the sterno-mastoid muscles. Note, also, the head,
tensed. The j
aw is lock
Tension on Neck
Muscles C
ustment.
auses Nodules
ee F
ig. 2 F
.) The glottis
ly relax
muscles. A
ny such ex
ternal closure
brings the vocal cords together unevenly, so that they are more
because of this ex
unevenly approx
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134
;
! 1-.71:+;(;
# 41-. 3% 2; i{
ure of Nodules
c)!
8 8
!!
= !B
% !
3 % ) !
!) !%
%
%
) %
8 X !!
8y
)
!!%
W
%
absolute silence, but they soon recur if the technic is not changed.
orcing of V
ontrol
control"
urious. A
forced,"
forcing"
forces."
-controlled, "
his
Thus, the
breath-
larynx
which is being sq
forced."
True,
when the throaty singer swells the tone he forces his voice more
O pen,"
free, full-throated
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is. C
forcing"
technic"
really
adio
singers are barely audible, but they are forcing their voices
aruso'
he sang out loud practically all the time, and he was always singing.
aving of V
orrect Technic
There is a very foolish notion current to the effect that the voice
must be "
saved."
so many high C
'
ust
f it is
in a technically correct manner, and the voice does not, under such
circumstances, "
very q
135
uick
wear out."
wears out"
ly.
545?6B1C .C
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* ! + & ( )C % C ! C
5yGqgj
d>uyjWE +~uC`Gu @gE 8Tqj@yWiHuw
S
eturning to F
traordinary development of
when the technic is throaty and they are the most prominent of the
interfering neck
white,"
Under normal singing conditions the head was pulled down and in,
and these muscles came into a high state of tension, which tension
sq
ueak
voice"
voice"
sq
ueak
and sq
rigid j
aw lock
is raised
unction with a
is not phonating. I
voice"
ea"
sq
ueak
eduction of S
The first procedure in dealing with this voice was to try to release
singer'
the ex
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but, when it could finally be done, a vastly improved, far less throaty,
possible for this unfortunate girl to hold up her own head, however
4GF~CxVjg jL 5xGqgj
d>uxjWF 7IhvVkg B +>gWm~_>xVjg
pulling in"
white,"
and Neck
Muscles
, the sq
ueezing
neck
the singer'
136
s neck
s lik
e a bad goiter.
< slssi b
J slt m~
is pulled down. I
larynx
ed that the
on
ven then,
pressure ex
larynx
to any mark
ed degree.
pull in"
more
"
position"
the larynx
on the muscles of the tongue and hyoid bone from which the larynx
is suspended.
Throaty S
inging
"
sq
ueak
larynx
voice,"
or shrill, "
white,"
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mix
]
& &/ &
=
% -%&%
& b&
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&
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, and tensed. (S
ee F
ig. 12 B &
.)
ed in the middle
] ' -
-&
" & b&&
!& /
>/& & >&R&
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= /&% %-
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&
&% / B&>#
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%$-
9$ ' R&
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b& p " # /
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m/b#
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& &&o
neck
are relax
with phonation. The better the technic, the less prominent the neck
muscles become.
H ead, C
The neck
Muscles
too far.
, and mechanically
glossus muscle holds the tongue firmly in position, and the genio-
137
]
&7
&/-&
&
- %%
&
&% / % #&%$ 7 $ #
% /
/% 9 {
a
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&
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&
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/
&-
=
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&
&
H
&
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&
< slssi b
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"
#" $
8
0" $ h Y
0 z ~ $
.
$" # $-" $ . B
# -
#* b
-
$
D .
-]
G J - "
ig. 26
and
throw them into action. This provides as vital a reason for the non-
urther-
occur with
throaty singing. The chest must not be raised and the head must
nor the chest should ever be moved during phonation. W hen these
t is important to
but, if it is held
back
H ead and S
pine A
lignment
. (S
ee F
ig. 24.) I
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t will be
give"
of the back
of the back
give"
the same end. Thus, the double curvature of the spine, at the back
of the neck
muscles
into tension from their upper and lower attachments and at the same
gives."
tremely
throaty, not only pull their heads down but also pull them in and
to one side. A
ny such movement is ex
tremely harmful;
it not only
138
EY
$ $ "
I 1H @
t
$
"
$
" $ -" 3
" 3
-0
*
}
G --0 -
J " '
-0
o" -0 -
$ -
8 L0 'P-0
-0
$
# -
" $ -
.
0' 01 (
-
;
neck
elax
ation of Neck
Muscles E
ssential
relax
unction with
also upon the dropping (not forcing down) of the chest and
shoulders, in conj
aw. A
simultaneously.
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139
t is also associated
aw lock
and a high
f :
5 +
c,
5,
+
W)
F
' '
%
N
Y
F 0 %
4
536?5A0C -@C
hapter 7
TH E
(MA
NI
PULA
TI
O N)
ly close the
muscles
into action.
Dropping the J
aw
of the j
The neck
. The opening
Middle or Lock
urther
"R5vB| ,
ee F
"
p
" b
W
~
$
W 7
" "{
ig. 28.)
Muscles
ed,
muscles of the j
aw. I
ee F
Y " "
p E
"""~
`
~
""
! " 95;a ,
p
"
{ `" =qm~""{
d $qm5j=95;a ,"
b
iX=>cBvq[Xqm 7
$ "
"
W " "
+ d `"{
ig. 29.)
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muscles. I
vice versa.
aw that most
140
6 tntth`
G tnt x = k
ig. 28
aw
complete opening has been attained. The singer should always either sing
with his mouth almost closed or with it wide open in this position.
Note that the corners of the lips are drawn tight and that the mouth is
back
t is impossible for the singer to produce free, open tones until the j
aw has
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"
/,/6/9*;'8;
" 4/,/ 2; hy
@ 8 6A . ; <6=Q: D Q7 4 - 2 4 0,8Q
ig. 29
Middle or "
Lock
ed"
Position of the J
aw
aw has been dropped into the middle position and not pulled down and
back
The j
lock
t is from this j
"
or come into
aw-lock
rom this j
aw-lock
into tension. J
position of the j
Tongue and J
aw Lock
lock
ed,"
5c
middle
aw when
ig. 28.
(Middle Position)
elax
a-
to draw back
$?B^{ ^?Rs^{ `?/{ sR[^d{ E's{ UR^BdBRN{ s?B-={ d?/{ ^BN9/[{ -'N{ '^^jL/{ /[/{ `?/{
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rR[^d{ 2R[M^{ R3{ -RN^d[B-d/.{ `/-=NB-{ /M'N'd/{
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Bd{ B^{ 2jKKw{ RU/N/.{ BN{ `?/{ L)NN/[{ ^=RsN{ BN{ B9{ D
aw
aw is dropped
into the middle position the tongue is apt to recede into the throat
tongue and j
ation of the
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(throaty singing).
aw Tremolo
ing, his j
nearly
position, the j
aw is merely relax
ed dropping of the j
142
aw
aw lock
!
n F
!LL,L
. %LR
+ N !
Y
F
n
n
)[` #O0DJAI`
! =B
:
R
!% n L ,
!!
OcR =% ,
!!R L F
nW n ! L )cF +
c
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13
I
t is from this middle position that all of the most pronounced and
harmful j
aw lock
aw tremolo
ed, position. I
t is often accompanied by a
to shak
e. S
t indicates ex
aw and neck
treme
tension as well
hyo-glossus muscles. I
and neck
t is always accompanied by ex
aw and Lips
treme throatiness
ed registration.
opened
aw is fully opened,
the corners of the lips are tight. This tightness is only indicative of
complete j
aw opening when the lips are slightly raised off the teeth
ee F
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e #e AIOUe K+NB8(9IYOe -#Y>U
e #>\#`Oe I((YNOe
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e INe >I(<+)
e KIO8U8IBe Ue 9Oe I-U+Be #((IAK#B8+)e &`e #e
UIB1Y+e UN+AI>I
e &+(#YO+e 9Ue YOY#>>`e OU#NUOe #Oe #e UIB1Y+e UN+AI>Ie -NIAe
\29(2e V+e U+U#B8(e U+GR9IBe OKN+#)Oe UIe U2+e ;#\e \29(2e U2+Be #>OIe OU#NUOe
UIe O2#<+e Y(2e UIB1Y+e #B)e ;#\e UN+AI>IO
e 9Be #e KNIBIYB(+)e -INA
e A#`e
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e
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e&YUeBIUe#>\#`O
e&`eA8^+)eN+18OUN#U9IBe
!# # #
aw is not
to lock
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the j
(throaty tone). (S
m:
ee F
white,"
mouthed vowel
ig. 30.)
^ ^ W
ig. 30
white,"
ed j
aw is more
or less in the middle position and the lips are spread and shaped for the
correct.
143
5
(KGj
-T<VZZE<`j /Ve`Hj 0V]K`KVT]j
)DKs sDas wD6 sho6,4 XKhs ,]4 Xa0Q64 P, a8 wD6 zDoa,w sK]@6o Da >6]
6o,XX doa406s , DKw6 ao sDpKXY zDoa,w wa]6 &aw6 wD,w zD6 O, Ls Zap6
ap Y6ss K] wD6 ZK44X6 hasKwKa] ,]4 wD6 XKis ,o6 sdo6,4 ,]5 sD,d65 8ap |6
a6Y +DKs jcvM{Mc` a8 zD6 O, ,`5 YNds `66q c33ps D6] zD6 w63D`F3 9G
5BC64DG
>
M;8;D-@X+30>
& ( " # %X ! X X
ig. 30
ed j
lips are pursed and the corners drawn in, and that the teeth are, in this case,
completely covered. I
of the nose and some teeth may show. This pursed position of the lips pulls
in the cheek
tone. I
ig. 30
H ere the j
aw is lock
s a result of this mouth position very great tension is induced in the muscles
of the neck
, throaty
aw lock
pursed lips and the lips with the corners pulled down) indicate the four
most freq
aw-lock
G
(KGj
-S>VZZD>_j /Vd_Jj0V]K_KVS]j>VScSdD?j
employed when the technic is throaty. O f course, many throaty singers em-
aw is found to be lock
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"3F 3,>3F 4F -903F &"-3F *F &,%F $>F ,F 4F 3"*0F >,3F 4*!F
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F *F 3,)F 33F 4F 9--0F &"-F *F F 0>*F 9-F @F )*3F
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"*F 4F %3F *F ,0)3F F ),94F <"4@F ,0F 4F -0,95",*F ,F F 4"%F 40,5@F
4,*
F 4F *=0F ,903F >*F 4F 4*"F #3F ,004F
ed.
1 5
(>
(KGj '
-S>VZZD>_j /Vd_Jj0V]K_KVS]j>VS>Od?D?j
0F 5F $>F "3F &,%F *F 4F ,203F ,F 4F B-3F 0F -9&&F ,>*
F "3F
-,3"4",*F ,F 4F &"-3F *F $>F "3F &>@3F 33,"4F >"4F F ,00"&@F 50,4@F 4,*F
3F F 039&4F ,F 4"3F ),94F -,3"4",*F <0@F 04F 4*3#,*F #3F "*9F #*F 4F ):3&3F
,F 4F +%
F
F &0F <0"4@F ,F >0,*F $>F *F &#-F -,3"4#,*3F ,9(F F "&&9384F 94F
43F ,90F 33F 4F $>F &,%F "*F 4F )#&F -,3"6",*F 4F 3-0F &"-3F 5F
-903F &"-3F *F 4F &"-3F >"4F 4F ,203F -9&&F ,? F #*"4F 5F ,:0F
),34F 0/9*4&@F *,9*40F 4@-3F ,F $> &,%F *F ),94 <,>&F -,3"7,*3F
).&,@F >*F 4F 4*"F "3F 40,4@
F F ,;03F )*@F 50,6@F D3"*03F )C
-&,AF ),0F 4*F ,*F $>F 34F *F &"-3F -,3"4!,*F *F "*F <"049&&@F <0@F 3F ,F
6 0,4@F 3"*"*F 4F $>F "3F ,9*F 4,F F &,%
F
M;8;D-@X+30>
& ( " # %X ! X X
aw
uently. A
set,"
in which the corners of the lips are pulled down and the lower teeth
ig. 30 C
or most of the middle tones, and when the music moves too
ee
.)
aw completely, a
obtrusively stuck
ig. 31. I
n this relatively
NN b o^ ^^o ^ NV ^ P o^ oV P^
Py^ T~ ^V ^NV. Ioy yy y o y
n both the open and closed positions (the only two posi-
or setting the j
s,
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ment;
ctually, one never sees a really great singer assume the middle
position of the j
aw, or "
set"
during phonation.
The j
aw
correct posture.
aw can
Vyl oNy)
Io^ }NTN P^ T^^ ^^V o^ o^ y N^ ^^V
NV ^yo^ ^NV ^V) A^^ p o^ ^yn b o^ }N
be opened. W hen the lips are spread and the corners of the lips
aw can be
is of maj
Dropping the J
W hen the j
opening up"
process.
aw
erk
145
ing or "
stick
ing"
LIJJ:H8\P93\,Y\
Lo^ o^ }N y P^yl V^V o^ ^yl l^^ oV
NN P^ NV^ y ^ ^^ Nyl T^^ NV NyV
;
/;
8J
F
ig. 31
orrect, R
elatively C
aw
aw completely opened, as in F
ig. 28, or
t is, of course,
impossible for him to open his mouth all the way and articulate when the
aw should not be
ctually, the
singer should seldom, if ever, open his mouth for the production of middle
tones.
Note that the lips are neither spread nor pursed and that the teeth are
showing, but that only a small amount of both the lower and upper teeth is
uncovered. The lips are held away from the teeth but not unduly stuck
The j
lock
ed"
EJ
/J FJ
position.
GJ
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'
out.
aw is opened slightly but not far enough to come into the middle,
< slssi b
J slt m~
aw lock
aw is being
relax
Passing Through J
aw Lock
ometimes the j
bad training. I
"
ed and the
lock
"
set"
in the
X
F ) 0
% F %
R
% - 6 6 F 6%
R 6
uncheck
ed gesture. I
the j
lished, the j
open"
t lock
aw in any position,
for the singer to form mouth vowels, i.e., produce throaty tones.
aw Manipulation
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aw by placing
with the thumb and middle finger of the left hand. The teacher
32A
s face j
bones. (S
ee F
ig.
& B.)
)[` )F:KYA)S:IF`
t must be
chok
s head go back
the "
down"
; 66 0 3
;
; BR
;
6x F 0; 30 N V \6
c
C
=
)
6 )
Xc
6 6 6 )! 6 0
4
8 %
F
+%
3
3O 0 ; ; x ,
6;x
R 3
6p'
p6 3 ; 6 F
B
-
= V>D}
);
CgXU{}
'
=
0 ;
6 66 6 6 3
60 4 6 ;;
p! R 0 3
% "
3 W
aw
s larynx
or he
as long as possible. I
147
is
ward, it is
!c
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
elax
shortened. Thus, holding the head up with his left hand, the teacher
swing of the j
lock
"
ig. 32
aw Manipulation
The thumb and third finger of the left hand are placed j
two cheek
bones and the head is raised into the proper position and held
absolutely still. The thumb of the right hand is placed in the center of the
chin and the third, fourth and fifth fingers behind the neck
. The j
aw is then
pulled down all the way through the middle position with a firm, well-defined
gesture. The head must not be allowed to move in the slightest degree or
aw must be
absolutely complete so that the corners of the lips are tight. The lips must
be slightly raised from the teeth and neither spread nor over-pouted.
ligaments req
aw is badly lock
ed. I
t is generally
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little or no discomfort is ex
sj
aw,
sistance.
>
148
#D@l
(1gl +1RDVdM1bDTRl
G=. k=sP( $R+ k=A`+ 8R:.` W4 k=. L.4k =$R+ $`. XL$).+ Gsik (.LWy k=.
kyW )=..H(WR.i $R+ k=. =.$+ Ai `$Ai.+ ARkW k=. X`WX.` XWiAkAWR $R+ =.L+
$(iWLsk.L} ikALL =. k=sP( W4 k=. `A:=k =$R+ Ai XL$).+ AR k=. ).Rk.` W4 k=.
)=AR $R+ k=. k=B`+ 4Ws`k= %R+ 84k= 8R:.`i (.=AR+ k=. R.)H =. G$y Ai k=.R
XsLM.+ +WyR $MM k=. y$} k=`Ws;= k=. OA++L. XWiAkAWR yAk= $ g y.LL
+.8R.+
<.iks`. =. =.$+ Osik RWk (. $LLWy.+ kW OWw. CR k=. iLA;=k.ik +.:`.. W`
k=. P$RAXsL$kCWR P$} (.)WP. +$R:.`Wsi =. WX.RAR; W4 k=. G$y Osik ]
$(iWLsk.L} )WPXL.k. iW k=$k k=. )WQ.`i W4 k=. MAYi $`. kA;=k =. MCXi Osik
(. iLA<=kL} `$Ai.+4`WP k=. k..k= $R+ R.Ak=.` iZ`.$, RW` Ww.`XWsk.+
=AiO$RAXsL$kAWR P$}(.iWO.y=$ksR)WO5W`k$(L. W` .w.R X$AR4sM y=.R k=.
MA<$P.Rki `._sA`. ik`.k)=BR< $R+ k=. G$y Ai ($+L} LW)H.+ k Ai :.R.`$LL}
$(iWLsk.L} .ii.RkA$L (.)$si. Ak Ai APXWiiA(L. 4W` $R}WR. kW L.$h kW iAR: )W`~
`.)kL} sRpL k=. G$y =$i (..R )WPXL.k.L} 4`..+
4k.` k=. ikA7R.ii $R+ LW)H =$w. (..R yW`H.+ Wsk W4 k=. iks+.Rki G$y
MAkkM. W` RW +Ai)WP4W`k Ai .{[.`A.R).+ y=.R k=. O$RAXsL$kBWR Ai P$+.
#=.R )WPXL.k.W\.RAR: =$i (..R.ik$(LAi=.+ (} P.$Ri W4 P$RAXsL$kAWR k=.
XsXAM Osik (. 4W`).+ kW P$H. k=Ai <.iks`. y=.R.w.` R.).ii$`} yAk=Wsk $i
iAik$R).
;
stick
, or crack
, at the lock
L
$ "L #> ! #)%+ w
L p >
9$ 9$
49 #"$ b
) = 4
)4 44 > > q
L
#44"
)
49 #"$
>" 4 "+ )
# L "#)4" e 4$
4 > >e"4$ >
)44o
wL
9
p
">>4$ 49$ #"1$
" 9 ) )44 > #44 N 9>P )+
# " $ ) " 4 4 >+
aw tends to
tremely
careful not to allow it to come down and out too far when he is
carefully.
this crack
of the j
work
, point,
ed"
out. The
TH UMB,
LI
GH T H A
TTLE
ig. 32
GH T H A
ND
NGE
ND
aw Manipulation (concluded)
The thumb of the left hand is placed under the right cheek
the third finger of the left hand under the left cheek
right hand is placed on the chin. The little finger of the right hand is placed
at the back
of the neck
of the neck
of the neck
The head is raised and held up by the left hand and the j
149
as shown in A
aw is pulled
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h z N
sW_ i I | S
bone and
J
.7%61
" F
IJ
t k sX ` k | f Y
kfj jI|T
%VO
+5 .5jVvc5Vqj ;qj;c>A>
: 3cL c}A P cL wLP c:~H n w:CLH ~HL cL nYc CcLLuB~L :H
< slssi b
J slt m~
aw has been
f this phase of
o-ordination
lock
aw
j jrFVg>xVjg
ly. Thus,
will "
give"
and the j
ing of the j
aw will bring
ven a lip gesture for the resonation of the vowel may start this
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throatiness. I
he is to inhibit all the gestures which may start off the cycle which
uch work
cycle into action, in the case of each individual pupil. There are too
here.
haustively
hold,"
the base
of the tongue is held firmly in position, the glottis closes and the
pressure of the breath is, therefore, held against this closure of the
Throaty Technic
Neck
ept in a state of eq
uilibrium.
W histling
ed and
in which posi-
it may be raised or
150
6Srj>x6ICSgVC,IC\=SVux_VgQ
a * 55 ,
5 F
T
0 7E
*T
5 5 k *
q+,:
*
*
$
x
< slssi b
J slt m~
the neck
muscles. I
ueezed
n other words,
, and breath
tively loud noise occurs. W hen it is blown more gently, the intensity
singing at all!
t is not really
and could even produce a tremolo with the tongue. This form of
whistling was q
ex
to the larynx
the larynx
ure
and which
Destinn, Melba, K
such as "
"
neck
by Lunn, S
whistling"
voice placement,"
"
ue,"
diction singing"
or "
"
"
aruso,
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merely "
irk
mezza voce,"
radio technic."
etc., or by other
"
crooning,"
"
neck
151
whistling."
H
! I
* H
9
E(
9
*( % J
C H a
( F
!*
a
f *(
(
*(
)% #
d * * *
-
*H !!
%*#
*s
C
(
C
#
*T
% ! #
-
2 ,
I #
F - -
,
*C T*
-
(
#
i CC ! =qj
*T (
( !
Fs
*
*C(
! ( W
*Tk
*
((
!! *HCl!#C
* ! #
5
f(
# %
9 %
# * H
(
(
( C 9* ( d ( ,
H
* N9
CH Y*
*#
* - (
NC
I(N# C RA5= ;qA{D= (
N! #
(K N ! # ( ( *
(
# E
*(
N !(K N (
NCC5 C!
H(
C *# C
( C
H C!H
*( *
HC5 H
N9
CH
< slssi b
J slt m~
hapter 8
(PS
TA
BLI
H I
NG TE
H O LO GI
LF
H NI
TO R
LI
MPR
O V
ME
NTS
voice. I
#4;8E .
