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+Project Gutenberg's Resonance in Singing and Speaking, by Thomas Fillebrown
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Resonance in Singing and Speaking
+
+Author: Thomas Fillebrown
+
+Release Date: August 29, 2006 [EBook #19138]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RESONANCE IN SINGING AND SPEAKING ***
+
+
+
+
+Produced by David Newman, Clare Boothby, Linda Cantoni,
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+RESONANCE
+
+IN
+
+SINGING AND SPEAKING
+
+
+BY
+
+THOMAS FILLEBROWN, M.D., D.M.D.
+
+TWENTY-ONE YEARS PROFESSOR OF OPERATIVE DENTISTRY AND ORAL SURGERY IN
+HARVARD UNIVERSITY; MEMBER OF THE AMERICAN MEDICAL ASSOCIATION, THE
+ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND OTOLOGICAL AND
+LARYNGOLOGICAL ASSOCIATION, ETC.; LECTURER ON VOICE DEVELOPMENT.
+
+
+THIRD EDITION
+
+[Illustration: THE MUSIC STUDENTS LIBRARY]
+
+
+BOSTON
+OLIVER DITSON COMPANY
+
+NEW YORK
+CHAS. H. DITSON & CO.
+
+CHICAGO
+LYON & HEALY
+
+_Copyright, MCMXI_
+BY OLIVER DITSON COMPANY
+
+International Copyright secured
+
+[Transcriber's Note: Text in bold is surrounded by =. Text in italics
+is surrounded by _.]
+
+
+
+
+TO THE MEMORY OF
+
+WILLIAM HASKELL STOCKBRIDGE
+
+PUPIL OF VANNUCCINI AND MY FIRST INSTRUCTOR IN VOICE CULTURE, THIS
+VOLUME IS AFFECTIONATELY DEDICATED
+
+
+
+
+PREFACE
+
+
+Efforts to develop my own voice, and the voices of my patients after
+operations for cleft palate, aided by anatomical study, resulted in a
+plan for the focusing and development of the human voice quite
+different from any other yet published, or, so far as I know, yet
+proposed. This plan has proved so successful in my later life that I
+feel emboldened to offer it for the consideration of speakers and
+singers.
+
+While twenty-five years ago few of the principles here described were
+acknowledged or even recognized, within the last decade almost all
+have been advocated separately by different teachers or writers. At
+the present time, therefore, originality consists only in the
+classification of the principles into a systematic, progressive whole,
+and in arranging a simpler and more practical method of applying them,
+thus making the desired results much more quickly attainable.
+
+It is attempted in this volume only to describe the value of each
+element in the production of the perfect tone and to demonstrate the
+principles which, if properly and faithfully applied, will develop the
+best that is possible in each individual voice and prepare the pupil
+to enter upon the more advanced arts of speaking and singing.
+
+In 1903 I prepared a series of papers on _The Art of Vocalism_, which
+were published in _The �tude_ in May, June, and July of that year.
+These articles are incorporated in this work. In connection with
+different organs and conditions, important principles are stated and
+restated. This repetition is thought desirable in order that the
+fundamentals may be kept prominently before the mind and impressed
+upon the attention.
+
+I believe that a careful study of this volume will prove of essential
+service to teachers and advanced pupils of singing and oratory,
+especially to young teachers just entering upon their duties. Its
+method will be found adapted to the instruction of pupils of all
+grades, from the kindergarten to the Conservatory of Music and the
+School of Oratory.
+
+I shall be gratified if this outcome of years of experience, constant
+study, and tested methods shall prove helpful to those who seek
+mastery of the art of beautiful speaking and singing.
+
+[Illustration: [signature] Thomas Fillebrown]
+
+
+
+
+CONTENTS
+
+
+      PREFACE                                            vii
+
+      INTRODUCTION                                         1
+
+   I. THE VOCAL INSTRUMENT                                 6
+
+  II. THE SPEAKING VOICE AND PRONUNCIATION                16
+
+ III. BREATH CONTROL                                      23
+
+  IV. BREATHING EXERCISES                                 33
+
+   V. REGISTERS                                           38
+
+  VI. RESONANCE IN GENERAL                                43
+
+ VII. HEAD AND NASAL RESONANCE                            51
+
+VIII. PLACING THE VOICE                                   56
+
+  IX. THROAT STIFFNESS                                    74
+
+   X. SOME GENERAL CONSIDERATIONS                         77
+
+  XI. THE PSYCHOLOGY OF VOCAL CULTURE                     82
+
+      BOOKS CONSULTED                                     86
+
+      INDEX                                               89
+
+
+
+
+RESONANCE
+
+IN
+
+SINGING AND SPEAKING
+
+
+
+
+INTRODUCTION
+
+
+When a youth it was my lot to be surrounded by examples of faulty
+vocalism, such as prevailed in a country town, and to be subjected to
+the errors then in vogue, having at the same time small opportunity
+for training in the application of principles, even as then
+imperfectly taught. At middle life I had given up all attempt at
+singing and had difficulty in speaking so as to be heard at any
+considerable distance or for any considerable length of time.
+Professional obligations to my patients, however, compelled me later
+to take up the subject of vocal physiology. This I did, guided by the
+ideas current on the subject.
+
+About 1880 I became satisfied that many of the current ideas were
+incorrect, and determined to start anew, and to note in detail the
+action of each organ used in vocalization and articulation. To this
+end I sought vocal instruction and advice, which, modified by my own
+observations, have produced the most gratifying results.
+
+Up to that time it had been held that the nasal cavities must be cut
+off from the mouth by the closing of the soft palate against the back
+of the throat; that the passage of ever so little of the sound above
+the palate would give a nasal twang, and that the sound was reinforced
+and developed only in the cavities of the throat and mouth. My
+practice in Oral Surgery, coupled with my own vocal studies exposed
+this fallacy and revealed to me the true value of nasal resonance.
+
+The late Mme. Rudersdorff had begun to recognize the effect of nasal
+resonance, but she left no published record of her conclusions. It
+does not appear that she or her contemporaries realized the true value
+of the nasal and head cavities as reinforcing agents in the production
+of tone, or appreciated their influence upon its quality and power.
+
+There are perhaps few subjects on which a greater variety of opinion
+exists than on that of voice culture, and few upon which so many
+volumes have been written. Few points are uncontested, and exactly
+opposite statements are made in regard to each.
+
+Formerly great stress was laid upon the distinction between "head
+tones" and "chest tones," "closed tones" and "open tones." The whole
+musical world was in bondage to "registers of the voice," and the one
+great task confronting the singer and vocal teacher was to "blend the
+registers," a feat still baffling the efforts of many instructors.
+
+Many teachers and singers have now reached what they consider a
+demonstrated conclusion that registers are not a natural feature of
+the voice; yet a large contingent still adhere to the doctrine of
+"register," depending for their justification upon the unreliable
+evidence furnished by the laryngoscope, not realizing that there will
+be found in the little lens as many different conditions as the
+observers have eyes to see. Garcia himself, the inventor of the
+laryngoscope, soon modified his first claims as to its value in vocal
+culture.
+
+On this point we have the testimony of his biographer, M.S. McKinley:
+
+"As far as Garcia was concerned, the laryngoscope ceased to be of any
+special use as soon as his first investigations were concluded. By his
+examination of the glottis he had the satisfaction of proving that all
+his theories with regard to the emission of the voice were absolutely
+correct. Beyond that he did not see that anything further was to be
+gained except to satisfy the curiosity of those who might be
+interested in seeing for themselves the forms and changes which the
+inside of the larynx assumed during singing and speaking."
+
+Of similar purport is the word of the eminent baritone, Sir Charles
+Santley, who, in his _Art of Singing_, says:
+
+"Manuel Garcia is held up as the pioneer of scientific teaching of
+singing. He was--but he taught singing, not surgery! I was a pupil of
+his in 1858 and a friend of his while he lived;[1] and in all the
+conversations I had with him I never heard him say a word about larynx
+or pharynx, glottis or any other organ used in the production and
+emission of the voice. He was perfectly acquainted with their
+functions, but he used his knowledge for his own direction, not to
+parade it before his pupils."
+
+[Footnote 1: Garcia died July 1, 1906, at the age of 101.]
+
+The eminent London surgeon and voice specialist, Dr. Morell Mackenzie,
+says of the laryngoscope, "It can scarcely be said to have thrown any
+new light on the mechanism of the voice"; and Dr. Lennox Browne
+confesses that, "Valuable as has been the laryngoscope in a
+physiological, as undoubtedly it is in a medical sense, it has been
+the means of making all theories of voice production too dependent on
+the vocal cords, and thus the importance of the other parts of the
+vocal apparatus has been overlooked."
+
+Not only in regard to "registers" but in regard to resonance, focus,
+articulation, and the offices and uses of the various vocal organs,
+similar antagonistic opinions exist. Out of this chaos must some time
+come a demonstrable system.
+
+A generation ago the art of breathing was beginning to be more an
+object of study, but the true value of correct lateral abdominal
+breathing was by no means generally admitted or appreciated. It was
+still taught that the larynx (voice-box) should bob up and down like a
+jack-in-a-box with each change of pitch, and that "female breathing"
+must be performed with a pumping action of the chest and the
+elevation and depression of the collar bone.
+
+Fortunately, teachers and singers recognized a good tone when they
+heard it, and many taught much better than they knew, so that the
+public did not have to wait for the development of accurate knowledge
+of the subject before hearing excellent singing and speaking. Yet many
+singers had their voices ruined in the training, and their success as
+vocalists made impossible; while others, a little less unfortunate,
+were still handicapped through life by the injury done by mistaken
+methods in early years. Jenny Lind's perfect vocal organs were quite
+disabled at twelve years of age by wrong methods, and they recovered
+only after a protracted season of rest. As a consequence her beautiful
+voice began to fail long before her splendid physique, and long before
+her years demanded. Singers taught in nature's way should be able to
+sing so long as strength lasts, and, like Adelaide Phillips, Carl
+Formes, and Sims Reeves, sing their sweetest songs in the declining
+years of life. Martel, at seventy years of age, had a full, rich
+voice. He focused all his tones alike, and employed deep abdominal
+breathing.
+
+The whole matter of voice training has been clouded by controversy.
+The strident advocates of various systems, each of them "the only true
+method," have in their disputes overcast the subject with much that is
+irrelevant, thus obscuring its essential simplicity.
+
+The "scientific" teachers, at one extreme, have paid too exclusive
+attention to the mechanics of the voice. The "empiricists" have gone
+to the other extreme in leaving out of account fundamental facts in
+acoustics, physiology, and psychology.
+
+The truth is that no purely human function, especially one so subtle
+as singing, can be developed mechanically; nor, on the other hand, can
+the mere _ipse dixit_ of any teacher satisfy the demands of the modern
+spirit.
+
+
+PRINCIPLES ADVOCATED
+
+The positions here advocated, because they seem both rational and
+simple, are:
+
+=1. That the singing and speaking tones are identical, produced by the
+same organs in the same way, and developed by the same training.=
+
+=2. That breathing is, for the singer, only an amplification of the
+correct daily habit.=
+
+=3. That "registers" are a myth.=
+
+=4. That "head tones, chest tones, closed tones, open tones," etc., as
+confined to special parts of the range of the voice, are distracting
+distinctions arising from false education.=
+
+=5. That resonance determines the quality and carrying power of every
+tone, and is therefore the most important element in the study and
+training of the voice.=
+
+=6. That the obstacles to good speaking and singing are psychologic
+rather than physiologic.=
+
+=7. That, in the nature of things, the right way is always an easy
+way.=
+
+
+
+
+CHAPTER I
+
+THE VOCAL INSTRUMENT
+
+
+Since the vocal organism first became an object of systematic study,
+discussion has been constant as to whether the human vocal instrument
+is a stringed instrument, a reed instrument, or a whistle. Discussion
+of the question seems futile, for practically it is all of these and
+more. The human vocal organs form an instrument, _sui generis_, which
+cannot be compared with any other one thing. Not only is it far more
+complex than any other instrument, being capable, as it is, of
+imitating nearly every instrument in the catalogue and almost every
+sound in nature, but it is incomparably more beautiful, an instrument
+so universally superior to any made by man that comparisons and
+definitions fail.
+
+
+ELEMENTS
+
+The human vocal instrument has the three elements common to all
+musical instruments,--a motor, a vibrator, and a resonator; to which
+is added--what all other instruments lack--an articulator.
+
+1. The respiratory muscles and lungs for a =motor=.
+
+2. The vocal cords for a =vibrator=.
+
+3. The throat, mouth, and the nasal and head cavities for a =resonator=.
+
+4. The tongue, lips, teeth, and palate for an =articulator=.
+
+These elements appear in as great a variety of size and proportion as
+do the variations of individual humanity, and each element is,
+moreover, variable according to the will or feeling of the individual.
+This susceptibility to change constitutes a modifying power which
+gives a variety in tone quality possible to no other instrument and
+makes it our wonder and admiration. The modification and interaction
+of these various parts produced by the emotions of the singer or
+speaker give qualities of tone expressive of the feelings, as of pain
+or pleasure, grief or joy, courage or fear.
+
+[Illustration: FIGURE 1.--Section of the head and throat locating the
+organs of speech and song, including the upper resonators. The
+important maxillary sinus cannot well be shown. It is found within the
+maxillary bone (cheek bone). The inner end of the line marked _Nasal
+cavity_ locates it.]
+
+
+TIMBRE
+
+The minute differences in these physical conditions, coupled with the
+subtler differences in the psychical elements of the personality,
+account for that distinctive physiognomy of the voice called =timbre=,
+which is only another name for individuality as exhibited in each
+person. The same general elements enter into the composition of all
+voices, from the basso profundo to the high soprano.
+
+That the reader may better understand the proportion and relations of
+the different parts of the vocal apparatus, a sectional drawing of the
+head is here produced, showing the natural position of the vocal
+organs at rest. As the drawing represents but a vertical section of
+the head the reader should note that the sinuses, like the eyes and
+nostrils, lie in pairs to the right and left of the centre of the
+face. The location of the maxillary sinuses within the maxillary or
+cheek bones cannot be shown in this drawing.
+
+The dark shading represents the cavities of the throat, nose, and
+head. The relations of the parts are shown more accurately than is
+possible in any diagram. It will be noticed that the vibrations from
+the larynx would pass directly behind the soft palate into the nasal
+chamber, and very directly into the mouth. The nasal roof is formed by
+two bones situated between the eyes; the sphenoid or wedge-bone, which
+is connected with all other bones of the head, and the ethmoid or
+sieve-like bone. The structure of these two bones, especially of the
+ethmoid, consists of very thin plates or lamin�, forming a mass of air
+cavities which communicate by small openings with the nasal cavity
+below. Thus, the vibrations in the nose are transmitted to the air
+spaces above, and the effective qualities of the head vibrations are
+added to the tone.
+
+
+THE LARYNX
+
+The larynx or voice-box contains the vocal cords. Just above the vocal
+cords on each side is a large, deep cavity, called the ventricle.
+These cavities reinforce the primary vibrations set up by the cords
+and serve to increase their intensity as they are projected from the
+larynx. The larynx is the vibrating organ of the voice. It is situated
+at the base of the tongue and is so closely connected with it by
+attachment to the hyoid bone, to which the tongue is also attached,
+that it is capable of only slight movement independent of that organ;
+consequently it must move with the tongue in articulation. The
+interior muscles of the larynx vary the position of its walls, thus
+regulating the proximity and tension of the vocal cords. The male
+larynx is the larger and shows the Adam's apple. In both sexes the
+larynx of the low voice, alto or bass, is larger than that of the high
+voice, soprano or tenor. The larynx and tongue should not rise with
+the pitch of the voice, but drop naturally with the lower jaw as the
+mouth opens in ascending the scale. The proper position of the tongue
+will insure a proper position for the larynx. The less attention the
+larynx receives the better.
+
+
+THE VOCAL CORDS
+
+The vocal cords are neither cords nor bands, but instead are thick
+portions of membrane extending across the inner surface of the larynx.
+On account of familiarity the name _vocal cords_ will still be used.
+They are fairly well represented by the lips of the cornet player when
+placed on the mouthpiece of the instrument. The pitch of the tone is
+fixed by the tension of the vocal cords and the width and length of
+the opening between them. Their tension and proximity are
+self-adjusted to produce the proper pitch without any conscious
+volition of the singer. They can have no special training, needing
+only to be left alone. The work of the vocal cords, though essentially
+important, is, when naturally performed, light and consequently not
+exhausting. If the larynx and all of its supporting muscles are
+relaxed as they are in free and easy breathing, then when the air
+passes out through the larynx, the vocal cords will automatically
+assume a tension sufficient to vocalize the breath and give the note
+the proper pitch. The normal action of the cords will never cause
+hoarseness or discomfort. The sound should seem to be formed, not in
+the throat,--thus involving the vocal cords,--but in the resonance
+chambers.
+
+
+THE EPIGLOTTIS
+
+The epiglottis is the valve which closes over the upper opening of the
+larynx. It not only closes the mouth of the larynx when food is
+swallowed, but aids materially in converting into tone the vibrations
+set up by the vocal cords.
+
+
+THE PHARYNX
+
+The pharynx extends from the larynx to the nasal cavity. The size of
+the opening into the nasal chamber is controlled by the soft palate
+and is frequently entirely closed. The size of the pharynx is varied
+by the contraction and relaxation of the circular muscles in its
+tissue; when swallowing its walls are in contact. The pharynx acts as
+does the expanding tube of brass instruments. It increases the force
+and depth of the tone waves. The wider the pharynx is opened, without
+constraint, the fuller the resonance and the better the tone.
+
+
+THE UNDER JAW
+
+The under jaw furnishes attachment for the muscles of the tongue and
+hyoid or tongue bone. It also controls, owing to the connections of
+the larynx with the hyoid bone, the muscles that fix the position of
+the larynx.
+
+The pterygoid muscles, which move the under jaw forward and backward,
+do not connect with the larynx, so their action does not compress that
+organ or in any way impede the action of the vocal apparatus. A
+relaxed under jaw allows freer action of the vocal cords and ampler
+resonance. The under jaw should drop little by little as the voice
+ascends the scale, thus opening the mouth slightly wider with each
+rise in the pitch of the tone. In ascending the scale it is well to
+open the throat a little wider as you ascend. The delivery will be
+much easier, and the tone produced will be much better. At the highest
+pitch of the voice the mouth should open to its full width. At the
+same time care must be taken _not_ to draw the corners of the mouth
+back, as in smiling, because this lessens the resonance of the tone
+and gives it a flat sound.
+
+The under jaw must have considerable latitude of motion in
+pronunciation, but by all means avoid chewing of the words and cutting
+off words by closing the jaw instead of finishing them by the use of
+the proper articulating organs, which are the tongue and lips.
+
+
+THE SOFT PALATE
+
+Writers on the voice have almost universally claimed that the
+principal office of the soft palate is to shut off the nasal and head
+cavities from the throat, and to force the column of vibrations out
+through the mouth, thus allowing none, or at most a very small part,
+to pass into the nasal passages.
+
+This contention implies that the vibrations are imparted to the upper
+cavities, if at all, through the walls of the palate itself, and not
+through an opening behind the palate. This is entirely at variance
+with the facts as verified by my own experience and observation and
+the observation of others who are expert specialists. The true office
+of the soft palate is to modify the opening into the nose and thus
+attune the resonant cavities to the pitch and timbre of the note given
+by the vocal cords and pharynx. To develop the vowel sounds, the soft
+palate should be drawn forward, allowing a free passage into the nose;
+it should be closed only to form the consonants which require a
+forcible expulsion of breath from the mouth.
+
+The uvula, the pendulous tip of the soft palate, serves as a valve to
+more accurately adjust the opening behind the soft palate to the pitch
+of the voice. In producing a low tone the soft palate is relaxed and
+hangs low down and far forward. As the voice ascends the scale the
+tension of the soft palate is increased and it is elevated and the
+uvula shortened, thus decreasing the opening behind the palate, but
+never closing it. In fact the larger the opening that can be
+maintained, the broader and better the tone. The author was himself
+unable fully to appreciate this until he had become able to sense the
+position of the soft palate during vocalization.
+
+
+THE HARD PALATE AND TEETH
+
+The hard palate and upper teeth form in part the walls of the mouth.
+As they are solid fixtures, nothing can be done in the way of
+training. They furnish a point of impingement in articulation, and
+play their part in sympathetic resonance.
+
+The bones which form the roof of the mouth serve also for the floor of
+the nasal cavity.
+
+The under teeth also serve as walls of resistance to support the
+tongue during the performance of its functions.
+
+
+THE NASAL AND HEAD CAVITIES
+
+The nasal and head cavities are resonating chambers incapable of
+special training, but their form, size, and the use made of them have
+a wonderful effect upon the resonance of the voice. If the vibrations
+are strong here, all other parts will vibrate in harmonious action.
+
+When responding to the perfectly focused tone the thin walls of the
+cavities and the contained air vibrate with surprising force, often
+for the moment blinding the singer when sounding a note intensely.
+
+Having in my surgical work demonstrated the existence of a hitherto
+unrecognized connecting passage or canal between the air cavities of
+the face and those of the forehead,[2] the play of resonance in the
+cavities above the nostrils is more easily understood. The function of
+the cavities known as the _frontal sinuses_ (see Fig. 1) has long been
+a mystery, but now that their direct connection with the lower
+cavities is proven, and the great significance of resonance is also
+beginning to be recognized, the mystery disappears. The same may be
+said of the other sinuses--_ethmoidal_, _sphenoidal_, and _maxillary_,
+and their interconnection.
+
+[Footnote 2: Dr. Fillebrown's paper, _A Study of the Relation of the
+Frontal Sinus to the Antrum_, was read before the American Dental
+Association, at Saratoga, August 5, 1895. His investigation showed
+that the funnel-shaped passage known as the _infundibulum_ extends
+from the _frontal sinus_ directly into the antrum or _maxillary
+sinus_. This was afterwards confirmed by Dr. W.H. Cryer and others.]
+
+
+INFLUENCE OF THE RESONANCE CAVITIES ON THE PITCH OF THE TONE
+
+In instruments changes in the length and form of the resonance
+chambers affect the pitch as well as the quality of the tone. This is
+demonstrated in the trombone, French horn, and other wind instruments.
+The lengthening of the tube of the trombone lowers the pitch of the
+tone, and the projection of the hand of the performer into the bell of
+the French horn has the effect of raising the pitch of the sound. If
+the variation in length or form is only slight, the result is sharp or
+flat, and the instrument is out of tune. In the human instrument all
+the organs act together as a unit; so the fact that the cavities alone
+may affect the pitch is practically of no great significance.
+
+
+THE TONGUE
+
+The tongue and the lips are the articulating organs, and the former
+has an important part to play in altering through its movements the
+shape of the mouth cavity.
+
+The tip of the tongue should habitually rest against the under front
+teeth. The tip of the tongue, however, must frequently touch the roof
+of the mouth near the upper front teeth, as when pronouncing the
+consonants _c_, _d_, _g_ or _j_, _l_, _n_, _s_, and _t_. The back part
+of the tongue must rise a little to close against the soft palate when
+pronouncing _g_ hard, and _k_, and hard _c_, _q_, and _x_. The soft
+palate comes down so far to meet the tongue that the elevation of the
+latter need be but very slight.
+
+When speaking, the demand is not so imperative, but when singing, the
+body of the tongue should lie as flat as possible, so as to enlarge
+the mouth, especially when giving the vowel sounds.
+
+If the tongue is sometimes disposed to be unruly, it is the result of
+rigidity or misplaced effort in the surrounding parts. This tendency
+will only be aggravated by artificial restraint of any kind. The true
+way is to dismiss tongue consciousness, _let go_, and a normal
+flexibility will easily manifest itself.
+
+
+THE LIPS
+
+The lips, equally with the tongue, are organs of articulation. The
+upper lip is the principal factor of the two; the under lip seems to
+follow the lead of the upper. The lips need much training, and it can
+readily be given them. While practising to educate the lips, both lips
+should be projected forward and upward, at the same time pronouncing
+the word "too." Bring the edge of the upper lip as high toward the
+nose as possible in practice. This will bring the corners of the mouth
+forward and lift the lips clear and free from the teeth, and thus add
+one more resonance cavity. This position of the lips also gives
+freedom for pronunciation. "The upper lip plays the most active part
+in the shaping of the vowels. It should never be drawn against the
+teeth when producing vowel tones; indeed, there should be often a
+little space between the upper lip and the teeth, so that the
+vibrations of the sound-waves can have free play."
+
+
+THE NOSTRILS
+
+The nostrils should be dilated as much as possible, as a free, wide,
+open nose gives a free, well-rounded tone, while a contracted nostril
+induces the nasal tone so much dreaded. A proper training of the
+facial muscles makes this dilation possible. Lifting the upper lip and
+projecting it forward aids the action to a great degree.
+
+There is a strong tendency to unity of action between the nostrils and
+the lips and the soft palate. The soft palate moves downward and
+forward when the upper lip protrudes and the nostrils dilate, and
+moves backward and upward when the nostrils are contracted and the
+upper lip allowed to rest upon the teeth.
+
+As a rule the best singers have full, round, wide, open nostrils,
+either given by nature or acquired by practice.
+
+
+THE FACE
+
+Not only must the lips and nose be trained, but the muscles of the
+face also. These muscles are capable, if educated, of doing important
+service.
+
+The artist on the operatic stage or the speaker on the platform,
+without facial expression begotten of muscular activity, may lessen by
+half his power over an audience. To train the facial muscles is a
+complicated task. To do this, stand before a mirror and make all the
+faces ever thought of by a schoolboy to amuse his schoolmates. Raise
+each corner of the lip, wrinkle the nose, quilt the forehead, grin,
+laugh. The grimaces will not enter into a performance, but their
+effect upon it will be markedly beneficial.
+
+
+
+
+CHAPTER II
+
+THE SPEAKING VOICE AND PRONUNCIATION
+
+
+A generation ago the speaking voice was even less understood than the
+singing voice. That the two were intimately connected was but half
+surmised. Only an occasional person recognized what is now generally
+conceded, that a good way to improve the speaking voice is to
+cultivate the singing voice.
+
+In 1887 I published a paper in the _Independent Practitioner_ defining
+the singing voice and the speaking voice as identical, and contending
+that the training for each should be the same so far as tone formation
+is involved, a conclusion at which I had arrived several years before.
+Subsequent experience has only served to confirm this opinion.
+
+The past has produced many good speakers, among them Henry Clay,
+Daniel Webster, Edwin Booth, Wm. Charles Macready, and Edward Everett.
+Of the last Oliver Wendell Holmes wrote: "It is with delight that one
+who remembers Edward Everett in his robes of rhetorical splendor,
+recalls his full blown, high colored, double flowered periods; the
+rich, resonant, grave, far-reaching music of his speech, with just
+enough of the nasal vibration to give the vocal sounding-board its
+proper value in the harmonies of utterance." These examples of correct
+vocalization, however, were exceptions to the general rule; they
+happened to speak well, but the physiologic action of the vocal organs
+which produced such results in those individual cases was not
+understood, and hence the pupil ambitious to imitate them and develop
+the best of which his voice was capable had no rule by which to
+proceed. Few could speak with ease, still fewer could be heard by a
+large assembly, and sore throats seemed to be the rule.
+
+
+DIFFERENCE BETWEEN SINGING AND SPEAKING
+
+In singing the flow of tone is unbroken between the words, but in
+speaking it is interrupted. In singing tone is sustained and changed
+from one pitch to another by definite intervals over a wide compass
+that includes notes not attempted in speech. In speaking tone is
+unsustained, not defined in pitch, is limited to a narrow compass, and
+the length of the tones is not governed by the measure of music.
+
+Notwithstanding these differences, singing and speaking tones are
+produced by the vocal organs in the same way, are focused precisely
+alike, have the same resonance, and are delivered in the same manner.
+It has been said that speech differs from song as walking from
+dancing. Speech may be called the prose, and song the poetry of
+vocalization.
+
+During the past decade the knowledge of the speaking voice has been
+greatly broadened, and the art of cultivating tone has made progress.
+The identity of the singing and speaking voice is becoming more fully
+recognized, and methods are being used to develop the latter similar
+to those in use for the training of the former. As Dr. Morell
+Mackenzie says: "Singing is a help to good speaking, as the greater
+includes the less."
+
+The recognition of this truth cannot fail to be a great aid to the
+progress of singing in the public schools, since every enlargement of
+exercises common to both speaking and singing helps to solidarity and
+_esprit de corps_ in teaching and in learning.
+
+An accurate sense of pitch, melody, harmony, and rhythm is necessary
+to the singer, but the orator may, by cultivation, develop a speaking
+voice of musical quality without being able to distinguish _Old
+Hundred_ from _The Last Rose of Summer_.
+
+
+PRONUNCIATION
+
+It is a matter of common observation that American singers, although
+they may be painstaking in their French and German, are indifferent,
+even to carelessness, in the clear and finished enunciation of their
+native tongue. Mr. W.J. Henderson, in his recent work, _The Art of the
+Singer_, says: "The typical American singer cannot sing his own
+language so that an audience can understand him; nine-tenths of the
+songs we hear are songs without words." Happily this condition is
+gradually yielding to a better one, stimulated in part by the examples
+of visiting singers and actors. In story-telling songs and in
+oratorio, slovenly delivery is reprehensible, but when the words of a
+song are the lyric flight of a true poet, a careless utterance becomes
+intolerable.
+
+Beauty of tone is not everything; the singing of mere sounds, however
+lovely, is but a tickling of the ear. The shortcoming of the Italian
+school of singing, as of composition, has been too exclusive devotion
+to sensuous beauty of tone as an end in itself. The singer must never
+forget that his mission is to =vitalize text with tone=. The songs of
+Schubert, Schumann, Franz, Brahms, Grieg, Strauss, and Wolf, as well
+as the Wagnerian drama, are significant in their inseparable union of
+text and music. The singer is therefore an interpreter, not of music
+alone, but of text made potent by music.
+
+Pronunciation, moreover, concerns not only the listener, but the
+singer and speaker, for pure tone and pure pronunciation cannot be
+divorced, one cannot exist without the other. In his interesting work,
+_The Singing of the Future_, Mr. Ffrangcon-Davies insists that, "the
+quickest way to fine tone is through fine pronunciation."
+
+We cannot think except in words, nor voice our thought without speech.
+Vocal utterance is thought articulate. Therefore, instead of prolonged
+attention to tone itself, training should be concentrated upon the
+uttered word. The student should aim "to sing a word rather than a
+tone." Correct pronunciation and beautiful tone are so interdependent
+as to be inseparable.