*, * : +
: % '"1
+*:
%*5
""
:
+" '*:
assistance.
onscious C
mpossible
primarily inhibitory. A
uch, how-
ever, is not the case, because the manipulations are made by the
teacher and, even if made by the pupil himself, are only effective
instrument, all that really happens is that this instrument puts the
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ed. The
instrument helps the tongue muscles to come into tension, but the
attack
impulses which actually bring the muscles into tension emanate from
n fact, ex
deed helped, but here also they only come into tension as the singer
152
< slssi b
J slt m~
attack
8: &D
8% "
"
s the tone, and are not tensed, but are merely helped, by the
manipulation.
planation.
cated, and after having helped the pupil produce a definitely im-
ustments. F
"
"##
W#8^
^"1
^
#
"
Psychological F
actor
and of break
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student is subj
are used this problem becomes harder, not easier, because the
"
opening up"
Q^-8I@I6:-)@` )-SIN`
tone and to build up the memory pictures for the greatly improved
opening"
uip-
There are two principal reasons why the human voice does not
aulty E
urthermore,
where the ear is really poor, the process of training this pupil is so
153
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
O E
j
!
Vc !
difficult and arduous that it is hardly worth the effort. The unde-
H8;,;S;JF` )H.`
).` #1-8F<-`
people are more or less inhibited, and this inhibition is very apt
to tak
holding back
"
E
! ! }
!!
!
+
+C E!!U!
!!
!!E!!
! !
+C !
!
!
+
"
!!
+
can
large auditorium. I
one means by which the inhibited individual can bring about this
chok
ing off"
e the
tongue, j
aw, chest and shoulders) into action and destroy the proper
tend to raise their chests and drop, or pull in, their heads in order
to "
hold back
"
the tone;
erk
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erk
check
"
or a slur.
t is hard work
tion, which are seated in the very roots of his nature, is a very
is willing to tax
s"
ect
drive."
elf-listening
t is not an overstatement
irst, because
uality. S
econd,
154
!1A4A;QS1H;H6`
} 6
U 4
U { \
! b V
B! ! =
b;6 !
SIc 6
c
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
5xGqgk
d>uxkVF )~uC_Gu>gF5G_L
_VuxGgVgQ
S
elf-listening
improvement of tone q
technic is throaty. I
cles. R
neck
eference to F
igs. 26
&
e a hard, firm,
the throatiness is relieved, the singer will hear a tone which is con-
ring"
uality to the
or shall we say fight, dreadfully hard to stop the pupil from pro-
ducing tones which are throaty, shut off and unpleasant to the ear
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tudio H armful
on the teacher'
s directions. S
ine V
,
!*
G
! I*
$
" "
*+
"$
9 "
"
9
%*
*n
+ V ' `"+ "
b
"
9 %i*
h%+ w
"
"$
*9
( e $
$ *
+
" " % F
!"
" "! B ! "
!
"E "+ w
$
" " o ]
V' $ B B
" " "!$
"
B
"
n
% " % N "K'
" ' ZB $ %" i
" " * $ V $ B% I"*
" + d "
F N V' > ' m 9$
e
$ *
%
#" n
"
*$
B% #
*
+ $
##"4BJZV >
# ""
" !"$ " " "#
"*
" #" +
utility of F
oice without I
nterpretive A
bility
no natural voice,"
but
155
,
" " J
" "% b %"' "
4
" B% V !+ w
# "" B'Z
"! " # % I"
*
" $
" " E!
+ ]
"
""
"
! "k
!" " *
G
< slssi b
J slt m~
*/2NG/G/( CN"
(G
) /
"2 2
2
/ */ ()
( NG "
$5 f N
( e
/NC+"
$+
$ $ )
G(
N* N
()
*
* "
I
" p
N*
)$ *
, M
nical problems;
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156
*
< slssi b
J slt m~
hapter 9
PR
xz
O BLE
MS
O F
GI
TR
TI
O N
s,
a tone in the falsetto register and adds the lower register. This
ex
s previous book
!B1Vc:Yl .
has
! !
!
alsetto
>!
! !+ !S ) ! !
6!)
!
! '
! ! 6
! !
+ ?
! 169l 6
` ~
'
) 6 /
;+ !+
+ )R
/!
/ ! .
/#) / 6 .
!+ !
! ! !
!)
/! !
/ E1
ed regis-
ercise
is used before the pure falsetto has been established, the result will
the mix
The "
dark
"
"
e"
er-
the outset, this vowel is often ill-defined, because the tongue position
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
of the tongue. The pupil should not resist the tongue position which
I:F8\'9LIU89\P93\ ,BO3PPI\
the teacher has brought about by the use of the instrument. H e must,
f he
forces the vowel himself, he will move his tongue and thus mak
dark
"
!
!+ # ;
#R ;R 6
/ ! ! !
!) !
:!) /
/ !
( S : / ! ! !
e it
urther-
vowel at the
outset of their studies and they must, therefore, sing the vowel which
ea"
dark
"
"
e"
vowel
by means of the tongue instrument, if the pupil does not resist the
adj
The pupil'
157
sj
;
.;
spread, unpouted and, at the same time, held slightly away from
vowel, and the tongue action will be definitely brought into play,
W hen the pure falsetto has been established in this way, the
go through"
to mak
tension and eq
the ex
erk
, break
f he does so,
not retained.
ntensity R
ises with A
ddition of Lower R
egister
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must be forced to ex
illfully. I
f he fails
ercise
ed registration results.
ed
F "D
f '8
"D "
s
#
. . =. E\
+ ,
##
. = ) g
#
D
# # "D #.
. 7
+
..
$
=
)
$ =. E
;
HBBg
"
$ \ =.
) 2 $
.
B
#
XUiX|B ,
" "D
RFD }" 8'
2 R
$
=)
s
'
D
.! ? .!
#s
D "
#
D
= ?
R
2 ,
c " "
..$ " ##
$ s
\
. #
E
# ..
2
sity which is greater than the loudest possible intensity which can
158
< slssi b
J slt m~
No I
ntensity O verlap of R
egisters
$ "<
q
I
point. The pure falsetto can never be sung as loudly as the softest
lower-register tone at the same pitch, and vice versa, the softest
n work
ing
en mix
uality
not
ed registration and
alsetto
the falsetto"
ex
ercise. E
going through
the pupil may use this manipulation himself while the teacher em-
this manipulation. I
do this ex
be possible.
This ex
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ex
onstant
W hen the tongue instrument is not being used, the pupil must be
sure to hold the vowel absolutely constant for the two registers.
whiten"
ed
"
dark
"
"
e"
vowel be used. A
dark
ny
t is the dark
ness
=vhZ)M!6))!
-
,
$
$
!
@
'
4
A :
4! $
0
M
f'
$ $
,
2
9$ G>
0
+I
very wide.
159
&I[1@` XQU`
1` 1@/` IFQS)FU`
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
[I:1\IH3\KH:JUB,P:IH\,H1\I:H8\'9MIU89\ ,BO3PPI\
H yoid Bone Manipulation and Going Through F
DY
alsetto
n cases where the tongue drops badly, the hyoid bone may be
ercise. I
n practice, how-
W hile "
ex
ed for the ex
ercise to be beneficial.
ercises for the male voice, it is used very seldom for the woman'
voice. This is because, in the first place, nearly all women sing
faults are associated with this register. H ence, the use of this ex
er-
cise would only tend to reflect these faults into the lower register.
n the second place, women sing about an octave higher than men,
so that they actually use the falsetto in performance and the influ-
ence of this register on the lower register is, therefore, more or less
automatic, when the other phases of the training are properly car-
opened up."
Balancing R
egisters in W omen'
sV
oices
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The ex
This ex
ump.
opening"
,B,H0:H8\$68:OP3MO\:H\+IE3HO\*I:03O\
of the lower
ercise, the j
aw should be completely
erk
is always accom-
its use is indicated. O n a cue from the teacher the singer should
e the tone an
octave higher in the falsetto. This tone also should be sung at full
any j
erk
or slur. I
ed without
ex
ercise on one breath, because when she breathes, she must break
16
Y
/ ; .5/9); &;
Uz
Q Tz
HQ
opening"
shoulders, j
attack
/- % / 1((9> /7A$I
4 : /
+
% 12%
/>
( a% ( /7 + / ( I
1+/>( /
(7(
% @
(
( +
/
( j
%
-1((
C ( (( .
V
(+ %
/ >% (%
((( 5 -1((
C ( %
/ ((
% r
(P(( % ( 11/
>1/ / (> - /(/ C ,(
5( -(+ C / (
( ((
( (
!
: ( ( >(
1
( ((%
B
1 ,(
5 -1((
[
(( (
about middle C
attack
a violent j
erk
"
of both the
out"
give"
or the "
hold"
move-
mus-
W hen the laryngeal control for the lower register is used, it must
The loudness of the falsetto tone should match that of the lower-
register tone with the necessary increase in loudness for the octave
ercise, when
the ex
determine.
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carry down"
carry down"
is important, because it
helps in the association of the registers and, at the same time, adds
ex
ercise
for men.
break
break
off"
off"
break
off"
on
the way up must be complete and the falsetto tone must not be
attack
The "
carry down"
should the pupil slide below the lower tone after singing the upper
tone, since too little falsetto tension would then be added to the
effect of the ex
The "
16
ercise.
carry down"
c
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
but even if the pupil does slur, the falsetto tension is added to the
transpires. The ex
erk
s off on
"
ah,"
but
s ability to
ustment
"
e"
The actual vowel employed does not matter very much, provided
that it is dark
W hile the j
ex
mak
O ther ex
women'
fifth, a maj
or
give,"
slurring or j
erk
uality
ing.
W hen the registers have been so far developed and purified that
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
the pupil can sing the tone D (on the fourth line of the treble clef)
the E
ustment (good q
uality),
W here the change has to be made lower, the falsetto is not in the
intensity line. I
elatively W eak
irst
has been reached. Before this stage has been attained, a few of the
& ) &&&
3 ) & & &
5 ( ' p # [
& .) :# G J *
( & . ' &# 7"Q
. & & S
&:
Wm*() 61XLl 7Q *
( & & ) &&
61XLl & .j
D : &
' ) ) & & ) & E
# W : & &
8 ( : & &
# 4NT_DRAl # 8
U ' &
S ` () & && :
EW) : &) & 5 (
& \
& 7 )Q :# 5
D && & E&
: G J
gD6<l TV<Rl &: G & \ J )
; N) )
& : 5
D & ) m
K > & )
W & P & 5
The singer, who can only use the lower register up to about F
on the bottom space of the treble clef, has at least five semitones in
and A
. The F
especially the F
sharp, G, A
flat
sharp and G. I
16
f, how-
;
open,"
ness or "
or by pushing
edge,"
above the
intensity level at which they can be sung in the pure register with
the throat open, the result is entirely destructive. Under such cir-
riorates rapidly. F
held back
,"
or sung
too softly, reflects up into the falsetto, which then also becomes
very throaty. This throaty falsetto in turn reflects down into the
mix
shut off"
opened up"
in the
technic.
Little Lower R
Many singers have been told by their teachers to use the lower
register ("
chest voice"
) up to E
flat, E
or, perhaps, F
(the first
space on the treble clef) but not to use it any higher. This pro-
` :SS@2` I[2N`
cedure is definitely worse than not using the lower register at all.
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W hen this register is employed for a few low tones only, the lower
to be usable in conj
unction
with the loud, lower-register tones in this low pitch range. The
singer who j
ust "
fades out"
trained q
uite easily, but the singer who has pushed the lower fal-
throaty. A
at all. I
t is disastrous!
and used properly, or it must not be used at all, under which cir-
half bak
ed,"
silly form of singing with her throat always in some degree of con-
16
#
##
y
#
#+
[
&##
&
#
y
f;
&'
c
545?6B1C .C
c>635C: 9 C2=;C
* ! + & ( )C % C ! C
egister Must Be C
t any given stage in the training process, the lower register must
t must not be
on the treble clef. This means that the pupil can produce really
"
open,"
good q
Permanent Mix
ed R
or D flat.
v o^ ^ ^lv^ TN S^ ^V Tv^ NS C iN
o^ ^S^ T^b( Iov ^N oN o^ v TN VT^ ^N
^ lV Nv ^#^lv^ ^ NS ; : iN&
egistration
ed registration. I
ee F
ig. 21.)
Temporarily I
ed R
egistration
nduced Mix
open,"
even up"
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
mix
"
ed regis-
ed registration
com-
The pupil who can sing up to middle B flat with a pure, "
open"
pure, good q
"
open"
uality q
uite satisfactorily. S
uch a con-
shutting off"
. These weak
"
wide
ny attempt to correct it by
who has made this attempt finally finds herself with a few, poor
uality, throaty, middle tones and not even passably good upper
or lower tones. I
16
^^ TN V^l^^Nv(
Jo^ v o TN vl vVV^ C ?N vo N ^ vV^
^ ^ ^lv^ NV o^ C iN N TN^ ulo^ vo N
^lVNvb^^^bN^oNoNvloS^^^VN
Y
Uz
Q Tz
HQ
ed "
Middle"
limination of Mix
egister
@
^
,
,
$
E ,
,
B
%
,
?
1 @
%
E 3
* @
,
3 ;
%M
% ,% '
% * (
,
, f 5 A ;
B
M
, f
5
k,
%
?
$ $
% ;M ,%
.
% E %. $ ;
M
' ;
1Q ( $
%
n $ 5
for its goal the absolute purification of the lower and falsetto regis-
t aims to
n the
ter"
middle register,"
which
middle regis-
open"
the result that, in the final analysis, they establish and "
the mix
ed "
middle register."
falsetto, with
train"
only
Use of F
a very soft passage, but for all normal singing the lower register
D. A
balanced with the falsetto, can be used for very high tones. I
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ex
3Q
t cannot
s voice is in an
$
.
C N
C% ,
:2 L ,
% p
% ,
$ ,% $ ,
* @
$
%
% S
'
, 5 @,
,
, % $
'
^ $
N ,
#
1 ( ? % ,
% $
j
ed
more mark
proper technic.
O ctave R
eflection in Performance
Because the lower register controls the falsetto one octave higher,
the singer who cannot use the lower register above middle G should
high A
Until D on the fourth line of the treble clef, sung in the lower
register, is "
in the voice,"
, and they
16
in the voice,"
n,
%
$ B
$ B
%
,
*
D L
%
L ,% 5 (
$ n
$ [
5
k : ,
. ,
$ ,%
% ; 2M ,
$% $
,
#%
$ 1 b
% C N%
% ? ; %M
$
;
/;
can interpret, satisfactorily, most arias and songs for the soprano
Use S
ongs of Limited R
ange in E
opened"
arly S
=T]:l
* 9
% C N%
%
8
Z
%
%
%
1
tages
lished, the pupil must not sing songs which contain high tones,
or the
a more ex
e very long,
the proper k
former, she will tend to push for more power output than her voice
can produce. I
shut off,"
because
C
% Iq
%
%
u
u
* 9
=
%
TV:R:6l dVl
%
'
= Z
] #
%
#
=
opening"
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
is naturally
of "
open,"
roles. The tessitura would be too high and she could not hold the
"
opening,"
strict, and her voice, which would become throaty, would ultimately
be ruined. S
inevitably thick
her voice.
16
D
%
* @
%
@
I [%Q
I
F
8 Z
]
Y
* Z
p
8 @
3
I%F
K b
%
:
a
hapter 10
ibrato
BR
TO
ND TR
MO LO
shaped for the vowel and the vocal cords are so far separated that they
present, so that the pitch of the absolute whisper cannot be altered. The
air is ex
"S5vB|
pelled from the lungs and, passing out in a stream, brings the air
in the shaped cavities into vibration, thereby producing the vowel sound.
the
conditions, the vocal cords are still relatively widely separated. Under
work
of the glottis. A
and larynx
to be held con-
stant and the breath pressure maintained. This intensity varies with differ-
ent voices. I
ustment. I
the F
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.F
W hen this point at which the vocal muscular system (i.e., the muscles
of the thorax
, larynx
and pharynx
constant tension, is reached, the vibrato action begins to come into play;
proper conditions the vibrato swing can become very great, so that,
"
on"
and "
the voice. I
off"
the larynx
16
<VAq>xj
set."
, pharynx
and thorax
),
6 totth^
G tnt U j
Q E ?W 7 I L ?P H9 C ? 5 < ? :3 E
n increased freq
uency
of vibrato is used for the trill and for the high speed running of musical
figures
on"
and "
off"
impulses
true vibrato. I
vibrato freq
uency is about 6
-6
aruso'
.2 was
n ideal
uency 6
en from records is of
uantitative data.
en despite the
fact that but few unaccompanied tones appeared on the records of the
great singers. I
value, even if the other factors which render such readings unreliable
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and that these tones should be sung under acoustical conditions which
ed. F
highly sensitive.
The investigator must also realize that a successful singer does not
gain,
urthermore,
vibrato which has some of the characteristics of the tremolo, and the
tremolo. A
f he is an ex
it is unlik
ely
or this reason,
appear on the record, despite the fact that when the tone is pianissimo
"
off"
-6
and
on"
nc. I
t normal
en in the laboratories of E
lectrical R
esearch Products,
on"
and "
off"
thorax
instance, C
16
aruso'
or
in other
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C
words, when this supremely great artist sang a full, high tone he was
iilH
ig. 33
ig. 33.)
coustic S
W ell-produced V
ee F
H im-
pectrometer R
oice S
inging F
eading of the V
about six
dots are involved in the vibrato (the pitch variation is about one
'
&,={ .R`{ RY{ HCN/ { BN.B,'a/^{ &N{ BN`/Yn&H{ R2{ &{ Xj'Ya/Y{ R2{ &{ bRN/{ Ra0{ c=&c{
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&N.{ &{ ='H2{ p=RH0{ `RN/^{{
The ex
'
KF}
4^uloK4} *`;4og^Y;o;g} );19[F} ^?} oH;} -K3g1o^} ^?} 0}
.=UUag^6u4=6} -^K4=} *K[FK[F} ^goKmlKX^}
ortissimo
'
ibrato of a
fact that there is no harmonic relationship between the high and low
freq
"
, pharynx
for a full, free tone without this physical release of the "
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
thorax
off"
and
on"
and
tone without vibrato, the entire resonance system will actually collapse.
Because every great voice has always had a vibrato, the ear has come
unpleasant q
uality.
at fortissimo. A
ee F
ig. 34 A
.)
with
The actual effect of the vibrato, from the standpoint of the listener,
-6
varies with each individual voice, and goes from practically zero at
pianissimo to an unex
16
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ig.
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thorax
, pharynx
and
occur at the point of low intensity. This is particularly true in the case
of a very loud tone. O ne would imagine that this phase relation would be
before any definite statement can be made, in actual practice this shifting
in any mark
/^ -^ --Y
ig. 34
ed degree.
/w^ ~ ^ ^
H igh S
ibrato
jZXRY
S
T U 2 0 B C J
singing forte. Note the evenness of the vibrato. The space between the hori-
zontal lines is 10 d.b. Note that the vibrato variation is about half this space,
i.e., 5 d.b.
voice.
This piece of apparatus registers, with great accuracy and at high speed,
every intensity variation. The reader will notice the definite increase in the
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This increase in the amplitude of the vibrato produces the effect of a far
greater augmentation of the intensity than actually occurs. The rise in intensity
of this particular tone appeared to be very great, while the actual increase in
intensity
the mean between the high and low point of the vibrato at fortissimo
as compared with the more or less even intensity of the soft part of the tone
lik
3
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high speed level-recorder definitely prove the fallacy of this contention and show
that the amplitude of the vibrato is the main factor in intensity regulation.
f the vibrato is irregular, too slow, has too great a pitch change, or
too wide an intensity range for the intensity of the tone being sung, the
170
uency.
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O f all the misconceptions about the human voice, even in the writings
tremolo. S
muscles. A
spread from the tongue, which will be seen to move in and out with
tetanic action.
freq
recent work
, has a freq
ee F
ig. 35.)
Lf
yi
ig. 35
Tremolo
H igh S
Badly Produced V
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bsolute
oice
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tremolo.
3
in these oscillograms.
The tremolo is ex
"
urious technical
:>
neglect the lower register with women and the falsetto with men, and
those who force their pupils to flatten and groove the tongue and hold it
pressed against the lower teeth, will (provided that the pupil is con-
urious,
occurs, so that the mouth becomes the resonator of the tone, and pharyn-
ually
with soft and loud tones, while the vibrato appears only at M.P. for the
171
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utmost importance.
The tremolo action occurs only when the throat is closed, i.e., when
ing tension and occurs only when opening tension has been established.
been reached. A
The teacher must not attempt to develop the vibrato before this stage
vibrato and the tremolo, despite the fact that the true vibrato and the
tremolo vibrato"
movement is far more vigorous than the insipid tongue tremolo of the
, larynx
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proper phase and amplitude relations for the true vibrato. The hundred
percent light, soft tremolo must always be entirely eliminated and the
tongue action reversed, before any serious attempt can be made to de-
dead"
ected to inj
tremely
ods, he may have developed the habit of holding a steady tension on the
(especially on the ex
stances, however, where the pupil has a certain degree of talent for
undertak
of the "
en. V
on"
and "
"
shak
mak
e,"
off"
erk
y,
ercise he must
The "
tremolo vibrato"
and "
vibrato tremolo"
opening"
opening"
to "
closing"
tension.
172
,
< slssi b
J slt m~
ment
though slight
, which move-
e can be
ed vibrato action.
.I
(6
uency
per second), the pitch change should become normal (about a semi-
perienced.
ticularly true of the pupil who inflates his chest and brings tension to
plished primarily through the inflation of the lower part of the lungs,
which engenders tension on the muscles of the diaphragm and the lower
ribs. I
or this reason
inflates and raises his chest, must be carefully instructed in the proper
method of inspiration. I
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cal tones, and more than this, musical figures and phrases. A
musical
melody. The musical phrase (the end of the phrase is always mark
ed
it be the single note or the group of notes forming the musical figure
uency, ex
for the vibrato variation. W hen playing the piano, one can only strik
the k
struck
, a sound of fix
eys. I
e a wrong k
ed pitch or freq
cept
ey on a piano is
uency
The singer, in company with the violinist, etc., is, unhappily, not in
other k
t instead of changing
the aesthetic standpoint, that the singer should never, under any circum-
stances, slur. I
(ex
W hile the q
eak
eyed
ustments of pitch
ustment
173
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the case of a singer whose high tones are incorrectly produced and out
of resonance adj
inhibition. S
vibrato mechanism which enables the singer to climb up or down the scale
in steps.
intervenes. I
off"
cords to tak
erk
e the ex
t"
on"
position"
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
the resonance
a rising musical figure, the vibrato impulse which raises the pitch and
t is possible to obtain ex
act adj
and intensity, and the muscles can only respond to this concept if they
fluid"
fluid,"
or moving, condition.
rhythm. W hen the voice is produced properly, the regularity of the vibrato
about a six
th of a second. I
t can also be
held any length of time which is a whole number times one vibrato. I
cannot be held for part of one vibrato. The time between tones is fix
ed
phrase, each note in the music, according to its value, is held for one,
two, three or more vibratos. W here a slur is indicated on the music the
singer should ex
work
tremely rapid
can be obtained when the singer has learned to run on the vibrato, and
in these circumstances, each and every tone will be perfectly clear and
distinct and there will be no slur between tones. This is how the "
run"
pearly
effect is accomplished.
174
< slssi b
J slt m~
he has no time-gauge for the value of each tone, and he will, therefore,
resonance adj
speak
f he
ustment. Generally
ing, however, the singer who slurs will not hold the adj
ustment of
the lower tone, but will actually go into constriction as he pushes or forces
speeded-up, ex
t is virtually a
ed
"
reflex
because, while the speed of the vibrato can, within certain limits, be
t is probable
that both the laryngeal and the pharyngeal movements are greater in
ueak
irtually every pupil starts with either some form of tremolo, or with
a"
dead-steady"
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dead-steady"
spontaneously. I
opened up,"
any difficulty with the vibrato with voices which have been really
"
opened up."
limination of Tremolo
The elimination of the tremolo is, then, one of the first problems
to be work
and ex
relax
uiver of the
and the lifting of the hyoid bone are of great value in check
ed"
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V
iolent Tremolos
a pitch ex
larynx
muscular mix
Q uality, V
eproduction
n regard to singing on the radio and for the records and movies,
s voice. W e are,
0KNI.X-S:IF`
consonants.
primarily upon the spectrum, but rather upon pitch and intensity
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movements in time. I
six
uency, i.e.,
the middle pitch of the vibrato is constant (i.e., the pitch is cen-
tremolo is very regular and, provided that the voice is not pushed,
is why the radio crooner sounds rather nice, provided that he never
with the result that the pitch starts to wander, and the q
give,"
uality
176
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536?5A0C -@C
very limited
t is more or less
ment at pianissimo. A
appear. A
t M.F
. it is about a semitone. A
ex
intensity ex
ig. 33.)
ibrato in R
t fortissimo it may be as
or ex
tremely loud
ee
eproduction
amplifier and no input control, the singer had to regulate the loud-
&;,P)SI` :F`
ness himself by moving into or away from the horn. Because the
0KNI/X-S:IF`
be reproduced faithfully.
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Thus, if the singer moved closer to the horn for a soft tone, the
reproduced sound was far louder in the intensity scale than he was
the tone which was reproduced had too little vibrato for its in-
tensity. I
was too wide for the loudness of the tone when it was reproduced.
towards and away from the horn, because if he had remained sta-
tionary, and far enough away from it not to overcut the groove for
his loudest tones, the soft tones would have been entirely submerged
of the vibrato for the intensity being sung. This effect was aggra-
urthermore,
the softer tones were then, inevitably far too loud in comparison
the great singers of the past often show what seems to be too little
movement for the relative intensity of the tone being sung. This
177
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records of E
ingly ex
2
emplified on the
qG>x;jVCGu4G_>xVG_5xG>E
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above pianissimo. V
tone should not be a wobble. W hen the technic is good, it is firm and
ings of the great singers of the past, because these records were all
made by the old acoustical method. Their voices are apt to sound
cellent. I
then-
freq
Lunn, S
irk
by
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
rhythmic phrasing and the flow and movement of the voice from tone
of slur
in the
center of pitch and held at constant intensity, for its entire time
eep on changing
oloratura Technic
sq
ueak
voice"
staccati. F
ex
178
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uch
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sq
summate ease. I
opened up"
not throaty.
n decreasing the
becomes higher.*
pulsion
tained against a less closed valve (glottis), the tension on the breath-
larynx
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
than about four semitones lower than the highest tone he-can sing
open"
completely established. I
opening"
has been
and reversed
$'
he sang mezza voce most of the time. This mezza voce was produced
shut off"
179
ee S
cience of V
oice, Douglas S
tanley, C
arl F
isher, I
nc., New Y
ork
#'
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t is, however,
ely to
t is well to point out that the result is far more deadly when a
open,"
oices
open"
voice goes
open"
unk
shut off"
their pupil'
s voices deliberately,
they have had time to develop. O nly mediocre voices survive such
training. I
fC
aruso'
fE
hands of a teacher who eliminated her lower register and made her
"
focus"
ontrol of I
masq
ue"
ntensity
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
and can gradually swell the tone from pianissimo to fortissimo and
striction. The singers of today generally have a loud voice (not very
of sq
ueak
ing, in
tone off"
chok
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;
e the
-controlled, mezza-voce
s mezza voce is
beautiful, but that he forces his voice when he sings loudly is absurd.
180
.5/9); &;
opened up"
hold,"
ll he has to
or work
, harder, in-
adj
hold"
pharyngeal resonance
of the vibrato.
alsetto and V
ibrato (Male)
over most of his singing range, the vibrato should always be vir-
the falsetto,"
sing their falsetto tones with a definite tremolo action. This tremolo
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ll mix
tremolo mak
es a mix
dead"
especially in reproduction. A
e a real tone,
always mix
alsetto and V
The woman'
ibrato (F
emale)
tones, but because she sings an octave higher than a man, she will
unless a very full tone is sung, and such a tone would not be sung
16
>_uGxxj>gE;VBr>xj+>_G
going through
movement whatever, ex
tremolo. A
"
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cessive vibrato. I
opening"
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182
#c
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hapter 11
MI
W hen mix
DR
GI
TR
TI
O N
of the tone, while, when the registration is pure, the added tension
is first tak
"R5vB|
en up by
4: '*-(,#!:
arytenoid muscles must increase as the pitch rises, because the vocal
cords are stretched at higher tension for the higher pitches, and,
hold"
This is why the falsetto action becomes more important, and more
H owever, this ex
ed registration
ocal C
ords C
ontrols Pitch
f the length is k
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to the tension. I
ept con-
lengthen, provided that some other mechanism did not come into
play for the purpose of shortening them. The problem is, therefore,
somewhat complex
Thyro-arytenoid Muscles
them, shorten them or stretch and shorten them at the same time.
ee F
igs. 2 &
36
183
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!+ -
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# 8
-+
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# ,
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+'('
5 8
! N# "#
5
7Sqj
>qxGgjVE +uC_Gw
8 , 2 !+ (
#
2 2 5
8 h+ 5 8 +m+ p
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+
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antagonistic to
are
which can raise the pitch by shortening the vocal cords, is antagonis-
tic to both the crico-thyroid and the arytenoid muscles which stretch
them. (S
ee F
ig. 36
.)
in action indicate that this is not the case and that, actually, they
shorten. I
occur when the technic is good, and how much occurs when it is
faulty
mix
ed registration?
en indis-
f this research
learned, and would undoubtedly show that the vocal cords are longer
(mix
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voice"
preferably "
sq
ueak
high tones and who could do this under the physical con-
strong
give."
B& C
Mix
ee F
ig. 36
.)
ed R
O n the other hand, it appears very probable that, when the technic
ex
outpulls"
and therefore over-shortens the cords, and at the same time over-
184
hold"
give."
m$
/
%
H
%/7 /D1
,
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> D
, 2%
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This action could occur to any degree. Thus, any degree of mix
ed
chance to develop and, in actual practice, are put more and more
on the neck
ture increases. A
ture
cessive
muscles
also increases and the voice, which deteriorates very rapidly indeed,
cles, we would ex
holding"
e of mix
ed
this stage has been reached, the voice is virtually destroyed, be-
pleasant q
ury results. (S
Muscular E
of a most un-
condition are ex
inj
noises
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ee F
ig. 36
D.)
planation of O ctave R
eflection
between the two registers. Let us suppose that, when the pitch is
y} Y( HYY<yl( 34:,
cles to hold the vocal cords in tension for this pitch, would be the
imum "
hold"
UO/UA,L\ZJA,F,P:IF\I7\!/P,V3\$37A3/P:IF\
ex
and this
185
;
TH Y
O -A
TE
NO I
9"> 32 3>8/1%
+ ;5(
=1) 13
MUS
LE
TE
NO I
TI
LA
O -
GE
TE
NO I
MUS
LE
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57 @ ) - - H L1C"8+.L
7+2+L 8>)-"L
T for
articulation with
ilage. (S
ee F
ig. 2
larynx
, showing
thyroid cartilage
:2@*0c
partially covering
3 $ 1
: ! @ 41#
+ ;6(
7!>41$ .
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<!.;(4L
3 #1#
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D
cricoid cartilage).
O C
LC
O R
Thyro-arytenoid tension
rico-arytenoid
TE
NO I
DE
ND
tension
O I
DE
ND
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TH Y
rico-thyroid
tension
PI
TC
NTE
ig. 36
ugmentation
NS
TY
dj
ustment and I
ntensity
This shows a simplified vertical cross section of the parts of the larynx
arytenoid end"
and "
used
and D to ex
thyroid end"
plain
refer to the
ends of the vocal cords controlled by the crico-arytenoid muscles and the crico-
thyroid muscles. A
nation.
pulls,"
. This j
lage to rotate at this facet. Therefore, when the crico-thyroid muscles are tensed,
they approx
imate the thyroid cartilage and the cricoid cartilage, tending to pull the
thyroid cartilage down and to rotate the cricoid cartilage at the facet for articula-
tion with the thyroid cartilage. This action causes the posterior part of the cricoid
pulls"
come into tension. The posterior crico-arytenoid muscles draw the outer angles of
ee F
combined action of these two pairs of muscles holds the arytenoid cartilages firmly
to the cricoid cartilage. The stretching action of the vocal cords brought about by
tension on the crico-thyroid muscles can occur efficiently only if the posterior and
lateral crico-arytenoid muscles hold the arytenoid cartilages firmly to the cricoid
cartilage.
t the same time the thyro-arytenoid muscles, which lie in the vocal cords them-
selves, shorten the vocal cords. Therefore, this shortening action is antagonistic to
pulls"
n other words, there is the stretching action, or more or less forward "
holding"
action, or back
pull,"
ward pull,
resulting from crico-arytenoid tension (which stops the arytenoid cartilages from
moving forward). These two pulls are balanced by means of the contracting or
Pitch A
dj
ustment
cords. The thyro-arytenoid muscles shorten and tense the vocal cords. The crico-
of muscles determines the length of and tension on the vocal cords, provided that
the crico-arytenoid muscles hold the arytenoid cartilages firmly to the cricoid car-
tilage.
s the pitch ascends, the tension on the laryngeal muscles becomes greater and
the vocal cords shorten. Therefore, the greatest amount of tension one is able to
put on the laryngeal muscles determines theoretically the highest pitch that an in-
or the low pitches, long vocal cords at relatively low tension are used. Thus,
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TH Y
O A
TE
NO I
D. MUS
J>)(6 )?@ +
LE
TE
NO I
MUS
LE
O -
tense, thereby
) @ 2 )=
(@LH- ; = 2 +
holding arytenoid
8 I C)5-B
cartilage firmly to
\\ f\\R
dvXic N\hX
SN hvNc\ _j}w
SkShX SNgvOc]
cricoid cartilage.
O C
LC
O R
(@LE-<=2+ -<+
F/L@=3+ .<+
E\g gS\N\
h c\N\
l\h
E\h \}Nm
SN gd
c^N\ h\h
greater intensity.
TE
NO I
DE
ND
) @ 2 * =
E/L@=4+ 8 I C)5-
\\ d\\R \hc NX
v\cd \hc d\ SNx SX
Tension increases
with greater
intensity.
TH Y
O I
DE
Q E T ? D
ND
Tension remains
greater intensity.
O -TH Y
O I
D MUS
LE
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Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
PI
TC
NS
NTE
TY
ig. 36
ugmentation (continued)
inally the tension on the vocal cords decreases to the point where the vocal cords
dj
ustment and I
ntensity
become so loosely strung that there is no audible noise when they vibrate.
ntensity A
ugmentation
set"
can produce greater intensities and since tension on the vocal cords increases as the
fter the vocal cords have been strung (set) for the pitch, it is necessary to mak
is, as the breath pressure increases, causing the vocal cords to vibrate at an aug-
mented amplitude, the arytenoid-end and thyroid-end pulls must increase if the vocal
cords are to retain their stringing. Therefore, intensity augmentation depends not
only upon increased breath pressure, but also upon the amount of tension the end
pulls can ex
hold"
give"
Pitch A
dj
ustment
F N T@ N S E T W
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constant with
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of muscles described previously. H owever, for a definite pitch, the tension on these
the thyro-arytenoid and crico-thyroid muscles are at minimum tension for a particular
pitch.
Because the falsetto register uses less laryngeal tension than the lower register,
the highest pitches that can be produced are in the falsetto register.
s previously stated, when the pitch descends, the tension on the laryngeal muscles
decreases
the vocal cords becoming more loosely strung. Therefore, since the falsetto
register uses less tension for the pitch and since less tensed vocal cords produce the
low pitches, the falsetto register becomes inaudible before the lower register does;
that is, the lower register only can produce low pitches, since it is at higher tension
ntensity A
ugmentation
lages firmly against the cricoid cartilage. This holding action at the arytenoid end
O f course, the crico-thyroid and thyro-arytenoid muscles are already tensed for
the pitch, and this tension is great enough also to support the thyroid cartilage
)%)./ -) ) &/ bIZlWv KWv &v CZ]v KWe<WbKeov 3hGV;We3eKZWv eI<v [Zce<]KZ]v
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7">313>7-1# +;5*
wNeO AfMbUiswOe |UN iGB` JqM
TH Y
O -A
TE
NO I
D MUS
=1 * 13
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TE
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LE
tense, thereby
holding q
3%1
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rytenoid
cartilage firmly
cricoid cartilage
O -TH Y
O I
D MUS
LE
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7">31# -
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O C
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`PfwXfZh iGB` LM
LC
O R
9 1 >) / c
intensity.
TE
NO I
DE
ND
TH Y
imum).
O I
DE
ND
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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Tension increases
with greater
intensity.
NTE
ig. 36
NS
ugmentation (continued)
TY
dj
ustment and I
ntensity
the arytenoid end (holding action) continues to increase throughout the falsetto-
hold"
and k
supported when the amplitude of the vibrations of the vocal cords is augmented
). I
n other
words, the crico-arytenoid muscles must increase tension or else the arytenoid carti-
give,"
resulting in ex
uently, a mix
ed falsetto register.
Pitch A
dj
ustment
onseq
uently,
the vocal cords are more highly strung and are probably longer. (Because the thyro-
or this reason and because low pitches fade due to the relatively relax
ed string-
ing of the vocal cords, the lower register can produce the lowest pitches.
n other
words, since more laryngeal tension is needed for the lower register than for the
falsetto register at one pitch and since more laryngeal tension is needed as the pitch
ascends, one cannot sing as high pitches in the lower register as in the falsetto
register.
ntensity A
ugmentation
16?, 7 ; 1 ? B c
JE}
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Tension remains
constant (max
Ec
stringing of the vocal cords at the thyroid end (thyroid cartilage). H owever, when
intensity in the lower register is augmented and the crico-thyroid and thyro-arytenoid
muscles increase tension, not only is the thyroid cartilage supported further, but
upporting the thyroid cartilage, and lengthening and increasing the tension on
the vocal cords are the distinguishing functions of the lower register during intensity
augmentation. O f course, the holding of the arytenoid cartilages to the cricoid carti-
lage (arytenoid-end pull) must continue if the lower register is to be pure and a
mix
545?6B/C .C
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thyro-arytenoid muscles.
ND
BQ
F1LA=2, - < ,
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nd "\\
p\p
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Tension increases
insufficiently
with greater
) A 2 )=E0LA=2, IB)5-
intensity.
TH Y
O I
DE
\
nanTp\v P!`\n"
nTd \#vPp 'p}Pqy
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ND
Tension increases
insufficiently
Q E T? D
with greater
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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intensity.
NTE
NS
TY
ig. 36
ugmentation (concluded)
mix
dj
ustment and I
dj
ustment
()1JLbv bJZlbv gJ;v [Lg6Jv 39OhbgV;Wgv 3W9v MWg;WbMgov 3hGV;Wg3gLZWv 9h]MWGv 35bZThg;v
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5hW6J;9v i[v gJ3gv gJ;v kZL6;v Lbv 9;bg]Zo;9v
tensions on laryngeal muscles. The crico-thyroid and crico-arytenoid muscles are under-
tensed (and, therefore, never develop) and the thyro-arytenoid muscles are over-
conseq
set."
E NT @O S GT W
ntensity
ed registration.
Pitch A
Kz
vocal cords become progressively shortened and ultimately become so short and so
ntensity A
ugmentation
ed registration, the
ustment
muscles) and not enough tension increase at either the arytenoid or thyroid ends.
n order to k
ffect of Lower-register E
limination
4
"
k
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larynx
would be in eq
of the lower register would be that the stretching action of the crico-
tension, for all pitches. The effect of this would be most pro-
register (sq
ed register. A
ueak
, thick
en and degenerate
technic. S
cessive "
holding"
falsetto
pull"
shut off"
falsetto
on the thyro-arytenoid
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shut off"
give."
pull"
when the proper lower register action was eliminated, these muscles
hold"
be the mix
, throaty, bad q
uality, mix
ed-register
None of
Not one
The better the voice, the more definite and prominent is the lower-
register action, and the more necessary does it become. This is the
190
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chief reason why no great voice has been heard for an entire genera-
tion.
this lack
(more than from any other cause) because of the elimination of the
beautifully, she used all the pure, lower-register tension that could
voice."
t is very sad!
ed "
middle
and that is
worse.
Then there is the case of the last, really great, dramatic soprano
which was not put to shame by the greatest voice the world has
ever heard. S
almost perfect technic, and this teacher did not interfere with it.
Then, unfortunately for her, she left him and started with another
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Traviata in a shut-off falsetto voice. By this time her voice had been
virtually destroyed. A
unpleasant. I
sing C
and
, throaty mix
ed-falsetto technic. S
he would
be in her prime today, had she been trained properly, or even if her
ably
often actually stood up and cheered when she held one of her
dramatic, "
wide open,"
teacher in I
records
he went to a
ach of her
n two
he lost the
grandeur of her voice before she was thirty and never had time to
really "
arrive."
The same thing happened with the voice of the second greatest
191
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he sang Norma a great many times. Despite the fact that she was
a soprano, her lower register was far bigger and better than that
he eliminated it
ignorant teacher told her that it interfered with the high tones and
ibility of her voice. That was the end of her real career.
destroys the voice. The better the voice, the more surely does this
destruction occur.
The muscular ex
EF{xCXle lCC x#
8UF d{C`>x Fr`>e>Xle SXFe {FFd{ l ClFx UF M>C{ dl{
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l F Uxl>xFelXE d{C`F{( 8UX{ dXF{ UF xFSX{>Xle >eE
end up with ex
a thick
, throaty, mix
ed
no high or low
tones.
Length of V
ocal C
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uili-
leF{#
stringing of the vocal cords at the arytenoid end, and the crico-
ture and in shortening the vocal cords to the proper degree and
not too much. The relatively longer vocal cords would naturally tend
to produce a better q
f we add to this
throatiness interferes with the free vibration of the vocal cords and
and q
192
ed.
-#
olume of Mix
ed-register V
oices
e a lot of noise. I
tremely strong
and j
ciently developed, the singer may be able to force out a loud noise,
e the
"
Break
s"
ed-register sounds.
bugbear."
in her voice is j
between the
They think
O1*>Q` N1` JS` 0-0QQ*O;A^`
*/`
a really perfect voice. Many very fine singers have had a definite,
and q
.O n
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the other hand, some of the most unpleasant and throatiest voices
have no break
The mix
e a lot of noise.
unpleasant q
really in tune. F
uality tone. F
urthermore, so
to the back
193
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imilarity of Mix
ed and C
o-ordinated R
f & &
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. e
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ed-register
e a considerable
amount of sound. Both can swell and decrescendo the tone, without
eliminated. C
voice"
uick
ly
is also
o-ordination S
omplete C
eldom A
ttained
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06:QSO)S:JF`
egistration
in the
U
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in no way obj
is
s artistic
!'
Premature E
limination of Break
liminates V
oice
can be a
nearly great voice. O nly a few singers throughout the ages have
that it is ex
194
tremely unlik
545?6B1C .C
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z
very few singers who could ever, even under the best possible train-
ing, attain this ideal condition. The teacher who has several so-called
"
co-ordinated"
in inducing mix
Pure "
ed registration.