+
+The singer and speaker require all sounds in their purity. To seek to
+develop the voice along the narrow limits of any single vowel or
+syllable, as for instance the syllable _ah_, is harmful. Not only is
+this vowel sound, as Lilli Lehmann says, "the most difficult," but the
+proper pronunciation of all words within the whole range of the voice
+is thereby impeded. Diction and tone work should therefore go hand in
+hand. "The way in which vowel melts into vowel and consonants float
+into their places largely determines the character of the tone
+itself." Without finished pronunciation speech and song of emotional
+power are impossible. Gounod, the composer, says, "Pronunciation
+creates eloquence." Mr. Forbes-Robertson, the English master of
+dramatic diction, speaking for his own profession says: "The trouble
+with contemporary stage elocution springs from the actor's very desire
+to act well. In his effort to be natural he mumbles his words as too
+many people do in everyday life. Much of this can be corrected by
+constantly bearing in mind the true value of vowels, the percussive
+value of consonants, and the importance of keeping up the voice until
+the last word is spoken. There must be, so to speak, plenty of wind in
+the bellows. The great thing is to have the sound come from the front
+of the mouth.... The actor must learn to breathe deeply from the
+diaphragm and to take his breath at the proper time. Too often the
+last word is not held up, and that is very often the important
+word.... Schools for acting are valuable, ... but, after all, the
+actors, like other folk, must be taught how to speak as children in
+the home, at school, and in society."
+
+In pronunciation the words should seem to be formed by the upper lip
+and to come out through it. By this method it will be found easy to
+pronounce distinctly. The words will thus be formed outside the mouth
+and be readily heard, as is a person talking in front of, instead of
+behind, a screen. A single, intelligent trial will be sufficient to
+show the correctness of the statement. Thinking of the upper lip as
+the fashioner of the words makes speaking easy and singing a delight.
+
+To smile while talking gives to the words a flat, silly sound, hence
+the corners of the mouth should be kept well forward.
+
+
+THE SINGER'S SCALE OF VOWEL SOUNDS
+
+[Illustration:
+
+1  n_ee_
+2  n_i_t
+3  n_e_t
+4  n_a_y
+5  n_ai_r
+6  n_a_t
+7  n_i_gh
+8  N_a_h
+7' n_o_t
+6' n_a_w
+5' n_e_r
+4' n_u_t
+3' n_o_
+2' n_oo_k
+1' n_oo_.]
+
+It may fasten this in mind to remember that at one end of the vowel
+scale is--_me_, at the other--_you_.
+
+The teeth and lips are most closed at the extremes of this scale, and
+gradually open toward _ah_, with which vowel they are widest apart.
+
+In the series 1-8 the tongue is highest in the centre for _ee_ and
+gradually descends until it lies flat in the mouth for _ah_.
+
+The _upper_ pharynx is most closed in 1, most open in 8, and closes
+more and more in the descending series 7'-1'.
+
+The _lower_ pharynx gradually opens in the descending series 7'-1'.
+
+The researches of Helmholtz, Koenig, Willis, Wheatstone, Appunn, Bell,
+and others have shown that each vowel sound has its own characteristic
+pitch. The Scale of Vowel Sounds given above corresponds closely to
+the order of resonance pitch from the highest _ee_ to the lowest _oo_.
+In the natural resonance of the vowels _ee_ is highest in the head,
+_ah_ is midway in the scale, and _oo_ is lowest in resonance.
+
+
+LIP POSITION
+
+Figure 2 shows the best position of the lips to give the sound of
+_ee_. Hold the under jaw without stiffness and as far from the upper
+teeth as is consistent with delivery of the pure sound of this vowel.
+
+Figure 3 shows the best position of the lips to produce the vowel
+_oo_.
+
+Figure 4 shows the position of the lips for the vowel sound of long
+_o_. The opening of the lips should be made as round as is the letter
+_o_. When preparing the lips to give the sound of _o_, the inclination
+is strong to drop the lower jaw; in practice, to develop action of the
+lips, the under jaw would better be held quite immovable. It will be
+found possible to produce all of the vowel sounds without any change
+except in the form of the opening of the lips. The vowel sound of _i_
+is an exception; for as a compound of _ah_ and _ee_, the extremes of
+the vowel scale, it requires two distinct positions for its utterance
+with a movement of transition between; it is not, therefore, a good
+vowel for initial practice.
+
+[Illustration: FIGURE 2.]
+
+[Illustration: FIGURE 3.]
+
+[Illustration: FIGURE 4.]
+
+[Illustration: FIGURE 5.]
+
+Figure 5 shows that the sound _aw_ is produced from _o_ by raising the
+edge of the upper lip outward and upward, and flattening the raised
+portion laterally.
+
+Figure 6 shows the position for producing _ah_. It differs from the
+position assumed for _aw_ in that the opening of the lips is larger,
+the upper lip is raised higher, the flat portion is wider, and the
+under lip is a little relaxed. The form of the opening to produce _aw_
+is oval; the form for _ah_ is more nearly square.
+
+[Illustration: FIGURE 6.]
+
+[Illustration: FIGURE 7.]
+
+Figure 7 shows the under jaw relaxed, as it should be in practice, to
+enlarge the throat and give roundness and largeness to the tone. The
+use of the word _hung_ will accomplish this end.
+
+The vowel sounds illustrated above are embodied in a series of vocal
+exercises to be found in Chapter VIII on _Placing the Voice_.
+
+
+
+
+CHAPTER III
+
+BREATH CONTROL
+
+
+It has been said that "breathing is singing." This statement is
+equally applicable to speaking. While the aphorism is not literally
+true, it is true that without properly controlled breathing the best
+singing or speaking tone cannot be produced, for tone is but vocalized
+breath; hence in the cultivation of the voice, breathing is the first
+function to receive attention.
+
+For singer or speaker, the correct use of the breathing apparatus
+determines the question of success or failure; for without mastery of
+the motive power all else is unavailing. For a voice user, therefore,
+the first requisite is a well-developed chest, the second, complete
+control of it.
+
+It must not be supposed that a singer's breathing is something strange
+or complex, for it is nothing more than _an amplification of normal,
+healthy breathing_. In contrast, however, to the undisciplined casual
+breathing of the general public, the singer is a professional
+breather.
+
+
+THE MUSCLES OF RESPIRATION
+
+There are two sets of respiratory muscles, one for inspiration and
+another for expiration,--twenty-two or more in all. The principal
+muscles of inspiration are the diaphragm and the intercostal muscles
+that elevate the ribs. The chief muscles of expiration are the four
+sets of abdominal muscles and the intercostal muscles that depress the
+ribs. The diaphragm is _not_ a muscle of _expiration_.
+
+
+THE DIAPHRAGM
+
+The diaphragm is in form like an inverted bowl (Fig. 8). It forms the
+floor of the thorax (chest) and the roof of the abdomen. It is
+attached by a strong tendon to the spinal column behind, and to the
+walls of the thorax at its lowest part, which is below the ribs. In
+front its attachment is to the cartilage at the pit of the stomach. It
+also connects with the transverse abdominal muscle. The diaphragm
+being convex, in inspiration the contraction of its fibres flattens it
+downward and presses down the organs in the abdomen, thus increasing
+the depth of the thorax. Expiration depends wholly on other muscles.
+
+[Illustration: FIGURE 8.]
+
+The muscles so far mentioned are all that need "conscious education;"
+the others will act with them voluntarily, automatically. The
+abdominal muscles relax during inspiration and the diaphragm relaxes
+during expiration, thus rendering the forces nearly equal, though the
+strength is in favor of the expiratory muscles. This is what is
+needed, for the breath while speaking or singing must go out under
+much greater tension than is necessary for inhalation. Inspiration
+should be as free as possible from obstruction when singing or
+speaking. Expiration must be under _controlled_ pressure.
+
+
+THE LUNGS
+
+The lungs are spongy bodies which have no activity of their own beyond
+a little elasticity. They are controlled by the muscles of
+respiration.
+
+Figure 8 shows the organs of the body in their natural positions. The
+diaphragm is relaxed and curved upward, as in expiration. During
+inspiration the diaphragm is drawn down until it lies nearly flat.
+
+
+INSPIRATION
+
+The intercostal muscles raise the ribs. The diaphragm is drawn down by
+contraction, thus adding to the enlargement of the chest by increasing
+its depth. The abdominal muscles relax and allow the stomach, liver,
+and other organs in the abdomen to move downward to make room for the
+depressed diaphragm. This causes a vacuum in the chest. The lungs
+expand to fill this vacuum and the air rushes in to fill the expanding
+lungs.
+
+
+EXPIRATION
+
+The intercostal, and a part of the abdominal, muscles depress the ribs
+and lessen the chest cavity anteriorly and laterally. The abdominal
+muscles compress the abdomen and force up the diaphragm which is now
+relaxed, thus lessening the depth of the thorax. This pressure forces
+the air from the lungs and prepares them for another inspiration.
+
+
+CORRECT METHOD
+
+That the lateral-abdominal--more accurately chest-abdominal--breathing
+is correct and natural for both male, and female, and that the
+shoulders should remain as fixed as were Demosthenes' under the points
+of the swords hung over them, is now so generally admitted as to need
+no argument here. If any one has still a doubt on the subject let him
+observe a sleeping infant. It affords a perfect example of
+lateral-abdominal breathing, and no one can have a suspicion of sex
+from any difference in this function. Among the lower animals sex
+shows no difference in breathing at any age. All the peculiarities of
+female breathing are the results of habits acquired in after life.
+
+Chest and shoulder heaving are vicious and evidence impeded breathing.
+The singer who, forgetting the lower thorax, breathes with the upper
+only is sure to fail. Therefore breathe from the _lower_ part of the
+trunk, using the whole muscular system co�rdinately--_from below_
+upward. In other words breathe deeply, and _control deeply_, but with
+the whole body--from below, not with the upper chest only, or with
+lateral expansion only, or abdominal expansion only.
+
+Every teacher and pupil should remember that "singing and speaking
+require wind and muscle," hence the breathing power must be fully
+developed. Weak breathing and failure to properly focus the voice are
+the most frequent causes of singing off the key. They are much more
+common and mischievous than lack of "ear."
+
+Dr. May tested the breathing of 85 persons, most of them Indians, and
+found that 79 out of the 85 used abdominal breathing. The chest
+breathers were from classes "civilized" and more or less "cultured."
+
+Nature has provided that for quiet breathing when at rest the air
+shall pass through the nose. But when a person is taking active
+exercise, and consequently demands more air, he naturally and of
+necessity opens the mouth so as to breathe more fully. While speaking
+or singing the air is necessarily taken in through the mouth.
+
+
+BREATH CONTROL
+
+Firmness of tone depends upon steadiness of breath pressure.
+Steadiness of tone depends upon a control of the breath which allows a
+minimum volume of air to pass out under sufficient tension to produce
+vocalization.
+
+The tension and flow of breath can be gradually lessened until the
+tone vanishes and not even a whisper remains.
+
+Power and largeness of tone depend first upon the =right use of the
+resonant cavities=, and second upon the =volume of breath used under
+proper control=.
+
+In producing high tones the breath is delivered in less amount than
+for the low tones, but under greater tension. Absolute control of the
+breath is necessary to produce the best results of which a voice is
+capable. Full control of the breath insures success to a good voice;
+without it the best voice is doomed to failure.
+
+When muscular action is fully mastered, and the proper method of
+breathing understood and established, the muscles of inspiration and
+expiration will act one against the other, so that the act of
+breathing may be suspended at any moment, whether the lungs are full,
+or partly full, or empty. This is muscular control of the breath.
+Correct breathing is health giving and strength giving; it promotes
+nutrition, lessens the amount of adipose tissue, and reinforces every
+physical requisite essential to speaking and singing.
+
+
+A CURE FOR NERVOUSNESS
+
+It cannot be too widely advertised that the surest remedy for that
+torture of singers and speakers, nervousness, is the great
+tranquillizer,--quiet, deep breathing, deeply controlled. The breath
+of nervousness is quick, irregular, and shallow, therefore, take a
+few, slow, deliberate, deep, and _rhythmic_ inhalations of pure air
+through the nostrils, and the panting gasp of agitation will vanish.
+As a help toward deepening the breath and overcoming the spasmodic,
+clavicular habit, inhale quietly and slowly through the nose, or
+slowly sip the air through the nearly closed lips as if you were
+sipping the inmost breath of life itself.
+
+
+NECESSITY OF BREATHING EXERCISES
+
+To acquire control of breathing, proper exercises must be
+intelligently and persistently followed. In mankind, nature seems to
+have been diverted from her normal course so that we seldom find an
+individual who breathes correctly without education in the matter.
+What we have said on breathing is based on the premise that
+respiration involves co�rdinate action of the body from collar-bone to
+the base of the abdomen; that is, expanding and contracting the chest
+and abdomen simultaneously. This is called "lateral-abdominal"
+breathing; as the chest is the thoracic cavity, "abdomino-thoracic"
+has been suggested as brief and more strictly scientific.
+
+Work on any other lines fails to develop the full power and quality of
+the voice. Weak breathing is a prime cause of throaty tones. In such
+cases an effort is made to increase the tone by pinching the larynx.
+But this compresses the vocal cords, increases the resistance to the
+passage of the breath, and brings rigidities that prevent proper
+resonance. The true way is to increase the wind supply, as does the
+organist.
+
+
+CORRECT BREATHING ILLUSTRATED
+
+The following figures show the outline of correct breathing. The inner
+abdominal line shows the limit of expiration; the outer line shows the
+limit of full inspiration.
+
+Figure 9 shows the limit of full expiration and inspiration of the
+male, side view.
+
+Figure 10 shows the lateral expansion of the ribs in both expiration
+and inspiration, front view of the male.
+
+The expansion cannot be great at this part of the chest, as the side
+is so short a distance from the backbone to which the ribs are
+attached. The movement of the ribs in front is much greater, as Fig. 9
+shows.
+
+Figure 11 shows the front expansion and contraction in the breathing
+of the female, side view.
+
+Figure 12 shows the lateral expansion of the chest in the female,
+front view.
+
+These diagrams are made from photographs, and thus true to life. It
+will be noticed that there is no difference in the breathing outline
+between these subjects. The female subject, though a good singer, had
+had no training in breathing. She previously insisted that she used
+only the chest breathing, and did not use the abdominal muscles, but
+actual test revealed the condition to be that shown in Figure 11 and
+convinced her that she was mistaken.
+
+[Illustration: FIGURE 9.]
+
+[Illustration: FIGURE 10.]
+
+[Illustration: FIGURE 11.]
+
+[Illustration: FIGURE 12.]
+
+It is not unlikely that many other singers who now think they are
+using only the high chest respiration would, if subjected to the same
+test, find themselves similarly mistaken.
+
+The contraction incident to forced expiration is much more tense than
+the enlargement of forced inspiration. When singing or speaking,
+forced inspiration is not used. Experience shows that the change in
+size of the body during speaking or singing is usually small.
+Occasionally, long passages in music demand that the expulsive power
+of the breathing apparatus be used to its limit.
+
+
+ECONOMY OF BREATH
+
+The quantity of air taken in with a single inspiration is, in quiet
+breathing, according to Prof. Mills,[3] from twenty to thirty cubic
+inches, but this may be increased in the deepest inspiration to about
+one hundred cubic inches. In forcible expiration about one hundred
+cubic inches may be expelled, but even then the residual air that
+cannot be expelled is about one hundred cubic inches.
+
+[Footnote 3: Dr. Wesley Mills, _Voice Production_, 1906.]
+
+It is not, however, the quantity of breath inhaled that is
+significant, it is the amount _controlled_. Get, therefore, all the
+breath necessary, and keep it, but without undue effort and _without
+rigidity_.
+
+To test the amount of breath used in prolonged vocalization, a person
+skilled in the art of breathing, after an ordinary inspiration, closed
+his lips, stopped his nostrils, and began to vocalize. He found that
+the mouth with distended cheeks held sufficient breath to continue a
+substantial tone for twenty-three seconds.
+
+While these experiments show that very little amount or force of
+breath is needed to produce effective tones, the impression must exist
+in the mind of the performer that there is a free flow of breath
+through the larynx; otherwise the tone will seem restricted and will
+be weak. The forced holding back of the breath begets a restraint that
+has a bad effect on the singer's delivery. While the breath must be
+controlled, there is such a thing as an exaggerated "breath control"
+that makes free delivery of the voice impossible.
+
+It is quite possible to _overcrowd_ the lungs with air. Do not,
+therefore, make the mistake of always taking the largest possible
+breath. Reserve this for the climaxes, and inhale according to the
+requirements of the phrase and its dynamics. The constant taking of
+too much breath is a common mistake, but trying to sing too long on
+one breath is another.
+
+
+THE INITIAL USE OF BREATH FORCE
+
+The breath force when properly employed seems to be expended in
+starting the vibrations in the larynx; the vibrations are then
+transmitted to the air in the resonance cavities, and there the
+perfected tone sets the outer air in motion, through which the tone
+vibrations are conveyed to the ear of the listener.
+
+
+RESERVE BREATH POWER
+
+The correctly trained singer or speaker will never allow the breath
+power to be exhausted. Some breath should be taken in at every
+convenient interval between the words, according to the punctuation,
+but never between syllables of a word; this is correct phrasing. In
+this way the lungs are kept nearly full, and breathing is at its best.
+
+The chief cause of breath exhaustion is _wasted_ breath. This waste
+comes from exhaling more breath (more motive power) than the tone
+requires, and _breath that does not become tone is wasted_. This fault
+is largely induced by lack of proper resonance adjustment.
+
+The singer should always feel able to sing another note or to speak
+another word. To sing or speak thirty or forty counts with one breath
+is useful practice but poor performance. Occasionally, long runs in
+singing may compel an exception. Half-empty lungs lower the pitch of
+the tone, lessen the resonance, and weaken the voice, rendering the
+last note of the song and the last word of the sentence inaudible. The
+breathing must not be forced, but enough air must be furnished to
+produce the proper full vibrations.
+
+
+BREATH MASTERY
+
+What then does perfect control of the breath mean?
+
+1. Ability to fill the lungs to their capacity either quickly or
+slowly.
+
+2. Ability to breathe out as quickly or slowly as the occasion
+demands.
+
+3. Ability to suspend inspiration, with the throat open, whether the
+lungs are full or not, and to resume the process at will without
+having lost any of the already inspired air.
+
+4. Ability to exhale under the same restrictions.
+
+The above four points are common to speaking and singing, but singing
+involves further:
+
+5. Ability to sing and sustain the voice on an _ordinary_ breath.
+
+6. Ability to _quietly_ breathe as often as text and phrase permit.
+
+7. Ability to breathe so that the fullest inspiration _brings no
+fatigue_.
+
+8. Ability to so economize the breath that the _reserve is never
+exhausted_.
+
+9. The ability to breathe so naturally, so unobtrusively, that
+_neither breath nor lack of breath is ever suggested to the
+listener_--this is the very perfection of the art.
+
+
+
+
+CHAPTER IV
+
+BREATHING EXERCISES
+
+
+Enough has been said in the preceding chapter to make clear the
+necessity of breath control, and to show what constitutes this control
+for the singer--the professional breather.
+
+If the singer's breathing is nothing but an amplification of normal,
+healthy breathing, why dwell upon it, why not let it develop of
+itself?
+
+Unfortunately, many teachers have taken this attitude, overlooking the
+fact that, although life is dependent on normal, healthy breathing,
+such breathing is, in civilized communities, not the rule but the
+exception, simply because normal living is rare; the artificiality of
+modern life forbids it. The high pressure under which most people live
+induces mental tension together with the consequent nervous and
+muscular tension. We are, without being conscious of it, so habituated
+to unnatural tension that automatic breathing is shallow and irregular
+instead of being deep and rhythmic.
+
+The task, therefore, is to reclaim a neglected birthright--natural
+breathing--to make it habitual and amplify it.
+
+
+PRELIMINARY SUGGESTIONS
+
+1. Breathing exercises to be invigorating and purifying demand plenty
+of fresh air.
+
+2. At first do not practise longer than ten minutes at a time, three
+times a day.
+
+3. Gradually lengthen the time without overdoing. When tired stop.
+
+4. The best time is before dressing in the morning, with the window
+open. The worst time is directly after a meal.
+
+5. Maintain throughout an easy, flexible poise.
+
+6. Breathe as _deeply_ as possible without abdominal distention. The
+greatest expansion should be felt at the lower end of the breast-bone.
+
+7. Breathe as _broadly_ as possible, expanding the sides without
+tension.
+
+8. Breathe as _high_ as possible without shoulder movement or
+stiffness.
+
+9. Use not the high breath alone, or the mid-breath, or the low
+breath, but use the _complete_ breath.
+
+10. Breathe _rhythmically_ by counting mentally.
+
+11. Breathe _thoughtfully_ rather than mechanically.
+
+12. Do not crowd the lungs or lay stress on the mere quantity of air
+you can inhale. The intake of breath is, for the singer, secondary to
+its control, economy, and application in song. Increase of lung
+capacity will duly appear.
+
+13. When not singing, speaking or practising an exercise that demands
+it, _keep your mouth shut_.
+
+
+ATTITUDE
+
+Dress the neck and body loosely, so as to give the throat and trunk
+perfect freedom. Place the hands on the hips, so as to free the chest
+from the weight of the arms. Stand erect, evenly upon the balls of the
+feet; the body straight, but not strained. Raise the back of the head
+slightly without bending the neck. This action will straighten the
+spine, place the chest forward, and bring the abdomen backward into
+its proper relation.
+
+The great majority of people are shallow breathers, chest breathers,
+who when told to take a "deep breath" do not know what is meant. It is
+therefore necessary for them first to learn what a deep breath is, and
+then how to take it.
+
+
+Exercise I
+
+FOR THOSE WHO DO NOT KNOW WHAT A DEEP BREATH IS
+
+Before rising in the morning, remove your pillow and while flat on
+your back place one hand lightly on the abdomen, the other on the
+lower ribs. Relax the whole body, giving up your whole weight to the
+bed. Inhale through the nostrils slowly, evenly, and deeply, while
+mentally counting one, two, three, four, etc. As you inhale, notice
+(_a_) the gradual expansion of the abdomen, (_b_) the side expansion
+of the lower ribs, (_c_) the rise and inflation of the chest, without
+raising the shoulders. Hold the breath while mentally counting four
+(four seconds), then suddenly let the breath go, and notice the
+collapse of the abdomen and lower chest. Remember _the inspiration
+must be slow and deep, the expiration sudden and complete_. Practise
+this preliminary exercise for not more than ten minutes each morning
+for a week. The second week hold the breath six seconds, instead of
+four, and gradually increase the time, without overdoing.
+
+While, for a novice, the exercises may be taken at first in bed, this
+is but a preliminary to their practise standing in easy poise as
+directed in the preceding section.
+
+
+Exercise II
+
+SLOW INHALATION WITH SUDDEN EXPULSION
+
+Inhale as in I; hold the breath four counts (seconds) or more; then
+expel the air vigorously in one breath through the wide open mouth.
+The beginner is often helped in acquiring a deep breath by slowly
+sipping breath. Therefore as a variant to Exercise II practise:
+
+
+Exercise III
+
+SIPPING THE BREATH, WITH QUICK EXHALATION
+
+Through the smallest possible opening of the lips, while mentally
+counting, inhale very slowly and steadily; hold two to four counts,
+then expel the air all at once through the wide open mouth.
+
+
+Exercise IV
+
+FOR RIB EXPANSION
+
+To more completely arouse dormant muscles that should play an
+important part in breathing, place the hands against the sides, thumbs
+well back, take, through the nostrils or the slightly parted lips,
+six short catch-breaths, moving the ribs _out at the side_ with each
+catch-breath. Hold the breath two counts, and exhale through the mouth
+with six short expiratory puffs, drawing the ribs _in at the side_
+with each puff.
+
+
+Exercise V
+
+SLOW INHALATION WITH SLOW EXPIRATION
+
+Inhale as in I, while mentally counting one, two, three, four, etc.,
+until the inhalation seems complete. Hold the breath four or more
+counts; then exhale through the nostrils slowly and evenly while
+mentally counting to the number reached in the inspiration. With
+practice the number of counts will gradually increase. Do not,
+however, force the increase. The muscles that control inspiration are
+powerful; do not, therefore, make the mistake of seeking to control
+expiration by contraction of the glottis. Practise these exercises
+with an open throat and depend on the breathing muscles for control of
+the outgoing air. Remember that _singing is control of breath in
+exit_.
+
+
+Exercise VI
+
+RAPID INSPIRATION WITH SLOW EXPIRATION
+
+Inhale through the nostrils quickly, deeply, and forcefully (one
+count); hold two counts; exhale through the nostrils evenly, steadily,
+and as slowly as possible while mentally counting one, two, three,
+four, etc. With practice gradually increase the number of counts for
+the exhalation.
+
+
+Exercise VII
+
+FARINELLI'S GREAT EXERCISE
+
+The Cavalier, Don Carlo Broschi, better known as Farinelli
+(1705-1782), the world's greatest singer in bravura and coloratura,
+was a pupil of Porpora and Bernacchi. There was no branch of the art
+which he did not carry to the highest perfection, and the successes of
+his youth did not prevent him from continuing his study, or, when his
+name was famous, from acquiring by much perseverance another style
+and a superior method. His breath control was considered so marvelous
+in that day of great singers, it is said, that the art of taking and
+keeping the breath so softly and easily that no one could perceive it
+began and died with him. He is said to have spent several hours daily
+in practising the following exercise:
+
+As in Exercise III, sip the breath slowly and steadily through the
+smallest possible opening of the lips; hold it a few counts, then
+exhale very slowly and steadily through the smallest possible opening
+of the lips.
+
+Farinelli's exercise is not for beginners.
+
+
+Exercise VIII
+
+THE CLEANSING BREATH
+
+For ventilating and sweeping the lungs, for quick refreshment after
+fatigue, and for use always at the close of your exercises, inhale
+through the nostrils slowly a complete breath; hold two to four
+counts, purse the lips tightly and expel through them a small puff of
+air, hold two counts, puff one, hold two counts, puff one, and so on
+until the exhalation is complete. A few trials should convince you
+that this simple exercise is of great value.
+
+
+HALF-BREATH
+
+In both singing and speaking, the sustained delivery of long phrases
+or sentences sometimes makes unusual demands on the breath supply. It
+is a law of good singing that every phrase should end with the breath
+unexhausted. When the flow of text and music forbid the taking of a
+full breath, half-breaths must be quietly taken at convenient points.
+Instead of letting the whole reservoir of motive power exhaust itself
+and then completely refill it, we should, by taking these
+half-breaths, maintain a reserve. A notable advocate of the use of the
+half-breath in singing is that past mistress of sustained and smooth
+delivery, Marcella Sembrich.
+
+
+
+
+CHAPTER V
+
+REGISTERS
+
+
+The subject of registers has always been the _b�te noire_ of
+vocalists, a source of controversy and confusion. The term "register,"
+as commonly used, means a series of tones of a characteristic clang or
+quality, produced by the same mechanism. The term "break" is generally
+used to indicate the point at which a new register with sudden change
+appears.
+
+The advocates of registers lay stress either on the changes in
+laryngeal action, or the changes in tone quality. Before the days of
+the laryngoscope, registers were treated simply as different qualities
+of tone, characterizing a certain portion of the voice's compass.
+
+Those who encourage the cultivation of register consciousness claim to
+do so for the sake of the differences in tone-color which they
+associate with the different "registers." The purpose of the following
+chapters is to show that the quality or color of a tone is altogether
+a matter of resonance, and _not_ a question of laryngeal action.
+
+Moreover, the mechanism of the larynx is not voluntary in its action,
+but automatic, and even if a singer knew how the vocal cords should
+act it would not help him in the least to govern their action. The
+fact is that the results of laryngoscopic study of the vocal cords
+have been disappointing and contradictory and investigators have
+failed to define what correct laryngeal action is. There are those who
+even deny that the vocal cords govern the pitch of the voice.
+
+In her thoughtful _Philosophy of Singing_, Clara Kathleen Rogers,
+while upholding "registers," says that considered physiologically "the
+different registers of the voice should be regarded by the singer as
+only so many _modifications in the quality of tone_, which
+modifications are inherent in the voice itself." She then adds
+significantly: "These modifications are not brought about by conscious
+adjustments of the parts employed, as any interference with the parts
+will produce that obstacle to quality we call a 'break.'"
+
+One of the greatest of modern singers, Mme. Lilli Lehmann, in her
+interesting work, _How to Sing_, says: "Do registers exist by nature?
+No. It may be said that they are created through long years of
+speaking in the vocal range that is easiest to the person, or in one
+adopted by imitation." She speaks of three ranges of the voice, or,
+rather, three sections of the vocal range, as chest, middle, and head,
+saying, "All three form registers _when exaggerated_." After speaking
+of the hopeless confusion that results from clinging to the
+appellations of chest, middle, and head _register_, confounding voice
+with register, she concludes:
+
+"As long as the word 'register' is kept in use the registers will not
+disappear, and yet the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils."
+
+The trend of recent thought on this subject is further shown in
+Ffrangcon-Davies' important work, _The Singing of the Future_, where,
+having in mind "the useless torture to which thousands of students
+have been subjected," he characterizes "breaks" and "registers" as
+"paraphernalia supplied by credulity to charlatanism"; and adds: "How
+many a poor pupil has become a practical monomaniac on the subject of
+_that break in my voice between D and D sharp_!"
+
+My own studies convince me that there is but one register, or, rather,
+no such thing as register, save as it applies to the compass of the
+voice; and that chest, middle, head, and all other registers are
+creations of false education. Training based upon the theory of many
+registers results in an artificial and unnatural division of the
+voice.
+
+
+THE VOICE AND INSTRUMENTS COMPARED
+
+The organ of the voice has long been considered the analogue of every
+other instrument except in regard to registers. Investigation
+indicates that it is analogous in this respect also. Compare the voice
+instrument with the pianoforte, violin, and organ and the similarity
+will plainly appear. The artificial instruments undergo no change when
+making a tone of higher or lower pitch other than the attuning of the
+vibrator to the pitch desired. All other parts remain the same. So
+when the voice is correctly focused and delivered, the only change
+incident to altered pitch is that made in the vibrator so as to give
+the proper number of vibrations for the pitch required. If the scale
+is sung down, using the same vowel sound for the whole scale, the
+comparison will be appreciated; the pupil will not be conscious of any
+change in the vocal organ or experience any difficulty in descending
+the scale. Faithful advocates of the theory of many registers say:
+"Whenever in doubt about the production of a tone, sing _down_ to it
+from some tone above it, never _upward_ from a tone below," for they
+find that singing down "blends the registers." This we believe is
+because in singing down muscular and nerve tension is gradually
+relaxed and consequently there is no "register" change in the voice.
+
+A study of the church organ will, I think, make this matter clear. The
+organ has many so-called registers, as the _vox humana_, _flute_,
+_oboe_, etc. These differ in the character of tone produced, because
+of the size and shape of the different sets of pipes and the material,
+wood or metal, of which they are made. But each similarly constructed
+set of pipes forms only one register, and the pitch of the set varies
+from low to high without any abrupt change in quality. All the tones
+are produced by the same methods and means, the bellows, the vibrator,
+and the pipe. In length and diameter, the pipe is proper to the tone
+produced: a short pipe of small diameter for the high tones, and a
+long, wide pipe for the bass tones.