O pen"
egistration E
open"
Y
because the j
urthermore,
the fact that even the completely co-ordinated voice has pure,
defined registration must not be lost sight of. Pure registration is not
depending upon the register change are used by both the co-
break
fault. C
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ed
and bad q
ed regis-
which
stages a break
open,"
with a break
.I
. Therefore, a singer
limination of E
ither R
egister I
s Destructive
tunate. S
of the falsetto. I
ually unfor-
195
give,"
with
(
2 7H 2
3
2
( '3
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d
2
:
2
2
V1 9
2
3
2
d
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X
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l
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l
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;
the result that the cords shorten and the thyro-arytenoid action
becomes ex
mix
es the
ed registration
is the same
mix
lack
ed register, only. I
t is, in fact, j
uality indeed,
This ex
planation of mix
register is mix
arytenoid cartilages ex
artilage
give"
of the
closes the space between its upper, posterior edges and the hyoid
bone. (S
ee F
ig. 21.) I
planation of the
helpful effect of pulling down the thyroid cartilage and of the manip-
ulation which opens up the space between the hyoid bone and
thyroid cartilage.
ed registration
the worst
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vocal destruction.
Mix
ed R
dj
ustment
as he lik
mix
ed-register control.
196
Q
Uz
Q Tz HQ
sound he emits. This sound is below, and often far below, the pitch
out of adj
opened up,"
ustment.
ing, some men, who slur badly, may fail to establish a pure falsetto
"
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give,"
and mix
ed registration results. S
uch mix
permanent mix
ment is "
out of tune"
to the ex
of
opened up,"
ust-
req
set"
tuned"
properly-
the effort
of maladj
out of tune."
up, in bad cases, until the slurring pupil is forced to stop singing
through a song as it is for the throaty one. True, if the former has
learned to control his voice and to center the pitch consistently, the
197
< slssi b
J slt m~
ble;
set,"
er. The
this structure. I
him. I
sentimental, "
"
sobbing"
set"
e cheap,
t is easy for anyone, who has the necessary nerve and lack
uch a singer is, indeed, better off if his voice is throaty and his
registration mix
e the cheap
in trade.
6 2 f
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ed R
egistration (Male)
ed registration in men'
s voices is lack
noid "
hold,"
of
give,"
give"
dead,"
Pure F
U1`q1w A
whiten"
es the falsetto. I
and go abso-
n fact, the
tone. I
Mix
n ex
oloraturas
"
sq
ueak
ed-register C
-voice"
s voice is the
198
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2
\[
*$
]A` X ! 6 ! & *
!f
! JB=L D!
(#B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
trick
in the "
sq
ueak
voice"
ed
muscles.
falsetto completely for all of her upper tones, brought her voice
down as far as B
ueak
he had
. The con-
ed down for
The remark
able thing, however, was that she was able to carry her
lower register up to F
below this F
above high C
as ex
does not hold, until such time as the constriction and the mix
ture
of the falsetto have been abated, and this register can be sung with
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somewhat mix
white"
and
ll very high tones, which are not produced properly, are apt to be
ex
cessively "
are "
mix
white,"
white."
thin and sq
ueak
and j
Tak
"
tremely "
aw.
ing this case into consideration, and also the fact that all
sq
ueak
"
white"
tics, and also bearing in mind the fact that pictures of the larynx
show that these tones are produced with very short vocal cords, we
white,"
and the very high, falsetto tones occasionally in certain special cases in order
to pull on the laryngeal muscles, despite the fact that this "
ex
pull"
is at the
pense of the throat muscles. These tones should never be sustained. W hen
this device is employed the pupil is told to run rapid arpeggios without holding
199
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ww ~ dM w:~\M:w |CwM GMgM dM P:C d: di w{ i : dM
LL~M P dM d: |CwM 3dLM ~L dwG ~MM BM :k~MG 9dM~
di GMgCM i M|wMG dM gw g wG ~ :gG :MYYg gd dwGg~]
dM M M
< slssi b
J slt m~
ed
06
registration.
egisters
Proper S
tringing
the vocal cords, with the result that this development may be con-
sidered as a process which lengthens the vocal cords, for any given
+ ` *
which hold the arytenoid cartilages firm, and thus allows the thyroid
muscles to ex
the "
hold"
be in eq
and "
uilibrium. I
pull"
hold"
and "
pull"
must
ui-
ed registration), thereby
shortening the cords and reducing their tension for the given pitch.
The more out of balance the system becomes, the greater becomes
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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register throws the system out of balance, and the further this un-
geal adj
ustment becomes.
Unbalanced R
ed R
egistration
results in mix
This provides another reason why the radio crooner, who uses
develops the laryngeal muscles very slowly. Thus, she may be able
to sing in a relatively pure falsetto for several years and her voice
slightly, mix
200
s soon
B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
mix
ed registration
erates rapidly.
O pening the V
oice in S
.mGgVgQxSG;kVCGVg5x>QGu
tages
s the
vocal cords for the given pitch augments. The additional tension
necessary for the longer cords, if they are to vibrate at the same
freq
ed after by an eq
ualized
the vocal cords at the arytenoid end against this increased tension.
"
opening"
This "
opening"
2. F
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nitial "
O pening"
ery Pronounced
W hen the lower register is first brought into play, the increased
opening"
. Later "
openings"
are far less pronounced, because the change from virtually no lower-
opening,"
very mark
tremely
uality are
uality,
#gVxV>`
.
mGgVgQ
;Gr 0qkgk~gCGE
and in a decreasing degree, augment the power, are far less radical
openings"
201
< slssi b
J slt m~
e the
"' - "-
*#%&#- " -
power output.
ound of a Mix
ed-register Tone
he hears it.
bsolute mix
sex
es. I
as "
mix
ed falsetto."
of
lower-register balance. But, because the falsetto does not come into
is reached, the
the area of the voice in which the lower register should be function-
ing. Thus, the intensity is relatively low, and for the lower pitches
mix
degree of mix
ny definite
and inane.
s the pitch rises, the intensity augments rapidly and the highest
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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s voice is
tremely weak
tones which can be reached are relatively loud. The sound is always
thick
throaty"
or "
white throaty."
tremely pro-
"
thin-white,"
or nasal, shrillness. A
screaming, shrill q
dark
"
rpW~ _bQ_ QIpNW yWIQ_WR IyW yWlIbWl lrR* B_W ~rpR b~ IlI~
uality
singer who employs a radio technic) always sings very softly, under
ed-
es that
male, mix
ust lik
e a throaty, female
202
,
strained, there'
ed-
and, for this reason, the pitch which is being sung sounds higher,
and usually much higher, than it really is. The apparently "
dark
"
"
dark
,"
because it is "
dark
dark
er"
ened"
ed-register singer
pianissimo and fading into and out of every held tone. H e is prone
voce"
which sounds ex
ll male, mix
actly lik
ed falsetto "
mezza
e tenors,
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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open,"
H is was
virile, dramatic
tenor voice. The singer whose registration is pure can always pro-
duce relatively full tones at the lower end of his range. The prop-
erly produced, light tenor voice has more power and virility at, say,
middle C
tone.
Thus, mix
ed registration in men'
throatiness, "
tones, lack
whiteness,"
s voices is characterized by
ed-register bari-
ed registration, as do
ed.
he has no break
she may have a very wide range, she can swell and descrescendo
every tone in her voice without any register transition and she can
dition. The catch, however, lies in the fact that every tone she
properly to q
203
ture is
cessive
6 tntth`
G tnt x = k
ing
ed-register
voice and this type of power manifests itself as tone and vibrancy,.
mix
really true. The high tones, when sung loudly, are very often sharp
mix
mix
ed-register singer and the higher tones are merely screams. The
This type of q
white,"
tremely
white"
thick
throaty."
ed-register contralto.
and shrill.
mix
of defined intonation. I
O ne-register S
ed R
egistration
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uses the falsetto only, and does not try to sing loudly, she may avoid
pronounced mix
ture, ex
and never pushed too much. Thus the female, falsetto radio crooner
however, mix
"
Middle R
Mix
egister"
egisters
build up"
+ ,
middle register,"
ed
he is apt, therefore,
'" "' * 6 x' * "
204
B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
liberately mix
ing
"
blending"
falsetto-only"
pupils to sing out loud, but under these circumstances, their voices
falsetto and, for this reason, they inevitably start to engender mix
ed
ex
bugbear"
of the break
Good q
upon pure registration more than upon any other single factor.
Mix
uality. Mix
faults!
205
6!oMjfw
) 535=5A0B,>B
#')
* <425 :+ 6B /;6C
) )
)
hapter 12
O NNE
TI
NG TO NE
ME
LO DI
LI
NE
theless the basis of singing lies in the ability of the singer to encom-
pass a melodic line, i.e., to sing a melody. To teach the pupil how
"R5vB} "
work
work
or this reason a
or triad, and ex
"
ust as well
, : ," *: 6"
: :
the teacher gives him. Melodic and rhythmic forms, etc., can be
work
lex
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inging
ibility in singing. F
lex
ibility and
factors are j
ecution of a slow
legato passage as for the rapid runs of the coloratura. The reason
time req
uired to move the voice from the center of one tone to the
t is virtually a constant
one vibrato. I
206
f the slightest
erk
as
6 uouui^
G tnu A = j
' ' " ' '
!'; !L
LS '
he moves from one tone to the nex
it is easy for him to run scale passages and the constant practising of
f he
or she
cannot
he is technically eq
redundant.
perfect, because no one triad could be perfect unless all the technical
which tak
the most talented pupil, than does the technical training of the voice.
haracteristics of a Tune
ing, "
giving,"
tempo, in a given time form, and each tone must be held at its
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erk
j ' " *'' ' '"' f+ ' '' S * '
triads over a wide range does not mean that the pupil is an artist.
'"' '"'K
onnecting Tones
how to connect tones together in their proper form. There are very
few, almost no, singers who can sing three connected tones properly
l/6
th of a
second. The voice must move from one tone to another without
207
up
[ #
' K ' " !' !' ! *SU
' " ! ''' " !SK 2
S '
L
) 525=5?.B-B
* <424 6 B1;8B
) )
)
from the time spot of the tones the time involved in slurring up
into them, plus the time involved in slurring down out of them.
uch slurring into and out of the tone is always associated with
intensity variation.
ibrato R
un
i.e., a slur. To obviate the slur and, at the same time, obey the
req
actually a noise.
scale when the interval is wide and, when it is narrow, the run is
made on the chromatic scale. The chromatic scale is not used for
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interpretation of music
ntensity R
ise with A
scending Pitch
scale."
intensity
when both registers are used. Thus, when a female pupil sings the
triad A
b-C
-E
b (above middle C
voice, because the lower register goes to D (fourth line on the treble
ed out properly. A
bove this D
n all work
208
< slssi b
J slt m~
termined. E
at ex
the first
ach tone of the triad must be held for its entire duration
hythmic Pattern
$
$+ [
M i,
I [
" #
" !j
z
p
M
"$!"
;+$
M
hold"
4S|SeVC 0?||Grg
has a
n descending from the top tone of the triad, one must define the two
The "
hold"
slur, or "
req
give down,"
at all times be k
ept "
strung."
relax
.A
stringing"
larynx
must
too much
last two tones of the triad and they finish it with a throaty technic,
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erk
giving,"
relax
ing, or
nything in
moving from tone to tone the tension must be held throughout the
sion which varies and must be gauged with accuracy, precision and
"
timing."
Timing"
This q
uestion of "
timing"
the use of the voice lies in the ability of the singer to "
time"
8+$ "
$ " $J< ! . !
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.
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+ [
.
+
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5
ill in
his
)kVgQNrke7kgGxk7kgG
n all games of sk
tion of "
timing"
golf player ex
209
ues-
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"
.
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) / $
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+ "W "
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ball. Thus, in tennis the weight of the body transfers from one foot
et is lost. I
of a second too soon, or too late, the player will either miss the ball,
or else hit it very softly, and he will inevitably lose control. The
energy (work
This moment depends upon the position of the ball. Therefore the
player must k
he look
strok
e. The strok
e a very bad
a tone, and j
the singer k
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the athlete'
ust as the athlete cannot play the game if his eye is faulty.
"
Timing"
This q
and Maj
uestion of "
or Triad
timing"
of the tone
be made only when the pitches and loudnesses of the tones are
n order to ascend
must be attack
timed"
/KW d(
" F~$KE K "*
/ 2*I
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)
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"
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+ *(Y f
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+
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+ "
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" 7 8
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actly the
timed"
210
< slssi b
J slt m~
or j
erk
, which
badly "
give"
timed"
giving,"
mind.
"
Gives"
and J
erk
erk
gives"
in a relax
give"
is actually manifested
give"
gives,"
or relax
very hard to
give"
give"
on the back
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muscles, or diaphragm
give"
"
give"
at
ny chest move-
of the back
give"
at the dia-
ever a "
give"
hold"
thorax
muscles
muscles. I
give"
a new impulse. I
erk
, a slur or
be the result of a j
t tone. A
on his voice and forcing, irrespective of the intensity, and the pres-
211
es,
lax
give"
W henever a "
tainance of the eq
t is
D_2X
d ,N0d 2UGXd
;
6 2
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+
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B ( (C B )2I@ 2
B(
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u
f the
s throat, or in bunching it up
, thereby vastly
, and thus
alue of Tongue I
or Triad
s tongue "
give."
<>_~IjL7jgQ~I$guxq~dIgxLjq+>Yjq7qV>F
give"
e the
2 0 F ,E
work
and work
f he fails, the
O pening V
oice S
lowly
giving"
shut-off"
opens up"
without "
giving."
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W hile it is true that the teacher can speed up or slow down the
.mIgVgQ<jVDI 5_j_
up,"
ected
opened
they will develop, and this development, also, depends upon how
vigorously the singer employs them. Thus, the voice can be "
up"
opened
opening,"
will be that the constrictor system comes into action and the voice
starts to "
212
shut off,"
`2 : @
B 0 U,` 2B 0B 0 ,
u
X0 0B B` B2BB B` 2
(
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g
U0Um
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"
Giving"
and S
lurring
gives"
straight
ustment,
usted
uired to produce
the upper tone is far greater than the effort normally req
uired would
give"
during this slur, he may not actually go throaty, under which cir-
req
tra effort
s ring and q
ustments.
gives"
relax
between tones
n bad cases this may occur with each pitch transition. The slur
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nated. A
about j
give"
opening"
of
erk
ccuracy of I
ntonation
W hen the pupil arrives at the point where he does not "
erk
timing"
give,"
slur completely or j
accuracy of intonation
t tone in
the rest of the way. The resulting tone may be of relatively good
siderably augmented.
"
timing"
cent, full, ringing tones is relatively slight and the pupil, whose
CCr>C jL $gxjg>xVjg
voice has progressed to this point, can go on singing for many hours
without tiring.
number of C
213
aruso records
and
< slssi b
J slt m~
I lr~ Ix rRI
W ith a woman'
sV
oices
register tones, to establish the purest, freest possible tones, over the
range which she can cover at the given stage. Then most of the tech-
nical work
in father), "
oh"
dark
or"
"
not thick
"
ah"
or "
"
"
ah"
(as
e"
s personal tech-
and "
oo"
oh"
is best. F
or most voices
ex
cessive "
whitening."
whitening,"
through C
-A
,F
whitening"
whitening"
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
is not ex
opening"
pbOIl uTOkbIxbbT~" B_~ _T RIxj '&T IpR &'rr IxT ~rnTbnT~ ~TR#
=r~ rYTp _rTTx _T RIxj (&I_ rx '(t_ b~ KT~! 7rx nr~ rbOT~
-C
#-A
f-C
# and
_T ~Ixbp] xbIR bll KT IKr nbRRkT 468! B_T ybIR~ IxT OIx
whitened,"
opening"
given stage.
The teacher'
"
whiteness"
or "
dark
ness"
for the particular pupil at any given stage. This degree of "
ness"
or "
dark
ness,"
and of "
whitening"
white-
tones, varies all the time and changes with each slight opening.
Blind
"
or deaf
white"
cessively "
dark
white"
"
or
or "
The teacher'
his work
pupil. S
applied in steps to each and every voice, are nonsensical and very
of a scholastic subj
214
e the teaching
dark
"
singing
]bTp ~I]T!
B_T TIO_Tx~ TIx n~ KT IKkT r ]I]T _T rubnn RT]xTT rY
_bTpT~~ rx &&RIxjpT~~ r KT ~TR I~ Tkl I~ `T KT~ rTl
- !- #- "#B_T TIO_Tx~ TIx n~ KT ~Tp~bbT IpR RTlbOITl xIbpTR Xrx
_b~ rxj! B_TxT b~ pr " uxrOT~~ _bO_ IuulbT~ r TIO_ IpR TTx
uubl) @rOIllTR " " _bO_ OIp KT pbTx~Ikl
' # ! ,&",
tak
n this work
for q
A
*
A
1 [!K
j
1 *
A
,
[ [ [[f 1
k A
{
[
$
1
] [ K 1
[
1 $
[[f !
uite a long time. Until the technical direction has really been
or ex
aw must be com-
the first lesson, with the help of the manipulation. Three or four
aw
{
, *
K b
O
1
[
c*
cessively
able to establish this release. H e will then never really learn how to
O nly when the direction has been followed completely has the
&
1 1. x
&[[
"
1
,
[$
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
, &
&, [1
K 2
,
,
*
1,
ome teachers are afraid of losing their pupils if they drive them
too hard. S
end. H e may lose the foolish and the conceited, but he will hold
p
1
Y
. p
O
c 1
K
ing with
emale V
oice
or sometimes, G-B-D. A
the
215
-C
-E
b,
L
) 525=5?.B-B
* <424 6 B1;8B
) )
)
;jGau 9uGE
V
owels Used
The same vowels may be used for the falsetto as for the lower
"
e"
or "
oo"
.A
"
white"
therefore, harmful. S
light "
whitening"
ened."
whitening"
open"
relatively "
whit-
high, "
falsetto tone,
ed and,
white"
(not shrill) q
Maj
lips should never be shaped for the vowel. They should be slightly
corners of the lips should be slightly raised, but the nostrils should
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stuck
out. A
ed. I
ed with the j
aw almost
nor
middle
or lock
cursion is check
ed, or stopped,
aw should actually
most emphatically
position. A
erk
ing. A
ny j
erk
y, sud-
aw never lock
does not matter what he may do with it, because it is not co-
216
< slssi b
J slt m~
position, the j
rapidly,
in a single gesture.
ex
muscles of his j
aw as much as possible. I
the closing
sufficiently flex
the lock
give,"
position
he is very apt
will "
aw through
t this moment
the neck
Thus, the j
not double
gesture
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lished as the pupil goes from the lowest to the highest tone of the
aw must
it has already been fully opened. This sometimes occurs for the
be established at the moment at which the top tone starts. The ges-
of the j
aw,
is attained.
n descending, the j
must be held open for the entire duration of the upper tone, and
plete. The lower tone is sung at both the beginning and the end of
aw either
employed.
217
moving for the middle tone, or while this tone is being sung, unless
higher triads. I
of the j
!B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
dj
ustment
the tone
f $
$)
J "
l,
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,
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.
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&
.
$
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&
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, ?
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G
$ G )+
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,
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,$58$
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I'
$
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,
&
:5;a
. $
,
ustment for
aw is
position of the base of the tongue and the posterior wall of the
laryngeal pharynx
nance adj
.I
muscles) must be maintained while the triad is being sung, but the
slightly with
regard to the j
aw as it (the j
resonance adj
the vowel may be held constant while the triad is being sung, in
spite of the j
aw must be com-
This readj
aw is being opened,
ex
periences a q
tak
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of the j
ustment of the
aw moves. I
t seems to
aw.
made as the j
with his j
f the readj
the j
hold"
aw and fail
ustment
a throaty technic.
readj
aw is moved,
Maj
or Triad and J
aw Manipulation
the pupil'
sj
218
< slssi b
J slt m~
indicated in F
and back
sj
sj
, if there is one. I
aw through
plish. Under such circumstances the teacher must not try to force
it or he may hurt the pupil. Thus, if the initial attempt fails to open
the j
aw, the teacher must stop the pupil and try again. H e must
properly.
can often open it when the pupil is silent before he can do so during
to completely work
aw opening. I
this j
fter the j
f he
ometimes
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number of times, the pupil must be forced to open his own mouth
instead of mak
phase of the j
aw open-
ll movements
of the head and lips, which should neither spread nor over-pout,
these gestures.
Manipulations
maj
lower register. The tongue instrument is used a great deal for the
register also, especially with men. The holding up of the hyoid bone
and the pulling down of the thyroid cartilage, are generally both
219
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Z
+! bC N N
J 7 8+D -?!(b+
%o+5 8 + + + '
7 8
b
2 '
'D % +'
![!++ '
D +
5 8 Pqc=VjMv '+ !
vccVjM =rj ' + b?
+ !
V+7 8 + ! ( >%
vccVjM Vj ' % +
' ? !?
< slssi b
J slt m~
many cases, the down pressure on the thyroid cartilage may pull
the tongue down, thus depressing the hyoid bone. W hen this drop-
not be used until it has been corrected. W ith the beginner, the
en cautiously. The
pull"
renders
n such cases, it is
often best for the teacher first to correct the dropping of the hyoid
bone by manipulation while the pupil sings the triad. Later the
pull"
cessive.
periment and
gives"
es
become inoperative. A
s soon as a "
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give"
given,"
white,"
throaty
give"
and throaty.
give"
try again. A
give"
uite
e things worse
throaty.
gives,"
in q
give"
throaty.
mak
white."
whiteness"
220
< slssi b
J slt m~
whitened"
b
7 0 5 777 3
, G
as possible.
The entire triad must be sung with a minimum of closure, and the
"
whiteness"
it is ex
and ex
6 b
-
9 C 7;
0
ed registration
ed registra-
ed-register
e
6 b
%
35-9 ,
0 7; %
v
6 o #4#3 9 ;`
condition, the lower register must not be carried up too far, and
the teacher'
not range.
The hyoid bone control for the falsetto triads is often risk
whitening"
y, be-
white."
O n the other hand, in the early stages, the use of the tongue
give"
gives."
s tongue relax
erting pres-
. This relax
C
%Cf (-
- 36 b ##3 ## 5 r6H C
ation
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ready to stop the pupil, and release the pressure on the tongue
aw, Tongue I
es place.