+
+The short vibrations of the high tones are perceived by the ear as
+affecting the air only, while the tones of the lowest bass pipes
+shake the solid foundations as well as the superstructure. So with the
+human voice. The coarser tissues cannot answer to the short vibrations
+of the upper tones, because they cannot move so quickly, while they
+can, and do, respond to the vibrations of the low tones. This may
+cause some difference in degree, but not in kind. With all tones
+focused alike, the low tones of the human organ may be regarded as
+head tones plus the vibrations of the coarser tissues.
+
+It has been said of registers that they are "acoustic illusions which
+disappear in the perfectly trained voice." As soon as the singer has
+learned to use his voice normally all these defective changes
+disappear.
+
+
+TWO CASES
+
+The following incident illustrates the fact that registers are an
+artificial creation: A young lady who had been a patient of the author
+since her childhood studied elocution in a metropolitan city, and to
+improve her voice took vocal music lessons of a teacher of more than
+local repute. He found no end of trouble in teaching her to "blend the
+registers," and she had utterly failed to acquire the art. One summer
+she came back for professional services and told her troubles. During
+the few weeks of her stay she followed the author's suggestions, and
+was fully convinced of their correctness and efficiency. Upon
+returning to her lessons, she followed, without any explanations, the
+method that had been outlined for her. Her success in "blending the
+registers" was a surprise to her teacher who heartily congratulated
+her upon what she had accomplished during the summer.
+
+Another case is that of a young lady who was under the author's
+direction as to vocal culture from childhood. As early as four years
+of age she was taught by the use of a few exercises to focus the voice
+in the nose and head, and to recognize the head vibrations by a light
+touch of the finger. When about seven years old, she took ten lessons
+of a teacher on the same lines, and at fifteen years of age took
+another brief course. In the meantime she had only the practice
+obtained by singing with the pupils in the schools she attended.
+Later, of her own volition, she sang more, and carefully applied the
+principles she had been taught, with the result that her voice
+compassed nearly two octaves, evenly and smoothly, with no break or
+change of focus or quality, or other intimation of "register," and she
+developed a speaking voice of more than ordinary quality and
+resonance.
+
+It has also been my lot to aid in the development of the voices of
+many patients after a surgical operation for cleft palate. Success has
+proven the correctness and efficacy of the principles set forth in
+these pages.
+
+A majority of the more than fifty authors whose works I have examined
+have laid great stress on the distinction between head and chest
+tones, open and closed tones, pure and impure tones, have warned
+against the nasal tone, and have constantly advocated a natural tone.
+That there is no essential difference between a head tone and a chest
+tone has already been discussed and, it would seem, conclusively
+proven. Any tone, closed or open, is pure and musical if properly
+focused and delivered, and the singer is at liberty to use either upon
+any note of the scale if it will serve better to express the sentiment
+he wishes to convey to the hearer. The cooing of the love song, the
+cry of alarm for help, and the shout of the military charge require
+very different qualities of voice to express the feelings, yet each
+may be musical and will be so if properly delivered.
+
+
+
+
+CHAPTER VI
+
+RESONANCE IN GENERAL
+
+
+The intimate relationship existing between voice culture and the
+science of acoustics was formerly slightly perceived. The teaching of
+singing, as an art, then rested altogether on an empirical basis, and
+the acoustics of singing had not received the attention of scientists.
+
+With the publication in 1863 of Helmholtz's great work[4] a new era
+began, although singer and scientist yet continue to look upon each
+other with suspicion. Teachers of the voice, casting about for a
+scientific basis for their work, were greatly impressed with
+Helmholtz's revelations in regard to vocal resonance--the fact that
+tones are modified in quality as well as increased in power by the
+resonance of the air in the cavities of pharynx and head.
+
+[Footnote 4: _Die Lehre von den Tonempfindungen als physiologische
+Grundlage f�r die Theorie der Musik._ (The Sensations of Tone as a
+Physiological Basis for the Theory of Music.)]
+
+Writing in 1886, Edmund J. Meyer speaks of the importance of a "study
+of the influence of the different resonance cavities as the voice is
+colored by one or the other, and the tuning each to each and each to
+all"; yet, he adds, "the subject is seldom heard of outside of books."
+
+The basic importance of resonance in the use of the voice is still too
+little recognized, though obvious enough in the construction of
+musical instruments. With the exception of a few instruments of
+percussion, all musical instruments possess three elements,--a
+_motor_, a _vibrator_, and a _resonator_. The violin has the moving
+bow for a motor, the strings for a vibrator, and the hollow body for a
+resonator. The French horn has the lungs of the performer for a motor,
+the lips for a vibrator, and the gradually enlarging tube, terminating
+in the flaring bell, for a resonator. In the pianoforte the
+hammer-stroke, the strings, and the sounding-board perform the
+corresponding offices. Though improvements in other parts of the piano
+have done much to increase the volume of the tone, yet in the radical
+change of form, size, and other physical qualities of the
+sounding-board consists the evolution of the modern pianoforte from
+the primitive clavichord.
+
+In all these instruments the quality and power of the tone depend upon
+the presence of these three elements,--the perfection of their
+construction, their proper relation as to size and position, and the
+perfect adaptation of each part. A split sounding-board spoils the
+pianoforte, the indented bell destroys the sweet tone of the French
+horn, and a cracked fiddle is the synonym for pandemonium itself.
+
+The quality and power of resonance is well illustrated by a
+tuning-fork, which, if set in vibration, can, unaided, scarcely be
+heard by the person holding it. But if rested on a table, or a plate
+of glass, or, better still, on the bridge of a violin, its tones may
+be distinctly heard throughout a large hall.
+
+The vibrating violin string when detached from the body of this
+instrument, although attuned to pitch, gives absolutely no musical
+sound; the lips of the player placed on the mouthpiece detached from
+the tube and bell of the brass instrument produce only a splutter; and
+a pianoforte without a sounding-board is nil. The air column in the
+tube of the French horn, and the sounding-board of the pianoforte
+develop the vibrations caused by the lips and strings into musical
+tones pleasing to the ear. The tuning-fork alone can scarcely be
+heard, while the induced vibrations it sets up through properly
+adjusted resonance may be audible far away.
+
+The vocal cords alone cannot make music any more than can the lips of
+the cornet player apart from his instrument. _The tone produced by the
+vibrations alone of the two very small vocal bands must, in the nature
+of things, be very feeble._
+
+Ninety-and-nine persons if asked the question, what produces tone in
+the human-voice, would reply, "the vibrations of the vocal cords,"
+and stop there, as if that were all; whereas the answer is very
+incomplete--not even half an answer.
+
+A great deal of the irrational and injurious "teaching" of singing
+that prevails everywhere, and of the controversy that befogs the
+subject, is due to the widely prevalent notion that the little vocal
+cords are the principal cause of tone, whereas they are in themselves
+insignificant as sound producers.
+
+=It is the vibrations of the air in the resonance chambers of the human
+instrument, together with the induced vibrations of the instrument
+itself, which give tone its sonority, its reach, its color, and
+emotional power.=
+
+That this is not an empirical statement but a scientific fact, a few
+simple experiments will demonstrate.
+
+Tone, in the musical sense, is the result of rapid periodic vibration.
+The pitch of tone depends upon the _number_ of vibrations in a given
+period; the loudness of tone depends upon the _amplitude_ of the
+vibrations; the quality of tone depends upon the _form_ of the
+vibrations; and the form of the vibrations depends upon the
+_resonator_.
+
+The fact that pure white light is a compound of all the tints of the
+rainbow into which it may be resolved by the prism is well known, but
+the analogous fact that a pure musical tone is a compound of tones of
+different rates of vibration, tones of different pitch, is not so much
+a matter of common knowledge, and not so obvious.
+
+Analysis shows that a musical tone consists of a fundamental note and
+a series of overtones.[5] The ear is quite capable of recognizing many
+of these overtones and may be trained to do so. The most obvious can
+be readily separated from a fundamental by a simple experiment.
+
+[Footnote 5: For fuller exposition see Tyndall on _Sound_, or the
+section devoted to _Acoustics_ in any text-book on Physics.]
+
+The overtones arrange themselves in a definite order, as follows: (1)
+the fundamental or prime tone; (2) an overtone one octave above the
+fundamental; (3) an overtone a fifth above No. 2; (4) an overtone a
+fourth above No. 3 (two octaves above the fundamental); (5) an
+overtone a major third above No. 4; (6) an overtone a minor third
+above No. 5. There are others in still higher range but those
+indicated are easily demonstrated on the piano. For C they would be as
+follows:
+
+
+[Music illustration]
+
+Experiment I
+
+Step to your piano, noiselessly press and hold down the key of No. 2,
+then strike the fundamental No. 1, with force and immediately release
+it. As a result No. 2 will sound clearly, and if your ears are keen
+you will at the same time hear No. 6. In succession hold down the keys
+of 3, 4, 5, and 6, while you strike and release the fundamental No. 1.
+If your piano is "in tune" you will probably hear No. 6 when holding
+the key of any other note of the series.
+
+In a musical tone of rich quality the overtones just indicated are
+present in their fulness, while tone that is weak and thin is made so
+by the absence or weakness of the overtones. I have stated that the
+quality of a tone depends on the _form_ of its vibrations, and that
+the form of its vibrations is determined by the character of the
+_resonator_. We can now amplify this by saying that while the relative
+presence or absence of overtones determines the clang or color of a
+tone, their presence or absence is determined by the _character of the
+resonance_.
+
+An English writer records that he was once in the garden at the back
+of a house while a gentleman was singing in the drawing-room. The
+tone-quality was good, and the pitch so unusually high he hastened to
+learn who sang tenor high C so beautifully. On entering the room,
+instead of the tenor he had supposed, he found the singer was a
+baritone, and the note sung was only middle C. The fundamental tone
+had not reached him in the garden but the first overtone, an octave
+above it, had. Concrete illustrations will make the subject still
+clearer.
+
+
+Experiment II
+
+If an ordinary tuning-fork when vibrating is held in the hand its
+intrinsic tone is too weak to carry far. Rest the handle of the
+vibrating fork on a bare table or the panel of the door, and the sound
+is greatly augmented. _The vibrations of the fork have by contact
+induced similar vibrations in the wooden table or panel which
+reinforce the primary tone._
+
+
+Experiment III
+
+Place the handle of the vibrating tuning-fork on a small upturned
+empty box, or, better still, in contact with the body of a violin, and
+the sound will be stronger than in the previous experiment, because to
+the vibrations of the wood are added the vibrations of the air
+enclosed in the box or the violin. _To the resonance of the wood has
+been added the sympathetic resonance of the confined air._
+
+
+Experiment IV
+
+Hold the vibrating fork over the mouth of an empty fruit-jar and there
+will probably be little or no reinforcement; but gently pour in water,
+thereby shortening the air column within the jar, and the sound of the
+fork will be gradually intensified until at a certain point it becomes
+quite loud. If you pour in still more water the sound will gradually
+become feebler. This shows that _for every tone an air column of a
+certain size most powerfully reinforces that tone_.
+
+
+Experiment V
+
+As a sequence to the last experiment, take two fruit-jars of the same
+size, and, having learned to what point to fill them for the greatest
+resonance, fill one jar (after warming it) to the required point with
+hot water, the other with cold water, and you will find that the
+resonance of the heated, therefore expanded, air is much less than the
+denser air of the cold jar. This shows that _the degree of density of
+the air affects its resonance_.
+
+
+Experiment VI
+
+To demonstrate the resonance of the oral cavity, apart from the voice,
+hold a vibrating tuning-fork before the open mouth. Vary the shape and
+size of the cavity until the sound of the fork suddenly increases in
+volume, showing that the right adjustment for resonance has been made.
+_This intensification of the sound is due to the vibration of the air
+in the mouth cavity, together with the sympathetic vibration of the
+surrounding walls._
+
+
+Experiment VII
+
+As an illustration of sympathetic resonance without contact, sing
+forcibly a tone that is within easy range, and at the same time
+silently hold down the corresponding key of the piano. On ceasing to
+sing you will hear the tone sounding in the piano. This may be further
+illustrated by playing on the open string of one violin while another,
+tuned to the same pitch, rests untouched near by. Through _sympathetic
+resonance_ the corresponding string of the second violin will vibrate
+and sound its note. The louder the first violin is played the louder
+will be the sympathetic tone of the second.
+
+The deep pedal-tones of a church organ often induce sympathetic
+resonance that may be felt beneath the feet of the listener. One
+writer, a singer, speaks of living in the same house with two
+deaf-mutes. He lodged on the first floor, they on the third. One day,
+meeting at luncheon, one of the deaf-mutes told the singer that he had
+begun practice earlier that morning than usual. Surprised, the writer
+asked how he knew. The deaf-mute replied that they always knew when he
+was singing because they felt the floor of their room vibrate.
+
+If tone vibrations can be transmitted so readily throughout a house,
+it is not difficult to understand how easily the vibrations of bone
+and tissue can be transmitted until the whole framework of the body
+responds in perceptible vibration.
+
+It is said that Pascal at the age of twelve wrote a dissertation on
+acoustics suggested by his childish discovery that when a metal dish
+was struck by a knife the resulting sound could be stopped by touching
+the vibrating dish with a finger.
+
+With this in mind it is not difficult to understand how compression of
+the human instrument by the pressure of tight clothing without, or by
+false muscular tension within, must interfere with its free vibration
+and so rob the produced tone of just so much of perfection.
+
+From these experiments we can understand that, while the tones of the
+voice are initiated by or at the vocal cords, the volume and character
+of the tones are dependent upon _resonance_,--the vibration of the air
+in the various resonance chambers of the body, together with the
+sympathetic vibration of the walls of these chambers and the bony
+framework that supports them.
+
+In respect to resonance, as in other respects, the human voice is far
+superior to all other instruments, for their resonators are fixed and
+unchanging, while the human resonator is flexible,--in Helmholtz's
+words "admits of much variety of form, so that many more qualities of
+tone can be thus produced than on any instrument of artificial
+construction."
+
+We are now prepared to realize the error of the common notion that
+loudness of tone is due entirely to increase of breath pressure on the
+vocal cords. Simple experiments with the tuning-fork have shown that
+while the volume of sound it gives forth is due in part to the
+amplitude of its vibrations, its loudness is _chiefly_ due to the
+character of the _resonance_ provided for it.
+
+The larger the resonance chamber the greater is its reinforcing
+capacity. The largest air chamber in the body is the chest, which
+serves not only as a wind-chest, but as a resonance chamber. The
+necessity for chest expansion, therefore, is not, as generally
+supposed, merely for air, but to increase its size as a resonance
+chamber.
+
+In view of the laws of tone, how great is the common error of speaking
+of the larynx as if it alone were the vocal organ, when the principal
+vibrations are _above_ the vocal cords in the chambers of _resonance_!
+
+Since the musical value, the beauty of tone, as well as its volume,
+comes only from right use of the resonator, our principal business
+must be the acquiring control of the vibratory air current _above the
+larynx_. The acquirement of this control involves the proper focusing
+or placing of the tone, with the free uncramped use of all the vocal
+organs; power will then take care of itself.
+
+
+
+
+CHAPTER VII
+
+HEAD AND NASAL RESONANCE
+
+
+Of the four component factors in the production of speech and song,
+the first, the _motor_, has been considered in Chapter III, and the
+second, the _vibrator_, in Chapter I.
+
+In one respect there is marked contrast between these two factors.
+Until right habits are so thoroughly formed that the singer's
+breathing is automatically controlled, conscious effort is necessary,
+while the action of the vibrator, the vocal cords, is involuntary, not
+subject to conscious control.
+
+The subtle adjustments of the delicate mechanism of the larynx belong
+to the realm of reflex action--to a spontaneous activity that, left
+unhindered, does its part in perfect nicety.
+
+The vocal cords must, in their action, be free from the disturbance of
+uncontrolled breath action below them, or the hindrance due to
+misdirected effort above them. To direct consciousness to the vocal
+cords is to cramp them and prevent that free vibration and that
+perfect relaxation of the throat without which pure tone and true
+pitch are impossible.
+
+As a surgeon I well know the value of thorough anatomical knowledge,
+but from the singer's standpoint I cannot too strongly emphasize the
+unwisdom of directing the attention of sensitively organized pupils to
+their vocal mechanism by means of the laryngoscope. This instrument
+belongs to the physician, not to the singer.
+
+The importance of the third factor, the _resonator_, has been
+considered in Chapter V, on Resonance, but the fourth element in voice
+production, _articulation_, is so co�rdinated to resonance that the
+significance and primacy of the latter are too often overlooked.
+
+Placing or "focusing the voice" I have found to be chiefly a matter
+of control and use of the resonator, consisting of chest, pharynx,
+mouth, and the nasal and head cavities.
+
+A tone lacking in resonance is ineffective,--devoid of carrying
+power,--is diffuse and unfocused; while a resonant tone, no matter how
+soft dynamically, has carrying power and is focused in its vibration.
+
+Now "voice placing" depends primarily on correct _vowel placing_,
+which in turn depends on proper adjustment of the resonators, which
+again depends chiefly on the positions and motions of the organs of
+articulation. The interdependence of tone quality and pronunciation is
+therefore obvious.
+
+Constant emphasis must be laid upon the fact that focusing a tone is a
+matter of resonance, and that perhaps the most important element in
+this is _nasal_ resonance. In this country, particularly, teachers
+have, in their desire to overcome the too common nasal twang,
+mistakenly sought to shut out the nasal chamber from all participation
+in speech and song.
+
+There are those who, partly recognizing the importance of _head_
+resonance, would secure it while ignoring _nasal_ resonance. It is
+impossible to secure head resonance in this fashion, for it is only
+through free nasal resonance that the co�rdinate resonance in the air
+sinuses above the nasal cavity and connected with it can be
+established.
+
+The fear of nasal twang and failure to distinguish between it and true
+nasal resonance has been the stumbling block. They are very
+different,--one is to be shunned, the other to be cultivated. The
+first is an obvious blemish, the second is an important essential of
+good singing.
+
+Nasal tones are caused by a raised or stiffened tongue, a sagging soft
+palate, a stiffened jaw, or by other rigidities that prevent free tone
+emission and which at the same time--note this--prevent true nasal
+resonance.
+
+As tone, or vocalized breath, issues from the larynx, it is divided
+into two streams or currents by the pendent veil of the soft palate.
+One stream flows directly into the mouth, where it produces oral
+resonance; the other stream passes through the nasopharynx into the
+hollow chambers of the face and head, inducing nasal and head
+resonance.
+
+It is commonly supposed that tone passing in whole or in part through
+the nasal cavities must be nasal in quality; whereas a tone of
+objectionable nasal quality can be sung equally well with the nostrils
+either closed or open.
+
+Browne and Behnke state the matter thus: "However tight the closure of
+the soft palate may be, it is never sufficient to prevent the air in
+the nasal cavities being thrown into co-vibrations with that in the
+mouth. These co-vibrations are, in fact, necessary for a certain
+amount of the brilliancy of the voice, and if they are prevented by a
+stoppage of the posterior openings of the nasal passages, the voice
+will sound dull and muffled. This is of course due, to an _absence of
+nasal resonance_, and must on no account be described as nasal
+_twang_. It is, indeed, the very opposite of it."
+
+Nasal tone quality and nasal resonance must not be confounded. A nasal
+tone is constricted, while a tone with nasal resonance is free. Again,
+a tone may be unmarred by the nasal quality, yet if it lacks nasal
+resonance it lacks vibrancy, carrying power.
+
+Nasal tones are produced, not because the vibrations pass through the
+nasal passage, but because they are obstructed in their passage
+through them. A nasal tone is always a cramped tone, due to
+impediment, tension, or muscular contraction, particularly in the
+nasopharynx.
+
+The congestion and consequent thickening of the mucous membrane lining
+the cavities of the nose and head, resulting from a cold, make the
+tone muffled and weak, owing to the inability of the parts to respond
+to the vibrations and add to the tone normal nasal resonance.
+
+The elder Booth (Junius Brutus), about 1838, suffered from a broken
+nose which defaced his handsome visage and spoiled his splendid voice.
+His disability was so great that afterward he seldom played. That the
+cause of this impairment of Booth's voice was due to the contraction
+and more or less complete obstruction of the nasal passages is too
+evident to call for comment.
+
+Many singers have sweet but characterless voices that lack the
+fulness, power, and ring they might have because they fail to avail
+themselves of the augmenting power of the resonance cavities. The
+singer must learn to habitually use all of the resonance cavities and
+use them simultaneously.
+
+Lilli Lehmann, in _How to Sing_, says that, "although the nasal sound
+can be exaggerated,--which rarely happens,--it can be much
+neglected,--something that very often happens." The context makes
+clear that what in the English translation of the great singer's book
+is called "nasal sound" is exactly what we term _nasal resonance_.
+
+After charging the monotonous quality or lack of color in the voice of
+a famous opera star to lack of nasal resonance, Madame Lehmann speaks
+of the consummate art of Marcella Sembrich who "in recent years
+appears to have devoted very special study to nasal resonance, whereby
+her voice, especially in the middle register, has gained greatly in
+warmth." She says further that nasal resonance "cannot be studied
+enough. It ought always to be employed." "How often," she says, "have
+I heard young singers say, 'I no longer have the power to respond to
+the demands made upon me,' whereas the trouble lies only in the
+insufficient use of the resonance of the head cavities."
+
+From the foregoing, the conclusion follows that the head vibrations
+are not only an essential element, but that nasal resonance is a most
+important element in imparting to tone its brilliance and carrying
+power. Without thought of the mechanism of _how_ nasal resonance is
+produced, the singer has control over it by direct influence of the
+will. The tones, low as well as high, should seem to start in the nose
+and head, and the vibrations of the perfect tone can be plainly felt
+upon any part of the nose and head. Without the head vibrations no
+tone can be perfect, for nothing else will compensate for the lack of
+these. Vocal organs used as here described will suffer no fatigue
+from reasonable use; hoarseness will be to them a thing unknown, and
+"minister's sore throat" an unheard of complaint. Not only is faulty
+voice production a source of great discomfort, but it is the cause of
+many diseases of the chest, throat, and head.
+
+The gentle practice in easy range of the exercises given in the
+chapter following, will do much to restore a normal condition.
+
+
+
+
+CHAPTER VIII
+
+PLACING THE VOICE
+
+
+What is called "placing the voice" or "tone production" or "focusing
+the voice" is, as already stated in the previous chapter, chiefly a
+matter of resonance--of control of the resonator. Now vocalization is
+largely vowelization, and vocal tones are a complex of sound and
+resonance. The character of a vowel is given it by the shape of the
+vowel chamber; and the shaping of the vowel chamber depends upon
+delicate adjustment of the movable parts,--jaw, lips, cheeks, tongue,
+veil of the palate, and pharynx. While this adjustment is made through
+more or less conscious muscular action, the parts must never be forced
+into position; local effort to this end will invariably defeat itself.
+The important consideration in all voice movements is a flexible,
+_natural_ action of all the parts, and all the voice movements are so
+closely allied, so sympathetically related, that if one movement is
+constrained the others cannot be free. It is a happy fact that _the
+right way is the easiest way_, and a fundamental truth that =right
+effort is the result of right thought=. From these axiomatic principles
+we deduce the very first rule for the singer and speaker,--=THINK the
+right tone, mentally picture it; then concentrate upon the picture,
+not upon the mechanism=.
+
+
+WHEN IS THE VOCAL ACTION CORRECT?
+
+There are two sound criterions for judging the correctness of vocal
+action,--first, the _ease_ of the action, its naturalness, its
+flexibility. As Mills concisely states it: "He sings or speaks best
+who attains the end with the least expenditure of energy." Second, the
+_beauty_ of the result. Harsh, unlovely tones are a sure indication of
+misplaced effort, of tension somewhere, of wrong action. On the other
+hand the nearer the tones approach to perfection the closer does the
+organism come to correct action. _Beauty of tone_, then, is the truest
+indication of proper vocal action.
+
+Judgment as to the relative beauty of a tone depends on the training
+of the ear. Pupils should habitually listen to their own voices, for
+between the hearing and feeling of the voice a knowledge of progress
+can be obtained. The function of the ear in governing voice production
+is thus stated by Prof. Mills: "The nervous impulses that pass from
+the ear to the brain are the most important guides in determining the
+necessary movements." Mr. Ffrangcon-Davies maintains that, "The
+training of the ear is one-half of the training of the voice." The
+student should improve every opportunity to hear the best singers and
+speakers, for both consciously and unconsciously we learn much by
+imitation. Good examples are often our best teachers.
+
+Keeping well in mind the principles stated above, we are now ready to
+begin their application in placing the voice--that is, in setting it
+free--not by learning some strange and difficult action, but by
+cultivating normal action.
+
+
+EXERCISES FOR PRACTICE
+
+The following exercises are designed for the primary development of a
+correct tone and for the test of the perfection of every tone at every
+stage of development. They are based upon the assumption that all
+tones of the voice should be focused and delivered precisely alike.
+Their use should constitute a part of the daily practice of the singer
+or speaker.
+
+I give but few exercises for each point to be gained. Intelligent
+teachers and pupils will add an infinite variety to suit each case,
+but the exercises given appear to me to be the best for initial
+practice. It is important that each exercise in its order shall be
+thoroughly mastered before taking up the next. Only in this way can
+rapid progress be made, for it is not the multiplicity of exercises,
+but the thoughtful application of principles in the few, that leads to
+results.
+
+The sound of _hng_ will always place the voice in proper focus by
+developing the resonance of the nose and head. The thin bones of the
+nose will first respond to the sound and after practice the vibrations
+can be felt on any part of the head and even more distinctly on the
+low than on the high tones. To attain this, repeat the sound _hung_
+times without number, prolonging the _ng_ sound at least four counts.
+To insure the proper course of the vowel sounds through the nasal
+passages, follow _hung_ with the vowel _ee_, as this vowel is more
+easily focused than any other; then with _oo_, _oh_, _aw_ and _ah_.
+
+_Ah_ is by far the most difficult sound to focus and should never be
+used for initial practice. Much valuable time has been lost by the
+custom of using this sound at first. It should come last.
+
+The _h_ is chosen to introduce the vowel sound because in the
+preparation to produce the sound of the letter _h_ the epiglottis is
+wide open and the vocal cords entirely relaxed, and because less
+change of the tongue is required when the vowel sound follows.
+
+
+Preliminary Exercise
+
+_Practise this softly on any pitch easy for the voice._
+
+[Music illustration: Hung-ee. Hung-oo. Hung-oh. Hung-aw. Hung-ah.
+Hung-ee _etc._]
+
+Begin the tone quietly on an easy pitch and continue it softly to the
+end. Later, after these exercises are mastered on one pitch, use every
+note within the easy compass of the voice. Leave stridency of tone to
+the locust. It is no part of a perfect tone. It never appeared in the
+voices of the most famous singers. Those who allowed themselves to use
+it passed off the stage early in life. Much better results will be
+obtained by practising without any accompaniment. The sound of the
+piano or other instrument distracts the pupil, prevents both pupil and
+teacher from hearing the voice, and hinders progress.
+
+
+IMPORTANT DIRECTIONS
+
+The manner in which Exercise I and those that follow is practised is
+of the utmost importance. Therefore carefully note and apply the
+following:
+
+1. Fully pronounce the word _hung_ (_u_ as in _stung_) at once, and
+prolong the tone, not on the vowel sound but on the _ng_ sound. This
+establishes the proper head and nasal resonance at the very beginning
+of the exercise.
+
+2. In passing from _ng_ to _ee_ be very careful not to change the
+initial focus or lose the sensation of nasal and head resonance. Do
+not therefore move the lips or the chin. The only change at this point
+is the slight movement of the tongue required to pronounce _ee_, which
+must be a pure vowel without a trace of the preceding _g_.
+
+3. In passing from _ee_ to _oo_, from _oo_ to _oh_, and so on, do so
+with the least possible movement of lips and chin. _The initial
+sensation of nasal and head resonance must not be lost._
+
+4. Each vowel sound must be distinct in enunciation and pure in
+quality. Avoid blurring one with the other. Give each its true
+individuality.
+
+5. As jewels of different hue hung on a string, so must this exercise
+be the stringing of vowels on a continuous stream of sound.
+
+
+Exercise I
+
+TO ESTABLISH NASAL AND HEAD RESONANCE
+
+This is an exercise for focusing or placing the voice and developing
+the vibrations of the nasal and head cavities, the most essential
+parts of the resonant apparatus. If the nostrils are kept fully open,
+no nasal twang will be heard. The strength of the tone will correspond
+to the force of the vibrations of the nose and head, which can be
+plainly felt by resting the finger lightly upon the side of the nose.
+The vibrations may eventually be plainly felt on the top and back of
+the head.
+
+Attack, that is, begin the tone, _softly_ and on no account force it
+in the least. Pronounce the full word _at once_, prolong the _ng_ four
+counts as indicated, and sing the five vowel sounds on a continuous,
+unbroken tone. Articulate entirely with the lips and without moving
+the under jaw. In this, as in the following exercises, keep the under
+jaw relaxed and open the mouth so as to separate the teeth as wide
+apart as is consistent with the action of the lips. See also the
+illustrations of proper lip position given at the close of Chapter II.
+
+_Practice this exercise on any pitch easy for the voice._
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+Repeat this many times until the nose and head vibrations are fully
+recognized and established. After mastery of this exercise is
+acquired, any words ending in _ng_ may be repeated. The word _noon_
+sung quietly on each note of the voice with the final consonant
+prolonged will be found helpful.
+
+
+EXERCISES FOR SPEAKERS
+
+When the placing of the voice is accomplished on the one tone
+(Exercise I), the speaker can go on with practice in reading and
+reciting, allowing the voice to change its pitch at its will, only
+being careful that all the tones are alike in quality.
+
+A profitable exercise for speakers is to pronounce any word or
+syllable ending with _ng_, as _ming_, _bing_, _sing_, _ring_, _ting_,
+and follow it with some familiar lines in a monotone, being sure that
+the tone is the same and produces the same vibrations in the nose and
+head.
+
+In the case of a person already a public speaker, this new _r�gime_
+may not immediately manifest itself in performance, but gradually the
+right principles will assume control, and speaking be done with ease
+and effectiveness. Continual daily practice of exercises should be
+kept up.
+
+If a speaker has a musical ear and some musical knowledge, he will
+derive great benefit by following out the practice of the exercises
+for singers. In no way can the voice for speaking be improved so
+rapidly or decisively as by musical training.
+
+
+Exercise II
+
+TO ESTABLISH HEAD AND NASAL RESONANCE
+
+As in Exercise I, sing softly, seeking purity of vowel sounds and
+quality of tone. Fully pronounce _hung_ at once, prolonging the _ng_
+four counts as indicated. Pass from one vowel to the next with the
+least possible change in the position of the lips and chin. The stream
+of sound is to be unbroken, the tone focus unchanged, and the
+sensation of resonance in the upper chambers continuous.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise III
+
+UPPER RESONANCE CONTINUED
+
+Follow the directions for Exercise I. Sing quietly in a pitch that is
+easy for the voice, and modulate up or down by half steps.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise IV
+
+UPPER RESONANCE CONTINUED
+
+The last exercise carried the voice an interval of a third; this
+carries the voice an interval of a fifth. Follow carefully the
+directions of Exercise I. Be sure to pronounce _hung_ at once,
+prolonging the tone not on the vowel but on the _ng_. _Sing softly._
+Vary the pitch to suit the voice.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise V
+
+UPPER RESONANCE CONTINUED
+
+The last exercise carried the voice an interval of a fifth, this one
+has a range of a sixth, while Exercise VI has a range of an octave.
+Carefully follow the Important Directions on page 60.
+
+_Sing softly_ in a pitch that is easy for the voice.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise VI
+
+TO ENLARGE THE THROAT AND THUS MAGNIFY THE TONE
+
+Pronounce the word _hung_ at once, opening the mouth well. Prolonging
+the _ng_ sound as indicated will insure the proper focus.
+
+Sing the five vowel sounds throughout the scale as indicated. At first
+practise only on scales that are in easy range.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+VIa
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise VII
+
+FOR PRODUCTION OF THE VOWEL SOUNDS IN PROPER FOCUS
+
+Produce the _hung_ at once, and add the vowel. _Be sure that the vowel
+sound follows the same course as the "ng" sound which precedes it, and
+produces the same sensation in the nose._
+
+The vowels are arranged in the order chosen because _ee_ is the most
+easily focused while _ah_ is by far the most difficult to focus, and
+hence the worst possible sound for initial practice. _Think_ of the
+tone as being made in the nose and head.
+
+Let there be no break or stopping of the tone when passing from the
+_ng_ sound to the vowel. Simply change the tone into the vowel desired
+by the proper change in the articulating organs.
+
+Sing the five vowel sounds connectedly, being sure that each vowel is
+correctly placed before passing to the next. The proper use of the
+lips will aid greatly in focusing the vowels. Start with the scale
+that is in comfortable range.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise VIII
+
+TO ENLARGE THE THROAT AND FOCUS THE VOWELS
+
+Open the mouth well and be sure that the vowel sounds are delivered as
+in the previous exercises; this will insure largeness with proper
+resonance.
+
+When practising this exercise, be careful, as with the others, that
+each vowel sound in its order is correctly given before passing to the
+next. Only in this way can rapid progress be made.
+
+The words _bing_, _sing_, _ting_, _fling_, _swing_ are excellent to
+use for further practice.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise IX
+
+QUICK CHANGING NOTES WITHOUT CHANGING RESONANCE
+
+The important point in this flexible exercise is to _keep the
+vowel-color, the focus or resonance, unchanged throughout the phrase_.
+Begin quietly, give the _ng_ freedom and the upper resonance will
+adjust itself. This phrase is longer than in previous exercises; be
+sure then that you still have breath at the end--breath enough to sing
+further. Sing quietly. Pitch the exercise to suit the voice.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise X
+
+FOR AGILITY
+
+Sing each vowel sound separately before passing to the next. Be sure
+to start each vowel sound in purity and maintain it without change.
+Pitch the exercise to suit the voice.
+
+[Music illustration:
+
+1. Ee
+2. Oo
+3. Oh
+4. Aw
+5. Ah
+
+_etc._]
+
+For variants on the above use as initial consonants _b_, _p_, _m_,
+_f_, _v_, _d_, _k_, _n_, _t_, and _l_.
+
+
+Exercise XI
+
+TO DEVELOP THE USE OF THE LIPS AND UNDER JAW
+
+When practising this exercise protrude the lips and raise them toward
+the nose as far as possible; also make an effort to enlarge and widen
+the nostrils. This exercise may be practised more quickly than the
+preceding, but never at the expense of clearness of vowel distinction.
+Carry the exercise higher or lower, and in different keys, to suit
+individual voices. With a slight initial accent sing each two-measure
+section smoothly as one phrase. Avoid accenting each separate vowel
+sound. To do so would produce a series of jerks.
+
+[Music illustration: Ee-oo-oh-aw-ah _etc._]
+
+After practising the above as written modify it as follows:
+
+ 1. Bee-boo-boh-baw-bah.
+ 2. Pee-poo-poh-paw-pah.
+ 3. Mee-moo-moh-maw-mah.
+ 4. Fee-foo-foh-faw-fah.
+ 5. Vee-voo-voh-vaw-vah.
+ 6. Dee-doo-doh-daw-dah.
+ 7. Kee-koo-koh-kaw-kah.
+ 8. Nee-noo-noh-naw-nah.
+ 9. Tee-too-toh-taw-tah.
+10. Lee-loo-loh-law-lah.
+
+
+Exercise XII
+
+FOR FACILITY AND QUICK VOWEL CHANGE
+
+Be careful not to blur the vowel sounds; each must be distinct and
+pure, and the change from one to the next must be made with a minimum
+of effort and without disturbing the focus of the tone.
+
+[Music illustration: Ee-oo-oh-aw-ah _etc._]
+
+The divisions (_a_ and _b_) of each of the above four variants may be
+regarded as distinct exercises or not. For further practice use as
+initial consonants any or all of the following: _b_, _p_, _m_, _f_,
+_v_, _d_, _k_, _n_, _t_, and _l_.
+
+
+Exercise XIII
+
+ASCENDING AND DESCENDING SCALE
+
+As in the previous exercises practise quietly with unvarying focus and
+aim to finish the phrase with breath unexhausted. Pitch the exercise
+to suit the voice.
+
+[Music illustration:
+
+Hung-ee
+Hung-oo
+Hung-oh
+Hung-aw
+Hung-ah
+
+_etc._]
+
+
+Exercise XIV
+
+THE LONG SCALE
+
+Sing this scale exercise in medium range, without blurring either the
+vowel sounds or the notes.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+The exercises thus far given have employed the five vowel sounds found
+most helpful in gaining a free resonance. These should now be
+supplemented by the use of _all_ the vowel sounds. It is obvious that
+unless the singer is at home with every vowel and on any pitch in his
+vocal range perfect pronunciation is impossible. In Chapter II a Scale
+of Vowel Sounds is given. For convenience it is repeated here:
+
+[Illustration:
+
+1  n_ee_
+2  n_i_t
+3  n_e_t
+4  n_a_y
+5  n_ai_r
+6  n_a_t
+7  n_i_gh
+8  N_a_h
+7' n_o_t
+6' n_a_w
+5' n_e_r
+4' n_u_t
+3' n_o_
+2' n_oo_k
+1' n_oo_.]
+
+Having so far mastered the previous exercises as to establish a free
+head and nasal resonance, take the Scale of Vowel Sounds and apply it
+to the now familiar exercises.
+
+Next, as suggested in Exercise X, use as initial consonants in
+connection with the Vowel Scale the consonants _b_, _p_, _m_, _f_,
+_v_, _d_, _k_, _n_, _t_ and _l_.
+
+Keep before you the formula that articulation should _seem_ to be done
+entirely with and through the upper lip; _i.e._, the _thought_ should
+be that the words are projected through the upper lip.
+
+When by practise of the exercises given the voice has been focused and
+resonance established without any instrument, scale exercises and
+simple vocalises may be taken up with or without the piano.
+
+In practising scales start each a semitone higher until the _easy
+limit_ of the voice is reached, and no farther. Gain will be more
+rapid by working to deliver the tones within the voice's normal
+compass. Then when occasional effort is made the organs will be found
+ready to deliver the highest pitch of which the voice is capable.
+
+When sufficient progress has been made in mastering the execution of
+scales and easy vocalises, the pupil will be ready to begin the study
+of songs. If one foregoes the singing of songs during the few weeks
+occupied with primary lessons, results are obtained much more quickly.
+
+While practising exercises or songs the less the pianoforte is used,
+except to compare the pitch, the better. Such practice increases the
+confidence of the performer. The instrument prevents the singer's
+listening to the tone he is producing and judging of its
+effectiveness.
+
+Pupils with high or very low voices may continue their practice higher
+or lower as the voice is soprano, or bass, or contralto, but much
+practice on the extremes of the voice is unadvisable. If pure tones
+are produced in the medium range of the voice the highest or lowest
+tones will be found ready when called for. Therefore practise the
+extremes of the voice only enough to know the limits of the voice and
+to be assured the tones are there.
+
+When the singer can perform the preceding simple exercises and know
+that the tones are all focused, or placed and delivered, precisely
+alike, he is ready to practise any scale, down or up, and to execute
+any musical exercise or song for which he is intellectually fitted.
+
+
+
+
+CHAPTER IX
+
+THROAT STIFFNESS
+
+
+What is the most frequent obstacle to good singing, the difficulty
+with which pupil and teacher most contend? Throat stiffness. What more
+than anything else mars the singing of those we hear in drawing-rooms,
+churches, and the concert room? Throat stiffness.
+
+This is the vice that prevents true intonation, robs the voice of its
+expressiveness, limits its range, lessens its flexibility, diminishes
+its volume, and makes true resonance impossible.
+
+This great interferer not only lessens the beauty of any voice, but
+directly affects the organ itself. The muscles of the larynx are small
+and delicate, and the adjustments they make in singing are exceedingly
+fine. When, however, the voice user stiffens his throat, these
+delicate muscles in their spontaneous effort to make the proper
+adjustments are compelled to contract with more than their normal
+strength. Every increase in throat stiffness demands a corresponding
+increase in muscle effort, an overexertion that persisted in must
+result in injury to the organ itself. Such misuse of the voice is
+bound to show injurious results. Every throat specialist knows this,
+and an untold multitude of those who, beginning with promise, have had
+to give up singing as a career, learn it too late.
+
+Singers are so accustomed to the sound of their own voices as to be
+usually quite unconscious of their own throat stiffness, though they
+may recognize it in their neighbor.
+
+Unfortunately throat stiffness by its very nature tends to aggravate
+itself, to constantly increase while the voice becomes less and less
+responsive to the singer's demands.
+
+There are a number of contributing causes to throat stiffness, but the
+principal cause is _throat consciousness_ and misplaced effort, due
+largely to current misconceptions regarding the voice. A common notion
+is that we sing with the throat, whereas we sing _through_ it. Akin to
+this error is the notion, as common as it is fallacious, that force of
+tone, carrying power, originates in the larynx, whereas the initial
+tone due to the vibration of the vocal cords is in itself
+comparatively feeble. As shown at length in Chapters VI and VII,
+volume of tone, its color and carrying power, is acoustically and
+vocally a matter of _resonance_.
+
+Many there are who sing by dint of sheer force and ignorance, but
+their careers are necessarily short. The too common vulgar striving
+for power rather than for beauty or purity of tone induces unnatural
+effort and strain that both directly and sympathetically affect the
+throat with stiffness.
+
+Unnatural effort in breathing, over-effort in breath control, as well
+as singing without adequate breath, all induce tension that is
+reflected at once in the sensitive throat.
+
+Impatience of results, American hurry, beget unnatural effort and
+tension. "Unclasp the fingers of a rigid civilization from off your
+throat." The student of the violin or the piano soon learns that only
+by a long and patient preparation can he fit himself to entertain even
+his admiring friends. The embryo singer, on the contrary, expects with
+far less expenditure of time and effort to appear in public.
+
+The human voice is a direct expression of the man himself; it
+registers spontaneously his mental and emotional states, even when he
+would wish them hidden. Mental conditions tinged with impatience, with
+fear, or with anything that begets tension of any sort are reflected
+instantly in the voice, robbing it of its better qualities and
+inducing stiffness in the throat.
+
+Reduced to its lowest terms voice culture to-day is a struggle with
+throat stiffness.
+
+The causes indicate the remedy. Foremost, then, is dropping all throat
+consciousness, all thought of the throat, all drawing of attention to
+it. The larynx must be left uncramped, unhindered to do its work in
+free unconsciousness, which it will do if not disturbed by tension in
+its neighborhood, or by misdirected thought.
+
+The stream of consciousness must in singing be directed to the
+breathing which is below the throat, and to resonance and
+pronunciation which are above it. These functions are more or less
+consciously controlled until at last mastery makes their action
+automatic.
+
+I would once more emphasize the fact that the free use of all the
+resonance chambers, and the recognition of the great function of
+resonance, will do more than anything else to set the voice free and
+emancipate the singer from all interfering rigidity.
+
+
+
+
+CHAPTER X
+
+SOME GENERAL CONSIDERATIONS
+
+
+THE NATURAL VOICE
+
+Pupils are constantly urged to sing and speak naturally, because the
+"natural" tone is correct. This is exceedingly indefinite. It is
+natural for a child to imitate the first sound it hears, whether it be
+correct or incorrect. In either case the child imitates it, and for
+that child it becomes the natural tone. The child reared in the
+wilderness, beyond the hearing of a human voice, will imitate the
+notes of the whip-poor-will, the chatter of the monkey, and the hoot
+of the owl, and for him they are natural tones.
+
+To be natural is the hardest lesson to learn and it is only the result
+of imitation or prolonged discipline. Untrained naturalness is the
+perfection of awkwardness. The involuntary functions of organic life
+are the only ones naturally performed correctly. Nature's method of
+breathing, circulation, and digestion can be depended upon until
+disarranged by subsequent conditions, but unless proper vocalization
+is established by imitation and discipline this function is sure to be
+corrupted by false examples.
+
+
+AGE TO BEGIN
+
+After the child begins to talk, the sooner his vocal education begins
+the better. Even at that early age he can be made to understand the
+merits of head vibrations and by simple exercises produce them, and
+once taught will never forget them. Vocalizing, like every other art,
+is most easily learned by imitation, and the advantage of the early
+years, when that faculty is most active, should not be lost. In olden
+times the importance of this was fully realized. More than three
+centuries ago, old Roger Ascham wrote: "All languages, both learned
+and mother tongues, are begotten and gotten solely by imitation. For
+as ye used to hear so ye learn to speak. If ye hear no other, ye speak
+not yourself; and of whom ye only hear, of them ye only learn."
+Nineteen centuries ago Quintillian wrote: "Before all let the nurses
+speak properly. The boy will hear them first and will try to shape his
+words by imitating them."
+
+If the right way of using the voice is early taught it will be a guard
+against the contraction of bad habits which can only be corrected
+later with infinite trouble. It certainly would be unwise to put a
+young child under continued training; but even in the kindergarten the
+right method of voice production can and should be taught. Teachers of
+kindergarten and primary schools should be familiar with the
+principles of voice training and be able to start the pupils at once
+on the right road.
+
+
+IN PUBLIC SCHOOLS
+
+The sooner this branch of education is made a part of the curriculum
+of our common schools, the sooner shall we produce a race of good
+speakers and singers.
+
+If, during the pupil's school life, proper attention is paid to these
+primary principles and to _correct articulation_, a large majority of
+students will graduate from our common schools prepared to advance in
+the art of elocution or of singing without being obliged first to
+unlearn a vast amount of error and to correct a long list of bad
+habits.
+
+If each day in the public schools a few minutes only are devoted to
+the subject by a teacher who understands it and who will call the
+attention of the pupils to the proper applications of the principles
+in their daily recitations, it will be found amply sufficient to
+develop and establish a good speaking and singing voice.
+
+
+ARTISTRY
+
+If artistry is to be attained, every organ must be individually well
+trained. Yet, during performance, no one part should be given undue
+prominence. The voice should be the product of all the organs equally
+well developed. Continued practice will enable the performer to
+correlate the whole--blend the strength of all in one.
+
+It goes without saying that no one in singing or speaking should
+appear to be governed by a "method." During the early stages of
+education, pupils should be amenable to rules and methods, but they
+must not expect to be acceptable performers until able to forget their
+lessons and simply and unconsciously make use of all the advantages of
+their training. Even when the education is finished, and the _prima
+donna_ has made her successful debut, continued daily repetition of
+primary exercises is necessary to maintain excellence and insure the
+progress that every performer desires. Our best singers to-day are as
+diligent students of the technique of the voice as are the tyros
+struggling with the first elements.
+
+
+LIFE'S PERIODS
+
+Human life is divided into three periods: _first_, that of effort to
+get an education; _second_, of effort to maintain it; and _third_, of
+effort to resist the natural decline which comes with advancing years.
+The singer and speaker must drill to develop the voice, must drill to
+keep it in condition, and must drill to resist the encroachments of
+senility. Eternal vigilance is the price of vocal success.
+
+
+APPLICATION OF ESSENTIALS
+
+The application of the principles here discussed will show that a
+musical voice is not the product of mysterious systems, but a matter
+of scientific certainty. The essentials are good breathing, good
+focusing, good resonance, and good articulation. These four elements
+are so interdependent that one cannot be perfected without the other.
+With these attained, the intellect, the sentiment, and the emotion of
+the performer will culminate in artistic excellence.
+
+
+REPOSE AS A PREPARATION FOR VOCAL EXERCISE
+
+The nervousness or fear which manifests itself in constraint and
+rigidity of the muscles and sometimes in stage fright is a serious
+hindrance to progress. The effectual offset to this painful condition
+is repose.
+
+The art of inducing a condition of repose can be readily acquired by
+any one who will carefully and faithfully do as follows: Place
+yourself in an easy lying or lounging position in a quiet place, with
+fresh air. Physical repose prepares for and invites mental repose. Now
+allow the mind to work care free at its own sweet will without any
+attempt to control it. Close the eyes and _breathe slowly, gently, and
+deeply, with steady rhythm_. In two or three minutes a sensation of
+quiet restful repose will be experienced, which may be continued for
+several minutes or may even lead to a natural sound sleep.
+
+This result may not be attained at the first or the second trial, but
+a few repetitions of the exercise will insure success in almost every
+case. After the art is attained in this formal way, ability to induce
+the same repose when sitting upright, or while standing, will be
+quickly developed.
+
+This repose is the fitting preparation for a lesson or a performance
+and may be induced during the progress of either, to allay any
+trepidation incident to the situation. A mastery of this simple art
+will make progress in the work of voice development much more rapid,
+and make attainable a degree of discipline that is impossible without
+it. It will prove for the beginner a sure prevention of stage fright
+and a great relief to the most chronic sufferer from this malady.
+
+
+THE VIBRATO
+
+The _vibrato_ is a rhythmic pulsation of the voice. It often appears
+in untrained voices; in others it appears during the process of
+cultivation. Some have thought it the perfection of sympathetic
+quality; others esteem it a fault.
+
+The vibrato is caused by an undulating variation of pitch or power,
+often both. The voice does not hold steadily and strictly to the
+pitch, and according to the amount of the variation a corresponding
+vibrato, or tremolo, is produced.
+
+The action of stringed instruments illustrates this statement. The
+finger of the violinist vibrates on the string by rocking rapidly back
+and forth and the vibrato is the result.
+
+The same is true of the human instrument. By variation of the tension,
+the vocal apparatus sends forth several tones in alternation, of a
+slightly different pitch, which together produce the effect.
+
+Three sources are ascribed for the vibrato; one is a rapid, spasmodic
+vibration of the diaphragm, causing variation of breath pressure;
+another is the alternate tension and relaxation of the larynx and
+vocal cords; a third is that commonest of faults--throat stiffness.
+Either cause is possible, and variation in the pitch or intensity of
+the tone is the result. Sufficient investigations have not been made
+to make the matter certain, but tremolo, trembling of the vocal
+organs, and muscular stiffness, or unnatural tension, seem to go
+together.
+
+It is quite possible in the early stages of culture so to train the
+voice as to use the vibrato or not at will, but if not early
+controlled this, like other bad habits, gains the mastery. Excessive
+vibrato has spoiled many good voices. It is not a fundamental quality
+of the voice. A little vibrato may occasionally be desirable when
+properly and skilfully used; more than this is to be shunned as a
+dangerous vice.
+
+
+
+
+CHAPTER XI
+
+THE PSYCHOLOGY OF VOCAL CULTURE
+
+
+Mental conception precedes execution. The picture must exist in the
+artist's mind before it can be drawn on the canvas. The architect must
+mentally see the majestic cathedral in all its details before he can
+draw the plans from which it can be built. In the field of physical
+activity no movement is made until the mind has gone before and
+prepared the way. A person's ability to do is in a great degree
+measured by his determination to do, but sitting in a rocking-chair
+and thinking will never make an athlete. Mental action is necessary,
+but only through trained muscular action can the mental action
+materialize in a finished performance.
+
+So too the mind must anticipate the action of the vocal organs, but
+the organs themselves must be led to interpret the mental concept
+until such action becomes spontaneous. Action in turn quickens the
+mental process, and the mental picture becomes more vivid.
+
+Note with emphasis that the mental concept _precedes_ the action and
+governs it. Therefore, instead of producing tone by local effort, by
+conscious muscular action of any sort, correctly _think the tone_,
+correctly shape and color it _mentally_. =Every vocal tone is a mental
+concept made audible.= The beginner and the confirmed bungler alike
+fail in this prime essential--they do not make this mental picture of
+tone before singing it. Kindred to this is deficiency in hearing, in
+discriminating between good tone color and poor. The student must
+constantly compare his tone as it is sung with the picture in his
+mind. Training the voice is therefore largely a training of mind and
+ear, a developing of nicety in discrimination. Singing is mental
+rather than physical, psychologic rather than physiologic. Think
+therefore of the effect desired rather than of the process.
+
+In considering the details of voice production analytically we are apt
+to forget that man, notwithstanding his complexity, is a _unit_ and
+acts as a unit. Back of all and underlying man's varied activity is
+the psychical. In the advanced stages of the art of speech and song
+this psychical element is of pre-eminent importance.
+
+The speaker who essays to give expression to his own thoughts must
+have his ideas sharply defined and aflame in order to so utter them
+that they will arouse his hearers to enthusiasm. The speaker or singer
+who would successfully interpret the thoughts of others must first
+make those thoughts his very own. When this is attained, then the
+voice, action, and the whole spirit of the performer, responding to
+the theme, will beget a like responsiveness in his audience.
+
+
+THE SINGER BEHIND THE VOICE
+
+Books upon books have been written on voice training, and will
+continue to be written. The preceding pages have been devoted to the
+fundamental subject of tone production, but it is time to suggest that
+back of the voice and the song is the singer himself with his complex
+personality. Back of the personality is the soul itself, forever
+seeking utterance through its mask of personality. All genuine impulse
+to sing is from the soul in its need for expression. Through
+expression comes growth in soul consciousness and desire for greater
+and greater self-expression.
+
+Singing is far more than "wind and muscle," for, as Ffrangcon-Davies
+puts it, "The whole spiritual system, spirit, mind, sense, _soul_,
+together with the whole muscular system from feet to head, will be in
+the wise man's singing, _and the whole man will be in the tone_."
+
+Of all the expressions of the human spirit in art form, the sublimated
+speech we call song is the most direct. Every other art requires some
+material medium for its transmission, and in music, subtlest of all
+the arts, instruments are needed, except in singing only.
+
+
+FREEDOM
+
+In song the singer himself is the instrument of free and direct
+expression. Freedom of expression, complete utterance, is prevented
+only by the singer himself. No one hinders him, no one stands in the
+way but himself. The business of the teacher is to _set free_ that
+which is latent. His high calling is by wise guidance to help the
+singer to get out of his own way, to cease standing in front of
+himself. Technical training is not all in all. Simple recognition of
+the existence of our powers is needed even more. Freedom comes through
+the recognition and appropriation of inherent power; recognition comes
+first, the appropriation then follows simply. The novice does not know
+his natural power, his birthright, and must be helped to find it,
+chiefly, however, by helping himself, by cognizing and re-cognizing
+it.
+
+No student of the most human of all arts--singing--need give up if he
+has burning within him the _song impulse_, the _hunger to sing_. This
+inner impulse is by its strength an evidence of the power to sing; the
+very hunger is a promise and a prophecy.
+
+
+DETERRENTS
+
+The deterrents to beautiful singing are physical in appearance, but
+these are outer signs of mental or emotional disturbance. Normal
+poise, which is strength, smilingly expresses itself in curves, in
+tones of beauty.
+
+_Mental discord_ results in angularity, rigidity, harshness.
+
+_Impatience_ produces feverishness that makes vocal poise impossible;
+and impatience induces the modern vice of forcing the tone. Growth is
+a factor for which hurried forcing methods make no allowance.
+
+_Excess of emotion_ with its loss of balance affects the breathing and
+play of the voice.
+
+_Exertion_, trying effort, instead of easy, happy activity induces
+hampering rigidities.
+
+_Intensity_, over-concentration, or rather false concentration,
+emotional tension, involves strain, and strain is always wrong.
+
+_Over-conscientiousness_, with its fussiness about petty detail, and
+insistence on non-essentials, is a deterrent from which the robust are
+free. _Over-attention to the mechanics_ of voice production is a
+kindred deterrent. Both deterrents prevent that prime characteristic
+of expression--spontaneity.
+
+_Anxiety_ is a great contractor of muscle, a great stiffener. Anxiety
+always forgets the _power_ within, and falsely says to the
+song-hunger, "You shall never be satisfied."
+
+_Self-repression_ is a great deterrent that afflicts the more
+sensitive, particularly those of puritanic inheritance. It is a
+devitalizer and a direct negative to expression, which is vital, is
+_life_.
+
+All of these deterrents are negative and may be overcome by fuller
+recognition of the inner power that by its very nature must
+perpetually seek positive expression.
+
+
+CONCLUSION
+
+In conclusion, the student can perpetually find encouragement in a
+number of happy facts.
+
+Man is endowed by nature, except in rare instances, with a perfect
+vocal apparatus. When abnormal conditions are found they are usually
+in the adult voice, and are due solely to misuse. In other words
+defects are not inherent but acquired and _can be removed_.
+
+By nature the human voice is beautiful, for the tendency of nature is
+always in the direction of beauty. Whatever is unlovely in singing, as
+in all else, is _un_natural. True method is therefore never artificial
+in its action, but simple, because the natural is always simple.
+
+Finally, no, not finally, but firstly and secondly and thirdly and
+perpetually, every student of singing and every teacher of it must
+constantly bear in mind the happy law:
+
+=THE RIGHT WAY IS ALWAYS AN EASY WAY=
+
+
+
+
+BOOKS CONSULTED
+
+
+TITLE                           AUTHOR                   PUBLISHED
+
+An Essay on the History
+and Theory of Music, and
+of the Qualities and Capacity
+of the Human Voice              Isaac Nathan             London, 1823.
+
+Elements of Vocal Science       Richard Mackenzie Bacon  London, 1824.
+
+Orthophony; or the Cultivation
+of the Voice in Elocution       William Russell          Boston, 1859.
+
+Vocal Physiology                Charles Alex. Guilmette  New York, 1860.
+
+Die Lehre von den
+Tonempfindungen als
+physiologische Grundlage
+f�r die theorie der Musik       H.L.F. Helmholtz         Brunswick, 1863.
+
+The Sensations of Tone as
+a Physiological Basis for
+the Theory of Music             H.L.F. Helmholtz
+
+(Translation of above)          (Translated by A.J.
+                                Ellis)                   London, 1875.
+
+Sound                           John Tyndall             London, 1867.
+
+Principles of Elocution and
+Voice Culture                   Benj. W. Atwell          Providence, 1868.
+
+The Voice, Its Artistic
+Production, Development
+and Preservation                George J. Lee            London, 1870.
+
+The Cultivation of the
+Speaking Voice                  John Pyke Hullah         Oxford, 1870.
+
+Voice Building                  Horace R. Streeter       Boston, 1871.
+
+Principles of Elocution and
+Voice Culture                   Benjamin Atwell          Boston, 1872.
+
+Hints for Pronunciation in
+Singing                         Georgiana Weldon         London, 1872.
+
+The Voice in Singing            Emma Seiler              Philadelphia, 1872
+
+The Voice as an Instrument      Ange A. Pattou           New York, 1878.
+
+The Vocal Process               John Howard              New York, 1878.
+
+Speech in Song                  Alexander J. Ellis       London, 1878.
+
+Voice and Vocalization          Wm. P. Robert            London, 1879.
+
+The Human Voice and
+Connected Parts                 Joseph Montgomery Farrar London, 1881.
+
+The Mechanism of the
+Human Voice                     Emil Behnke              London, 1882.
+
+Gymnastics of the Voice         Oskar Guttmann           Albany, 1882.
+
+The Art of Voice Production
+with Special Reference
+to the Methods of
+Correct Breathing               Ange A. Pattou           New York, 1882.
+
+The Old Italian School of
+Singing                         Leo Kofler               Albany, 1882.
+
+The Secrets of the Voice in
+Singing                         Emilio Belari            New York, 1883.
+
+Deep Breathing                  Sophia A. Ciccolina      New York, 1883.
+
+Artistic Voice in Speech
+and Song                        Charles Lunn             London, 1884.
+
+Voice, Song and Speech          Lennox Browne and Emil
+                                Behnke                   London, 1884.
+
+Modern Singing Methods,
+Their Use and Abuse             John Franklin Botume     Boston, 1885.
+
+The Diaphragm and Its
+Functions                       J.M.W. Kitchen           Albany, 1885.
+
+The Voice from a Practical
+Standpoint                      Edmund J. Meyer          New York, 1886.
+
+The Hygiene of the Vocal
+Organs                          Morrell Mackenzie, M.D.  London, 1886.
+
+How to Sing                     Wm. Henry Daniell        New York, 1887.
+
+The Art of Breathing as
+the Basis for Tone Production   Leo Kofler               New York, 1887.
+
+The Voice. How to Train
+It                              Edward Barrett Warman    Boston, 1890.
+
+Scientific Voice. Artistic
+Singing and Effective
+Singing                         Thomas Chater            London, 1890.
+
+Voice Figures                   Mrs. Margaret Watts
+                                Hughes                   London, 1891.
+
+The Human Voice; Its
+Cultivation                     W.H. Griffiths           London, 1892.
+
+The Philosophy of Singing       Clara Kathleen Rogers    New York, 1893.
+
+The What and How of
+Vocal Culture                   F. Rowena Medini         New York, 1893.
+
+Exercises in Vocal Technique    John Franklin Botume     Boston, 1894.
+
+Text-Book on the Natural
+Use of the Voice                George E. Thorp and
+                                William Nicholl          London, 1895.
+
+Respiration for Advanced
+Singers                         John Franklin Botume     Boston, 1897.
+
+Voice Building and Tone
+Placing                         Henry Holbrook Curtis,
+                                M.D.                     New York, 1896.
+
+Twenty Lessons on the
+Development of the
+Voice                           George E. Thorp          London, 1896.
+
+Voxometric Revelation
+(The Problem Surrounding
+the Production of
+the Human Voice Finally
+Discovered)                     Alfred Augustus North    London, 1896.
+
+The Art of Singing              Wm. Shakespeare          London and
+                                                         Boston, 1898.
+
+The Rightly-Produced
+Voice                           Edward Davidson Palmer   London, 1898.
+
+How to Train Children's
+Voices                          T. Maskell Hardy         London, 1899.
+
+How to Sing (Meine
+Gesangskunst)                   Lilli Lehmann            New York, 1902.
+
+Scientific Tone Production      Mary Ingles James        Boston, 1903.
+
+English Diction for Singers
+and Speakers                    Louis Arthur Russell     Boston, 1905.
+
+The Training of Boys'
+Voices                          Clarke Ellsworth Johnson Boston, 1906.