3 ##O 0
;6 b
;
7
c
#
06 o
or Triad
3 C,
7 #
dark
"
sing a "
oo"
white"
or "
"
ee."
oh"
dark
white,"
"
tone. I
f he aims to
, O M #C 6
while
his tongue, which will then go out of control, with the result that
the instrument will become inoperative and the tone will become
o Y
0 9 ##C C
throaty.
or Triad
aw should generally be
dropped all the way, although the nearly closed position is occa-
sionally used. F
221
>Xj w
9
3,
M rH
r6H y r
MH 6 w
0 r(H
9 3-, r59n 5
9 ( - M 0% 5
, ( 5 C, 5
4 5 #
53C
G
6
B
) 525=5A0B ,>B
* <524 9+ 7B /;6C
) )
)
be wide open. F
)
M v
CC *
C J $( ) $
-
(
"
C
CC )
$( "
)*$ N -5 8
" C ) I
C+ (
gesture of the j
aw should be undertak
Maj
or Triads and R
egister C
hange (F
emale)
W hen the stage has been reached at which the female pupil is
to about the C
the high C
ing on triads in
middle C
-A
ft-C
f (above
). The first two tones are sung in the lower register and
uite in the
changes below E
right. I
mix
ust
ed. I
f it is ex
of the ex
throaty. I
ercise.
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erk
n mak
ing or going
off,
or slur.
moment at which the register change between the second and the
ny movement of the j
ercise. I
f this
closing gesture does occur, the falsetto tone will inevitably be throaty
This ex
worse mix
ed.
ercise must
ed-register tone
dark
"
vowel should be k
h"
whiter"
222
ercise. The
uality
not
#$
< slssi b
J slt m~
in intensity. A
the tongue must remain tense and in constant position. The attain-
ercise. A
will be
This ex
opening"
t tends to
tones. This ex
C
a 7
9 4 9
- 9 C 0 7`
opening up"
this is that the technical faults in the female voice are generally
clu-
sively, while the inverse is true of male voices. The procedure is,
opening"
open"
relatively throaty one. The highest triad in which the lower register
-E
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b-C
-E
and it should also be employed in songs for all normal, full voice
singing.
Use of Lower R
W hen an "
egister in Performance
open,"
the D, on the fourth line of the treble clef, it may be used in per-
cept
opened up"
and
has been reached, there is no intensity drop when the singer changes
223
the triad A
-
- 6 b 0
1! 5 C5
%01
0
5-
0
+
C C9 - #'
B
) 525=5?.B-B
)
) )
)
* <424 6 B1;8B
hanging R
/CC22C
/2QKI"C 2/C
K/ 8# / UU
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y# y
-
2
" "n
2 V $
2 /
Q /# /
# 2 / /2G
#
S
$
Q Q
n 8/ /G
K2SC
2;E '%+;7E /
2Q# /
,Q#
, /2 /
(2CK+ C U K 2 U2Kn /2 /
C S Q2 2 XY
/ / 2 /K/ 2 Q2
S Ch2S/ #
C
S
Q
, /2 / "C
/ I 2}
#Q2
"/QKQ 2G
2 / C
Q / )[K 2 2 # S2 /C
B, Bb or even at A
out of k
pushed and is k
open,"
to "
open"
emember
voice is "
opened up."
cept to the ex
opening,"
a middle
t a later stage it is
fuller, but at this stage the lower register is also fuller, provided
open,"
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been established.
onstant Throat A
W hen this ex
dj
ustment and R
egister C
hange
off as she
more or less constant, i.e., the position of, and tension on, the tongue
and hyoid bone should not alter materially between the tones
this "
break
off,"
f the
Use of Brok
brok
work
en Tonic C
hord in R
egister C
224
Q
" / KC
S2I 2
/ Q Q y / J< QU
Q
QCV
U2# % E
"# 2
/
SU / 2 2 )
/ ^S2I
#//
# 2 2U) $ U2n
8/ K
(
2
$ 2 \" e
C /
S SJ
2"#
Q 2b#
QQ/+Q QC , 5 "
Q#
/ ,
"
QQ Q2 K 2+ /2, S2 /
/ [Q 2
/2 QKQ5
hange
< slssi b
J slt m~
used for this purpose the pupil should sing it in a strict rhythmic
form, sometimes at a very fast tempo, without holding the top tone.
he must not spread her lips for the upper tone, since, if she does so,
this tone will become very throaty and shrill and the ex
prove harmful. S
ercise will
higher than those which she can produce when she has to sustain
sung these higher tones, even for a moment, she has paved the way
mak
alsetto tones above the D, on the fourth line of the treble clef,
alsetto Tones
can be more or less in the intensity line long before the pupil can
' '
& & n X
' ~
&
k %
' # % - ' # .|
&
2QBijqv{B5=QA{dVvFq{RAvvA{qkAV
#' #
! - 9%
o
; .
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'
! !
&
.
&
.
k .
U
'k%.7 v%k # .
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V# -
' 9
# A -% .
'o
& 7 T &- 'L
.
&%A%
U
i5aB &-
# '
' -k # '
!
[n
actually sing an even scale with the register change at the proper
is apt to "
mix
hold back
"
open."
the
t is
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absolutely vital for the teacher to insist upon the pupil singing these
open"
as possible.
tones. I
mix
f she does this, the falsetto tones derived from the throaty,
f"
open,"
lower-
perienced. I
she fails to do so she will never learn to sing. The early stages of
tremely crucial. I
f pure, "
open,"
open"
f these
intensified falsetto tones are not put into the voice at once, the
falsetto tones
W ork
225
open,"
#hxGhvVxkM)VFF_G?hF"VQS?_vGxxk6khGv
W hen
opened up,"
lower-register tones
< slssi b
J slt m~
may be sung, and the falsetto tones, derived from these "
)
#
'
# , '
F
#E
# ) )
< !
' ,
8 ,
.# '
I
'
#
'
'
I
'
)
, =]
4
")'#
'
)
$
0V,
I
;
Y 8 F
E
) ,
)
# # F{VMQBjVjM X ',
# ,#
< )
$+
)I
Y 8 <#
'
# ! , l 0
+
"
Y i $ '
) '# F
E
!a
#
,
! < )#
, q4
<+) '
Y f" '
# .
,I2+
open,"
at full voice. This is true even when the lower, falsetto tones are
weak
. Q uite often the pure, lower falsetto tones are far too weak
open"
ely to ex
hold back
"
open"
tones in both
never mak
mportance of "
O pening"
at R
setto tone, is crucial. The tendency on the part of the pupil to soften
and constrict, j
treme constriction.
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#dojqx>gDGjLmGgVgQ>x3GQVuxGq7q>guVxVji 0jVgy
point
an "
falsetto tone
open,"
is the crux
of the problem. I
open,"
full,
8
? 0
<$ )'
'
? n8
+
'
>
4# J )'
? 0 ,+
(
Y
8
'
)
;
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>
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e <
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)
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$ ! $ ) ,+
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)
< ;
'
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<
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w . < ! ! ' ' .
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m
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Fql= < ! ^
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)
& a
) ,+ '?
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H ! a<
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!)
early stages of the training are the hardest and the most crucial.
f a bad start is made the entire training process is held up, until
and utilize full, free tones in both registers. W hen the pupil is very
it may be difficult. I
and, in ex
a pure, "
open"
open,"
lower-register
opened up"
and sung in balance with the lower register. Neither register should
226
< slssi b
J slt m~
6 2 - 3 31
6 tk 3 -
"
very high
"
shut off,"
or "
sq
ueak
open"
voice"
opening"
which is derived
#
, H 35
6 2, V
3
33-
36 w-
u "
3-,
allacy of S
pecial Q uality C
3- 0
l Y 3 f
6
haracteristics
W e hear a great deal about the tenor, baritone, soprano and con-
tralto q
tenor q
baritone q
lack
white,"
thick
ness,"
and often of a
of mere "
thick
ness"
ed registration. I
register tones are employed for a few low tones, the contralto voices
thick
"
whiteness,"
the ex
"
shrillness"
uality is characterized by
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"
white"
throaty-whiteness,"
The q
n cases where
thick
shrill"
"
and
and
"
"
nasality."
shrillness,"
or
and constriction.
sound, when the technic is good. Thus, any group of singers, irre-
uality, ex
for the differences in power, provided that their technics were vir-
the "
'
227
pitch intensity"
ee The S
cience of V
uality."
o
3
,
,
3 _o!MCjC1fw
30 2" 6 2
j1UXbw _o!jt
w
-, "O
- ;l 5
3 M 35
t
3 ,
virtually every case today, including the cases in which some lower-
are "
- r ,n
rO] n3 ,
3 3
rH 5
cept
]3f
5,H
,
- u u3h 2
%!bCjXU1w_o!MCjtw 1
33-
3 r M,H
3 M 3 `
6 2
6 o ( 'XUja!PjXw _o!LCjtw
3
r Mn ,
3- 35-, ;
6 w
%3Cf -, 3 O 5 35
0
#3-
5 35 ,
3
M
-6 2 fX[a!VXw _o!LCjtw
-
r5
1l rO
33n ,
f , 3-Kn z 5
; 13-
##3
-; , C1
w -
l 0
-;
, MH u
%- 1 3
0 3- "33H
r5n
6 w 3 #
,
#, - 1
0
r
33,H "
r
ft5,n
6
2 ]3- 33-
u - 53
, 5 6 2, u-
, "
# 5
l #
; m- O
53, # , 5
,
53 #
-
3- Y ]3-, ; #
k
(
, "
u 5" %
33- #
6 2
" (
33-
-#
-
6 2 -#
-
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l - ]3f6H
;NN
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) 525=5?.B-B
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6r~G0X|CUU>r>C|GrXu|XCkO=G__ mrkF~CGF<kXCG
True Pitch C
haracteristic of W ell-produced V
oice
pitch definition. I
"
thick
tically "
,"
white"
nor "
dark
"
and is neither
dark
that it is "
t is neither "
"
is j
white"
or shrill. "
W hite"
and "
dark
"
"
white."
"
Personal Q uality"
dark
"
nor
and Technic
W hile there is some slight foundation for the idea that there is
a personal q
s it is generally
a
5 ?6 ?
vA{qj5d z5dW 5! !(
6 ? G
5
76 OO
!6
? 66 ? !
(
66 6( ? 6( ! g+ v 5
G
6E( !( vA{qoc z5cW ( 6 ?(
G
6
? 6
(
( ?6
; , n
I6 5
G
6 O
I6
G ? ! ? 9
5l+
? 6(
6 g 6
? ?6 _
I6
GPk
G
+ !
G( !6
6
#
?7 ! ? E lR+
nical eq
the q
into insignificance.
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
erroneous idea. I
Q uality C
personal q
uality"
an entirely
ccurate I
ntonation
"
uality"
in terms of pitch;
they never really define pitch. Not only do they slur habitually, but
of "
placing"
or "
place"
taught to "
place"
"
or "
nasal"
or "
focus"
focus"
head resonance."
or "
focussing"
in the masq
ue"
or to use
an unpleasant q
uality characteristic.
aiming at a certain q
2~>_X|>ggk|GXkrCGFOrkd CC~r>|G#g|kg>|Xkg
228
< slssi b
J slt m~
vowel,"
uality"
b 4- 4
9 ( ]4-n
4-
- =(9n ( I
-
v
is
f the fundamental
uality
or vowel
stablishment of Pitch C
onsciousness
conscious
4
-
# V.
badly-trained pupil,
however good his natural ear may be, has blurred these defined,
V
0
M #4# [Cj'>w
'XVe'CXoe
mYw
V # 4- 4
-
0. 4
( 0
tures. Thus, the pupil must learn the notes. H e must be taught to
#
0 h -`
#49
the
sounds which emanate from the pupil who has not established
(
0 4
- 9 4
V9
- 9 # # T
. 4
0- 9
00 9 ]4 9
- #
n order that the pitch may be changed with precision and accu-
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tion of the ex
a rhythmic problem. C
ueing is ex
s cues, he is q
uite out of
e him start,
move at the proper instant, or stop. This contact between the teacher
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technical faults. S
your mouth;
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posture;
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aw nearly closed, with the lips slightly raised off the teeth, in readi-
ness to open as he ascends the triad. There are so many such direc-
s personal
act
mportance of C
ues
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on the piano,
the pupil must obey the physical directions given him. W hen he
of the triad. A
he must attack
ery often
sometimes, if he is
strik
uick
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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t other times he
eeping it at constant
tone played. H e must then immediately move down the last two
tones of the triad in the rhythmic pattern. H e must come off the top
mind and he must not stop until so told. O f course, the playing is
always in an established rhythm and the pupil must move with it.
H e must at all times be listening to the piano and not to his own
voice. I
s guidance. I
nversely, "
self-listening"
follow the cue. The pupil must be completely alert and his muscular
system "
230
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cue tone. Before he starts to sing, all the muscles used in phonation
the inspiratory muscles must occur when he inspires his breath, the
tension on these muscles for phonation must not occur until the
f he tak
es
a breath and holds it, while waiting for the cue, he will always sing
on a forced ex
at the ex
ur-
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five timed, graded tensions for the five tones of the triad, before
he starts to sing. Most important is the fact that the muscles at the
seat of action, i.e., the muscles of the vibrator and the resonator
), must be relax
must relax
his tongue. A
06 7#
7
9 C1w 7
for the singing of a triad, after the chord has been struck
, the pupil
0
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into
tensing, the breathing muscles. H e must then move over the triad
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in unison with the piano. The sense of the rhythmic pattern enables
E
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him to do this.
act interval
09
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sound impression, breathe and bring the vocal apparatus into action.
f he sings with the cue tone, or too soon, he is not listening to it,
cue. A
s soon as he attack
ed
up by the pianist and the pupil should move with this rhythm
s voice
s sub-
t is his chief
pupil. W ithout it much of his ability to teach the pupil how to sing
is lost.
231
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W ith men'
tart with F
alsetto
n the early stages, the tongue instrument is usually needed for the
falsetto tones, which are always sung with a vowel which approx
"
ee,"
i-
or F
# above middle
on the piano for the men. Despite the fact that they are really
lower tone with the tone an octave higher on the treble clef. The
triads for the men are played in the same position as those played
for the women (an octave higher than they are actually sung). W hen
the falsetto, the lesson can well be started with lower-register tones
lations. I
the falsetto"
ex
go through"
Go!
twice.
ex
er-
ed falsetto leads to
"
alsetto"
a mix
once
going through
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"
ture and
registers with disastrous results. The pupil should seldom sing the
falsetto at a pitch higher than that of the highest tone he can pro-
ception to this is
the falsetto.
alsetto triads are never used with the male pupil, because they
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without "
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erk
ing helps to
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teach the pupil how to move the pitch, and vice versa.
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who has not been trained to do this all the time must inevitably
become throaty
There are three phases of the technic in which the pupil can, and
hold."
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been mastered the other two soon fall into line. These three phases
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hanging pitch
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erk
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s. I
t must be "
held"
in
the transition from one register to the other, whether the change is
pitch is changed
up or down
intervenes or not. A
maj
t must be "
held"
: )9'/9'V >+D*V
when the
ing the pupil how to hold tension in these three phases of the technic.
give"
give"
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relax
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ation of the
with a relax
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is of paramount importance.
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, D or E
"
whiteness"
dark
ness"
or
the falsetto has been brought into the voice, the lower register is
generally q
uite "
white."
This "
233
whiteness,"
cessively "
dark
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opening"
on with a "
dark
dark
ened"
,"
and often an ex
opening"
tremely "
dark
"
uality. E
ach
f the intensity
drops in ascent, the pupil has gone throaty and must be stopped
dark
"
or "
white"
uality.
n the early stages of training, the tones derived from the falsetto,
ferent q
ex
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The tones that are derived from the falsetto are generally consid-
erably "
dark
er"
cases, by "
whiteness."
tinguished by ex
cessive "
dark
ness,"
and "
opening,"
dark
."
ness.
and matched, or
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or thick
opened up"
dark
white,"
ening"
white."
open,"
openness"
to be work
f it were to be
the q
work
falsetto
uality. Never-
ed register, and
white"
. Therefore, work
from
tenors.
234
B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
n work
ex
cept for the fact that men should seldom sing triads in which the
"
W hite"
Low Tones S
hould Be A
-
voided
The very low tones are sung at low tension and do not need to
be work
tion. They must be sung at full voice, but they must not be pushed
white,"
voices are apt to produce are not resonated properly. Their loudness
ustment, in work
, i.e., the
the pitch is defined properly. The tension for these tones must
string"
define the pitch, but it is not high, and there is often a tendency for
the pupil to push or force these low tones. The real bass is some-
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what of an ex
great deal more tension than the the low tones of the tenor or even
the baritone. The ability to produce these tones more or less prop-
limination of "
Noisy"
Middle Tones
characteristic. W hen the voice has been lined up, and the lower-
235
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+
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part of the range. The reader must remember that we are aiming to
intoned tones
to mak
not noise. I
open,"
free, perfectly
"
opens up,"
teacher'
s work
opening"
theless, at any given stage, the pupil, male or female, may be able
to mak
ing of C
aruso'
H e (C
aruso)
"
the most
he
never gave one the impression he was singing loudly. H is tone was
a remark
uality and
were absent.
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W ell-produced V
ven
far noisier in a room than a voice which was produced properly and
b
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tics. Tone and intonation are the goals at which the teacher is
t is merely an elimination
236
B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
badly-adj
ustaining Tone
the listener'
Most of the tones in a musical phrase stop before they have actually
es a tremendous
imum dura-
singer, whose technic allows him to hold each tone as long as pos-
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are faulty. The cut off of the voice of the singer whose technic is
erk
s and
ing
when he j
s singing loudly
erk
may actually cut down the time during which each short tone is
held by from half to nearly all of its duration. The cut off in the
237
s, etc.,
"B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
hapter 13
NTE
W hat the S
PR
TA
inger S
TI
O N
hould K
now *
ust as a
the medium of song unless the interpreter is able to paint his picture
upon a larger canvas than the one which is called for in speech or recita-
#
tion. The singer who drops into or below the intensity range and dramatic
program ex
of the great masters, and who can give to the poem its full dramatic value!
singer must never alter the musical facts which have been set down
in print, the singer must so alter them that they fit the music ex
actly.
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ex
to an actor'
for"
feel for"
feel
the notes or
the metrical figures in the music. The competent actor does not enunciate
ual stress. S
encompass the musical phrase with absolute freedom and ease and, at
the same time, give to each beat its proper proportion of stress. J
ust as
the actor must not stumble over his lines, so the singer must cover the
musical phrase with definition. The wider the group of words or notes
the actor or the singer, respectively, can conceive as a single unit, the
arrying the
with ex
238
actly the same color), so the singer must contrast one musical
lma S
tanley, B.A
@T
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actor'
s rendition of a
section in a song. The entire song or aria must have all the diverse emo-
hak
imilarly, the
schools. The true artist should be familiar with all the various schools of
music
the C
lassical, R
chools. H e
rench, S
panish,
O pera and the W agnerian Music-Drama, etc. Nor should he omit the
study of Modern A
rt S
omiq
ue and
O peretta.
W hen tak
f it is charac-
terized by any national idiom, he must become imbued with these national
peculiarities. I
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
is not necessarily a k
of their folk
s at a song or at the
score of an opera, is that it consists of two parts: O ne, the vocal, and the
between the singer and the accompanist. The accompanist should never
be ahead of the singer (pulling him on), nor trail behind (following) him.
the vocal part. Under these circumstances the singer must enter at pre-
the singer'
time-spot,"
imilarly, when
ing a
The q
sak
essential for the singer to derive the appropriate intensity from the accom-
has to tak
239
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req
accompaniment, must be ex
The unmusical singer, or the amateur, never really follows the interludes
and is even apt to become impatient and restiess when the accompanist
is playing his solo part. The singer who does not hold the emotion and
feel all the varying moods during the rendition of the entire composition,
1. Melodic progression
2. R
hythmic form
outline
C (>I$6#j KNI1O(SS6IGIYV>6G(j
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3. H armonic structure
is a motive-figure. This seed of an idea grows into the motive, the well-
rounded motive becomes the theme, and the theme is incorporated in the
the motive. A
of new material.
seq
uence, interval ex
act repetition.
may be:
.S
B. A
brok
calewise
chromatic or diatonic
rpeggio or harp-lik
en triads or
en chords
. H orizontal
ment. S
taneously.
2. R
hythmic form: A
each time sign calls for its own characteristic accents. There is always
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principal accent (the first beat of the measure) is almost always the
-yi
240
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ertain other ex
of in its broader sense, i.e., the duration (length) of the phrase. The
meter, etc.
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b. Minor
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b. Ninths, etc.
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emi-cadence
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uthentic
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a. Monometer
b. Dimeter
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ameter
g. H eptameter
h. O ctameter, etc.
241
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b. A
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ombination of periods
9. S
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edge of all the scales before proceeding to the further stages indicated.
(This q
uestion of scales, and all other steps necessary for the under-
cience of V
oice."
The
ing
pairs of thirds, are derived the triads and chords in fundamental position;
from the
and,
may be conceived.
tudy and I
nterpret a S
ong *
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H ow to S
n the work
clama-
s of the great
accents
grammatical or oratorical.
must be made at ex
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about through the medium of the vibrato. Thus, the note to be stressed
the vibrato is absent, the singer cannot accent properly, because if there
tremolo is present, its amplitude, which does not vary with intensity, is
virtually constant.
cisely the moment at which it falls. The primary and, where they occur,
hapter 14,
generally raise the pitch as the emotion rises, and vice versa. Practically
242
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tanley, B.A
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the singer who uses his voice improperly does not possess a properly
graded scale. W here the intensity mount and the other attributes of real
line is destroyed.