+
+Voice Production in Singing
+and Speaking                    Wesley Mills, M.D.       Philadelphia, 1906.
+
+The Art of the Singer           W.J. Henderson           New York, 1906.
+
+The Commonplaces of
+Vocal Art                       Louis Arthur Russell     Boston, 1907.
+
+The Singing of the Future       David Ffrangcon-Davies   London, 1908.
+
+The Art of Singing and
+Vocal Declamation               Sir Charles Santley      London, 1908.
+
+
+
+
+INDEX
+
+
+ABDOMINAL BREATHING, employed by Martel, 4, 26;
+  lateral, 3.
+  (See also _Chest-abdominal breathing_ and
+   _Lateral abdominal breathing_.)
+
+ACOUSTICS, 43;
+  experiments in, 46-48;
+  Pascal on, 49.
+
+ACTOR, enunciation of the, 19;
+  importance of deep breathing for, 19.
+
+ADAM'S APPLE, the male larynx, 9.
+
+AGE to begin study of voice, 77.
+
+AH-sound, narrow limits of, 18;
+  how produced, 22;
+  Lilli Lehmann on, 19;
+  place of, in practice, 57.
+
+AIR CAVITIES (see _Sinuses_).
+
+ANXIETY, a deterrent to beautiful singing, 85.
+
+APPLICATION OF ESSENTIALS, 79.
+
+APPUNN, on pitch of vowel sounds, 20.
+
+ARTICULATION, differing opinions concerning, 3;
+  relation of, to resonance, 51;
+  through upper lip, 72.
+  (See also _Pronunciation_.)
+
+ARTICULATOR, 6.
+
+ARTISTRY, 79.
+
+ASCHAM, ROGER, on voice culture through imitation, 77.
+
+AW-sound, lip position for, 22;
+  in exercises, 59, etc.
+
+
+BEAUTY OF TONE, a criterion of correct vocal action, 56.
+
+BELL, on pitch of vowel sounds, 20.
+
+BOOTH, EDWIN, as a good speaker, 16.
+
+BOOTH, JUNIUS BRUTUS, impairment of his voice, 53.
+
+BREATH CONTROL, 23-32;
+  importance of, in both speaking and singing, 23;
+  muscles of respiration in, 23;
+  the diaphragm in, 23;
+  muscles in, 24;
+  the lungs in, 25;
+  inspiration, 25;
+  expiration, 25;
+  correct method of, 25;
+  a cure for nervousness, 27;
+  necessity of exercises, 27;
+  economy a factor in, 30;
+  exaggerated, 30;
+  initial use of, 31;
+  exercises for, 33-37;
+  of Farinelli, 37.
+
+BREATH FORCE, initial use of, 31;
+  reserve, 31;
+  wasted, 31.
+
+BREATH MASTERY, meaning of, 32.
+
+BREATHING, art of, 3;
+  an amplification of the daily habit, 5;
+  defined as singing, 23;
+  correct, 25, 28;
+  not differing in sex, 26;
+  vicious habits of, 26;
+  controlling deeply, 26;
+  tests of, 26;
+  nose versus mouth, 26;
+  regularity of, 26;
+  in obtaining power and largeness of tone, 27;
+  for high tones, 27;
+  relation of, to nervousness, 27;
+  rhythmic, 27;
+  necessity of exercises, 27;
+  illustrations of, 28, 29;
+  exercises in, 33-37;
+  economy in, 30;
+  tests in, by Professor Mills, 30;
+  exaggerated control of, 30;
+  exhaustion, 31;
+  initial force in, 31;
+  reserve power in, 31;
+  mastery of, 32.
+  (See also _Abdominal breathing_.)
+
+BROSCHI, DON CARLO, breath control of, 36.
+
+BROWNE, DR. LENNOX, on the laryngoscope, 3.
+
+BROWNE and BEHNKE, on nasal resonance, 53.
+
+
+CHEST, expansion of and resonance, 49.
+
+CHEST-ABDOMINAL BREATHING, 25;
+  illustrated in sleeping child, 25;
+  tests in, 26;
+  illustrated, 28, 29.
+
+CHEST TONES, former emphasis given to, 2;
+  wrongly termed, 5.
+
+CLAY, HENRY, as a good speaker, 16.
+
+CLOSED TONES, former emphasis given to, 2;
+  wrongly termed, 5.
+
+CRYER, DR. W.H., on the frontal sinus, 12.
+
+CULTURE OF THE VOICE (see _Voice culture_).
+
+
+DEEP BREATHING, importance of, for the actor, 19.
+  (See also _Breathing_.)
+
+DETERRENTS TO BEAUTIFUL SINGING, 84, 85.
+
+DIAPHRAGM, in breathing, 19;
+  not a muscle of expiration, 23;
+  described, 23, 24;
+  in inspiration, 24;
+  in expiration, 24;
+  illustrated, 24, 29.
+
+DIFFERENCE BETWEEN SINGING AND SPEAKING, 17.
+
+
+EAR, function of, in tone production, 57;
+  training of, 57.
+
+EE-sound, lip position for, 20;
+  in exercises, 57, 59, etc.
+
+EFFORT, TENSE, a deterrent to beautiful singing, 84.
+
+EMOTION, effect on tone quality, 7;
+  excess of, a deterrent to beautiful singing, 84.
+
+EMPIRICISTS, where they have failed, 4.
+
+EPIGLOTTIS, 10.
+
+ESSENTIALS, application of, 79.
+
+ETHMOID BONE, 8.
+
+ETHMOIDAL SINUSES, illustrated, 7;
+  function of, 12.
+
+EVERETT, EDWARD, as a good speaker, 16.
+
+EXERCISES, BREATHING:
+  necessity of, 27, 33;
+  preliminary suggestions, 33, 34;
+  attitude in taking, 34;
+  I, to show what a deep breath is, 34;
+  II, slow inhalation with sudden expulsion, 35;
+  III, sipping the breath, with quick exhalation, 35;
+  IV, for rib expansion, 35;
+  V, slow inhalation with slow expiration, 36;
+  VI, rapid inspiration with slow expiration, 36;
+  VII, Farinelli's great exercise, 36;
+  VIII, the cleansing breath, 37;
+  half breath, 37.
+
+EXERCISES, VOCAL:
+  I, to establish nasal and head resonance, 58-61;
+  for speakers, 60, 61;
+  II, to establish head and nasal resonance, 61;
+  III, IV, V, upper resonance, 62-64;
+  VI, to enlarge the throat and thus magnify the tone, 64;
+  VII, for production of the vowel sounds in proper focus, 65;
+  VIII, to enlarge the throat and focus the vowels, 66;
+  IX, quick changing notes without changing resonance, 67;
+  X, for agility, 67, 68;
+  XI, to develop the use of the lips and under jaw, 68, 69;
+  XII, for facility and quick vowel change, 69, 70;
+  XIII, ascending and descending scale, 71;
+  XIV, the long scale, 71;
+  additional, 72, 73;
+  repose as a preparation for, 80.
+
+EXPIRATION, muscles of, 23, 24;
+  under controlled pressure, 24;
+  described, 25;
+  the lungs in, 25;
+  illustrated, 28, 29.
+
+
+FACE, training muscles of, 15.
+
+FARINELLI, breath control of, 36.
+
+FFRANGCON-DAVIES, on pronunciation, 18;
+  on registers, 39;
+  on function of ear in voice training, 57;
+  definition of singing of, 83.
+
+FOCUSING THE VOICE (see _Voice placing_).
+
+FORBES-ROBERTSON, on diction, 19.
+
+FORMES, CARL, voice of, in declining years, 4.
+
+FREEDOM IN SINGING, 84.
+
+FRONTAL SINUSES, function of, 12;
+  illustration of, 7.
+
+
+GARCIA, MANUEL, inventor of laryngoscope, 2;
+  use of laryngoscope, 2;
+  Sir Charles Stanley on, 3.
+
+GOUNOD, on pronunciation, 19.
+
+
+HALF-BREATH, Sembrich and, 37.
+
+HARD PALATE, function of, 12.
+
+HARSHNESS, an indication of tension, 56.
+
+HEAD CAVITIES, a resonator for the voice, 6;
+  effect of, on resonance, 12.
+
+HEAD TONES, in previous years, 2;
+  wrongly termed, 5.
+
+HELMHOLTZ, on pitch of vowel sounds, 20;
+  on acoustics, 43, 49.
+
+HENDERSON, W.J., on pronunciation, 18.
+
+HIGH TONES, breath control necessary for, 27.
+
+HOLMES, OLIVER WENDELL, on Edward Everett's voice, 16.
+
+HYOID BONE, 8, 10.
+
+
+I-sound, described, 21.
+
+IMPATIENCE, a deterrent to beautiful singing, 84.
+
+INSPIRATION, muscles of, 23, 24;
+  process of, described, 25;
+  illustrated, 28, 29.
+  (See also _Breath control_ and _Breathing_.)
+
+INSTRUMENT, MUSICAL, elements of, 43, 44.
+
+INTENSITY, INVOLVING STRAIN, a deterrent to beautiful singing, 84.
+
+
+KINDERGARTEN TEACHERS, instruction by, 78.
+
+KOENIG, on pitch of vowel sounds, 20.
+
+
+LARYNGOSCOPE, and registers, 2;
+  Garcia the inventor of, 2;
+  usefulness of, 2;
+  limitations of, 3;
+  disappointing results of, 38;
+  not an instrument for the singer, 51.
+
+LARYNX, moving, 3;
+  viewed through the laryngoscope, 3;
+  illustrated, 7;
+  description of, 8, 9;
+  relation of size of, to pitch, 9;
+  automatic action of, 38;
+  not alone the vocal organ, 50;
+  reflex action of, 51;
+  force of tone does not originate in, 75;
+  must be left uncramped, 75.
+
+LATERAL ABDOMINAL BREATHING, 3, 25, 28.
+
+LEHMANN, MADAME LILLI, on use of Ah, 19;
+  on registers, 39;
+  on nasal resonance, 54.
+
+LIFE'S PERIODS, 79.
+
+LIND, JENNY, effects of wrong methods on, 4.
+
+LIPS, in articulation, 14;
+  position of, 20-22;
+  illustrated, 21, 22.
+
+LUNGS, a motor for the voice, 6;
+  illustrated, 24;
+  described, 25;
+  overcrowding, 31.
+
+
+MACKENZIE, DR. MORELL, on the laryngoscope, 3;
+  on singing and speaking, 17.
+
+MACREADY, WM. CHARLES, as a good speaker, 16.
+
+MARTEL, voice of, at seventy, 4.
+
+MAXILLARY SINUSES, 7, 8, 12.
+
+MAY, DR., breathing tests made by, 26.
+
+MCKINLEY, M.S., on Garcia and the laryngoscope, 2.
+
+MENTAL DISCORD, a deterrent to beautiful singing, 84.
+
+MEYER, EDMUND J., on resonance, 43.
+
+MILLS, DR. WESLEY, on breath measure, 30;
+  on ease of vocal action, 56;
+  on the function of the ear in tone production, 57.
+
+MOTOR OF THE VOCAL INSTRUMENT, 6.
+
+MOUTH, theory of its function, 1;
+  a resonator for the voice, 6.
+
+MUSCLES OF RESPIRATION, 23.
+
+MUSIC TEACHERS, scientific, 4;
+  empirical, 4.
+
+
+NASAL CAVITIES, as reinforcing agents in tone production, 2;
+  a resonator for the voice, 6;
+  illustrated, 7;
+  formation of, 8;
+  vibrations in, 8;
+  effect on resonance, 12;
+  Edward Everett's use of, 16;
+  as a resonator, 52, 53;
+  obstruction of, in Booth, 53.
+
+NASAL RESONANCE, erroneous theories concerning, 1, 2;
+  Madame Rudersdorff recognized effect of, 2;
+  involved in head resonance, 52;
+  versus nasal tone quality, 53;
+  Lilli Lehmann on, 54;
+  Sembrich's study of, 54;
+  importance of, 54.
+
+NATURAL VOICE, what is meant by, 77.
+
+NERVOUSNESS, a cure for, 27, 80.
+
+NOSTRILS, relation of, to tone quality, 14.
+
+
+O-sound, lip position for, 20;
+  illustrated, 21;
+  in exercises, 59, etc.
+
+OO-sound, lip position for, 20, 21;
+  in exercises, 59, etc.
+
+OPEN TONES, 2, 5.
+
+ORAL SURGERY, 2.
+
+ORATORIO, faulty diction in, 18.
+
+OVER-CONSCIENTIOUSNESS, a deterrent to beautiful singing, 84.
+
+OVERTONES, 45, 46.
+
+
+PERSONALITY, effect on the voice, 83.
+
+PHARYNX, function of, 10.
+
+PHILLIPS, ADELAIDE, voice of, in declining years, 4.
+
+PITCH OF TONE, influence of resonance cavities on, 12, 13.
+
+PLACING THE VOICE (see _Tone production_).
+
+POWER OF TONE, dependent on resonant cavities and breath control, 27.
+
+PRINCIPLES ADVOCATED, 5.
+
+PRONUNCIATION, indifference of American singers to, 17;
+  W.J. Henderson on, 18;
+  change of attitude toward, 18;
+  importance of, to singer, 18;
+  relation of, to tone, 18;
+  Ffrangcon-Davies on, 18;
+  sing words rather than tones, 18;
+  Lilli Lehmann on, 19;
+  emotional power impossible without, 19;
+  Gounod on, 19;
+  Forbes-Robertson on, 19;
+  upper lip in, 19;
+  effect of smile on, 19.
+
+PSYCHOLOGY OF VOCAL CULTURE, 82-85.
+
+PTERYGOID MUSCLES, and the under jaw, 10.
+
+PUBLIC SCHOOLS, voice training in, 78.
+
+
+REEVES, SIMS, voice of, 4.
+
+REGISTERS, 38-42;
+  blending the, 2, 41;
+  not a natural feature of the voice, 2;
+  fallacy of theory of, 2;
+  a myth, 5;
+  the _b�te noire_ of vocalists, 38;
+  defined, 38;
+  Clara Kathleen Rogers on, 38;
+  Lilli Lehmann on, 39;
+  Ffrangcon-Davies on, 39;
+  of the organ, 40;
+  of voice and instruments compared, 40, 41;
+  an artificial creation, 41, 42.
+
+REPOSE, AS A PREPARATION FOR VOCAL EXERCISES, 80;
+  how to induce, 80.
+
+RESONANCE, differing opinions concerning, 3;
+  principle of, 5;
+  nasal and head cavities in, 12;
+  influence of resonance cavities on pitch, 12;
+  pitch of vowels in, 20;
+  and power, 27;
+  and breath force, 31;
+  in general, 43-50;
+  development of science of, 43;
+  quality and power of, 44;
+  significance of, 45;
+  experiments to demonstrate, 46-50;
+  induced, 47;
+  sympathetic, 47, 48;
+  density of air and, 47;
+  volume and character of tones dependent on, 49;
+  head and nasal, 51-55;
+  relation of articulation to, 51;
+  focusing tone a matter of, 52;
+  effect of its absence, 54;
+  exercises to establish, 58-72.
+
+RESONATOR OF THE VOICE, 6.
+
+RESPIRATION (see _Breath control_ and _Breathing_).
+
+RESPIRATORY MUSCLES, a motor for the voice, 6;
+  described, 23, 28;
+  action of, 25;
+  illustrated, 24, 29.
+
+ROGERS, CLARA KATHLEEN, on registers, 38.
+
+RUDERSDORFF, MADAME, and nasal resonance, 2.
+
+
+SANTLEY, SIR CHARLES, on Garcia and the laryngoscope, 3.
+
+SCALE OF VOWEL SOUNDS, 20, 72.
+
+SELF-REPRESSION, a deterrent to beautiful singing, 84.
+
+SEMBRICH, MARCELLA, and the half-breath, 37;
+  use of nasal resonance, 54.
+
+SINGING, subtlety of, 4;
+  obstacles to, 5, 74, 84;
+  versus speaking, 5, 17;
+  mission of singer, 18;
+  defined as breathing, 23;
+  age to begin, 77;
+  in public schools, 78;
+  by method, 79;
+  vibrato in, 80;
+  psychology of, 82-85;
+  sublimated speech, 83;
+  defined by Ffrangcon-Davies, 83;
+  freedom in, 84;
+  deterrents to, 84.
+
+SINUSES, illustrated, 7;
+  pairs of, 8;
+  function of, 12.
+
+SMILE, EFFECT OF, on pronunciation, 19.
+
+SOFT PALATE, office of, 11, 52.
+
+SPEAKING, obstacles to, 5;
+  tones of, identical with singing tones, 5;
+  difference from singing, 17;
+  expression in, 83.
+
+SPEAKING VOICE, misunderstood, 16;
+  connection with singing voice, 16;
+  how cultivated, 16;
+  identity with singing voice, 17;
+  and pronunciation, 18, 19.
+
+SPHENOID BONE, 8.
+
+SPHENOIDAL SINUSES, illustrated, 7;
+  pairs of, 8;
+  function of, 12.
+
+STAGE ELOCUTION, criticism of Forbes-Robertson on, 19.
+
+
+TEETH, function of, in use of voice, 12.
+
+THROAT, theory of sound in, 1;
+  a resonator, 6;
+  illustrated, 7;
+  relation to voice, 8.
+  (See _Larynx_ and _Pharynx_.)
+
+THROAT STIFFNESS, most frequent obstacle to good singing, 74;
+  effect on larynx, 74;
+  difficulty in recognizing one's own, 74;
+  throat consciousness a common cause of, 74;
+  induced by lack of breath mastery, 75;
+  American hurry begets, 75;
+  voice culture a struggle with, 75;
+  remedies for, 75, 76.
+
+TIMBRE OF VOICE, defined and explained, 7, 8.
+
+TONE, defined, 45;
+  analyzed 45;
+  experiments to determine composition and resonance of, 46-50;
+  focusing of, 52;
+  vocal, a mental concept, 82;
+  whole man in, 83.
+
+TONE PRODUCTION, largely a matter of resonance, 56;
+  effect of right thought on, 56;
+  judged by naturalness and beauty of result, 56;
+  function of the ear in governing, 57;
+  cultivating normal, 57;
+  exercises to aid in, 58-73;
+  effect of throat stiffness on, 74;
+  natural, 77;
+  age to begin study of, 77.
+
+TONE QUALITY, variety in, 6;
+  effect of emotion upon, 7, 75, 84;
+  relation of pronunciation to, 18;
+  how to secure purity of, 18, 19;
+  experiments to determine, 46-50;
+  and resonance, 5, 44, 45, 49, 50;
+  cause of nasal, 52-54;
+  beauty or harshness of, a criterion of judgment, 56, 57;
+  effect of throat stiffness on, 74-76;
+  dependent on mind and ear, 82;
+  related to personality of singer, 83;
+  natural and unnatural, 85.
+
+TONGUE, as an articulator, 6;
+  illustrated, 7;
+  connection with larynx, 9;
+  position of, in speaking and singing, 13;
+  tongue consciousness, 14.
+
+
+UNDER JAW, 10;
+  in ascending the scale, 10.
+
+UPPER LIP, in pronunciation, 19;
+  in practising, 68;
+  in articulation, 72.
+
+UVULA, office of, 11.
+
+
+VENTRICLE IN THE LARYNX, 8.
+
+VIBRATO, 80, 81.
+
+VIBRATOR, of the voice, 6;
+  of instruments, 43.
+
+VITALIZING TEXT WITH TONE, the singer's mission, 18.
+
+VOCAL CORDS, vibrator for the voice, 6;
+  in the larynx, 8;
+  described, 9;
+  not the principal cause of tone, 44, 45, 49;
+  necessity of free action of, 51.
+
+VOCAL INSTRUMENT, discussion of, 6-15;
+  beauty and complexity of, 6;
+  three elements of, 6, 7;
+  illustrated, 7;
+  relation of parts of, 8;
+  larynx, 8, 9;
+  vocal cords, 9;
+  epiglottis, 10;
+  pharynx, 10;
+  under jaw, 10;
+  soft palate, 11;
+  hard palate and teeth, 12;
+  nasal and head cavities, 12;
+  tongue, 13;
+  lips, 14;
+  nostrils, 14;
+  face, 15;
+  defects in, 85.
+
+VOCAL TONE, an audible mental concept, 82.
+
+VOICE CULTURE, opinions concerning, 2;
+  wrong methods of a generation ago, 3, 4;
+  cannot be developed mechanically, 4;
+  principles advocated, 5;
+  the right way the easy way, 5;
+  resonance an important factor of, 5, 43, 45, 50, 52, 54;
+  should begin in childhood, 77;
+  learned by imitation, 77;
+  Roger Ascham on, 77, 78;
+  in public schools, 78;
+  artistry in, 78, 79;
+  three periods of, 79;
+  application of essentials of, 79;
+  repose as a preparation for, 80;
+  the vibrato in, 80;
+  psychology of, 82-85;
+  personality in, 83;
+  freedom in, 84;
+  deterrents in, 84, 85.
+
+VOICE PLACING, 51, 52, 56-73.
+
+VOICE TIMBRE, defined, 7, 8.
+
+VOWEL SOUNDS, 11, 18, 19;
+  singer's scale of, 20, 72;
+  each has its own pitch, 20;
+  lip position for, 20-22;
+  placing of, 52;
+  exercises for practice, 58-73.
+
+
+WEBSTER, DANIEL, as a good speaker, 16.
+
+WHEATSTONE, on pitch of vowel sounds, 20.
+
+WILLIS, on pitch of vowel sounds, 20.
+
+
+
+
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+omitted.                                                        1 50 A
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+by J.C.D. Parker. A practical guide to the
+study of harmony.                                               2 00 A
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+=Harmonic Analysis.= Benjamin Cutter. Teaches one
+to analyze the harmonic structure of both classic
+and modern music.                                               1 50 A
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+=Counterpoint.= Sir J. Frederick Bridge. This book has
+freshness and plainness combined with thoroughness,
+and must commend itself to young students
+and teachers.                                                   1 25 A
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+  do.                                     _Paper_                 90 A
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+=Counterpoint Simplified.= Francis L. York. A concise
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+to author's "Harmony Simplified").                              1 50 A
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+FORM, INSTRUMENTATION AND ACOUSTICS
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+=Lessons in Music Form.= Percy Goetschius, Mus. Doc.
+A manual of analysis of all the structural factors
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+  do.                                     _Paper_                 90 A
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+=Sound and Its Relation to Music.= Clarence G. Hamilton,
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+CONDUCTING, HISTORY, MUSIC APPRECIATION
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+On personal requirements, technic of the baton,
+interpretation, rehearsing, program making, etc.                1 75 A
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+A compact, clearcut work for class use and the
+general reader. Fully illustrated.                              2 25 A
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+Based on methods of literary criticism, this
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+With 24 portraits, 28 diagrams and
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+one hundred portraits.                                          2 00 A
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+MacConnell. Covers the needed information on
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+violin, and organ students.                                     1 25 A
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+
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+Vols. I and II. Edited by Eugen D'Albert.
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+Selected Piano Compositions. Edited by Rafael Joseffy.
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+Forty Piano Compositions. Edited by James Huneker.
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+The Greater Chopin. Edited by James Huneker.
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+Larger Piano Compositions. Edited by Bertha Feiring Tapper.
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+Thirty Piano Compositions. Edited by Percy Goetschius, Mus. Doc. With
+a Preface by Daniel Gregory Mason.
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+Twenty Piano Compositions. Edited by Carl Reinecke.
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+Selected Piano Compositions. Edited by A. Spanuth.
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+Fifty Piano Compositions. Edited by Naver Scharwenka.
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+       *       *       *       *       *
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+Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Isidor
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+Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Moritz
+Moszkowski.
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+Edited by M. Esposito.
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+Vols. I and II. Edited by Constantin von Sternberg.
+
+=Twenty-four Negro Melodies.=
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+Transcribed for Piano by S. Coleridge-Taylor.
+
+SONG VOLUMES
+
+=Brahms, Johannes=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Franz, Robert=
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+Fifty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.
+
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+Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
+
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+
+Vol. I. Songs and Airs. High Voice. Vol. II. Songs and Airs. Low
+Voice. Edited by Dr. Ebenezer Prout.
+
+=Jensen, Adolf=
+
+Forty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.
+
+=Liszt, Franz=
+
+Thirty Songs. High Voice. Low Voice. Edited by Carl Armbruster.
+
+=Schubert, Franz=
+
+Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
+
+=Schumann, Robert=
+
+Fifty Songs. High Voice. Low Voice. Edited by W.J. Henderson.
+
+=Strauss, Richard=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Tchaikovsky, P.I.=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Wagner, Richard=
+
+Lyrics for Soprano. Edited by Carl Armbruster.
+
+=Wagner, Richard=
+
+Lyrics for Tenor. Edited by Carl Armbruster.
+
+=Wagner, Richard=
+
+Lyrics for Baritone and Bass. Edited by Carl Armbruster.
+
+=Wolf, Hugo=
+
+Fifty Songs. High Voice. Low Voice. Edited by Ernest Newman.
+
+=Fifty Mastersongs=
+
+High Voice. Low Voice. Edited by Henry T. Finck.
+
+=Fifty Shakspere Songs=
+
+High Voice. Low Voice. Edited by Charles Vincent, Mus. Doc.
+
+=Modern French Songs=
+
+High Voice. Low Voice. Vol. I. Bemberg to Franck. Vol. II. Georges to
+Widor. Edited by Philip Hale.
+
+=One Hundred English Folk-songs=
+
+Medium Voice. Edited by Cecil J. Sharp.
+
+=One Hundred Folk-Songs of all Nations.=
+
+Medium Voice. Edited by Granville Bantock.
+
+=One Hundred Songs by Ten Masters=
+
+High Voice. Low Voice. Edited by Henry T. Finck. Vol. I. Schubert,
+Schumann, Franz, Rubinstein and Jensen. Vol. II. Brahms, Tchaikovsky,
+Grieg, Wolf and Strauss.
+
+=One Hundred Songs of England=
+
+High Voice. Low Voice. Edited by Granville Bantock.
+
+=Seventy Scottish Songs=
+
+High Voice. Low Voice. Edited by Helen Hopekirk.
+
+=Sixty Folk-songs of France=
+
+Medium Voice. Edited by Julien Tiersot.
+
+=Sixty Irish Songs=
+
+High Voice. Low Voice. Edited by William Arms Fisher.
+
+=Sixty Patriotic Songs of All Nations=
+
+Medium Voice. Edited by Granville Bantock.
+
+=Songs by Thirty Americans=
+
+High Voice. Low Voice. Edited by Rupert Hughes.
+
+=Songs From the Operas for Soprano=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Mezzo Soprano=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Alto=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Tenor=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Baritone and Bass=
+
+Edited by H.E. Krehbiel.
+
+
+Other volumes are in preparation. Booklets, giving full particulars,
+with portraits of Editors, and contents of volumes published, FREE on
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+End of the Project Gutenberg EBook of Resonance in Singing and Speaking, by 
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+Project Gutenberg's Resonance in Singing and Speaking, by Thomas Fillebrown
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+Title: Resonance in Singing and Speaking
+
+Author: Thomas Fillebrown
+
+Release Date: August 29, 2006 [EBook #19138]
+
+Language: English
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+*** START OF THIS PROJECT GUTENBERG EBOOK RESONANCE IN SINGING AND SPEAKING ***
+
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+
+
+
+
+<h1>RESONANCE</h1>
+
+<h3>IN</h3>
+
+<h1>SINGING AND SPEAKING</h1>
+
+
+<h3>BY</h3>
+
+<h2>THOMAS FILLEBROWN, M.D., D.M.D.</h2>
+
+<p style="text-align: center"><b>TWENTY-ONE YEARS PROFESSOR OF OPERATIVE DENTISTRY AND ORAL SURGERY IN<br />HARVARD
+UNIVERSITY; MEMBER OF THE AMERICAN MEDICAL ASSOCIATION,<br />
+THE ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND OTOLOGICAL<br />
+AND LARYNGOLOGICAL ASSOCIATION, ETC.; LECTURER<br />
+ON VOICE DEVELOPMENT.</b></p>
+
+
+<h4>THIRD EDITION</h4>
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center">
+<img src="images/image01.jpg" width="125" height="125" alt="The Music Students Library" title="The Music Students Library" /></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center">
+BOSTON<br />
+OLIVER DITSON COMPANY<br />
+<br />
+NEW YORK<br />
+CHAS. H. DITSON &amp; CO.<br />
+<br />
+CHICAGO<br />
+LYON &amp; HEALY<br />
+</p>
+
+<p style="text-align: center">
+<i>Copyright, MCMXI</i><br />
+<span class="smcap">By Oliver Ditson Company</span><br />
+</p>
+
+<p style="text-align: center">International Copyright secured</p>
+
+
+
+<hr style="width: 65%;" />
+<h3><span class="smcap">To the memory of</span></h3>
+
+<h2>WILLIAM HASKELL STOCKBRIDGE</h2>
+
+<h4>PUPIL OF VANNUCCINI AND MY FIRST INSTRUCTOR IN VOICE CULTURE, THIS
+VOLUME IS AFFECTIONATELY DEDICATED</h4>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p><span class="smcap">Efforts</span> to develop my own voice, and the voices of my patients after
+operations for cleft palate, aided by anatomical study, resulted in a
+plan for the focusing and development of the human voice quite
+different from any other yet published, or, so far as I know, yet
+proposed. This plan has proved so successful in my later life that I
+feel emboldened to offer it for the consideration of speakers and
+singers.</p>
+
+<p>While twenty-five years ago few of the principles here described were
+acknowledged or even recognized, within the last decade almost all
+have been advocated separately by different teachers or writers. At
+the present time, therefore, originality consists only in the
+classification of the principles into a systematic, progressive whole,
+and in arranging a simpler and more practical method of applying them,
+thus making the desired results much more quickly attainable.</p>
+
+<p>It is attempted in this volume only to describe the value of each
+element in the production of the perfect tone and to demonstrate the
+principles which, if properly and faithfully applied, will develop the
+best that is possible in each individual voice and prepare the pupil
+to enter upon the more advanced arts of speaking and singing.</p>
+
+<p>In 1903 I prepared a series of papers on <i>The Art of Vocalism</i>, which
+were published in <i>The &#201;tude</i> in May, June, and July of that year.
+These articles are incorporated in this work. In connection with
+different organs and conditions, important principles are stated and
+restated. This repetition is thought desirable in order that the
+fundamentals may be kept prominently before the mind and impressed
+upon the attention.</p>
+
+<p>I believe that a careful study of this volume will prove of essential
+service to teachers and advanced pupils of singing<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> and oratory,
+especially to young teachers just entering upon their duties. Its
+method will be found adapted to the instruction of pupils of all
+grades, from the kindergarten to the Conservatory of Music and the
+School of Oratory.</p>
+
+<p>I shall be gratified if this outcome of years of experience, constant
+study, and tested methods shall prove helpful to those who seek
+mastery of the art of beautiful speaking and singing.</p>
+
+<p style="text-align: right">
+<img src="images/image02.jpg" width="300" height="43" alt="Thomas Fillebrown" title="Thomas Fillebrown" /></p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>CONTENTS</h2>
+
+
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td style="text-align: right">&#160;</td><td style="text-align: left"><span class="smcap">
+  <a href="#PREFACE">Preface</a></span></td><td style="text-align: right">
+  <a href="#Page_vii">vii</a></td></tr>
+<tr><td style="text-align: right">&#160;</td><td style="text-align: left"><span class="smcap">
+  <a href="#INTRODUCTION">Introduction</a></span></td><td style="text-align: right">
+  <a href="#Page_1">1</a></td></tr>
+<tr><td style="text-align: right">I.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_I">The Vocal Instrument</a></span></td><td style="text-align: right">
+  <a href="#Page_6">6</a></td></tr>
+<tr><td style="text-align: right">II.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_II">The Speaking Voice and Pronunciation</a></span></td><td style="text-align: right">
+  <a href="#Page_16">16</a></td></tr>
+<tr><td style="text-align: right">III.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_III">Breath Control</a></span></td><td style="text-align: right">
+  <a href="#Page_23">23</a></td></tr>
+<tr><td style="text-align: right">IV.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_IV">Breathing Exercises</a></span></td><td style="text-align: right">
+  <a href="#Page_33">33</a></td></tr>
+<tr><td style="text-align: right">V.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_V">Registers</a></span></td><td style="text-align: right">
+  <a href="#Page_38">38</a></td></tr>
+<tr><td style="text-align: right">VI.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_VI">Resonance in General</a></span></td><td style="text-align: right">
+  <a href="#Page_43">43</a></td></tr>
+<tr><td style="text-align: right">VII.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_VII">Head and Nasal Resonance</a></span></td><td style="text-align: right">
+  <a href="#Page_51">51</a></td></tr>
+<tr><td style="text-align: right">VIII.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_VIII">Placing the Voice</a></span></td><td style="text-align: right">
+  <a href="#Page_56">56</a></td></tr>
+<tr><td style="text-align: right">IX.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_IX">Throat Stiffness</a></span></td><td style="text-align: right">
+  <a href="#Page_74">74</a></td></tr>
+<tr><td style="text-align: right">X.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_X">Some General Considerations</a></span></td><td style="text-align: right">
+  <a href="#Page_77">77</a></td></tr>
+<tr><td style="text-align: right">XI.</td><td style="text-align: left"><span class="smcap">
+  <a href="#CHAPTER_XI">The Psychology of Vocal Culture</a></span></td><td style="text-align: right">
+  <a href="#Page_82">82</a></td></tr>
+<tr><td style="text-align: right">&#160;</td><td style="text-align: left"><span class="smcap">
+  <a href="#BOOKS_CONSULTED">Books Consulted</a></span></td><td style="text-align: right">
+  <a href="#Page_86">86</a></td></tr>
+<tr><td style="text-align: right">&#160;</td><td style="text-align: left"><span class="smcap">
+  <a href="#INDEX">Index</a></span></td><td style="text-align: right">
+  <a href="#Page_89">89</a></td></tr>
+</tbody>
+</table>
+
+<p style="text-align: center"><a href="#THE_MUSIC_STUDENTS_LIBRARY">Publisher
+Advertisements</a></p>
+
+
+
+<p style="text-align: center"><a href="#FOOTNOTES">Footnotes</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h1><span class="smcap">Resonance</span></h1>
+
+<h2><span class="smcap">in</span></h2>
+
+<h1><span class="smcap">Singing and Speaking</span></h1>
+
+
+
+<hr style="width: 35%;" />
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2>
+
+
+<p><span class="smcap">When</span> a youth it was my lot to be surrounded by examples of faulty
+vocalism, such as prevailed in a country town, and to be subjected to
+the errors then in vogue, having at the same time small opportunity
+for training in the application of principles, even as then
+imperfectly taught. At middle life I had given up all attempt at
+singing and had difficulty in speaking so as to be heard at any
+considerable distance or for any considerable length of time.
+Professional obligations to my patients, however, compelled me later
+to take up the subject of vocal physiology. This I did, guided by the
+ideas current on the subject.</p>
+
+<p>About 1880 I became satisfied that many of the current ideas were
+incorrect, and determined to start anew, and to note in detail the
+action of each organ used in vocalization and articulation. To this
+end I sought vocal instruction and advice, which, modified by my own
+observations, have produced the most gratifying results.</p>
+
+<p>Up to that time it had been held that the nasal cavities must be cut
+off from the mouth by the closing of the soft palate against the back
+of the throat; that the passage of ever so little of the sound above
+the palate would give a nasal twang, and that the sound was reinforced
+and developed only in the cavities of the throat and mouth. My
+practice in Oral<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> Surgery, coupled with my own vocal studies exposed
+this fallacy and revealed to me the true value of nasal resonance.</p>
+
+<p>The late Mme. Rudersdorff had begun to recognize the effect of nasal
+resonance, but she left no published record of her conclusions. It
+does not appear that she or her contemporaries realized the true value
+of the nasal and head cavities as reinforcing agents in the production
+of tone, or appreciated their influence upon its quality and power.</p>
+
+<p>There are perhaps few subjects on which a greater variety of opinion
+exists than on that of voice culture, and few upon which so many
+volumes have been written. Few points are uncontested, and exactly
+opposite statements are made in regard to each.</p>
+
+<p>Formerly great stress was laid upon the distinction between &quot;head
+tones&quot; and &quot;chest tones,&quot; &quot;closed tones&quot; and &quot;open tones.&quot; The whole
+musical world was in bondage to &quot;registers of the voice,&quot; and the one
+great task confronting the singer and vocal teacher was to &quot;blend the
+registers,&quot; a feat still baffling the efforts of many instructors.</p>
+
+<p>Many teachers and singers have now reached what they consider a
+demonstrated conclusion that registers are not a natural feature of
+the voice; yet a large contingent still adhere to the doctrine of
+&quot;register,&quot; depending for their justification upon the unreliable
+evidence furnished by the laryngoscope, not realizing that there will
+be found in the little lens as many different conditions as the
+observers have eyes to see. Garcia himself, the inventor of the
+laryngoscope, soon modified his first claims as to its value in vocal
+culture.</p>
+
+<p>On this point we have the testimony of his biographer, M.S. McKinley:</p>
+
+<p>&quot;As far as Garcia was concerned, the laryngoscope ceased to be of any
+special use as soon as his first investigations were concluded. By his
+examination of the glottis he had the satisfaction of proving that all
+his theories with regard to the emission of the voice were absolutely
+correct. Beyond that<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> he did not see that anything further was to be
+gained except to satisfy the curiosity of those who might be
+interested in seeing for themselves the forms and changes which the
+inside of the larynx assumed during singing and speaking.&quot;</p>
+
+<p>Of similar purport is the word of the eminent baritone, Sir Charles
+Santley, who, in his <i>Art of Singing</i>, says:</p>
+
+<p>&quot;Manuel Garcia is held up as the pioneer of scientific teaching of
+singing. He was&#8212;but he taught singing, not surgery! I was a pupil of
+his in 1858 and a friend of his while he lived;<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and in all the
+conversations I had with him I never heard him say a word about larynx
+or pharynx, glottis or any other organ used in the production and
+emission of the voice. He was perfectly acquainted with their
+functions, but he used his knowledge for his own direction, not to
+parade it before his pupils.&quot;</p>
+
+<p>The eminent London surgeon and voice specialist, Dr. Morell Mackenzie,
+says of the laryngoscope, &quot;It can scarcely be said to have thrown any
+new light on the mechanism of the voice&quot;; and Dr. Lennox Browne
+confesses that, &quot;Valuable as has been the laryngoscope in a
+physiological, as undoubtedly it is in a medical sense, it has been
+the means of making all theories of voice production too dependent on
+the vocal cords, and thus the importance of the other parts of the
+vocal apparatus has been overlooked.&quot;</p>
+
+<p>Not only in regard to &quot;registers&quot; but in regard to resonance, focus,
+articulation, and the offices and uses of the various vocal organs,
+similar antagonistic opinions exist. Out of this chaos must some time
+come a demonstrable system.</p>
+
+<p>A generation ago the art of breathing was beginning to be more an
+object of study, but the true value of correct lateral abdominal
+breathing was by no means generally admitted or appreciated. It was
+still taught that the larynx (voice-box) should bob up and down like a
+jack-in-a-box with each change of pitch, and that &quot;female breathing&quot;
+must be performed<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> with a pumping action of the chest and the
+elevation and depression of the collar bone.</p>
+
+<p>Fortunately, teachers and singers recognized a good tone when they
+heard it, and many taught much better than they knew, so that the
+public did not have to wait for the development of accurate knowledge
+of the subject before hearing excellent singing and speaking. Yet many
+singers had their voices ruined in the training, and their success as
+vocalists made impossible; while others, a little less unfortunate,
+were still handicapped through life by the injury done by mistaken
+methods in early years. Jenny Lind's perfect vocal organs were quite
+disabled at twelve years of age by wrong methods, and they recovered
+only after a protracted season of rest. As a consequence her beautiful
+voice began to fail long before her splendid physique, and long before
+her years demanded. Singers taught in nature's way should be able to
+sing so long as strength lasts, and, like Adelaide Phillips, Carl
+Formes, and Sims Reeves, sing their sweetest songs in the declining
+years of life. Martel, at seventy years of age, had a full, rich
+voice. He focused all his tones alike, and employed deep abdominal
+breathing.</p>
+
+<p>The whole matter of voice training has been clouded by controversy.
+The strident advocates of various systems, each of them &quot;the only true
+method,&quot; have in their disputes overcast the subject with much that is
+irrelevant, thus obscuring its essential simplicity.</p>
+
+<p>The &quot;scientific&quot; teachers, at one extreme, have paid too exclusive
+attention to the mechanics of the voice. The &quot;empiricists&quot; have gone
+to the other extreme in leaving out of account fundamental facts in
+acoustics, physiology, and psychology.</p>
+
+<p>The truth is that no purely human function, especially one so subtle
+as singing, can be developed mechanically; nor, on the other hand, can
+the mere <i>ipse dixit</i> of any teacher satisfy the demands of the modern
+spirit.<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+
+<h4>PRINCIPLES ADVOCATED</h4>
+
+<p>The positions here advocated, because they seem both rational and
+simple, are:</p>
+
+<p><b>1. That the singing and speaking tones are identical, produced by the
+same organs in the same way, and developed by the same training.</b></p>
+
+<p><b>2. That breathing is, for the singer, only an amplification of the
+correct daily habit.</b></p>
+
+<p><b>3. That &quot;registers&quot; are a myth.</b></p>
+
+<p><b>4. That &quot;head tones, chest tones, closed tones, open tones,&quot; etc., as
+confined to special parts of the range of the voice, are distracting
+distinctions arising from false education.</b></p>
+
+<p><b>5. That resonance determines the quality and carrying power of every
+tone, and is therefore the most important element in the study and
+training of the voice.</b></p>
+
+<p><b>6. That the obstacles to good speaking and singing are psychologic
+rather than physiologic.</b></p>
+
+<p><b>7. That, in the nature of things, the right way is always an easy
+way.</b></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2>
+
+<h2><span class="smcap">The Vocal Instrument</span></h2>
+
+
+<p><span class="smcap">Since</span> the vocal organism first became an object of systematic study,
+discussion has been constant as to whether the human vocal instrument
+is a stringed instrument, a reed instrument, or a whistle. Discussion
+of the question seems futile, for practically it is all of these and
+more. The human vocal organs form an instrument, <i>sui generis</i>, which
+cannot be compared with any other one thing. Not only is it far more
+complex than any other instrument, being capable, as it is, of
+imitating nearly every instrument in the catalogue and almost every
+sound in nature, but it is incomparably more beautiful, an instrument
+so universally superior to any made by man that comparisons and
+definitions fail.</p>
+
+
+<h4>ELEMENTS</h4>
+
+<p>The human vocal instrument has the three elements common to all
+musical instruments,&#8212;a motor, a vibrator, and a resonator; to which
+is added&#8212;what all other instruments lack&#8212;an articulator.</p>
+
+<p>1. The respiratory muscles and lungs for a <b>motor</b>.</p>
+
+<p>2. The vocal cords for a <b>vibrator</b>.</p>
+
+<p>3. The throat, mouth, and the nasal and head cavities for a <b>resonator</b>.</p>
+
+<p>4. The tongue, lips, teeth, and palate for an <b>articulator</b>.</p>
+
+<p>These elements appear in as great a variety of size and proportion as
+do the variations of individual humanity, and each element is,
+moreover, variable according to the will or feeling of the individual.
+This susceptibility to change constitutes a modifying power which
+gives a variety in tone quality possible to no other instrument and
+makes it our wonder and<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> admiration. The modification and interaction
+of these various parts produced by the emotions of the singer or
+speaker give qualities of tone expressive of the feelings, as of pain
+or pleasure, grief or joy, courage or fear.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="FIG1"></a>
+<img src="images/image03.jpg" width="500" height="500" alt="Figure 1" title="Figure 1" /></p>
+
+<div class="blockquot"><p><b> <span class="smcap">Figure</span> 1.&#8212;Section of the head and throat locating the
+organs of speech and song, including the upper resonators. The
+important maxillary sinus cannot well be shown. It is found within the
+maxillary bone (cheek bone). The inner end of the line marked <i>Nasal
+cavity</i> locates it.</b></p></div>
+
+
+<p>&#160;</p>
+
+
+<h4>TIMBRE</h4>
+
+<p>The minute differences in these physical conditions, coupled with the
+subtler differences in the psychical elements of the personality,
+account for that distinctive physiognomy of the voice called <b>timbre</b>,
+which is only another name for individuality<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> as exhibited in each
+person. The same general elements enter into the composition of all
+voices, from the basso profundo to the high soprano.</p>
+
+<p>That the reader may better understand the proportion and relations of
+the different parts of the vocal apparatus, a sectional drawing of the
+head is here produced, showing the natural position of the vocal
+organs at rest. As the drawing represents but a vertical section of
+the head the reader should note that the sinuses, like the eyes and
+nostrils, lie in pairs to the right and left of the centre of the
+face. The location of the maxillary sinuses within the maxillary or
+cheek bones cannot be shown in this drawing.</p>
+
+<p>The dark shading represents the cavities of the throat, nose, and
+head. The relations of the parts are shown more accurately than is
+possible in any diagram. It will be noticed that the vibrations from
+the larynx would pass directly behind the soft palate into the nasal
+chamber, and very directly into the mouth. The nasal roof is formed by
+two bones situated between the eyes; the sphenoid or wedge-bone, which
+is connected with all other bones of the head, and the ethmoid or
+sieve-like bone. The structure of these two bones, especially of the
+ethmoid, consists of very thin plates or lamin&#230;, forming a mass of air
+cavities which communicate by small openings with the nasal cavity
+below. Thus, the vibrations in the nose are transmitted to the air
+spaces above, and the effective qualities of the head vibrations are
+added to the tone.</p>
+
+
+<h4>THE LARYNX</h4>
+
+<p>The larynx or voice-box contains the vocal cords. Just above the vocal
+cords on each side is a large, deep cavity, called the ventricle.
+These cavities reinforce the primary vibrations set up by the cords
+and serve to increase their intensity as they are projected from the
+larynx. The larynx is the vibrating organ of the voice. It is situated
+at the base of the tongue and is so closely connected with it by
+attachment to the hyoid<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> bone, to which the tongue is also attached,
+that it is capable of only slight movement independent of that organ;
+consequently it must move with the tongue in articulation. The
+interior muscles of the larynx vary the position of its walls, thus
+regulating the proximity and tension of the vocal cords. The male
+larynx is the larger and shows the Adam's apple. In both sexes the
+larynx of the low voice, alto or bass, is larger than that of the high
+voice, soprano or tenor. The larynx and tongue should not rise with
+the pitch of the voice, but drop naturally with the lower jaw as the
+mouth opens in ascending the scale. The proper position of the tongue
+will insure a proper position for the larynx. The less attention the
+larynx receives the better.</p>
+
+
+<h4>THE VOCAL CORDS</h4>
+
+<p>The vocal cords are neither cords nor bands, but instead are thick
+portions of membrane extending across the inner surface of the larynx.
+On account of familiarity the name <i>vocal cords</i> will still be used.
+They are fairly well represented by the lips of the cornet player when
+placed on the mouthpiece of the instrument. The pitch of the tone is
+fixed by the tension of the vocal cords and the width and length of
+the opening between them. Their tension and proximity are
+self-adjusted to produce the proper pitch without any conscious
+volition of the singer. They can have no special training, needing
+only to be left alone. The work of the vocal cords, though essentially
+important, is, when naturally performed, light and consequently not
+exhausting. If the larynx and all of its supporting muscles are
+relaxed as they are in free and easy breathing, then when the air
+passes out through the larynx, the vocal cords will automatically
+assume a tension sufficient to vocalize the breath and give the note
+the proper pitch. The normal action of the cords will never cause
+hoarseness or discomfort. The sound should seem to be formed, not in
+the throat,&#8212;thus involving the vocal cords,&#8212;but in the resonance
+chambers.<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+
+<h4>THE EPIGLOTTIS</h4>
+
+<p>The epiglottis is the valve which closes over the upper opening of the
+larynx. It not only closes the mouth of the larynx when food is
+swallowed, but aids materially in converting into tone the vibrations
+set up by the vocal cords.</p>
+
+
+<h4>THE PHARYNX</h4>
+
+<p>The pharynx extends from the larynx to the nasal cavity. The size of
+the opening into the nasal chamber is controlled by the soft palate
+and is frequently entirely closed. The size of the pharynx is varied
+by the contraction and relaxation of the circular muscles in its
+tissue; when swallowing its walls are in contact. The pharynx acts as
+does the expanding tube of brass instruments. It increases the force
+and depth of the tone waves. The wider the pharynx is opened, without
+constraint, the fuller the resonance and the better the tone.</p>
+
+
+<h4>THE UNDER JAW</h4>
+
+<p>The under jaw furnishes attachment for the muscles of the tongue and
+hyoid or tongue bone. It also controls, owing to the connections of
+the larynx with the hyoid bone, the muscles that fix the position of
+the larynx.</p>
+
+<p>The pterygoid muscles, which move the under jaw forward and backward,
+do not connect with the larynx, so their action does not compress that
+organ or in any way impede the action of the vocal apparatus. A
+relaxed under jaw allows freer action of the vocal cords and ampler
+resonance. The under jaw should drop little by little as the voice
+ascends the scale, thus opening the mouth slightly wider with each
+rise in the pitch of the tone. In ascending the scale it is well to
+open the throat a little wider as you ascend. The delivery will be
+much easier, and the tone produced will be much better. At the highest
+pitch of the voice the mouth should open to its full width. At the
+same time care must be taken <i>not</i> to draw the corners of the mouth
+back, as in smiling, because this lessens the resonance of the tone
+and gives it a flat sound.<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<p>The under jaw must have considerable latitude of motion in
+pronunciation, but by all means avoid chewing of the words and cutting
+off words by closing the jaw instead of finishing them by the use of
+the proper articulating organs, which are the tongue and lips.</p>
+
+
+<h4>THE SOFT PALATE</h4>
+
+<p>Writers on the voice have almost universally claimed that the
+principal office of the soft palate is to shut off the nasal and head
+cavities from the throat, and to force the column of vibrations out
+through the mouth, thus allowing none, or at most a very small part,
+to pass into the nasal passages.</p>
+
+<p>This contention implies that the vibrations are imparted to the upper
+cavities, if at all, through the walls of the palate itself, and not
+through an opening behind the palate. This is entirely at variance
+with the facts as verified by my own experience and observation and
+the observation of others who are expert specialists. The true office
+of the soft palate is to modify the opening into the nose and thus
+attune the resonant cavities to the pitch and timbre of the note given
+by the vocal cords and pharynx. To develop the vowel sounds, the soft
+palate should be drawn forward, allowing a free passage into the nose;
+it should be closed only to form the consonants which require a
+forcible expulsion of breath from the mouth.</p>
+
+<p>The uvula, the pendulous tip of the soft palate, serves as a valve to
+more accurately adjust the opening behind the soft palate to the pitch
+of the voice. In producing a low tone the soft palate is relaxed and
+hangs low down and far forward. As the voice ascends the scale the
+tension of the soft palate is increased and it is elevated and the
+uvula shortened, thus decreasing the opening behind the palate, but
+never closing it. In fact the larger the opening that can be
+maintained, the broader and better the tone. The author was himself
+unable fully to appreciate this until he had become able to sense the
+position of the soft palate during vocalization.<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+
+
+<h4>THE HARD PALATE AND TEETH</h4>
+
+<p>The hard palate and upper teeth form in part the walls of the mouth.
+As they are solid fixtures, nothing can be done in the way of
+training. They furnish a point of impingement in articulation, and
+play their part in sympathetic resonance.</p>
+
+<p>The bones which form the roof of the mouth serve also for the floor of
+the nasal cavity.</p>
+
+<p>The under teeth also serve as walls of resistance to support the
+tongue during the performance of its functions.</p>
+
+
+<h4>THE NASAL AND HEAD CAVITIES</h4>
+
+<p>The nasal and head cavities are resonating chambers incapable of
+special training, but their form, size, and the use made of them have
+a wonderful effect upon the resonance of the voice. If the vibrations
+are strong here, all other parts will vibrate in harmonious action.</p>
+
+<p>When responding to the perfectly focused tone the thin walls of the
+cavities and the contained air vibrate with surprising force, often
+for the moment blinding the singer when sounding a note intensely.</p>
+
+<p>Having in my surgical work demonstrated the existence of a hitherto
+unrecognized connecting passage or canal between the air cavities of
+the face and those of the forehead,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> the play of resonance in the
+cavities above the nostrils is more easily understood. The function of
+the cavities known as the <i>frontal sinuses</i> (see <a href="#FIG1">Fig. 1</a>) has long been
+a mystery, but now that their direct connection with the lower
+cavities is proven, and the great significance of resonance is also
+beginning to be recognized, the mystery disappears. The same may be
+said of the other sinuses&#8212;<i>ethmoidal</i>, <i>sphenoidal</i>, and <i>maxillary</i>,
+and their interconnection.</p>
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<h4>INFLUENCE OF THE RESONANCE CAVITIES ON THE PITCH OF THE TONE</h4>
+
+<p>In instruments changes in the length and form of the resonance
+chambers affect the pitch as well as the quality of the tone. This is
+demonstrated in the trombone, French horn, and other wind instruments.
+The lengthening of the tube of the trombone lowers the pitch of the
+tone, and the projection of the hand of the performer into the bell of
+the French horn has the effect of raising the pitch of the sound. If
+the variation in length or form is only slight, the result is sharp or
+flat, and the instrument is out of tune. In the human instrument all
+the organs act together as a unit; so the fact that the cavities alone
+may affect the pitch is practically of no great significance.</p>
+
+
+<h4>THE TONGUE</h4>
+
+<p>The tongue and the lips are the articulating organs, and the former
+has an important part to play in altering through its movements the
+shape of the mouth cavity.</p>
+
+<p>The tip of the tongue should habitually rest against the under front
+teeth. The tip of the tongue, however, must frequently touch the roof
+of the mouth near the upper front teeth, as when pronouncing the
+consonants <i>c</i>, <i>d</i>, <i>g</i> or <i>j</i>, <i>l</i>, <i>n</i>, <i>s</i>, and <i>t</i>. The back part
+of the tongue must rise a little to close against the soft palate when
+pronouncing <i>g</i> hard, and <i>k</i>, and hard <i>c</i>, <i>q</i>, and <i>x</i>. The soft
+palate comes down so far to meet the tongue that the elevation of the
+latter need be but very slight.</p>
+
+<p>When speaking, the demand is not so imperative, but when singing, the
+body of the tongue should lie as flat as possible, so as to enlarge
+the mouth, especially when giving the vowel sounds.</p>
+
+<p>If the tongue is sometimes disposed to be unruly, it is the result of
+rigidity or misplaced effort in the surrounding parts. This tendency
+will only be aggravated by artificial restraint of any kind. The true
+way is to dismiss tongue consciousness, <i>let go</i>, and a normal
+flexibility will easily manifest itself.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+
+<h4>THE LIPS</h4>
+
+<p>The lips, equally with the tongue, are organs of articulation. The
+upper lip is the principal factor of the two; the under lip seems to
+follow the lead of the upper. The lips need much training, and it can
+readily be given them. While practising to educate the lips, both lips
+should be projected forward and upward, at the same time pronouncing
+the word &quot;too.&quot; Bring the edge of the upper lip as high toward the
+nose as possible in practice. This will bring the corners of the mouth
+forward and lift the lips clear and free from the teeth, and thus add
+one more resonance cavity. This position of the lips also gives
+freedom for pronunciation. &quot;The upper lip plays the most active part
+in the shaping of the vowels. It should never be drawn against the
+teeth when producing vowel tones; indeed, there should be often a
+little space between the upper lip and the teeth, so that the
+vibrations of the sound-waves can have free play.&quot;</p>
+
+
+<h4>THE NOSTRILS</h4>
+
+<p>The nostrils should be dilated as much as possible, as a free, wide,
+open nose gives a free, well-rounded tone, while a contracted nostril
+induces the nasal tone so much dreaded. A proper training of the
+facial muscles makes this dilation possible. Lifting the upper lip and
+projecting it forward aids the action to a great degree.</p>
+
+<p>There is a strong tendency to unity of action between the nostrils and
+the lips and the soft palate. The soft palate moves downward and
+forward when the upper lip protrudes and the nostrils dilate, and
+moves backward and upward when the nostrils are contracted and the
+upper lip allowed to rest upon the teeth.</p>
+
+<p>As a rule the best singers have full, round, wide, open nostrils,
+either given by nature or acquired by practice.<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+
+<h4>THE FACE</h4>
+
+<p>Not only must the lips and nose be trained, but the muscles of the
+face also. These muscles are capable, if educated, of doing important
+service.</p>
+
+<p>The artist on the operatic stage or the speaker on the platform,
+without facial expression begotten of muscular activity, may lessen by
+half his power over an audience. To train the facial muscles is a
+complicated task. To do this, stand before a mirror and make all the
+faces ever thought of by a schoolboy to amuse his schoolmates. Raise
+each corner of the lip, wrinkle the nose, quilt the forehead, grin,
+laugh. The grimaces will not enter into a performance, but their
+effect upon it will be markedly beneficial.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2>
+
+<h2><span class="smcap">The Speaking Voice and Pronunciation</span></h2>
+
+
+<p><span class="smcap">A generation</span> ago the speaking voice was even less understood than the
+singing voice. That the two were intimately connected was but half
+surmised. Only an occasional person recognized what is now generally
+conceded, that a good way to improve the speaking voice is to
+cultivate the singing voice.</p>
+
+<p>In 1887 I published a paper in the <i>Independent Practitioner</i> defining
+the singing voice and the speaking voice as identical, and contending
+that the training for each should be the same so far as tone formation
+is involved, a conclusion at which I had arrived several years before.
+Subsequent experience has only served to confirm this opinion.</p>
+
+<p>The past has produced many good speakers, among them Henry Clay,
+Daniel Webster, Edwin Booth, Wm. Charles Macready, and Edward Everett.
+Of the last Oliver Wendell Holmes wrote: &quot;It is with delight that one
+who remembers Edward Everett in his robes of rhetorical splendor,
+recalls his full blown, high colored, double flowered periods; the
+rich, resonant, grave, far-reaching music of his speech, with just
+enough of the nasal vibration to give the vocal sounding-board its
+proper value in the harmonies of utterance.&quot; These examples of correct
+vocalization, however, were exceptions to the general rule; they
+happened to speak well, but the physiologic action of the vocal organs
+which produced such results in those individual cases was not
+understood, and hence the pupil ambitious to imitate them and develop
+the best of which his voice was capable had no rule by which to
+proceed. Few could speak with ease, still fewer could be heard by a
+large assembly, and sore throats seemed to be the rule.<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+
+
+<h4>DIFFERENCE BETWEEN SINGING AND SPEAKING</h4>
+
+<p>In singing the flow of tone is unbroken between the words, but in
+speaking it is interrupted. In singing tone is sustained and changed
+from one pitch to another by definite intervals over a wide compass
+that includes notes not attempted in speech. In speaking tone is
+unsustained, not defined in pitch, is limited to a narrow compass, and
+the length of the tones is not governed by the measure of music.</p>
+
+<p>Notwithstanding these differences, singing and speaking tones are
+produced by the vocal organs in the same way, are focused precisely
+alike, have the same resonance, and are delivered in the same manner.
+It has been said that speech differs from song as walking from
+dancing. Speech may be called the prose, and song the poetry of
+vocalization.</p>
+
+<p>During the past decade the knowledge of the speaking voice has been
+greatly broadened, and the art of cultivating tone has made progress.
+The identity of the singing and speaking voice is becoming more fully
+recognized, and methods are being used to develop the latter similar
+to those in use for the training of the former. As Dr. Morell
+Mackenzie says: &quot;Singing is a help to good speaking, as the greater
+includes the less.&quot;</p>
+
+<p>The recognition of this truth cannot fail to be a great aid to the
+progress of singing in the public schools, since every enlargement of
+exercises common to both speaking and singing helps to solidarity and
+<i>esprit de corps</i> in teaching and in learning.</p>
+
+<p>An accurate sense of pitch, melody, harmony, and rhythm is necessary
+to the singer, but the orator may, by cultivation, develop a speaking
+voice of musical quality without being able to distinguish <i>Old
+Hundred</i> from <i>The Last Rose of Summer</i>.</p>
+
+
+<h4>PRONUNCIATION</h4>
+
+<p>It is a matter of common observation that American singers, although
+they may be painstaking in their French and German, are indifferent,
+even to carelessness, in the clear and<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> finished enunciation of their
+native tongue. Mr. W.J. Henderson, in his recent work, <i>The Art of the
+Singer</i>, says: &quot;The typical American singer cannot sing his own
+language so that an audience can understand him; nine-tenths of the
+songs we hear are songs without words.&quot; Happily this condition is
+gradually yielding to a better one, stimulated in part by the examples
+of visiting singers and actors. In story-telling songs and in
+oratorio, slovenly delivery is reprehensible, but when the words of a
+song are the lyric flight of a true poet, a careless utterance becomes
+intolerable.</p>
+
+<p>Beauty of tone is not everything; the singing of mere sounds, however
+lovely, is but a tickling of the ear. The shortcoming of the Italian
+school of singing, as of composition, has been too exclusive devotion
+to sensuous beauty of tone as an end in itself. The singer must never
+forget that his mission is to <b>vitalize text with tone</b>. The songs of
+Schubert, Schumann, Franz, Brahms, Grieg, Strauss, and Wolf, as well
+as the Wagnerian drama, are significant in their inseparable union of
+text and music. The singer is therefore an interpreter, not of music
+alone, but of text made potent by music.</p>
+
+<p>Pronunciation, moreover, concerns not only the listener, but the
+singer and speaker, for pure tone and pure pronunciation cannot be
+divorced, one cannot exist without the other. In his interesting work,
+<i>The Singing of the Future</i>, Mr. Ffrangcon-Davies insists that, &quot;the
+quickest way to fine tone is through fine pronunciation.&quot;</p>
+
+<p>We cannot think except in words, nor voice our thought without speech.