The phrase is the unit in music. Unless a special indication over one
note is made by the composer, the intensity of every note in the phrase
is predetermined by the intensity of the first tone the singer produces. The
intensity rises as the melodic line of the musical figure rises, and falls as
it-falls. I
f any one tone fails to lie in the proper intensity balance of the
en and the
n studying a composition the pupil should observe the time sign, and
note any changes which may appear in it during the progress of the
should mark
composition. (S
ee The S
cience of V
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or ex
ample: I
act
f an ac-
to indicate the ex
nother
first beat, a half note is sung on the second beat, which note is prolonged
the fourth beat. H ere the third beat, which is a secondary accent and
therefore req
act moment
.C
ex
e changes in tempo at
the speed in going from a slow to a fast passage, or vice versa. Unless
The same sort of thing applies to the time sign. The singer must be
must do this spontaneously, with the entire metric outline of the composi-
dragged along"
243
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slow songs. I
tempo the ex
uick
ly. I
n rapid
s the phrases.
en.
The singing of rapid songs and arias demands a good music mind,
because the mentality which cannot conceive the phrase with great
uick
ly-
No one can sing faster than he can hear the melody mentally.
tion is essential. F
cavities as the vocal resonators, and thereby leaves the mouth free for
consonant articulation, is able to sing rapid, and at the same time, intel-
and all changes of tempo indicated on the music. These changes must be
memorized and practised until they are made with absolute precision.
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W hen practising a song for the purpose of learning the music, the singer
ing
his voice.
an ex
modulate freely. S
progress of a composition
or this reason
dentals. I
harmony which lies under the vocal part. The artistry of a singer who
Thus, the singer must observe the signature and note whether the
or or minor;
which may occur during the progress of the composition, and determine
lations.
The fact that the musical phrase is the unit in singing has been empha-
244
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ample: S
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still others
give a sense of awe or religious emotion (i.e., the plagal cadence), and
so forth. (S
ee The S
very strik
cience of V
oice.)
(an attack
of the scale (the middle tone of the tonic triad in fundamental position)
and at the moment when the accompanist plays the dominant seventh
chord. H ere the tempo is always drawn out, and it is vital that the singer
should mak
or a sob) at ex
actly
the correct moment and round out the tempo with perfect symmetry.
cause the length of the phrase has an important bearing upon its emotional
The singer should note all the musical motives in both the vocal part
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the composer for the elaboration of these motives, and note the effect of
The nex
ect is a complex
cience of V
oice.
s mettle.
is a
proper intensity mount over the range of the voice as the scale is ascended.
uirement is the ability to hold a high tone for a very considerable period
ing
effect is often made when the highest tone in the climactic phrase is
after it has been held for a long time, and the phrase is then rounded
fourth req
W hen the intensity range over the entire pitch range of a singer'
for ex
properly. C
onsider,
he may be
able to sing relatively loud, high tones, but her voice fades in the middle
of her range, with the result that the approach to the climax
good q
itself, is spoiled. E
, and there-
245
) 525=5?.B-B
* <424 6 B1;8B
) )
)
f this note
is isolated and held without due consideration being given to the rhythmic
flow or pattern, the effect is inartistic, cheap and unmusical. W hen the
climax
act
length of time during which the climactic note should be held is pre-
uch "
rhythmic-shaping"
mak
shaping"
of the phrase.
s sense of
of true artistry.
belongs. The C
of compositions of the R
chool,
ed. F
or the Modern
realistic
or the interpretation
impersonal.
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to encompass all the dynamic effects called for by the composer, the
deeper and more subtle rendition of a song rests rather with the control
of color. C
of the q
ny tone-
color which the singer is able to produce can, if his technic is sufficiently
far advanced, be made at any intensity, within his intensity range. The
direction as "
tion
dolce"
of the tone. A
softly does not necessarily convey tenderness. The same sort of fallacy
martial, emphatic virile effect, etc. These effects can be rendered either
ority of
the singers of today yearn to whisper and seldom attempt any broad
emotion to be conveyed
whether it be subj
ective or obj
ective
and
also the emotions and colors appropriate to each phrase. H e must pre-
precision, and start with the first note of the phrase. W here the color
changes are blurred into one another, the emotional import of the song
mentioned above. Their poignancy rests with the precision and definition
246
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The directions which indicate the articulation (in the musical sense)
are the terms: Legato, staccato, portamento, leggiero and portar la voce,
slur mark
n this case
on the diatonic
a fifth or less
actually slur. I
second tone
is
s technical eq
uip-
ment and produces a very beautiful pearly effect as contrasted with the
wailing of the singer who slurs with a uniform rate of pitch change.
s ability to attack
ecution
the tone
properly.
Leggiero calls for a bright, light, crisp effect, and lies between the
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sweep,"
the singer
must have reached an advanced technical stage. There are three phases
for its effect, upon the proper intensity mount of the voice as the scale
.I
t is also freq
ust
singer whose voice fades in the middle of his range becomes practically
in particular to the woman singer whose lower register has never been
The harp-lik
technic. This outline often calls for a very wide range, because, since
the intervals between the notes are wide, relatively few notes cover an
ex
tended pitch range. The singer whose range is less than three octaves
now and
understand the musical content of both the vocal and instrumental parts.
en up by
the voice, or the voice may announce the motive, which is answered by
247
ometimes a theme
*
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same time. A
or concerto. True, the singer generally carries the principal melody, when
The singer should not only be able to hum through a song, including
pattern of the entire composition, and follow every melody and counter-
of V
cience
oice.
large book
P
5
Q
QZ
book
s of
s of F
irst I
mportance
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
The Music I
+ +]Dw ,M+
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should interpret the music from the same standpoints as does the
to convey their meaning, yet they are able to impress the import
4 ' 4
.
/
L
6 Y
'
of the music upon the audience. They treat the music as a language
in itself. I
universal language."
The singer may have been schooled in, and learned to understand,
the idiom of his own and, even perhaps, several foreign languages,
but if he has failed to study and understand the idiom of the lan-
This does not mean that the singer should not "
over."
the words and music are in such intimate harmony that a really
in conveying the inner meaning of the words. The words and music
248
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the inner meaning of the words in the highest possible degree. The
broadened musical line and the sustained tone increase and mag-
tructure V
ital
the musician'
ed out meticulously. I
and
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& 5
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and dynamics
singer to break
ust as the
t is eq
f this
is done, all sense of the musical import of the composition is lost, and
en. A
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such break
may breathe at the end of a musical figure, but he must not breathe
anywhere else.
Melodies are based on chords, and those notes of the tune which
ll other notes
ecitatives R
eq
uire A
ccuracy
to the arias in an opera. Many singers are only too apt to disregard
what is written on the printed page when they are singing the
249
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has written them, despite the fact that they are often used to carry on
ree Passages
free passages"
or ex
ample, in V
erdi'
sI
this letter and the composer has written notes of different values
ever, there is no time sign and the measures do not scan. This pas-
free,"
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^<<o %5``5C<`o
Trovatore,
t of
these two phases are not always in complete consonance, and the
I
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vocal technic.
Melodic Line I
s Basic
singer'
much of singing rests upon this ability that the other phases are of
250
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erk
for its ex
act and entire time spot. W hen he starts the first tone of a
ntensity
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singer'
writes a rising melodic line which lies at higher pitch and is, there-
emplified by De-
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bussy) the really high tones are nearly always used for loud, dra-
lso
lower part of the range. These effects are most often found in I
and F
rench operas. C
talian
for this reason this school of music should seldom be used with
oft E
ffects
of q
for a q
or loud, ex
cited, low
251
citement. S
uch varia-
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tions of the amplitude of the vibrato, from the normal vibrato, are
ill,
which he sings. F
should be employed for the musical phrase. H e must not use the
attempts to mak
pression. I
f he
the words rather than the music and thereby lose all sense of the
esonance A
dj
ustment
adj
es a certain
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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length of time for him to attain such complete control over the
throat and producing throaty tones. W hen the pupil has reached
to "
252
mouth"
B
) 525=5?.B-B
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Mouth V
The "
stood
&0-6 &3!+6
owels
mouth"
mouth"
owels
depends primarily upon the definition of the pitch with its asso-
the lips, the front of the tongue and, for gutturals, the back
the tongue. A
of
they become and the more definitely can the words be understood.
f this
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tongue need not radically change the position of the base of the
ed
and neatly that the sense of continuity of the tone is not lost. The
until he tak
break
es the nex
tained the melodic line is destroyed and the singer is not inter-
the rhythmic pulse and he must sense the movement from stressed
253
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stronger than the secondary, but every beat must be indicated with
should hear when the singer enters each bar and where every beat
and accent falls. H e must also be able to hear the grouping of the
notes;
whether'
vibrato will indicate its presence at this accent point. The singer
Diction
singer'
phonated
sung or sustained
er'
rom the
m,"
"
n,"
"
ng"
and T conso-
G7cGYXo
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
nants are associated with a hum vowel. This hum vowel must always
tained. I
{
4 ] +
q e 1
q f
Q Q 8 9 u
f the singer hums part of a tone, with his mouth shut, the
The "
ham"
and Ts,"
speak
slur
m'
s,"
"
n'
s,"
"
ng'
s"
ham"
singer
and
olor, V
ibrato and E
motion
these is color. C
of dark
254
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dark
with loudness, but the color is always far more important inter-
pretively than the mere intensity. The composer indicates the in-
dynamic mark
Tessitura
attempt to sing a song which is at the wrong tessitura, for any given
'2XXCZ^ U,d
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effect in singing is the full, sustained, climactic high tone. W hen the
a narrow range
obliq
"
held"
hold"
by a beat and the broadened rhythmic flow must, at all times, be felt,
held"
the singer to swell on the final pulse of this tone before he comes
down.
panding C
adence
255
freely
tone the beat must be felt, and it is very often effective for
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pansions, the
ing a
this effect. The men are so throaty that their low tones are too weak
unable to mak
uite
these low,
space of the treble clef) where the falsetto, even when it is thick
Musical F
igures and C
oming back
be j
olor C
to the q
ened
dead."
ontrasts
uestion of color: E
musical figures, despite the fact that the general color over the
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should be work
very
set."
"
set,"
able pre-
Many S
ingers Lack
Musicianship
The great singers of the past were seldom good musicians. H ow-
ever, they did have fine ears for music and, even if they did not
traordinary state of
affairs. The great singers of the past did, from many points of view,
who probably k
cal standpoint, than the great singers of the past, completely fail
256
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music. F
badly produced that they are technically unable to do so. The result
of this is that most performers of today sing without any real sense
is due primarily
control over the voice, but also to the fact that these singers think
resonance,"
"
s of "
head voice,"
"
covered tones,"
ue,"
"
nasal
pitch pictures or, still more emphatically, the melodic line of the
music.
Throaty S
inger C
annot C
olor
+
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+
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mix
ed register. This has gone so far that, when one listens to this
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or soprano. I
a bass,'
ed-register
Man'
sV
oice S
hould Not S
ound Lik
e a W oman'
ll voices, singing at the same pitch, with the same vowel and the
same vibrato, would sound the same if the technic were perfect.
which a mix
in "
Tremolo C
Manon"
) and sounds j
ust lik
nterpretation
257
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Trick
sA
re I
nartistic
vibrato, cannot sing a good, free, loud tone, who fade out at the
bottom of the voice and are unable to center the pitch or connect
erk
ing. S
s,
they are singing. These devices are many, but they fall under certain
press emotion
and the more emotion they desire to indicate the more horribly
ham"
break
ather, it is j
press a tender, or q
this is supposed
ust a nasty
ed-falsetto
ubstitution of S
peech for S
inging
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
this repeatedly. I
their speak
dramatic effect. I
ue semblance of a
duced properly, is very much louder and more dramatic than the
speak
speak
\"
9 "
"
@ V "
( Z "
" ?
"
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onveys No E
motion
is to decrescendo
258
repeatedly.
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hifting of C
ffect
from the held, high tone to the succeeding tone or tones in the
is held, but the descending tones are swelled and actually sung
louder than the high, climactic tone. This shifting of the climactic
point in the musical figure destroys its contour and is, therefore,
ex
W hen the voice is used properly, the highest tone in the figure
which is, in such cases, actually sustained by the composer for this
. The
singers of today shut off their high tones, and, therefore, it is pos-
tone. They are, then, forced to shift the climactic tone down to a
effective."
This device
open"
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
cover,"
or "
(shouty) tones up to
about E
tones"
uch "
climax
e a dramatic
e the grade.
and mak
ing the
urious if
the voice has been trained properly and is, for this reason, graded
naturally the loudest and the intensity drops with the pitch in the
descending passage. I
of his voice, he will inevitably push and force it. This will hurt his
voice and may even cause him to tie up altogether. O f course, the
more throaty.
259
he merely becomes
covered
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onsonants and S
lurring I
s"
H amming"
who cannot center pitch and move from tone to tone legitimately
masq
ue,"
"
or "
ing
sing in the
ust loves to hum his consonants, because this gives him the feeling
aw lock
and throatiness
sonants, mak
m,"
"
for which he is
n"
and "
1"
con-
can.
words and ex
early V
ictorian era. I
ham"
actor of the
of his voice to the level of humming even when he does open his
mouth. I
eep fading in
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
and out. I
fade his voice in and out all the time, but this effect occurs gradually
ridiculous. F
of the tones, the beats or even the accent points. H e eliminates the
singer who disregards it is not singing music at all. The vital factors
of the composition, the time spot of the notes, the notes themselves
26
he
(
?8:
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ven
t turn a q
uarter-
and out of, the tones actually cuts down the time spot for which
they are held and, therefore, they never really sing in time. Many
phrasing.
is destroyed. Thus,
if the phrase starts on the first beat, and this tone is slurred, the
secondary accent on the third beat (in 4/4 time) cannot be made
the grouping of the notes, where the bar lines fall, etc., or he does
not do so;
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The most obvious of these was abuse of the sob as a dramatic device.
ness.
pushed and throaty that they are very often forced to tak
e ex
tra
e an ex
tra
popular music. S
ecital S
ingers
throaty. I
mezza voce,"
shouts or screams. F
26
cover the
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ground"
nothing of break
the q
of pV
The work
mezza voce"
s of such composers as S
H ugo W olf, S
chubert, S
chumann, Brahms,
ur-
intensity level, in the normal intensity scale for the given voice, and
very soft and very loud effects should be made as special interpretive
These composers wrote for concert artists and not for parlor singers.
singers of standing for several years, with the result that they have
traditional."
nything
J n
> BUnBS#n4Nx
|
%
35
5 #55*5J
ex
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ing of phrases
e ex
voices are
tra breaths.
oaches who teach by ear merely play the tune over and over
claim that the interpretive effects which they indicate are secrets
of tradition
to show how it goes the pupil is forced to study every new composi-
tion with his coach and never develops the ability to work
out the
tradition"
secret
ust nonsense. A
singer to do. I
completely and if, at the same time, the singer has a sincere feeling
26
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for the dramatic import of the words, and of the role he is charac-
terizing
if he is singing in opera
out
t really understand
the music themselves, and when the interpretation has been handed
es in time.
out all the musical and interpretive problems involved with their
pupils. S
ing in musical
spects of S
inging
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Traditional A
cuts"
rtistic I
nterpretation R
eq
talian O pera.
Y
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interpret only when the entire melodic and rhythmic pattern, and
set."
W hen the singer whose voice has been trained properly starts to
conceived, seq
color line, etc., but also of the tensions and changes of tension
26
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tied up"
wide open."
V<J EE&
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cannot occur and the singer will inevitably start to force his voice
and "
push,"
Throaty S
inging R
eq
tie up"
E&
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vocally.
uires No Talent
and tongue for changes of pitch, loudness, and color, do not occur
with the throaty singer as he moves over the melodic line. H e is,
es without "
tying up."
&- <B
& & E&@ . y FJ
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J
4 s (&4 =-B T.H
(
J J
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
on its interpreta-
rom
to perform than for the throaty one, because the former must at
tial, if he is to k
drive"
eep his throat open and his voice free, while the
dead"
the ex
hould Be No S
truggle
e a dramatic effect on a
= ^ ^4 & O. 2
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high tone, it is true that the energy must be increased, but this
26
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sings with comfort and freedom and the high tones, as well as the
n other words, he
he must relax
es a breath
"&" & &^ ($^ s
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tain the proper state of muscle tone at all times, so that the muscular
response is always rapid and efficient. H e must feel alive, alert and
ex
of the throaty singer, who actually goes dead for the entire body
es a terrible effort to sq
ueeze, or
force, out his high tones, especially if they are loud ones.
&N $"& "9 (& 4 B& *1!*w &" $ " &
&N &&&9 $^ s "" k&" & ]49
N&" 9 &4 $ &9 N " &4 &.
y 9 ("
9 9 *`Cq1w
tion and performance. The throaty singer is, most of the time, dead
and inane, ex
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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hanges of A
dj
no "
open"
("
shouty white"
head,"
or "
covered"
(de-
liberately throaty) tones. The singer who has been trained with the
head voice,"
or "
ustment, back
covered tones,"
at a
n addition to
his tongue,
and this renders the ensuing tone very throaty. Thus, every time
open tone"
head voice,"
and vice
denly.
26
head voice,"
or "
covered tone,"
*1!*w
&N & =$ & 9H &" = &" &9H
" 9 N&" & & "s & & s
B
) 525=5?.B-B
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) )
)
Lower R
egister (F
W hen a woman'
proper point
the register
t is the woman who does not use the lower register who is forced
to break
.F
ecordings
")#-
%&#- +- - &- (%- -
e, is to listen to the
"# %-
records of the great singers of the past. The great operatic com-
posers such as V
senet, etc., wrote with the great voices in mind. The proper
uipment
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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are q
or this reason
the student should pay far more attention to the orchestra than to the
the student will observe the sweep, color and emotional effects,
melodic line. I
t does not slur into and out of tones, or wail, sob, talk
scant attention.
' # ! ,%(,
+, , ,
Y % %
?(
%
?%
<. 2 %
(
W ith the recordings of the great singers of the past we have a far
bad
g
- 2 %?
%
(
"- B E?"< & <
.
2
?
< ( J
ust as bad, so
ex
aruso'
e. F
or
discussed in The V
oice
ts Production and R
uestion is
eproduction).
4
< <<- %<B <
aruso performance,
wondering what the full power of his voice really would be, if he
the time he was singing with almost incredible ease and freedom,
drive,"
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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t.
<<-
. %J - J ?4J
J
.
<-( (- <
or "
edge"
smooth."
of fre-
whiteness"
uality was
recordings of the women singers are far worse, because they are
freq
"
white"
with C
aruso'
whiteness"
of Melba'
uisite q
very
26
?
. j
J
M
] -
%
E" =(<
beautiful. The use of a great deal of lower register gives the im-
pression of "
s.
es it sound thin,
?
"<V" &. "
E
J<
-
?
( ="J <
- <
E ?< - J -
%J
< < 4 < e.
of the high
uency components distorts their voices far more than the men'
(
< ( ?(
- ( J
(
< - 6X`kIefCSXw
J <
( "<B
?
J ( <
6X`jCeeCSXw J
( << ( <
<
J
at the end of his career, his dramatic fervor was beautifully gauged
and controlled, according to the demands of the music and the tex
=
J ? ] (
(- ( =6 "
J
%
< ( <
% ("J -
<
J (
M
]< - ?<< "
O
.
j 4- ]- ?- < M <
<J
=(
<
<?<. < ( ?
(
. "
J < ?
J (
-
4. 2
(
B
E
?
&< (< < E & "<BJ k
-
& ]- "<. 2
<
m <
" " <
<. "-
< ( ;] ]-
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<
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6
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)
hapter 14
TH E
PE
NG V
O I
wedded to the language of music. The laws which govern the proper
>#^o6e| X
respects, the same. There are, however, certain differences, because sing-
headings:
1. I
n view of the fact that the tone is much less sustained in speak
#
# "#
ing,
ing voice.
ing
3. F
Y
&Y &
=
3
A *
W
'
&
@ &=
3
= ( *= = &
= ' &3
^'AcG@91 ( *
'
Y
4! V
&@
=
G.v'l ClU1 cl l//v
@
(
;"
= dlx^'U pG/C
' <'vUl9x
(
' /ljlhc
( *
( *
'
'
(
#
= '
( *
3
'
(
(
* 3
'CC
@d
(
G
@
&
'
ll1 'UG*
3
o7
u
. 'cA9
f
= G9 &
o
3
(
/ 'xxGcA l9x*
= =
Y
=
_
cSd
o
3
(
1
lcxlX l= Gd9jG
*
&3
3
o3
( * @
= =
T
<
'
3= ' 3
W
_
( *
u
9 vlp9v Gd9cG .'[c/9 l9v C9 v'cA9
"DJ
3 n
C.(
3
=
( d
=
' 3
&&
3
< c9UUGAG.GUG"DJ
=
= & =
o 5
W
_
phonated sound
such vigorous articulation. This does not mean that the articulation should
be slovenly
4. I
n ex
occurs when one calls from a distance with a rising inflection on one vowel.
The same process of training applies to both the singing and the speak
ing voice.
eq
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a. Good q
uality
registration.
b. R
ange
n ex
c. C
arrying Power
properly sustained vowels and the sound spectrum which in turn de-
d. C
ontrol of intensity
the "
stage whisper"
ust-
lower intensities than the singing voice. The actor does not have to top
an orchestra.
singing. A
/. I
s the intensity rises the pitch should rise, and vice versa. H ow-
ntelligibility
26
%
Z}
k7y
tgcu[npcr l] ecX_c^Wh
9B'm
) )+
g. Legato
h. S
nglish speech.
in the adj
uch color
or ex
pressive, faculties.
/. The ability to use the voice vigorously and audibly in a large audi-
This
Normal pitch, q
uality and
power, from which all modifications of pitch, color and intensity are
words.