+Vocal utterance is thought articulate. Therefore, instead of prolonged
+attention to tone itself, training should be concentrated upon the
+uttered word. The student should aim &quot;to sing a word rather than a
+tone.&quot; Correct pronunciation and beautiful tone are so interdependent
+as to be inseparable.</p>
+
+<p>The singer and speaker require all sounds in their purity. To seek to
+develop the voice along the narrow limits of any single vowel or
+syllable, as for instance the syllable <i>ah</i>, is harm<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>ful. Not only is
+this vowel sound, as Lilli Lehmann says, &quot;the most difficult,&quot; but the
+proper pronunciation of all words within the whole range of the voice
+is thereby impeded. Diction and tone work should therefore go hand in
+hand. &quot;The way in which vowel melts into vowel and consonants float
+into their places largely determines the character of the tone
+itself.&quot; Without finished pronunciation speech and song of emotional
+power are impossible. Gounod, the composer, says, &quot;Pronunciation
+creates eloquence.&quot; Mr. Forbes-Robertson, the English master of
+dramatic diction, speaking for his own profession says: &quot;The trouble
+with contemporary stage elocution springs from the actor's very desire
+to act well. In his effort to be natural he mumbles his words as too
+many people do in everyday life. Much of this can be corrected by
+constantly bearing in mind the true value of vowels, the percussive
+value of consonants, and the importance of keeping up the voice until
+the last word is spoken. There must be, so to speak, plenty of wind in
+the bellows. The great thing is to have the sound come from the front
+of the mouth.... The actor must learn to breathe deeply from the
+diaphragm and to take his breath at the proper time. Too often the
+last word is not held up, and that is very often the important
+word.... Schools for acting are valuable, ... but, after all, the
+actors, like other folk, must be taught how to speak as children in
+the home, at school, and in society.&quot;</p>
+
+<p>In pronunciation the words should seem to be formed by the upper lip
+and to come out through it. By this method it will be found easy to
+pronounce distinctly. The words will thus be formed outside the mouth
+and be readily heard, as is a person talking in front of, instead of
+behind, a screen. A single, intelligent trial will be sufficient to
+show the correctness of the statement. Thinking of the upper lip as
+the fashioner of the words makes speaking easy and singing a delight.</p>
+
+<p>To smile while talking gives to the words a flat, silly sound, hence
+the corners of the mouth should be kept well forward.<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+
+
+<h4>THE SINGER'S SCALE OF VOWEL SOUNDS</h4>
+
+<p style="text-align: center">
+<img src="images/image10.jpg" width="600" height="87" alt="scale" title="scale" /></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>It may fasten this in mind to remember that at one end of the vowel
+scale is&#8212;<i>me</i>, at the other&#8212;<i>you</i>.</p>
+
+<p>The teeth and lips are most closed at the extremes of this scale, and
+gradually open toward <i>ah</i>, with which vowel they are widest apart.</p>
+
+<p>In the series 1-8 the tongue is highest in the centre for <i>ee</i> and
+gradually descends until it lies flat in the mouth for <i>ah</i>.</p>
+
+<p>The <i>upper</i> pharynx is most closed in 1, most open in 8, and closes
+more and more in the descending series 7'-1'.</p>
+
+<p>The <i>lower</i> pharynx gradually opens in the descending series 7'-1'.</p>
+
+<p>The researches of Helmholtz, Koenig, Willis, Wheatstone, Appunn, Bell,
+and others have shown that each vowel sound has its own characteristic
+pitch. The Scale of Vowel Sounds given above corresponds closely to
+the order of resonance pitch from the highest <i>ee</i> to the lowest <i>oo</i>.
+In the natural resonance of the vowels <i>ee</i> is highest in the head,
+<i>ah</i> is midway in the scale, and <i>oo</i> is lowest in resonance.</p>
+
+
+<h4>LIP POSITION</h4>
+
+<p>Figure 2 shows the best position of the lips to give the sound of
+<i>ee</i>. Hold the under jaw without stiffness and as far from the upper
+teeth as is consistent with delivery of the pure sound of this vowel.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image04.jpg" width="184" height="200" alt="Figure 2" title="Figure 2" /></p>
+
+<p style="text-align: center"><b> <span class="smcap">Figure</span> 2.</b></p>
+
+<p>&#160;</p>
+
+<p>Figure 3 shows the best position of the lips to produce the vowel
+<i>oo</i>.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image05.jpg" width="186" height="200" alt="Figure 3" title="Figure 3" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 3.</b></p>
+
+<p>&#160;</p>
+
+<p>Figure 4 shows the position of the lips for the vowel sound of long
+<i>o</i>. The opening of the lips should be made as round as is the letter
+<i>o</i>. When preparing the lips to give the sound of <i>o</i>, the inclination
+is strong to drop the lower jaw; in practice, to develop action of the
+lips, the under jaw would better be<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> held quite immovable. It will be
+found possible to produce all of the vowel sounds without any change
+except in the form of the opening of the lips. The vowel sound of <i>i</i>
+is an exception; for as a compound of <i>ah</i> and <i>ee</i>, the extremes of
+the vowel scale, it requires two distinct positions for its utterance
+with a movement of transition between; it is not, therefore, a good
+vowel for initial practice.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image06.jpg" width="182" height="200" alt="Figure 4" title="Figure 4" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 4.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Figure 5 shows that the sound <i>aw</i> is produced from <i>o</i> by raising the
+edge of the upper lip outward and upward, and flattening the raised
+portion laterally.<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image07.jpg" width="187" height="200" alt="Figure 5" title="Figure 5" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 5.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Figure 6 shows the position for producing <i>ah</i>. It differs from the
+position assumed for <i>aw</i> in that the opening of the lips is larger,
+the upper lip is raised higher, the flat portion is wider, and the
+under lip is a little relaxed. The form of the opening to produce <i>aw</i>
+is oval; the form for <i>ah</i> is more nearly square.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image08.jpg" width="183" height="200" alt="Figure 6" title="Figure 6" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 6.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Figure 7 shows the under jaw relaxed, as it should be in practice, to
+enlarge the throat and give roundness and largeness to the tone. The
+use of the word <i>hung</i> will accomplish this end.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image09.jpg" width="226" height="250" alt="Figure 7" title="Figure 7" /></p>
+
+<p style="text-align: center"><b> <span class="smcap">Figure</span> 7.</b></p>
+
+<p>&#160;</p>
+
+<p>The vowel sounds illustrated above are embodied in a series of vocal
+exercises to be found in <a href="#CHAPTER_VIII">Chapter VIII</a> on <i>Placing the Voice</i>.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2>
+
+<h2><span class="smcap">Breath Control</span></h2>
+
+
+<p><span class="smcap">It</span> has been said that &quot;breathing is singing.&quot; This statement is
+equally applicable to speaking. While the aphorism is not literally
+true, it is true that without properly controlled breathing the best
+singing or speaking tone cannot be produced, for tone is but vocalized
+breath; hence in the cultivation of the voice, breathing is the first
+function to receive attention.</p>
+
+<p>For singer or speaker, the correct use of the breathing apparatus
+determines the question of success or failure; for without mastery of
+the motive power all else is unavailing. For a voice user, therefore,
+the first requisite is a well-developed chest, the second, complete
+control of it.</p>
+
+<p>It must not be supposed that a singer's breathing is something strange
+or complex, for it is nothing more than <i>an amplification of normal,
+healthy breathing</i>. In contrast, however, to the undisciplined casual
+breathing of the general public, the singer is a professional
+breather.</p>
+
+
+<h4>THE MUSCLES OF RESPIRATION</h4>
+
+<p>There are two sets of respiratory muscles, one for inspiration and
+another for expiration,&#8212;twenty-two or more in all. The principal
+muscles of inspiration are the diaphragm and the intercostal muscles
+that elevate the ribs. The chief muscles of expiration are the four
+sets of abdominal muscles and the intercostal muscles that depress the
+ribs. The diaphragm is <i>not</i> a muscle of <i>expiration</i>.</p>
+
+
+<h4>THE DIAPHRAGM</h4>
+
+<p>The diaphragm is in form like an inverted bowl (Fig. 8). It forms the
+floor of the thorax (chest) and the roof of the<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> abdomen. It is
+attached by a strong tendon to the spinal column behind, and to the
+walls of the thorax at its lowest part, which is below the ribs. In
+front its attachment is to the cartilage at the pit of the stomach. It
+also connects with the transverse abdominal muscle. The diaphragm
+being convex, in inspiration the contraction of its fibres flattens it
+downward and presses down the organs in the abdomen, thus increasing
+the depth of the thorax. Expiration depends wholly on other muscles.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image11.jpg" width="350" height="338" alt="Figure 8" title="Figure 8" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 8.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The muscles so far mentioned are all that need &quot;conscious education;&quot;
+the others will act with them voluntarily, automatically. The
+abdominal muscles relax during inspiration and the diaphragm relaxes
+during expiration, thus rendering the forces nearly equal, though the
+strength is in favor of the expiratory muscles. This is what is
+needed, for the breath while speaking or singing must go out under
+much greater tension than is necessary for inhalation. Inspiration
+should be as free as possible from obstruction when singing or
+speaking. Expiration must be under <i>controlled</i> pressure.<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+
+<h4>THE LUNGS</h4>
+
+<p>The lungs are spongy bodies which have no activity of their own beyond
+a little elasticity. They are controlled by the muscles of
+respiration.</p>
+
+<p>Figure 8 shows the organs of the body in their natural positions. The
+diaphragm is relaxed and curved upward, as in expiration. During
+inspiration the diaphragm is drawn down until it lies nearly flat.</p>
+
+
+<h4>INSPIRATION</h4>
+
+<p>The intercostal muscles raise the ribs. The diaphragm is drawn down by
+contraction, thus adding to the enlargement of the chest by increasing
+its depth. The abdominal muscles relax and allow the stomach, liver,
+and other organs in the abdomen to move downward to make room for the
+depressed diaphragm. This causes a vacuum in the chest. The lungs
+expand to fill this vacuum and the air rushes in to fill the expanding
+lungs.</p>
+
+
+<h4>EXPIRATION</h4>
+
+<p>The intercostal, and a part of the abdominal, muscles depress the ribs
+and lessen the chest cavity anteriorly and laterally. The abdominal
+muscles compress the abdomen and force up the diaphragm which is now
+relaxed, thus lessening the depth of the thorax. This pressure forces
+the air from the lungs and prepares them for another inspiration.</p>
+
+
+<h4>CORRECT METHOD</h4>
+
+<p>That the lateral-abdominal&#8212;more accurately chest-abdominal&#8212;breathing
+is correct and natural for both male, and female, and that the
+shoulders should remain as fixed as were Demosthenes' under the points
+of the swords hung over them, is now so generally admitted as to need
+no argument here. If any one has still a doubt on the subject let him
+observe a sleeping infant. It affords a perfect example of
+lateral-abdominal breathing, and no one can have a suspicion of sex
+from<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> any difference in this function. Among the lower animals sex
+shows no difference in breathing at any age. All the peculiarities of
+female breathing are the results of habits acquired in after life.</p>
+
+<p>Chest and shoulder heaving are vicious and evidence impeded breathing.
+The singer who, forgetting the lower thorax, breathes with the upper
+only is sure to fail. Therefore breathe from the <i>lower</i> part of the
+trunk, using the whole muscular system co&#246;rdinately&#8212;<i>from below</i>
+upward. In other words breathe deeply, and <i>control deeply</i>, but with
+the whole body&#8212;from below, not with the upper chest only, or with
+lateral expansion only, or abdominal expansion only.</p>
+
+<p>Every teacher and pupil should remember that &quot;singing and speaking
+require wind and muscle,&quot; hence the breathing power must be fully
+developed. Weak breathing and failure to properly focus the voice are
+the most frequent causes of singing off the key. They are much more
+common and mischievous than lack of &quot;ear.&quot;</p>
+
+<p>Dr. May tested the breathing of 85 persons, most of them Indians, and
+found that 79 out of the 85 used abdominal breathing. The chest
+breathers were from classes &quot;civilized&quot; and more or less &quot;cultured.&quot;</p>
+
+<p>Nature has provided that for quiet breathing when at rest the air
+shall pass through the nose. But when a person is taking active
+exercise, and consequently demands more air, he naturally and of
+necessity opens the mouth so as to breathe more fully. While speaking
+or singing the air is necessarily taken in through the mouth.</p>
+
+
+<h4>BREATH CONTROL</h4>
+
+<p>Firmness of tone depends upon steadiness of breath pressure.
+Steadiness of tone depends upon a control of the breath which allows a
+minimum volume of air to pass out under sufficient tension to produce
+vocalization.</p>
+
+<p>The tension and flow of breath can be gradually lessened until the
+tone vanishes and not even a whisper remains.<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>Power and largeness of tone depend first upon the <b>right use of the
+resonant cavities</b>, and second upon the <b>volume of breath used under
+proper control</b>.</p>
+
+<p>In producing high tones the breath is delivered in less amount than
+for the low tones, but under greater tension. Absolute control of the
+breath is necessary to produce the best results of which a voice is
+capable. Full control of the breath insures success to a good voice;
+without it the best voice is doomed to failure.</p>
+
+<p>When muscular action is fully mastered, and the proper method of
+breathing understood and established, the muscles of inspiration and
+expiration will act one against the other, so that the act of
+breathing may be suspended at any moment, whether the lungs are full,
+or partly full, or empty. This is muscular control of the breath.
+Correct breathing is health giving and strength giving; it promotes
+nutrition, lessens the amount of adipose tissue, and reinforces every
+physical requisite essential to speaking and singing.</p>
+
+
+<h4>A CURE FOR NERVOUSNESS</h4>
+
+<p>It cannot be too widely advertised that the surest remedy for that
+torture of singers and speakers, nervousness, is the great
+tranquillizer,&#8212;quiet, deep breathing, deeply controlled. The breath
+of nervousness is quick, irregular, and shallow, therefore, take a
+few, slow, deliberate, deep, and <i>rhythmic</i> inhalations of pure air
+through the nostrils, and the panting gasp of agitation will vanish.
+As a help toward deepening the breath and overcoming the spasmodic,
+clavicular habit, inhale quietly and slowly through the nose, or
+slowly sip the air through the nearly closed lips as if you were
+sipping the inmost breath of life itself.</p>
+
+
+<h4>NECESSITY OF BREATHING EXERCISES</h4>
+
+<p>To acquire control of breathing, proper exercises must be
+intelligently and persistently followed. In mankind, nature seems to
+have been diverted from her normal course so that<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> we seldom find an
+individual who breathes correctly without education in the matter.
+What we have said on breathing is based on the premise that
+respiration involves co&#246;rdinate action of the body from collar-bone to
+the base of the abdomen; that is, expanding and contracting the chest
+and abdomen simultaneously. This is called &quot;lateral-abdominal&quot;
+breathing; as the chest is the thoracic cavity, &quot;abdomino-thoracic&quot;
+has been suggested as brief and more strictly scientific.</p>
+
+<p>Work on any other lines fails to develop the full power and quality of
+the voice. Weak breathing is a prime cause of throaty tones. In such
+cases an effort is made to increase the tone by pinching the larynx.
+But this compresses the vocal cords, increases the resistance to the
+passage of the breath, and brings rigidities that prevent proper
+resonance. The true way is to increase the wind supply, as does the
+organist.</p>
+
+
+<h4>CORRECT BREATHING ILLUSTRATED</h4>
+
+<p>The following figures show the outline of correct breathing. The inner
+abdominal line shows the limit of expiration; the outer line shows the
+limit of full inspiration.</p>
+
+<p>Figure 9 shows the limit of full expiration and inspiration of the
+male, side view.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image12.jpg" width="207" height="300" alt="Figure 9" title="Figure 9" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 9.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Figure 10 shows the lateral expansion of the ribs in both expiration
+and inspiration, front view of the male.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image13.jpg" width="284" height="300" alt="Figure 10" title="Figure 10" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 10.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The expansion cannot be great at this part of the chest, as the side
+is so short a distance from the backbone to which the ribs are
+attached. The movement of the ribs in front is much greater, as Fig. 9
+shows.</p>
+
+<p>Figure 11 shows the front expansion and contraction in the breathing
+of the female, side view.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image14.jpg" width="203" height="300" alt="Figure 11" title="Figure 11" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 11.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Figure 12 shows the lateral expansion of the chest in the female,
+front view.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image15.jpg" width="240" height="300" alt="Figure 12" title="Figure 12" /></p>
+
+<p style="text-align: center"><b><span class="smcap">Figure</span> 12.</b></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>These diagrams are made from photographs, and thus true to life. It
+will be noticed that there is no difference in the breathing outline
+between these subjects. The female subject, though a good singer, had
+had no training in breathing.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> She previously insisted that she used
+only the chest breathing, and did not use the abdominal muscles, but
+actual test revealed the condition to be that shown in Figure 11 and
+convinced her that she was mistaken.</p>
+
+<p>It is not unlikely that many other singers who now think they are
+using only the high chest respiration would, if subjected to the same
+test, find themselves similarly mistaken.</p>
+
+<p>The contraction incident to forced expiration is much more tense than
+the enlargement of forced inspiration. When<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> singing or speaking,
+forced inspiration is not used. Experience shows that the change in
+size of the body during speaking or singing is usually small.
+Occasionally, long passages in music demand that the expulsive power
+of the breathing apparatus be used to its limit.</p>
+
+
+<h4>ECONOMY OF BREATH</h4>
+
+<p>The quantity of air taken in with a single inspiration is, in quiet
+breathing, according to Prof. Mills,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> from twenty to thirty cubic
+inches, but this may be increased in the deepest inspiration to about
+one hundred cubic inches. In forcible expiration about one hundred
+cubic inches may be expelled, but even then the residual air that
+cannot be expelled is about one hundred cubic inches.</p>
+
+<p>It is not, however, the quantity of breath inhaled that is
+significant, it is the amount <i>controlled</i>. Get, therefore, all the
+breath necessary, and keep it, but without undue effort and <i>without
+rigidity</i>.</p>
+
+<p>To test the amount of breath used in prolonged vocalization, a person
+skilled in the art of breathing, after an ordinary inspiration, closed
+his lips, stopped his nostrils, and began to vocalize. He found that
+the mouth with distended cheeks held sufficient breath to continue a
+substantial tone for twenty-three seconds.</p>
+
+<p>While these experiments show that very little amount or force of
+breath is needed to produce effective tones, the impression must exist
+in the mind of the performer that there is a free flow of breath
+through the larynx; otherwise the tone will seem restricted and will
+be weak. The forced holding back of the breath begets a restraint that
+has a bad effect on the singer's delivery. While the breath must be
+controlled, there is such a thing as an exaggerated &quot;breath control&quot;
+that makes free delivery of the voice impossible.<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+<p>It is quite possible to <i>overcrowd</i> the lungs with air. Do not,
+therefore, make the mistake of always taking the largest possible
+breath. Reserve this for the climaxes, and inhale according to the
+requirements of the phrase and its dynamics. The constant taking of
+too much breath is a common mistake, but trying to sing too long on
+one breath is another.</p>
+
+
+<h4>THE INITIAL USE OF BREATH FORCE</h4>
+
+<p>The breath force when properly employed seems to be expended in
+starting the vibrations in the larynx; the vibrations are then
+transmitted to the air in the resonance cavities, and there the
+perfected tone sets the outer air in motion, through which the tone
+vibrations are conveyed to the ear of the listener.</p>
+
+
+<h4>RESERVE BREATH POWER</h4>
+
+<p>The correctly trained singer or speaker will never allow the breath
+power to be exhausted. Some breath should be taken in at every
+convenient interval between the words, according to the punctuation,
+but never between syllables of a word;, this is correct phrasing. In
+this way the lungs are kept nearly full, and breathing is at its best.</p>
+
+<p>The chief cause of breath exhaustion is <i>wasted</i> breath. This waste
+comes from exhaling more breath (more motive power) than the tone
+requires, and <i>breath that does not become tone is wasted</i>. This fault
+is largely induced by lack of proper resonance adjustment.</p>
+
+<p>The singer should always feel able to sing another note or to speak
+another word. To sing or speak thirty or forty counts with one breath
+is useful practice but poor performance. Occasionally, long runs in
+singing may compel an exception. Half-empty lungs lower the pitch of
+the tone, lessen the resonance, and weaken the voice, rendering the
+last note of the song and the last word of the sentence inaudible. The
+breathing must not be forced, but enough air must be furnished to
+produce the proper full vibrations.<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+
+
+<h4>BREATH MASTERY</h4>
+
+<p>What then does perfect control of the breath mean?</p>
+
+<p>1. Ability to fill the lungs to their capacity either quickly or
+slowly.</p>
+
+<p>2. Ability to breathe out as quickly or slowly as the occasion
+demands.</p>
+
+<p>3. Ability to suspend inspiration, with the throat open, whether the
+lungs are full or not, and to resume the process at will without
+having lost any of the already inspired air.</p>
+
+<p>4. Ability to exhale under the same restrictions.</p>
+
+<p>The above four points are common to speaking and singing, but singing
+involves further:</p>
+
+<p>5. Ability to sing and sustain the voice on an <i>ordinary</i> breath.</p>
+
+<p>6. Ability to <i>quietly</i> breathe as often as text and phrase permit.</p>
+
+<p>7. Ability to breathe so that the fullest inspiration <i>brings no
+fatigue</i>.</p>
+
+<p>8. Ability to so economize the breath that the <i>reserve is never
+exhausted</i>.</p>
+
+<p>9. The ability to breathe so naturally, so unobtrusively, that
+<i>neither breath nor lack of breath is ever suggested to the
+listener</i>&#8212;this is the very perfection of the art.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2>
+
+<h2><span class="smcap">Breathing Exercises</span></h2>
+
+
+<p><span class="smcap">Enough</span> has been said in the <a href="#CHAPTER_III">preceding chapter</a> to make clear the
+necessity of breath control, and to show what constitutes this control
+for the singer&#8212;the professional breather.</p>
+
+<p>If the singer's breathing is nothing but an amplification of normal,
+healthy breathing, why dwell upon it, why not let it develop of
+itself?</p>
+
+<p>Unfortunately, many teachers have taken this attitude, overlooking the
+fact that, although life is dependent on normal, healthy breathing,
+such breathing is, in civilized communities, not the rule but the
+exception, simply because normal living is rare; the artificiality of
+modern life forbids it. The high pressure under which most people live
+induces mental tension together with the consequent nervous and
+muscular tension. We are, without being conscious of it, so habituated
+to unnatural tension that automatic breathing is shallow and irregular
+instead of being deep and rhythmic.</p>
+
+<p>The task, therefore, is to reclaim a neglected birthright&#8212;natural
+breathing&#8212;to make it habitual and amplify it.</p>
+
+
+<h4>PRELIMINARY SUGGESTIONS</h4>
+
+<p>1. Breathing exercises to be invigorating and purifying demand plenty
+of fresh air.</p>
+
+<p>2. At first do not practise longer than ten minutes at a time, three
+times a day.</p>
+
+<p>3. Gradually lengthen the time without overdoing. When tired stop.</p>
+
+<p>4. The best time is before dressing in the morning, with the window
+open. The worst time is directly after a meal.</p>
+
+<p>5. Maintain throughout an easy, flexible poise.</p>
+
+<p>6. Breathe as <i>deeply</i> as possible without abdominal disten<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>tion. The
+greatest expansion should be felt at the lower end of the breast-bone.</p>
+
+<p>7. Breathe as <i>broadly</i> as possible, expanding the sides without
+tension.</p>
+
+<p>8. Breathe as <i>high</i> as possible without shoulder movement or
+stiffness.</p>
+
+<p>9. Use not the high breath alone, or the mid-breath, or the low
+breath, but use the <i>complete</i> breath.</p>
+
+<p>10. Breathe <i>rhythmically</i> by counting mentally.</p>
+
+<p>11. Breathe <i>thoughtfully</i> rather than mechanically.</p>
+
+<p>12. Do not crowd the lungs or lay stress on the mere quantity of air
+you can inhale. The intake of breath is, for the singer, secondary to
+its control, economy, and application in song. Increase of lung
+capacity will duly appear.</p>
+
+<p>13. When not singing, speaking or practising an exercise that demands
+it, <i>keep your mouth shut</i>.</p>
+
+
+<h4>ATTITUDE</h4>
+
+<p>Dress the neck and body loosely, so as to give the throat and trunk
+perfect freedom. Place the hands on the hips, so as to free the chest
+from the weight of the arms. Stand erect, evenly upon the balls of the
+feet; the body straight, but not strained. Raise the back of the head
+slightly without bending the neck. This action will straighten the
+spine, place the chest forward, and bring the abdomen backward into
+its proper relation.</p>
+
+<p>The great majority of people are shallow breathers, chest breathers,
+who when told to take a &quot;deep breath&quot; do not know what is meant. It is
+therefore necessary for them first to learn what a deep breath is, and
+then how to take it.</p>
+
+
+<h4>Exercise I</h4>
+
+<h5>FOR THOSE WHO DO NOT KNOW WHAT A DEEP BREATH IS</h5>
+
+<p>Before rising in the morning, remove your pillow and while flat on
+your back place one hand lightly on the abdomen, the other on the
+lower ribs. Relax the whole body, giving up your<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> whole weight to the
+bed. Inhale through the nostrils slowly, evenly, and deeply, while
+mentally counting one, two, three, four, etc. As you inhale, notice
+(<i>a</i>) the gradual expansion of the abdomen, (<i>b</i>) the side expansion
+of the lower ribs, (<i>c</i>) the rise and inflation of the chest, without
+raising the shoulders. Hold the breath while mentally counting four
+(four seconds), then suddenly let the breath go, and notice the
+collapse of the abdomen and lower chest. Remember <i>the inspiration
+must be slow and deep, the expiration sudden and complete</i>. Practise
+this preliminary exercise for not more than ten minutes each morning
+for a week. The second week hold the breath six seconds, instead of
+four, and gradually increase the time, without overdoing.</p>
+
+<p>While, for a novice, the exercises may be taken at first in bed, this
+is but a preliminary to their practise standing in easy poise as
+directed in the preceding section.</p>
+
+
+<h4>Exercise II</h4>
+
+<h5>SLOW INHALATION WITH SUDDEN EXPULSION</h5>
+
+<p>Inhale as in I; hold the breath four counts (seconds) or more; then
+expel the air vigorously in one breath through the wide open mouth.
+The beginner is often helped in acquiring a deep breath by slowly
+sipping breath. Therefore as a variant to Exercise II practise:</p>
+
+
+<h4><a name="Exercise_III">Exercise III</a></h4>
+
+<h5>SIPPING THE BREATH, WITH QUICK EXHALATION</h5>
+
+<p>Through the smallest possible opening of the lips, while mentally
+counting, inhale very slowly and steadily; hold two to four counts,
+then expel the air all at once through the wide open mouth.</p>
+
+
+<h4>Exercise IV</h4>
+
+<h5>FOR RIB EXPANSION</h5>
+
+<p>To more completely arouse dormant muscles that should play an
+important part in breathing, place the hands against the sides, thumbs
+well back, take, through the nostrils or<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> the slightly parted lips,
+six short catch-breaths, moving the ribs <i>out at the side</i> with each
+catch-breath. Hold the breath two counts, and exhale through the mouth
+with six short expiratory puffs, drawing the ribs <i>in at the side</i>
+with each puff.</p>
+
+
+<h4>Exercise V</h4>
+
+<h5>SLOW INHALATION WITH SLOW EXPIRATION</h5>
+
+<p>Inhale as in I, while mentally counting one, two, three, four, etc.,
+until the inhalation seems complete. Hold the breath four or more
+counts; then exhale through the nostrils slowly and evenly while
+mentally counting to the number reached in the inspiration. With
+practice the number of counts will gradually increase. Do not,
+however, force the increase. The muscles that control inspiration are
+powerful; do not, therefore, make the mistake of seeking to control
+expiration by contraction of the glottis. Practise these exercises
+with an open throat and depend on the breathing muscles for control of
+the outgoing air. Remember that <i>singing is control of breath in
+exit</i>.</p>
+
+
+<h4>Exercise VI</h4>
+
+<h5>RAPID INSPIRATION WITH SLOW EXPIRATION</h5>
+
+<p>Inhale through the nostrils quickly, deeply, and forcefully (one
+count); hold two counts; exhale through the nostrils evenly, steadily,
+and as slowly as possible while mentally counting one, two, three,
+four, etc. With practice gradually increase the number of counts for
+the exhalation.</p>
+
+
+<h4>Exercise VII</h4>
+
+<h5>FARINELLI'S GREAT EXERCISE</h5>
+
+<p>The Cavalier, Don Carlo Broschi, better known as Farinelli
+(1705-1782), the world's greatest singer in bravura and coloratura,
+was a pupil of Porpora and Bernacchi. There was no branch of the art
+which he did not carry to the highest perfection, and the successes of
+his youth did not prevent him from continuing his study, or, when his
+name was famous, from<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> acquiring by much perseverance another style
+and a superior method. His breath control was considered so marvelous
+in that day of great singers, it is said, that the art of taking and
+keeping the breath so softly and easily that no one could perceive it
+began and died with him. He is said to have spent several hours daily
+in practising the following exercise:</p>
+
+<p>As in <a href="#Exercise_III">Exercise III</a>, sip the breath slowly and steadily through the
+smallest possible opening of the lips; hold it a few counts, then
+exhale very slowly and steadily through the smallest possible opening
+of the lips.</p>
+
+<p>Farinelli's exercise is not for beginners.</p>
+
+
+<h4>Exercise VIII</h4>
+
+<h5>THE CLEANSING BREATH</h5>
+
+<p>For ventilating and sweeping the lungs, for quick refreshment after
+fatigue, and for use always at the close of your exercises, inhale
+through the nostrils slowly a complete breath; hold two to four
+counts, purse the lips tightly and expel through them a small puff of
+air, hold two counts, puff one, hold two counts, puff one, and so on
+until the exhalation is complete. A few trials should convince you
+that this simple exercise is of great value.</p>
+
+
+<h5>HALF-BREATH</h5>
+
+<p>In both singing and speaking, the sustained delivery of long phrases
+or sentences sometimes makes unusual demands on the breath supply. It
+is a law of good singing that every phrase should end with the breath
+unexhausted. When the flow of text and music forbid the taking of a
+full breath, half-breaths must be quietly taken at convenient points.