. The ability to ex
pression
pressions.
ing voice is more easily trained than the singing voice, be-
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The speak
ear"
req
ear"
rhythm, intensity and color with absolute definition and clarity. This
The speak
ince the normal pitch in speech is lower than in singing, because the
both sex
Mix
an unpleasant q
in the
ed-falsetto register.
t induces
woman who uses the falsetto register only is bound to force it and,
The ingenue may use more or less pure falsetto, and if she k
eeps the
pitch very high and the intensity rather low, her voice may survive for
of "
tough"
zation.
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o 8 + ))A
{Y ) &= 8 =
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;+)=8 )(
R #C9 '.GYG m 9 C9lG/9GBm{mU 'c4 '3G.U Ge ' U'vB9 '1G
mxG] >lx ' UldA G_9 GCl >'GAGcB G 'c3 .9/m]GcA Cm'x9
*
m
) (
T #C9 9&.UGC]9c m> C9 c&x&U lG/9n|`*Z +) = G) 1
= 8 )
)Y ) 8 ) = 1 f)
= 8 8 ) 1 ;) )+ 8
]
(
U #C9 '.GUG m 9rx9 CGY9 p9'TGdA C9 p'GcB 9]mGmd GC
C9 99 'c3 >&/G&U 9px9Gld*{ '){
))
8
8 ) =
:= )
+
&& &
o ))) 8
h ( 8 = ) &1
) f '
/ + 8 ) ;{(
* \) ) ) { )
& )) ) = '
& T& G) )(
&
Y T )( ' '
)= & ) )= ; { ) ) + )=
= )) &
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Y))
)( *)
)
&
8 (
* &\) ) & ' )
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&/= ' &
= )
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' &
+)(
) & { ) ) ) ))= '
){) = )Y ) / ) ' &
)m ) C ){ 8 +\) ) ( *) )
' ; ' ) & = & \ )
/& $ {;
8 )(
);
)) )
&
88& ) ( V)
&& G&)= )) &
) ( *
& / ) &
/ 8 ) ) )&)) )
)
\= { & )(
^ & 8& { ) '
8 )
=
)c = );1 /&( { { ) ) &= (
* ) & 8&=
)8 \
{ )m &
){ = ) ) 8
8&c( & ) )/ = oc ' ]
' &{
&&) && ' c )
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& )) & (
* /
)&
{= )& ) =
c &
= & G&{= { & ' )
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f
Z}
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W ith men'
the ex
ed falsetto. I
technic subj
The use of ex
tioned. There is an ex
or ex
ample: A
press ex
tremely deep,
heartfelt emotions, despite the fact that the singing range may ex
above high C
en q
pressed
pitch of
tend to D
Generally speak
treme ex
octaves or more above its lowest point. W hen these high pitches are used
tune,"
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tune"
in speech is one of the most vital phases in the proper reading of lines.
The "
singing"
1. C
2. S
+ , ?(
A ,
? /q , 2 2 1(
( *, pq& q
(
K *, : , &p
q 1 1 ??'_(
tion is inex
ham"
ually and
and musical ex
ocal
there is neither ex
above all, the aim of the true artist. Misunderstanding of what constitutes
nglish and A
merican "
tune"
tunes"
national characteristics are of far greater import than the mere differences
ur,"
"
you,"
"
ah,"
blue,"
ee-oo"
can'
t,"
for "
for ex
270
oo"
in such words as
nglish "
ah"
or
%
Y|
k7y
#
tgbu[nobr j\ dbX_b^Wg
the short A
merican "
a"
is used. I
the ultra-E
Piccadilly"
gain, the C
a"
ock
is produced
ney and
minority, and is apt to change as time elapses, but technical laws are
There is a very curious belief, held in stage circles, to the effect that
a high-pitched speak
oung
reshness and
clarity indicate youth, and these characteristics are always the concomi-
tants of good technic. The reason why we can generally tell whether a
person is old or young, when we hear his voice, is because most people use
their voices badly, and abuse of the voice progressively impairs its q
uality
uality
(not a childish one) persists until the individual is really old, when the
break
up,"
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did when he was 20, provided that his technic remains good. This
of added ex
turity.
perience, k
throaty, high-pitched voice sounds worn and old even when its
actress is speak
ing at too low a pitch. W hen it is shrill, they say that the
n work
has dropped many tones, they are seldom, if ever criticized by the
at too
uality is dis-
mak
eq
uality."
own voices and try to assume what they believe to be a beautiful, mellow
thick
, throaty q
generally speak
to convey emotion, color and atmosphere. Despite the fact that the act
271
[ # N@ R +; Z
6[ Nq '+#+
?
9 m/ 6 {#57 L+
0
F>O*V
" ` "O3
3
_ * >
F
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6
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*
*" m$>* .6"
!++
7; 2 ' $!<+
#
+# 6 B
;
W
#
6L
J/ F6 E
+; a
!' !> 7 . +>$+ 7
#
+
$F7/ + ! % $
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3 >
?+3$*
+6?%L
9
2 #
/ %
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# 6
6
O!
+ !5 #63 69 a6 +
"+#
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+
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7
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7
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++ 6
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)
of ex
%
"
$ &&" &" f$ $ &
Y &$" "
$"
&$"
upon vowel modification, which, in its turn, depends upon delicate, reflex
interadj
eq
uality"
ny attempt to
"
mak
uality characteristic has already been imposed upon the vowel by the
not ex
voice rolling,"
"
ham"
ed
actor is
"
uality mak
"
diction singer"
er"
hammy"
or "
voice roller."
diction speak
ham"
er"
actor.
ing voice
should be the same as that of training the singing voice, because the
ing. Thus, the technic of speech depends upon the proper development
igorous work
, larynx
and tongue.
and trained. Because singing is a far more vigorous form of voice pro-
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er group of laryn-
ually vital in
ey to the finding
of the pure lower register. This register, in its pure state, will, at first,
be revealed for but a few very low pitches. The pupil must, at this stage,
ex
tend further and further, until finally a full range of about three octaves
is reached.
should ever use the falsetto register in speech any more than he should
in singing.
s speak
first isolating the lower register for very low tones, applying these few
ing voice.
who use their voices well when they sing and badly when they speak
272
9N:
Z}
k7y
tgcu[npcr l] ecX_c^Wh
ears"
who
cannot sing. (This latter case is generally the result of incorrect vocal
training).
be commented upon by his friends and relations, who are apt to think
that he is talk
of voice production and associate this type of speech with his personality,
further diffi-
culty lies in the fact that the range is, at first, very limited, and the
will also seem strange to his own ear, until he has been practising it for
some time, when the relief from vocal strain will bring with it a sense
perienced.
W hen the pure lower register is first disclosed, the pitch at which the
unit. E
cept in rare cases, the intensity and color of every tone in the
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rises, and vice versa. W here the song is written properly, a rise in pitch
coincides with a rise in emotion. Q uiet phrases are written low in the
for ex
ample: I
s"
W alk
the tenor never sings higher than G until the final climactic phrase is
acts depicts a q
is found. E
iegmund and S
ieglinde.
of the voice.
not the single word. The actor, when reading lines, must conceive each
sentence as a single unit. The pitch must rise and fall, as the emotion
tune."
pick
ny attempt to
is, generally, cheap and inartistic. Thus, if a phrase is being read in which
the speak
have a dark
, soothing q
sleep"
should not be
o in speech
ey words. The
singer must never push his tones beyond a certain point of intensity.
within certain limits, each tone in his voice has a definite limit of loud-
ceeded. A
effective for him to raise the pitch for increased emphasis than to increase
emotions.
273
tremely deep
ure,"
Z}
k7y
tgcu[npcr l] ecX_c^Wh
unbrok
or this reason E
difficult for the pupil, who has never conceived this unbrok
t is rather
en flow of
t is probable that
"
flow of tone"
The vibrato does not occur in normal speech, because the duration
Thus, in most cases, the time interval is less than the duration of one
vibrato. I
ment of the singing voice, and because no tone in the singing voice which
ing voice.
proj
ect"
ers
of the
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theater or hall in which they are appearing. This concept is without any
The speak
proj
done.
ustment
or consonants at the end of one word must be connected onto the con-
the nex
of sound is brok
en. W here two vowels follow one another, as, for instance,
to art"
or "
for evil"
between the
elided. I
oo-ah"
for"
r"
"
aw"
elided;
and "
ee,"
are
between the
maintained. Break
aw-ee"
start with consonants, are destructive to the flow of tone. W ith the com-
pound vowels only one part may be prolonged. Thus, in the word "
the "
ee"
nee-oo,"
it is the "
ah-ee,"
it is the "
ah"
oo"
new,"
,"
ee"
which is short.
ee "
ome Physical C
letcher. Published: R
ystem Technical"
-K
274
haracteristics of S
ournal. V
ol. 10, J
ol. 3, A
by H arvey
B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
of the A
also because A
ngland.
er to correct many
of his more prevalent mispronunciations until his voice has been trained
properly and is under control. W hen this end has been accomplished,
from one poor pronunciation to another. W hile anyone, who has the
harmful. A
phonetic symbol
may indicate the pronunciation of a given vowel, but it does not give a
t is this
mental picture, and not the mere symbol, which enables the speak
er or
urthermore, pho-
netic indications do not cover the very large number of vowel sounds
over eighty
in the E
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ustment
s a general rule, it has been found that the use of a phonetic dic-
t the present time almost all teachers of phonetics show their pupils
t is, however, probably the only means which can be adopted by the
incorrectly. W hile this is the only method he can adopt to force a change
be avoided.
H ow is the teacher of F
in E
very
but what is to be done with the pupil who uses a mouth vowel formation
in E
nglish?
how to shape his pharyngeal resonance cavities for all vowel phonation,
Before this condition has been attained, any attempt to form the F
rench
d,"
"
1,"
"
n"
and "
t'
should be articulated
by hitting the hard palate with the under side of the tongue. This elimi-
"
out"
thus break
out"
ly relax
s the melodic line. W hen the under side of the tongue is used
275
ny
Z}
k7y
tgcu[npcr l] ecX_c^Wh
hapter 15
UNS
NTI
TE
H I
NG ME
TH O DS
>"^n4e| X
artists of the last generation. The best soprano of the day has seven
tones, middle D to A
ing q
. This
! #
is playing. A
bove the A
are q
stricted
white"
throaty. H er five best tones are really good only when she
Metropolitan O pera H ouse, but she never, at any time, really fills
the auditorium, as the great singers of the past generation did when
they "
opened up"
on a high tone. F
singer, and serious deviations from the pitch are relatively rare. S
he
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The best tenor of the day has a voice which, though true to pitch
uite thick
and
. H is high tones
uite pure
the q
uality of his voice is the best of all men singers of today. W hen
often most effective. H e never really fills the opera house, however,
uality of
his voice is better than that of any other contemporary male singer,
276
# #
(
% * }
*,
Z}
k7y
tgcu[npcr l] ecX_c^Wh
illegitimate and sounds silly. W hile his voice is not throaty, it is not
held open;
Lack
opening"
of Power Present-day C
W ith the ex
haracteristic
of the time they are singing, there seems to be no one else who can
really be heard, ex
playing, or whose q
is almost universal. A
liberately throaty. A
aulty intonation
mezza voce"
) heard is de-
new nothing of
mountebank
s who talk
\. # 7
. . ..)
0..$., ).
$. EjH'
, F 7
# . ) #
#
,) j P.,
8., - ]., ##
3# - = # # A$vv
r
E> #E,# ;,- =.# 0
L) EEF
$,
- |$
$
.;
.
,# $
t$ #- Z. . ,
E,
# # 3 # .-
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
realized that the singer who was not audible above the orchestra,
parlor singer"
do anything about it. H owever, when they heard a full, free, ringing
sible, to produce j
eep
the pupil with a naturally great voice survived and, in many in-
Pseudo-scientific Methods
277
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. . j #
..- | . 0
.
) ,E, ,
, ;$ k
. . . ) .)
## #) # j
$.1 j .1 # 0 -
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H, ,
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and "
methods,
was defeated by the smart salesman, who used wild and imaginative
phrases, q
ome of these ex
-singers,
*
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!@ (
*
Y +
to them. They
in terms of
the phenomena with which they were dealing. They had only one
upon
tions.
these ex
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
they were able to pursue was anatomy, because this study demanded
W1!K
b
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was necessary. I
agined to be used
uite futile. I
t did, however,
provide them with some long, scientific terms which they could
nowledge.
which they ex
voices!
who has lost his voice, or by the individual who has no "
voice."
natural
technic, the more definite the muscular sensations which the singer
ex
periences become. S
1 b
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amous Names
ean De R
eszk
#&0+6 #+6
Marchesi mark
and error"
because of lack
ness."
pupil
he did k
Melba
pseudo-scientific"
teacher. S
cessive "
> $P $^ I ^ Aa b$> 5% !8
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white-
actly lik
whiteness"
of lower register.
(Melba'
trial
aH p$ II A5 %8 I 5$! $ $>I a %
?gqg qTT8, # $% $0, q T
.) Mar-
whitened"
$ I >> 5 $ >G % T> $ a y5v
>, $ >I A $> % #T? TI ; 8 [A
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she did radical harm to virtually every other pupil who studied
"
white,"
her pupils to sing more or less out loud and she wanted them to be
teacher
financially. S
he k
s most successful
n a book
$ 5 & OT, T $ ($IX $> ~& :!I
on singing
posterous nonsense: statements to the effect that the tone was some-
one who had pipe dreams. They are similar to the writings of an
individual who, k
write a tex
tbook
$> ?# % > C T CTI :I $ 5I $ q
V TI%T
read book
s about singing
$ 5 % 8 8> $ (>I T T
$>gV 8a p$ A( !$ I $I :
en to task
279
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)
affected the vocal teachers and students who came under her sway
new nothing of
students flock
veryone
who fell into her hands was forced to retire from the stage while
are today living in retirement, and these artists would still be sing-
ing if they had been trained properly. Despite all this, Lilli Leh-
mann lik
pitifully curtailed.
mained for J
ue
ean De R
eszk
the great F
rench tenor
to strik
e the final
blow which has been the main cause of the virtual elimination of all
W hen J
ean De R
eszk
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
tically all F
nasal. H e, therefore, ex
"
;;
;;;#*H
*;*, H. *k-
as do those of prac-
white,"
of
theories upon this sensation, which was solely a manifestation of the tech-
aw-lock
and neck
ue."
he coined a
the maj
eszk
Let us consider ex
f the j
aw is relax
ue"
really means.
out a little and tensed, this state of tension may be reflected to the front
actually: "
f the
This is not
resonance cavity
must be an air cavity, with relatively hard walls, which can be shaped,
or "
tuned,"
280
uch a cavity
Z}
k7y
tgcu[npcr l] ecX_c^Wh
ust such
cavities. The mouth cavity also can be shaped, and is employed when
adj
usted. F
that, even if this cavity could be shaped, it could never act as an efficient
seriously. R
eference to F
of the line A
of the sk
ull is filled with brains and is not, therefore, an air cavity. No!
the masq
ig. 37
in
;"7"6A <!"!A 5A *2'0>A <!,A 7!A 7!,"A "6A 0557A 5A %:67A 6:!A
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7!A +63: A
ue."
esonance C
avities
This illustration clearly indicates the utter absurdity of the idea that the
masq
focussed,"
ue"
"
placed"
or "
felt"
B.
membrane which would act as a highly efficient damping material. The frontal
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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urther-
more, neither the nasal cavity, the sinus nor the head can change their size or
tuned."
the front of the face which could possibly act as a resonator of the tone.
The bony structure of the nose or forehead might act as an efficient sound-
ing board if the vocal cords were attached there. H owever, the larynx
is
The front of the face could be used as a sounding board, if the vocal
cords were rigidly attached to it. But to accomplish this the larynx
"
281
in the masq
ue"
"
,
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in the masq
by the neck
This neck
ue,"
treme j
is then merely a
aw-lock
and helped
masq
ue"
singer.
school of teaching deliberately drop their heads to guide the voice "
and over"
masq
ue."
up
down movement of the head with a circular gesture of the hand which
s they mak
breath control,"
which gen-
erally centers upon the raising of the chest. They may be told to breathe
with the diaphragm and then draw the breath up into the chest, which
of the chest, which ensues as they start to phonate, blows the breath out
ing of the j
muscles,
before phonation. These singers will, then, very easily and completely,
ex
ue"
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
really means.
muscles transmits the sound, with great efficiency, directly into the singer'
ee F
igs. 26
&
and j
throatiness.
school of vocal
improvement in q
of teaching can definitely feel and hear themselves reaching the goal.
uality. I
"
ue"
s is merely inj
urious nonsense.
increased richness in the tones they are producing, that they are utterly
unmoved by any statement of the scientific facts of the case. This conceit
masq
ue"
that they
must start all over again and tear down the throatiness which has been
built up
But
282
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Think
. Think
of the
built up and which must inevitably come crashing to pieces under their
feetl No!
ue"
teacher never
some sort of sound for several years, before he realizes the trap into
was a few years ago, before the radio and movies became so prominent.
too weak
shut off"
that it can
hardly be heard across a room, may be a big success over the radio and
in H ollywood, if he can put his words across nicely and has a pleasing
personality. S
at an
actually higher intensity level than the one they attain when they
sing. Before the era of reproduction they could not have been even
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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uite
fine voices. The fact that certain, very throaty singers have been
matters!
Nevertheless, the moment the public hears the singer with an even
it hears one. A
don'
to go on singing.
ue"
idea.
in the
front of the face, the nose or the forehead. This is much the same
"
covered tones,"
or "
head tones."
283
L
%
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tgcu[npcr l] ecX_c^Wh
and j
masq
ue"
or the nose.
open"
open"
and "
covered"
tones. The
open tone"
throat open and with the muscles of the tongue in proper tension
white,"
"
shouty"
tone"
covered tone"
covered
b on the top
open tone"
is too
and neck
aw
This permits the tongue to drop and then come into constrictor
to "
as he ascends the
even scale"
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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ual
ue"
2% 1 % 1 (1 G ##1C
= 1% 1 n
scale, i.e., of j
aw lock
and neck
upon a relax
ed j
aw. I
ed neck
not throat
they do actually mean the throat (or tongue), because these teachers
generally tell their pupils to shape their mouths for the vowels.
relax
relax
the throat."
of a relax
ed j
of the j
e movements
ee F
treme j
ue."
aw lock
aw
e an
ation
B" 1% ## # 1 (.
p % 1 M
=; .n p 1
which might be used over the radio or in the movies, and which
284
$B
) 525=5?.B-B
* <424 6 B1;8B
) )
)
should be used. I
too strong, the voice disappears. H ence, all singing must be done at low
intensity. A
nyhow, it is far better for the singer who employs this technic
never to attempt to sing loudly, because all tones sung above a certain
intensity become unpleasant to listen to and are nearly always off pitch.
There are two methods of establishing this technic: W ith the first,
is disregarded, with the result that the voice is of limited range. W ith
the second method, which employs the registration action, a far more
can be developed.
The first method is very simple indeed. The chief goal is the attain-
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("
masq
ue singing"
) is desired, the j
aw lock
.I
aw is first relax
f nasality
This tension is then directed to the front of the face, or the nose. The
the nose. I
f the "
head voice"
(lock
in (or back
(S
ee F
f a thick
lock
"
position, pulled
ig. 12 B.)
neck
neck
from above by dropping the head, and it is augmented when the head
is stuck
ex
cessively. I
by means of the chest and shoulders, which must be raised and tensed.
This raising of, and tension on, the chest serves a double purpose, because
breath control."
the diaphragm and raise the chest, thus forcing the breath up into it.
(S
ee F
ig. 24 C
breath"
285
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piration ("
on the
). H aving inspired the breath and raised his chest and shoulders,
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of these members. H e should then start to sing by blowing out the air
with the chest, which is slowly forced in and down as he sustains the
tone.
deliberately blowing out more air with the chest No attempt should be
on"
ex
ex
"
breath control."
masq
nown as "
ue"
breath control."
Breathing
because slurring into the tone helps to engender the sensation of neck
control and breath control. Most of the so-called emotional and interpre-
deliberate slurring.
ingle tones, produced in this fashion, which are swelled into and
is q
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
"
ex
uite unimportant.
white"
"
ee"
vowel. F
in the middle position, and the lips deliberately spread. The "
"
ah"
may also be used, with the mouth carefully set in the "
position. A
"
oo"
ed
white"
white"
"
ah"
vowel, which must be sung with the lips pursed up and completely
in the "
oo"
aw lock
with the j
aw closed. A
ll the mouth
positions for the different vowels can be carefully set and practised.
The intensity should not rise more than is absolutely unavoidable, with
not loudly.
"
open"
fourth line of the treble clef), but this relatively loud effect should not
the result that the voice will shut off altogether. This is true of all loud
singing. A
t all times the singer must have the feeling of being able to
and sq
be developed if the pupil is willing to practise every day for a short time.
286
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c qr
hi= > ?
0
1
2
3
4
5
6
7
)
* +x ,yz-.
{ / '
(
H
This ex
elax
tongue
tongue. R
This throaty, tremolo tone must never be sung loudly, because when
ey
neck
ten-
the larynx
which must be set beforehand. W hen the necessary pre-tension has been
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sq
ueak
ed"
in the falsetto
Most of the salient points have been covered for the attainment of a
unmusical and ex
the intensity is k
tremely inj
it is entirely inartistic,
urious physically. I
radio technic"
level. I
the listener.
The second method is, in many ways, far more efficient, although it is
more harmful physically. W ith this method the voice is registered and
ed. I
f this technic is
mastered completely, the singer can virtually never learn to sing legiti-
mately.
whitening"
white"
it and
as the pitch
rises. The intensity must not rise, but rather diminish, if possible, as
white,"
very
throaty tone and helps to establish intense constriction. The lips are
ig. 30 A
in order to set the mouth position for the necessary degree of throaty
"
whiteness."
white,"
white,"
mix
ed lower-
register technic. The falsetto register is then derived from this lower
287
tremely
V
@
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2
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; 2
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ed) falsetto sq
ueak
white,"
oin it in with
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with the j
aw lock
falsetto"
ex
) on a white "
ee"
vowel
dark
ened."
"
white"
"
ah,"
"
ay"
or "
ee"
vowel and sq
ueezed into
the lower register on the same tone, and the lower register should be
"
whitened"
to mix
ee"
limitations of
lower register at the same pitch, on the same vowels, at about the same
intensity.
the ability to cover a range of three, or even four, octaves with a little
ed-register "
sq
ueak
voice."
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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throaty, mix
The method j
becomes the better, or richer, it sounds to the singer himself, and the
But
please don'
t do it!
in the masq
ue."
t is not singing!
t ex
t is not art!
presses nothing!
t has no
t is harmful
of thing in a singer'
R
R &
R Q Q w e
RB w %D
& & Q
% RB
( @QB R
individual, whose voice has been only partially shut off by bad
training, loses it at j
a matured artist. I
t tak
classed as a "
Today'
R J @
R&
& QQJ @ QRB Q & R
& R R RB
R RRQ QRR &R
R &
R@ R@Q B. 2J %Q Q@
to be
great artist."
s pitiful lack
of his career
The younger voices are the best voices, because the constrictor
action has not yet developed far enough to destroy them. These,
288
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RB
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ex
-singers still living who have passed right out of the picture and
the older singers, who are still reasonably good vocally, there are
t would have
been easy for a competent teacher to have made this artiste into
teacher to mak
if not
of lower-register
of
f her
her present vocal condition, only sing the lower register, really open,
up to A
flat (second space on the treble clef) and that above this
tone this register would start to shut off. This shut-off lower reg-
laryngeal condition. I
or D in her present
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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or even F
above high C
instead of being screamy and thin, would blossom out with a clear,
mellow, beautiful q
O pera H ouse. F
legitimate, "
open,"
open,"
nance adj
H er breathing is good. J
properly. S
ed but
how to attack
tones properly.
The tenor'
out than
the breathing muscles and the pushing action would have to be dealt
with very carefully. H is registers are relatively pure but not co-
ordinated. A
289
$O
1
[ $ - ?
[
s[
[ [ O[
= e
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aruso may be q
t is difficult to think
might reach the heights. Practically every living woman now uses
)"
+ )!) ""?$ $ )
Q! )
) )
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( ( O
)
O f the other male singers there are few whose voices are not
ome of them,
mezza voce"
ed falsetto for
seriously with the registration action that many of them would have
cation of the registers before very much could be done. The train-
ing they have undergone has served only to destroy the proper
throatiness.
) )"
) ?"! ?" )! ! b~G
)! )
)
"
D $ Q a 2 )"
cholarships
true in E
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
fine, natural material. These are the very voices which are most
inj
$.@QH+VX@CSXd
which these institutions provide are apt to be those who start with
the "
"
open"
cientifically Unsound C
ue"
voice.
oncepts
nowledge of
the nature of the phenomena with which they are dealing. Many
290
stream of something"
which "
flows
&B
) 525=5?.B-B
* <424 6 B1;8B
%)
DH : D = PH = H =?C: . p Y7
A Z /m / . p Z /
out"
think
of it as "
directed,"
"
focussed"
vocalized breath."
or "
placed."
ome of them
P * + / (D /Z /Z / /
? D ? D . 2
(m : / j Z4 &(
. Dm
/ N =Z #m/ ?/
?.
air is blown from the lungs through the glottis, and that this air
or breath
course, if this were so, the breath would have to travel at the same
speed as sound
is. A
voice placement"
rests primarily
that is "
whirling"
or "
spinning"
lik
e a sort of "
cyclone."
descrip-
es amusing
rank
of "
or "
back
"
of the head,"
put."
"
the "
hard palate,"
en literally, imply
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
really mean this, they must actually believe that this imaginary
cult to ex
talk
t is indeed diffi-
tk
now what he is
egarding S
Putting"
the head,"
acts R
the
ound
b ( D DN/.
in a cer-
tain cavity. S
"
talk
/ (^ | D D mP / /
/g: ?/
B
;+ .
t consists
meets. Thus, a soft surface will absorb far more sound than a hard
one, but alternate layers of hard and soft material constitute a highly
/
u :
/ ?m/ / M
. 2 / 4 /
Z . j
;#: */ / Z/+ ( O A( (/
A :P Z.
reflected back
soft ones. Thus, little sound could be transmitted through the head
because the pressure pulse would have to pass through the brain
folds of mucous membrane lining the nose are also soft and
masq
291
ue,"
singing forward,"
or "
in the
& B
* <424 6 B1;8B
) )
)
the j
means of j
transmitters of sound. S
t has
Loud S
inging
their pupils sing loudly. This type of loud singing is brought about
&06 $$6
tone q
i7 G % * U
mix
t is far easier
F;L %F
F! L F F
F F6 j
%
Gi G
F! #U#F (
i
c F #F#F F ,
i! *
best material of all is the unharmed voice which has pure registra-
tion and can produce full tones in the lower register and falsetto
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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Dropped Larynx
iUL, G
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W rong
larynx
in the throat."
is so
dropped, the hyoid bone and the tongue also must descend. This
engenders a condition of ex
throatiness."
treme throatiness
generally "
thick
)&''6
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fession must not only understand singing and music but must also
be dreamed or imagined
they k
e of the money
musicianship
and mak
don'
e an honest living
t mind inj
elax
ation F
allacy
relax
coaching and
perience complete
ation during phonation. They fail to realize the fact that the
ed
%
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>
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x %
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obvious fact. A
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
';P4j4aGYVo 4PP47lo
ation, be-
cause the interfering muscles come into a high state of tension and
ation.
most unfortunate.
muscles
who tenses his shoulders and chest should be told to let them drop
and relax
in order to relax
actly
the opposite effect. The teacher who tells his pupils to move the
muscles.
baseball player will swing his arm to limber up. This swinging
ex
ercise brings the muscles which he is going to use into tension and
f he desired to relax
not limber them up. Thus, swinging the shoulders or arms to relax
293
Z,
>!!7!
,YR^O4n6|
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,
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7
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them would only serve to limber them up and prepare them for
The pupil who tenses unduly before and during phonation must
be told to relax
mak
emember: V
lax
isible, ex
ation.
aw, neck
relax
ed. Lack
"
hold"
aw and neck
f he loses the
teacher who has lost his voice does himself. H e teaches his pupils
chest."
relax
relax
the throat"
and "
raise the
fering muscles and the muscles which should not function in phona-
sible;
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
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tion. S
impossible) and, at the same time, force the pupil to blow out
the air. The voice is not something which is forced, blown out or
larynx
aulty Methods R
esult in E
arly Loss of V
uilibrium.
oice
the ages of forty and fifty. They do not blame their teachers when
physical ex
pupil'
set"
n-
improve the voice of any pupil who may study with them. A
294
planations.
ctually,
3
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they ruin every fine natural voice which they endeavor to train.
o common is this
today who does not deliberately spread her lips and more or less
scream her high tones, and no living singer who can produce a
voce"
mezza
when teachers have been shutting off voices, after this fashion, for
open"
Little W illie'
"
voice"
freak
more lik
s"
and q
teacher *
uoted a mix
7
8
+ )
8 8 7 ) s )
)
one. They
ample, "
*
)
O
0 k Z + % &+ %
designated C
or ex
aruso'
s voice as a
only a "
freak
voice"
open,"
that his pupils lose their voices, while the singers who have '
full,
free voices, which have not been tampered with, survive. Thus, it is
to lik
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great singer
firmly strung."
$) #? )$% Z P * ) % *$ +
Prac-
tically every singer today not only slurs but actually flutters the tone
"
strung"
lik
ex
ncompetent teachers
e a defined pitch as
natural voices they can find. They award these scholarships fairly.
they are, in nearly every case, shut-off and throaty. Many of these
been chosen had they originally sung with the technic they used
e the sound of
the throaty tones that they produce, after they have been trained,
despite the fact that they originally chose them because their voices
The S
New Y
295
ork
not throaty.
cience of V
tanley, C
arl F
isher, I
nc.,
0
)) * )
0 % $
%
? )
*
)
% ? ) )$E )$ * ) $Z
$ $ )$8 %08 0 *$ )$ ) $ )$
(p. 339).
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+ ) E
E)$ 7#8P
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f six
nyone,
special k
to be j
nowledge of technic. I
the same way on the basis of their natural voices, but on the basis of
their "
"
technic,"
technic"
constriction. I
t approve
of, big, crude, free, natural voices which they would deliberately
ea
t is not
open up"
and "
free"
ocal Teaching I
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method. R
and concentrate,
lik
ect.
ing
K
*"
( F
" " *
resonance adj
tak
en for it, ex
"
opens up,"
the pupil force his voice and produce ugly, loud, throaty tones
es a
296
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1 9
"
*
(*
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H *
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* *
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c 1 M
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1
*
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) 425=5@/B,>B
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for ex
masq
ue"
voice placement"
ues with,
or the "
singing in the
peak
ing V
ing voice. I
oice
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es for
tion
resonance adj
ustment
ing voice, j
ust as much as
The j
peak
ing V
oice
it should be "
detuned"
and be k
, position in speech
Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:59 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
portance in speech. F
relax
public speak
% # c
P, S
1X#
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acting.
The speak
voice. E
ing
hold"
en as
297
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_
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of the speak
speak
spok
trained properly because a good technic provides him with the in-
mplification H as H armed V
presses himself.
ocal Technic
Y \A ; $ (d$ $ .
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$.
boon to the human race if, as an offshoot, it had not become possible
by singing over the radio and for the movies and records. I
n view
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This sort of thing has made it possible for the teacher to thrive
ful stars.
shut off,"
t is
urious and
past, would not have had enough voice to sing in operetta, are
ll this is very sad indeed and nothing can be done about it until
such time as a full realization of the fact that the voice is a normal,
versally recognized.
298
) 535=5?.B-B
* <424 6 B1;8B
) )
)
W ell-produced V
oice R
eproduces Best
press the
e trick
e a considerable amount of
money for a few years. O n the other hand, we should have the artist
must choose one of the two paths: The easy road, which may enable
the teacher;
work
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
ect
and study, but the road which can lead ultimately to the pro-
Great A
a singer to mak
rtists A
re R
are
a few thousand who could become very fine artists. There are
rest, proper training improves the voice in every case, and many
learn how to sing legitimately and aim at the goal of true artistry,
he must mak
299
, and that
0g0 #g1
&&B
) 525=5?.B-B
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) )
)
AZ9 b|bAS m>^}S+ AZ1mrA9#r0 <Am bg^mb1)rA0 r1#)<0g #Z+ 7Z+ ^|u
ing pupil should investigate his prospective teacher and find out
this k
A[ <Cm u0#)<0g >0 m<^}S+ '#m0 r>Am )^Z8+1Z)0 |b^Z r>0 u0#)>0gm
nowledge for
NZ^S1+90 ^3 <Am m}(L0)r #Z+ <0 W}mr )>1)N vAm NZ^S0+90 3^g
today.
hoosing a Teacher
uspect the teacher who tries to impress you with the names of
well-k
nown singers who are studying with him, or who have studied
emember
nown singers
have gone the rounds and are claimed by several teachers. The
s tuition. I
but has remained much the same as before, the teacher will not
it. I
As> >DW AZ r>1 b#mr 1W0W'1gW^mr ^3 r>1 1SSNZ^Z mAZ:1gm
ely to impair
it will inevitably
singer who is so talented that he has made a name for himself, what
urthermore
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Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
than by reason. I
'0 #'S0 r^ AWbg^0 ^|g ^A)0AZ 3#)r >1 Am W^g0 SBN1S u^ CWb#Ag
ea
change, they are only too apt to go to another teacher of the same
school and k
eep on "
masq
etc.
ue,"
or "
singing in the
mAZ90g<^ Am m^r#S1Zr1+ r>#r <1 >#m W#+1 # Z#W0 3^g <AWm1S3 >#r
vocal teacher. H e must not study vocal technic with the untrained
teacher
whether he may be an ex
panist or j
r#S0Zr1- b1g3^gW1g Am `\S r^^ #dr r^ '1 :^1k1- ' 1Y`rA^Z g#r>1g
r<#Z ' g1#m^Z Z bg^^3 ^3 r>Am #mm1grA^Z r<0g0 #g0 AZZ|W0g#'S0
voice with any one of these individuals, unless he has been educated
Ar< u>1 r1#)>1gm >^ #g0 g}AZA\: v1W 1Z r>1 +^ W#N0 #
)>#Z:1 r>1 #g1 `\S r`^ #dr r^ :` r` #\^r>1i r1#)>1g ^3 r<0 m#W0
e'>XXMw #\- P11e `\ d}ssD\: Ar D\ r@1 \`m1 `g mA\:A\9 A\ r>1
W#mf|0 0r)
is not to become a lost art. O nly when the vocal student refuses to
work
300
with any teacher who has not been trained properly, will
r>1 Z1)1mm#g
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B
) 525=5?.B-B
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) )
)
vocal student. The demand can finally force the supply. The scien-
W ork
s the "
oyal R
oad"
to Good S
E #
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( %
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'
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'
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#!' 0# #-
inging
work
cian. S
uch a coach will not try to train his voice, but will endeavor
with his natural technical and vocal limitations. True, he will not
learn how to sing, but he will learn something which may have
Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
301
- %' ~
! $ ' !' '!
#
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C26
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NDE
coustics
acoustic coupling, 40
atmospheric pressure, 1
conductor of sound, 38
consonants, 36
definition of sound, 33
Gu`H
AGu`H Hv|j`q[ *B
Cl|jdIN uO uqI dFB`uq &%B
Alu|^N`H |NN B
GuqIHu yO uqI &9B
GuquqAq &/B
IAl|dq[ lANdBj &2B =B
INTqdduq uO uqI &&B
NqN[ IddFdvq `q ]N vqL &/B
ON~NqH &*B
OqIAlNqBj &-B /9B
`qNqd uO uqI &-B
lNANlNq vO `qNqd INHdFNi
freq
uency, 34
fundamental, 35, 6
intensity of sound, 35
41
musical intervals, 37
musical tone, 34
periodic vibration, 34
pitch, 34
Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
pressure pulse, 34
pure tone, 34
,6
*B
9, 227
reflection of sound, 38
resonance, 39-40, 6
0-6
1,
8, 70, 280-281
8-6
sound absorbtion, 37
sound spectrum, 36
,6
9, 74
8, 282,
291
breath,"
3, 6
/9B2B 9
9 B
vocalized
8, 291
vibration, 34
vowels, 36
275
-37, 6
ttack
rticulation
Breath
, 2, 6
vocal (see C
"
blowing"
"
breath control"
breath,"
290
onsonants)
and "
vocalized
breath ex
!=B
breath, 5, 97
105, 130
"
holding"
!5-B
-97
the, 3, 5, 122
Breathing, 5, 122
"MA^
Eju_qY FNA] -B =2B
FNA^ Huquj AqI uGAjdNI
breathing)
olor
233-234, 246
9
9%B 9/B
=B
-B %B
#uqdHuq
`q[`q[ uq *B /B = B =/B
[NA qAAj udHN BqI 9B 99B
=- =/B
$uvI`qBduqq` 92B ? B
#u| I L [juN 2B
#uNNI uqN ^NAI vqN NH
2B B 9%
9*B
=!% B
#_qY
=B = B "B ! B
'jN_Fdj_ 9 B 0:B 2%B 5*B /B **B
'uG_q[ ^N vdGN *B =B !:%B
(dN lGkA =B -B
B
/B 2B
5 B =2B
*NAI zudduq %0B %9B 2B
*NAI NZ_N ]NAI NvqAqHN
^NBI uqN ^NDI udGN
#uNNI uqN
B
, 254-255, 271-272
articulation of d, I
275
, n and t, 253,
0, 270
onstriction
singing on, 4, 6
, 9-10, 296
) 525=5?.B-B
295-296
o-ordination
unit, 87, 91
"
oup de glotte,"
"
overed tones,"
"
head tones,"
etc.,
* <424 6 B1;8B
) )
)
"
H old"
2, 73-74, 81-83,
A A B =
B
ntensity
control of (see V
sity V
mix
ibrato and I
nten-
ariation)
286
registration and, 86
,qNq`
Hvqvi vO =++C >`FBv 4F9L -qNr
` >B`A`vq
9/B
, 88-91, 95,
, 254, 255
2, 208-209,
251, 284
mix
aw
142, 216
, 285
maj
Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
lock
ustment and,
neck
) B /B 9,B
laryngeal)
189
Larynx
0, 86
-189
186
-189
position of the, 6
-137, 292
Lips, 24, 26
, 143-144, 216
mouth-resonance adj
, 183-
mix
136
/A
EAIj A`GjAMI )7B / 7B
j_z ApI )%B /B
iuGg l_IIjM {u``uq ) -B )B
-219
mouth-resonance adj
neck
,B 9)B
,puqA`vq B =, =/B %B =B =-B
l_MI MW`A`uq BqI )B
-217
lock
ustment and,
24, 143
9=B
1Ap --B -=B 9%B 9/ 9=B
l`NI MW`A`vr BqK B
:/ 9=B
|v``vq vO ]N /%B 9B 9)B B
%/ %2B = B
Manipulations
head, 136
221
0, 219-
)B )%B
maj
mix
ed-registration, 110-113
octave j
ump and, 16
"
Masq
ue,"
206
253, 273
3Aq`zkA`uq
]NAI %/B
^v`I FvqN 9 9)B =:B /B
=
B
eB )7B 9 =B
i`l` v N vO ,%B
mAev `AI ApI =
B
m`NINW`A`vq 'B
vGBN fl| BqI /B
^v`I =7
B -=B =
B
vrWN aqlNq 7- 7=B 9-B B
9B - B -7B
B B
"
timing"
%B 9 :9B = B
3GjM
BqAWup``G BqI crMONbqW Nr`vp
vp B %B B )B ,%B /%B 7
9B
B
-237
Muscles
3, 117-118,
breathing (see E
uilibrium), 5, 31-
) 525=5?.B-B
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) )
)
:B )2B
208, 247
0-26
syncopation, 243
2-26
Natural voice,"
13, 52, 16
4, 16
"
whistling,"
ump, 16
1-16
O pening"
(see R
esonance adj
breath ex
pulsion and, 4, 96
, 104-
!B
sudden "
openings,"
,B
104-105, 201
Pianissimo, 16
-107, 201
1, 288
7, 181
189
92
"
4, 9
244
Q uality (see A
105, 176
-237
mix
9Aj` =++C
oices
types of),
227-228
, 199-
214, 26
-26
=,B
=0B
!,B !:2B
zMlApMp
mGjA maNI
B
0)B =0B
|dG] BpYN BpI = B %B //B
MUMG`up FNMNp NY`N /%B
!/B !%!B
Gu`G %,
%2B -B
,B 20B =,B !:
! =B
GA`pY zuM ApI %:B %/
%2B
`pupA`up ApI !B =%B #:B
jMpY] uP uGAj GuI ApI = B
l`MI MY`A`up BpI =*B ==
=0B !)B
!B #!B
:MjAA`up B =%B
|NupAj =++C ?u`GM|N G> L :M|uIGdup NGuI`pY 2/
22B
!!2
9B
@<
$==B
200, 202
personal (see V
=!B
, 195, 228-229
:%
;,B :=
!,B !:2B
-107,
:=B
92
= B %B =)B
GuMG N uP Fu] NYaM
Pre-tension, 2, 14, 76
,B
!/B !::B
/*B
dp AYM !B B
IIMp u}Mp`pY )
,B B
dFAu ApI %!B 2 B
|uN apGMAN BpI /
2B B
NYaN
!/B
ust-
26
%B !!
!!)B
4, 151
Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
O ctave j
105
=,
=/B
14, 32, 6
)B ,=
/B /!
/%B =/B B
! B
FNAh FNNNp NYdN /B = B
=%
=,B ,B
Neck
201
:MYdBdup
EAjApGdpY uP NYdN ,B 9B !B
"
GBjN ) B !))B
G]uuj uP ldG %=B */B
NGdup %:
!%=B ) B
N l`G %:B ),B ,B
Gu|Adwp *%B
Mm|u )B *%B
]NlN )B ),B
dmN 2B) B %=
)B )%B !,B
AI`dup /
/%B
,
295-296
Neck
% B )
) B *%B !,%B / /B
tradition, 26
"
B
egistration
104;
222
break
159-16
0, 16
2-16
3, 196
between registers, 16
, 200,
, 92,
193-195, 205
103, 222-224
ed, 194
) 525=5?.B-B
* <424 6 B1;8B
) )
)
esonance adj
pharyngeal
ustment
open, 21-23, 6
0, 70, 80-
egistration)
tongue and, 6
0, 6
throaty, 23, 26
aw lock
2, 82
and, 24
mouth, 24, 6
281, 286
attack
"
coustics)
ntensity scale)
-277, 289
give"
and, 213
196
-197
Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
mix
resonance adj
197
208, 26
ob, 245, 26
ound (see A
coustics)
peak
ing voice, 26
8-275, 297
mix
natural q
273
registration and, 26
req
8, 270-
9, 272, 297
singing vs., 26
8-26
9, 297
"
tune,"
vibrato and, 26
"
26
8, 274, 298
ueak
voice"
, 101, 198-199
Tessitura, 16
, 255
adj
esonance
mix
204
neck
and, 6
, 132, 136
-137, 140
258, 26
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125
Tongue
ulations
tongue instrument)
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ualifications of, 6
oice V
, 300 "
owels I
see A
oice placement,"
, 135, 292
saving"
>Yd
, 227
Q Q
$ $ $
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coustics)
development of, 6
"
4, 7, 32, 291
d
609
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Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
306
C3
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Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
) 425=5@/B,>B
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Generated for Nathan Daniel Lee (Brown University) on 2014-09-14 00:00 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
TH E
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