+Instead of letting the whole reservoir of motive power exhaust itself
+and then completely refill it, we should, by taking these
+half-breaths, maintain a reserve. A notable advocate of the use of the
+half-breath in singing is that past mistress of sustained and smooth
+delivery, Marcella Sembrich.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2>
+
+<h2><span class="smcap">Registers</span></h2>
+
+
+<p><span class="smcap">The</span> subject of registers has always been the <i>b&#234;te noire</i> of
+vocalists, a source of controversy and confusion. The term &quot;register,&quot;
+as commonly used, means a series of tones of a characteristic clang or
+quality, produced by the same mechanism. The term &quot;break&quot; is generally
+used to indicate the point at which a new register with sudden change
+appears.</p>
+
+<p>The advocates of registers lay stress either on the changes in
+laryngeal action, or the changes in tone quality. Before the days of
+the laryngoscope, registers were treated simply as different qualities
+of tone, characterizing a certain portion of the voice's compass.</p>
+
+<p>Those who encourage the cultivation of register consciousness claim to
+do so for the sake of the differences in tone-color which they
+associate with the different &quot;registers.&quot; The purpose of the following
+chapters is to show that the quality or color of a tone is altogether
+a matter of resonance, and <i>not</i> a question of laryngeal action.</p>
+
+<p>Moreover, the mechanism of the larynx is not voluntary in its action,
+but automatic, and even if a singer knew how the vocal cords should
+act it would not help him in the least to govern their action. The
+fact is that the results of laryngoscopic study of the vocal cords
+have been disappointing and contradictory and investigators have
+failed to define what correct laryngeal action is. There are those who
+even deny that the vocal cords govern the pitch of the voice.</p>
+
+<p>In her thoughtful <i>Philosophy of Singing</i>, Clara Kathleen Rogers,
+while upholding &quot;registers,&quot; says that considered physiologically &quot;the
+different registers of the voice should be regarded by the singer as
+only so many <i>modifications in</i><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> <i>the quality of tone</i>, which
+modifications are inherent in the voice itself.&quot; She then adds
+significantly: &quot;These modifications are not brought about by conscious
+adjustments of the parts employed, as any interference with the parts
+will produce that obstacle to quality we call a 'break.'&quot;</p>
+
+<p>One of the greatest of modern singers, Mme. Lilli Lehmann, in her
+interesting work, <i>How to Sing</i>, says: &quot;Do registers exist by nature?
+No. It may be said that they are created through long years of
+speaking in the vocal range that is easiest to the person, or in one
+adopted by imitation.&quot; She speaks of three ranges of the voice, or,
+rather, three sections of the vocal range, as chest, middle, and head,
+saying, &quot;All three form registers <i>when exaggerated</i>.&quot; After speaking
+of the hopeless confusion that results from clinging to the
+appellations of chest, middle, and head <i>register</i>, confounding voice
+with register, she concludes:</p>
+
+<p>&quot;As long as the word 'register' is kept in use the registers will not
+disappear, and yet the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils.&quot;</p>
+
+<p>The trend of recent thought on this subject is further shown in
+Ffrangcon-Davies' important work, <i>The Singing of the Future</i>, where,
+having in mind &quot;the useless torture to which thousands of students
+have been subjected,&quot; he characterizes &quot;breaks&quot; and &quot;registers&quot; as
+&quot;paraphernalia supplied by credulity to charlatanism&quot;; and adds: &quot;How
+many a poor pupil has become a practical monomaniac on the subject of
+<i>that break in my voice between D and D sharp</i>!&quot;</p>
+
+<p>My own studies convince me that there is but one register, or, rather,
+no such thing as register, save as it applies to the compass of the
+voice; and that chest, middle, head, and all other registers are
+creations of false education. Training based upon the theory of many
+registers results in an artificial and unnatural division of the
+voice.<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+
+<h4>THE VOICE AND INSTRUMENTS COMPARED</h4>
+
+<p>The organ of the voice has long been considered the analogue of every
+other instrument except in regard to registers. Investigation
+indicates that it is analogous in this respect also. Compare the voice
+instrument with the pianoforte, violin, and organ and the similarity
+will plainly appear. The artificial instruments undergo no change when
+making a tone of higher or lower pitch other than the attuning of the
+vibrator to the pitch desired. All other parts remain the same. So
+when the voice is correctly focused and delivered, the only change
+incident to altered pitch is that made in the vibrator so as to give
+the proper number of vibrations for the pitch required. If the scale
+is sung down, using the same vowel sound for the whole scale, the
+comparison will be appreciated; the pupil will not be conscious of any
+change in the vocal organ or experience any difficulty in descending
+the scale. Faithful advocates of the theory of many registers say:
+&quot;Whenever in doubt about the production of a tone, sing <i>down</i> to it
+from some tone above it, never <i>upward</i> from a tone below,&quot; for they
+find that singing down &quot;blends the registers.&quot; This we believe is
+because in singing down muscular and nerve tension is gradually
+relaxed and consequently there is no &quot;register&quot; change in the voice.</p>
+
+<p>A study of the church organ will, I think, make this matter clear. The
+organ has many so-called registers, as the <i>vox humana</i>, <i>flute</i>,
+<i>oboe</i>, etc. These differ in the character of tone produced, because
+of the size and shape of the different sets of pipes and the material,
+wood or metal, of which they are made. But each similarly constructed
+set of pipes forms only one register, and the pitch of the set varies
+from low to high without any abrupt change in quality. All the tones
+are produced by the same methods and means, the bellows, the vibrator,
+and the pipe. In length and diameter, the pipe is proper to the tone
+produced: a short pipe of small diameter for the high tones, and a
+long, wide pipe for the bass tones.</p>
+
+<p>The short vibrations of the high tones are perceived by the ear as
+affecting the air only, while the tones of the lowest bass<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> pipes
+shake the solid foundations as well as the superstructure. So with the
+human voice. The coarser tissues cannot answer to the short vibrations
+of the upper tones, because they cannot move so quickly, while they
+can, and do, respond to the vibrations of the low tones. This may
+cause some difference in degree, but not in kind. With all tones
+focused alike, the low tones of the human organ may be regarded as
+head tones plus the vibrations of the coarser tissues.</p>
+
+<p>It has been said of registers that they are &quot;acoustic illusions which
+disappear in the perfectly trained voice.&quot; As soon as the singer has
+learned to use his voice normally all these defective changes
+disappear.</p>
+
+
+<h4>TWO CASES</h4>
+
+<p>The following incident illustrates the fact that registers are an
+artificial creation: A young lady who had been a patient of the author
+since her childhood studied elocution in a metropolitan city, and to
+improve her voice took vocal music lessons of a teacher of more than
+local repute. He found no end of trouble in teaching her to &quot;blend the
+registers,&quot; and she had utterly failed to acquire the art. One summer
+she came back for professional services and told her troubles. During
+the few weeks of her stay she followed the author's suggestions, and
+was fully convinced of their correctness and efficiency. Upon
+returning to her lessons, she followed, without any explanations, the
+method that had been outlined for her. Her success in &quot;blending the
+registers&quot; was a surprise to her teacher who heartily congratulated
+her upon what she had accomplished during the summer.</p>
+
+<p>Another case is that of a young lady who was under the author's
+direction as to vocal culture from childhood. As early as four years
+of age she was taught by the use of a few exercises to focus the voice
+in the nose and head, and to recognize the head vibrations by a light
+touch of the finger. When about seven years old, she took ten lessons
+of a teacher on the same lines, and at fifteen years of age took
+another brief<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> course. In the meantime she had only the practice
+obtained by singing with the pupils in the schools she attended.
+Later, of her own volition, she sang more, and carefully applied the
+principles she had been taught, with the result that her voice
+compassed nearly two octaves, evenly and smoothly, with no break or
+change of focus or quality, or other intimation of &quot;register,&quot; and she
+developed a speaking voice of more than ordinary quality and
+resonance.</p>
+
+<p>It has also been my lot to aid in the development of the voices of
+many patients after a surgical operation for cleft palate. Success has
+proven the correctness and efficacy of the principles set forth in
+these pages.</p>
+
+<p>A majority of the more than fifty authors whose works I have examined
+have laid great stress on the distinction between head and chest
+tones, open and closed tones, pure and impure tones, have warned
+against the nasal tone, and have constantly advocated a natural tone.
+That there is no essential difference between a head tone and a chest
+tone has already been discussed and, it would seem, conclusively
+proven. Any tone, closed or open, is pure and musical if properly
+focused and delivered, and the singer is at liberty to use either upon
+any note of the scale if it will serve better to express the sentiment
+he wishes to convey to the hearer. The cooing of the love song, the
+cry of alarm for help, and the shout of the military charge require
+very different qualities of voice to express the feelings, yet each
+may be musical and will be so if properly delivered.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2>
+
+<h2><span class="smcap">Resonance in General</span></h2>
+
+
+<p><span class="smcap">The</span> intimate relationship existing between voice culture and the
+science of acoustics was formerly slightly perceived. The teaching of
+singing, as an art, then rested altogether on an empirical basis, and
+the acoustics of singing had not received the attention of scientists.</p>
+
+<p>With the publication in 1863 of Helmholtz's great work<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> a new era
+began, although singer and scientist yet continue to look upon each
+other with suspicion. Teachers of the voice, casting about for a
+scientific basis for their work, were greatly impressed with
+Helmholtz's revelations in regard to vocal resonance&#8212;the fact that
+tones are modified in quality as well as increased in power by the
+resonance of the air in the cavities of pharynx and head.</p>
+
+<p>Writing in 1886, Edmund J. Meyer speaks of the importance of a &quot;study
+of the influence of the different resonance cavities as the voice is
+colored by one or the other, and the tuning each to each and each to
+all&quot;; yet, he adds, &quot;the subject is seldom heard of outside of books.&quot;</p>
+
+<p>The basic importance of resonance in the use of the voice is still too
+little recognized, though obvious enough in the construction of
+musical instruments. With the exception of a few instruments of
+percussion, all musical instruments possess three elements,&#8212;a
+<i>motor</i>, a <i>vibrator</i>, and a <i>resonator</i>. The violin has the moving
+bow for a motor, the strings for a vibrator, and the hollow body for a
+resonator. The French horn has the lungs of the performer for a motor,
+the lips for a vibrator, and the gradually enlarging tube, terminating
+in<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> the flaring bell, for a resonator. In the pianoforte the
+hammer-stroke, the strings, and the sounding-board perform the
+corresponding offices. Though improvements in other parts of the piano
+have done much to increase the volume of the tone, yet in the radical
+change of form, size, and other physical qualities of the
+sounding-board consists the evolution of the modern pianoforte from
+the primitive clavichord.</p>
+
+<p>In all these instruments the quality and power of the tone depend upon
+the presence of these three elements,&#8212;the perfection of their
+construction, their proper relation as to size and position, and the
+perfect adaptation of each part. A split sounding-board spoils the
+pianoforte, the indented bell destroys the sweet tone of the French
+horn, and a cracked fiddle is the synonym for pandemonium itself.</p>
+
+<p>The quality and power of resonance is well illustrated by a
+tuning-fork, which, if set in vibration, can, unaided, scarcely be
+heard by the person holding it. But if rested on a table, or a plate
+of glass, or, better still, on the bridge of a violin, its tones may
+be distinctly heard throughout a large hall.</p>
+
+<p>The vibrating violin string when detached from the body of this
+instrument, although attuned to pitch, gives absolutely no musical
+sound; the lips of the player placed on the mouthpiece detached from
+the tube and bell of the brass instrument produce only a splutter; and
+a pianoforte without a sounding-board is nil. The air column in the
+tube of the French horn, and the sounding-board of the pianoforte
+develop the vibrations caused by the lips and strings into musical
+tones pleasing to the ear. The tuning-fork alone can scarcely be
+heard, while the induced vibrations it sets up through properly
+adjusted resonance may be audible far away.</p>
+
+<p>The vocal cords alone cannot make music any more than can the lips of
+the cornet player apart from his instrument. <i>The tone produced by the
+vibrations alone of the two very small vocal bands must, in the nature
+of things, be very feeble.</i></p>
+
+<p>Ninety-and-nine persons if asked the question, what produces tone in
+the human-voice, would reply, &quot;the vibrations<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> of the vocal cords,&quot;
+and stop there, as if that were all; whereas the answer is very
+incomplete&#8212;not even half an answer.</p>
+
+<p>A great deal of the irrational and injurious &quot;teaching&quot; of singing
+that prevails everywhere, and of the controversy that befogs the
+subject, is due to the widely prevalent notion that the little vocal
+cords are the principal cause of tone, whereas they are in themselves
+insignificant as sound producers.</p>
+
+<p><b>It is the vibrations of the air in the resonance chambers of the human
+instrument, together with the induced vibrations of the instrument
+itself, which give tone its sonority, its reach, its color, and
+emotional power.</b></p>
+
+<p>That this is not an empirical statement but a scientific fact, a few
+simple experiments will demonstrate.</p>
+
+<p>Tone, in the musical sense, is the result of rapid periodic vibration.
+The pitch of tone depends upon the <i>number</i> of vibrations in a given
+period; the loudness of tone depends upon the <i>amplitude</i> of the
+vibrations; the quality of tone depends upon the <i>form</i> of the
+vibrations; and the form of the vibrations depends upon the
+<i>resonator</i>.</p>
+
+<p>The fact that pure white light is a compound of all the tints of the
+rainbow into which it may be resolved by the prism is well known, but
+the analogous fact that a pure musical tone is a compound of tones of
+different rates of vibration, tones of different pitch, is not so much
+a matter of common knowledge, and not so obvious.</p>
+
+<p>Analysis shows that a musical tone consists of a fundamental note and
+a series of overtones.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> The ear is quite capable of recognizing many
+of these overtones and may be trained to do so. The most obvious can
+be readily separated from a fundamental by a simple experiment.</p>
+
+<p>The overtones arrange themselves in a definite order, as follows: (1)
+the fundamental or prime tone; (2) an overtone one octave above the
+fundamental; (3) an overtone a fifth<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> above No. 2; (4) an overtone a
+fourth above No. 3 (two octaves above the fundamental); (5) an
+overtone a major third above No. 4; (6) an overtone a minor third
+above No. 5. There are others in still higher range but those
+indicated are easily demonstrated on the piano. For C they would be as
+follows:</p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center">
+<img src="images/image17.jpg" width="300" height="77" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music01.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+<h4>Experiment I</h4>
+
+<p>Step to your piano, noiselessly press and hold down the key of No. 2,
+then strike the fundamental No. 1, with force and immediately release
+it. As a result No. 2 will sound clearly, and if your ears are keen
+you will at the same time hear No. 6. In succession hold down the keys
+of 3, 4, 5, and 6, while you strike and release the fundamental No. 1.
+If your piano is &quot;in tune&quot; you will probably hear No. 6 when holding
+the key of any other note of the series.</p>
+
+<p>In a musical tone of rich quality the overtones just indicated are
+present in their fulness, while tone that is weak and thin is made so
+by the absence or weakness of the overtones. I have stated that the
+quality of a tone depends on the <i>form</i> of its vibrations, and that
+the form of its vibrations is determined by the character of the
+<i>resonator</i>. We can now amplify this by saying that while the relative
+presence or absence of overtones determines the clang or color of a
+tone, their presence or absence is determined by the <i>character of the
+resonance</i>.</p>
+
+<p>An English writer records that he was once in the garden at the back
+of a house while a gentleman was singing in the drawing-room. The
+tone-quality was good, and the pitch so unusually high he hastened to
+learn who sang tenor high C so beautifully. On entering the room,
+instead of the tenor he had supposed, he found the singer was a
+baritone, and the note sung was only middle C. The fundamental tone
+had not<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> reached him in the garden but the first overtone, an octave
+above it, had. Concrete illustrations will make the subject still
+clearer.</p>
+
+
+<h4>Experiment II</h4>
+
+<p>If an ordinary tuning-fork when vibrating is held in the hand its
+intrinsic tone is too weak to carry far. Rest the handle of the
+vibrating fork on a bare table or the panel of the door, and the sound
+is greatly augmented. <i>The vibrations of the fork have by contact
+induced similar vibrations in the wooden table or panel which
+reinforce the primary tone.</i></p>
+
+
+<h4>Experiment III</h4>
+
+<p>Place the handle of the vibrating tuning-fork on a small upturned
+empty box, or, better still, in contact with the body of a violin, and
+the sound will be stronger than in the previous experiment, because to
+the vibrations of the wood are added the vibrations of the air
+enclosed in the box or the violin. <i>To the resonance of the wood has
+been added the sympathetic resonance of the confined air.</i></p>
+
+
+<h4>Experiment IV</h4>
+
+<p>Hold the vibrating fork over the mouth of an empty fruit-jar and there
+will probably be little or no reinforcement; but gently pour in water,
+thereby shortening the air column within the jar, and the sound of the
+fork will be gradually intensified until at a certain point it becomes
+quite loud. If you pour in still more water the sound will gradually
+become feebler. This shows that <i>for every tone an air column of a
+certain size most powerfully reinforces that tone</i>.</p>
+
+
+<h4>Experiment V</h4>
+
+<p>As a sequence to the last experiment, take two fruit-jars of the same
+size, and, having learned to what point to fill them for the greatest
+resonance, fill one jar (after warming it) to the required point with
+hot water, the other with cold water,<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> and you will find that the
+resonance of the heated, therefore expanded, air is much less than the
+denser air of the cold jar. This shows that <i>the degree of density of
+the air affects its resonance</i>.</p>
+
+
+<h4>Experiment VI</h4>
+
+<p>To demonstrate the resonance of the oral cavity, apart from the voice,
+hold a vibrating tuning-fork before the open mouth. Vary the shape and
+size of the cavity until the sound of the fork suddenly increases in
+volume, showing that the right adjustment for resonance has been made.
+<i>This intensification of the sound is due to the vibration of the air
+in the mouth cavity, together with the sympathetic vibration of the
+surrounding walls.</i></p>
+
+
+<h4>Experiment VII</h4>
+
+<p>As an illustration of sympathetic resonance without contact, sing
+forcibly a tone that is within easy range, and at the same time
+silently hold down the corresponding key of the piano. On ceasing to
+sing you will hear the tone sounding in the piano. This may be further
+illustrated by playing on the open string of one violin while another,
+tuned to the same pitch, rests untouched near by. Through <i>sympathetic
+resonance</i> the corresponding string of the second violin will vibrate
+and sound its note. The louder the first violin is played the louder
+will be the sympathetic tone of the second.</p>
+
+<p>The deep pedal-tones of a church organ often induce sympathetic
+resonance that may be felt beneath the feet of the listener. One
+writer, a singer, speaks of living in the same house with two
+deaf-mutes. He lodged on the first floor, they on the third. One day,
+meeting at luncheon, one of the deaf-mutes told the singer that he had
+begun practice earlier that morning than usual. Surprised, the writer
+asked how he knew. The deaf-mute replied that they always knew when he
+was singing because they felt the floor of their room vibrate.</p>
+
+<p>If tone vibrations can be transmitted so readily throughout<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> a house,
+it is not difficult to understand how easily the vibrations of bone
+and tissue can be transmitted until the whole framework of the body
+responds in perceptible vibration.</p>
+
+<p>It is said that Pascal at the age of twelve wrote a dissertation on
+acoustics suggested by his childish discovery that when a metal dish
+was struck by a knife the resulting sound could be stopped by touching
+the vibrating dish with a finger.</p>
+
+<p>With this in mind it is not difficult to understand how compression of
+the human instrument by the pressure of tight clothing without, or by
+false muscular tension within, must interfere with its free vibration
+and so rob the produced tone of just so much of perfection.</p>
+
+<p>From these experiments we can understand that, while the tones of the
+voice are initiated by or at the vocal cords, the volume and character
+of the tones are dependent upon <i>resonance</i>,&#8212;the vibration of the air
+in the various resonance chambers of the body, together with the
+sympathetic vibration of the walls of these chambers and the bony
+framework that supports them.</p>
+
+<p>In respect to resonance, as in other respects, the human voice is far
+superior to all other instruments, for their resonators are fixed and
+unchanging, while the human resonator is flexible,&#8212;in Helmholtz's
+words &quot;admits of much variety of form, so that many more qualities of
+tone can be thus produced than on any instrument of artificial
+construction.&quot;</p>
+
+<p>We are now prepared to realize the error of the common notion that
+loudness of tone is due entirely to increase of breath pressure on the
+vocal cords. Simple experiments with the tuning-fork have shown that
+while the volume of sound it gives forth is due in part to the
+amplitude of its vibrations, its loudness is <i>chiefly</i> due to the
+character of the <i>resonance</i> provided for it.</p>
+
+<p>The larger the resonance chamber the greater is its reinforcing
+capacity. The largest air chamber in the body is the chest, which
+serves not only as a wind-chest, but as a resonance chamber. The
+necessity for chest expansion, therefore,<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> is not, as generally
+supposed, merely for air, but to increase its size as a resonance
+chamber.</p>
+
+<p>In view of the laws of tone, how great is the common error of speaking
+of the larynx as if it alone were the vocal organ, when the principal
+vibrations are <i>above</i> the vocal cords in the chambers of <i>resonance</i>!</p>
+
+<p>Since the musical value, the beauty of tone, as well as its volume,
+comes only from right use of the resonator, our principal business
+must be the acquiring control of the vibratory air current <i>above the
+larynx</i>. The acquirement of this control involves the proper focusing
+or placing of the tone, with the free uncramped use of all the vocal
+organs; power will then take care of itself.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2>
+
+<h2><span class="smcap">Head and Nasal Resonance</span></h2>
+
+
+<p><span class="smcap">Of</span> the four component factors in the production of speech and song,
+the first, the <i>motor</i>, has been considered in <a href="#CHAPTER_III">Chapter III</a>, and the
+second, the <i>vibrator</i>, in <a href="#CHAPTER_I">Chapter I</a>.</p>
+
+<p>In one respect there is marked contrast between these two factors.
+Until right habits are so thoroughly formed that the singer's
+breathing is automatically controlled, conscious effort is necessary,
+while the action of the vibrator, the vocal cords, is involuntary, not
+subject to conscious control.</p>
+
+<p>The subtle adjustments of the delicate mechanism of the larynx belong
+to the realm of reflex action&#8212;to a spontaneous activity that, left
+unhindered, does its part in perfect nicety.</p>
+
+<p>The vocal cords must, in their action, be free from the disturbance of
+uncontrolled breath action below them, or the hindrance due to
+misdirected effort above them. To direct consciousness to the vocal
+cords is to cramp them and prevent that free vibration and that
+perfect relaxation of the throat without which pure tone and true
+pitch are impossible.</p>
+
+<p>As a surgeon I well know the value of thorough anatomical knowledge,
+but from the singer's standpoint I cannot too strongly emphasize the
+unwisdom of directing the attention of sensitively organized pupils to
+their vocal mechanism by means of the laryngoscope. This instrument
+belongs to the physician, not to the singer.</p>
+
+<p>The importance of the third factor, the <i>resonator</i>, has been
+considered in <a href="#CHAPTER_V">Chapter V</a>, on Resonance, but the fourth element in voice
+production, <i>articulation</i>, is so co&#246;rdinated to resonance that the
+significance and primacy of the latter are too often overlooked.</p>
+
+<p>Placing or &quot;focusing the voice&quot; I have found to be chiefly<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> a matter
+of control and use of the resonator, consisting of chest, pharynx,
+mouth, and the nasal and head cavities.</p>
+
+<p>A tone lacking in resonance is ineffective,&#8212;devoid of carrying
+power,&#8212;is diffuse and unfocused; while a resonant tone, no matter how
+soft dynamically, has carrying power and is focused in its vibration.</p>
+
+<p>Now &quot;voice placing&quot; depends primarily on correct <i>vowel placing</i>,
+which in turn depends on proper adjustment of the resonators, which
+again depends chiefly on the positions and motions of the organs of
+articulation. The interdependence of tone quality and pronunciation is
+therefore obvious.</p>
+
+<p>Constant emphasis must be laid upon the fact that focusing a tone is a
+matter of resonance, and that perhaps the most important element in
+this is <i>nasal</i> resonance. In this country, particularly, teachers
+have, in their desire to overcome the too common nasal twang,
+mistakenly sought to shut out the nasal chamber from all participation
+in speech and song.</p>
+
+<p>There are those who, partly recognizing the importance of <i>head</i>
+resonance, would secure it while ignoring <i>nasal</i> resonance. It is
+impossible to secure head resonance in this fashion, for it is only
+through free nasal resonance that the co&#246;rdinate resonance in the air
+sinuses above the nasal cavity and connected with it can be
+established.</p>
+
+<p>The fear of nasal twang and failure to distinguish between it and true
+nasal resonance has been the stumbling block. They are very
+different,&#8212;one is to be shunned, the other to be cultivated. The
+first is an obvious blemish, the second is an important essential of
+good singing.</p>
+
+<p>Nasal tones are caused by a raised or stiffened tongue, a sagging soft
+palate, a stiffened jaw, or by other rigidities that prevent free tone
+emission and which at the same time&#8212;note this&#8212;prevent true nasal
+resonance.</p>
+
+<p>As tone, or vocalized breath, issues from the larynx, it is divided
+into two streams or currents by the pendent veil of the soft palate.
+One stream flows directly into the mouth, where it produces oral
+resonance; the other stream passes through<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> the nasopharynx into the
+hollow chambers of the face and head, inducing nasal and head
+resonance.</p>
+
+<p>It is commonly supposed that tone passing in whole or in part through
+the nasal cavities must be nasal in quality; whereas a tone of
+objectionable nasal quality can be sung equally well with the nostrils
+either closed or open.</p>
+
+<p>Browne and Behnke state the matter thus: &quot;However tight the closure of
+the soft palate may be, it is never sufficient to prevent the air in
+the nasal cavities being thrown into co-vibrations with that in the
+mouth. These co-vibrations are, in fact, necessary for a certain
+amount of the brilliancy of the voice, and if they are prevented by a
+stoppage of the posterior openings of the nasal passages, the voice
+will sound dull and muffled. This is of course due, to an <i>absence of
+nasal resonance</i>, and must on no account be described as nasal
+<i>twang</i>. It is, indeed, the very opposite of it.&quot;</p>
+
+<p>Nasal tone quality and nasal resonance must not be confounded. A nasal
+tone is constricted, while a tone with nasal resonance is free. Again,
+a tone may be unmarred by the nasal quality, yet if it lacks nasal
+resonance it lacks vibrancy, carrying power.</p>
+
+<p>Nasal tones are produced, not because the vibrations pass through the
+nasal passage, but because they are obstructed in their passage
+through them. A nasal tone is always a cramped tone, due to
+impediment, tension, or muscular contraction, particularly in the
+nasopharynx.</p>
+
+<p>The congestion and consequent thickening of the mucous membrane lining
+the cavities of the nose and head, resulting from a cold, make the
+tone muffled and weak, owing to the inability of the parts to respond
+to the vibrations and add to the tone normal nasal resonance.</p>
+
+<p>The elder Booth (Junius Brutus), about 1838, suffered from a broken
+nose which defaced his handsome visage and spoiled his splendid voice.
+His disability was so great that afterward he seldom played. That the
+cause of this impairment of Booth's voice was due to the contraction
+and more or less<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> complete obstruction of the nasal passages is too
+evident to call for comment.</p>
+
+<p>Many singers have sweet but characterless voices that lack the
+fulness, power, and ring they might have because they fail to avail
+themselves of the augmenting power of the resonance cavities. The
+singer must learn to habitually use all of the resonance cavities and
+use them simultaneously.</p>
+
+<p>Lilli Lehmann, in <i>How to Sing</i>, says that, &quot;although the nasal sound
+can be exaggerated,&#8212;which rarely happens,&#8212;it can be much
+neglected,&#8212;something that very often happens.&quot; The context makes
+clear that what in the English translation of the great singer's book
+is called &quot;nasal sound&quot; is exactly what we term <i>nasal resonance</i>.</p>
+
+<p>After charging the monotonous quality or lack of color in the voice of
+a famous opera star to lack of nasal resonance, Madame Lehmann speaks
+of the consummate art of Marcella Sembrich who &quot;in recent years
+appears to have devoted very special study to nasal resonance, whereby
+her voice, especially in the middle register, has gained greatly in
+warmth.&quot; She says further that nasal resonance &quot;cannot be studied
+enough. It ought always to be employed.&quot; &quot;How often,&quot; she says, &quot;have
+I heard young singers say, 'I no longer have the power to respond to
+the demands made upon me,' whereas the trouble lies only in the
+insufficient use of the resonance of the head cavities.&quot;</p>
+
+<p>From the foregoing, the conclusion follows that the head vibrations
+are not only an essential element, but that nasal resonance is a most
+important element in imparting to tone its brilliance and carrying
+power. Without thought of the mechanism of <i>how</i> nasal resonance is
+produced, the singer has control over it by direct influence of the
+will. The tones, low as well as high, should seem to start in the nose
+and head, and the vibrations of the perfect tone can be plainly felt
+upon any part of the nose and head. Without the head vibrations no
+tone can be perfect, for nothing else will compensate for the lack of
+these. Vocal organs used as here described will<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> suffer no fatigue
+from reasonable use; hoarseness will be to them a thing unknown, and
+&quot;minister's sore throat&quot; an unheard of complaint. Not only is faulty
+voice production a source of great discomfort, but it is the cause of
+many diseases of the chest, throat, and head.</p>
+
+<p>The gentle practice in easy range of the exercises given in the
+<a href="#CHAPTER_VIII">chapter following</a>, will do much to restore a normal condition.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2>
+
+<h2><span class="smcap">Placing the Voice</span></h2>
+
+
+<p><span class="smcap">What</span> is called &quot;placing the voice&quot; or &quot;tone production&quot; or &quot;focusing
+the voice&quot; is, as already stated in the <a href="#CHAPTER_VII">previous chapter</a>, chiefly a
+matter of resonance&#8212;of control of the resonator. Now vocalization is
+largely vowelization, and vocal tones are a complex of sound and
+resonance. The character of a vowel is given it by the shape of the
+vowel chamber; and the shaping of the vowel chamber depends upon
+delicate adjustment of the movable parts,&#8212;jaw, lips, cheeks, tongue,
+veil of the palate, and pharynx. While this adjustment is made through
+more or less conscious muscular action, the parts must never be forced
+into position; local effort to this end will invariably defeat itself.
+The important consideration in all voice movements is a flexible,
+<i>natural</i> action of all the parts, and all the voice movements are so
+closely allied, so sympathetically related, that if one movement is
+constrained the others cannot be free. It is a happy fact that <i>the
+right way is the easiest way</i>, and a fundamental truth that <b>right
+effort is the result of right thought</b>. From these axiomatic principles
+we deduce the very first rule for the singer and speaker,&#8212;<b>THINK the
+right tone, mentally picture it; then concentrate upon the picture,
+not upon the mechanism</b>.</p>
+
+
+<h4>WHEN IS THE VOCAL ACTION CORRECT?</h4>
+
+<p>There are two sound criterions for judging the correctness of vocal
+action,&#8212;first, the <i>ease</i> of the action, its naturalness, its
+flexibility. As Mills concisely states it: &quot;He sings or speaks best
+who attains the end with the least expenditure of energy.&quot; Second, the
+<i>beauty</i> of the result. Harsh, unlovely tones are a sure indication of
+misplaced effort, of tension somewhere,<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> of wrong action. On the other
+hand the nearer the tones approach to perfection the closer does the
+organism come to correct action. <i>Beauty of tone</i>, then, is the truest
+indication of proper vocal action.</p>
+
+<p>Judgment as to the relative beauty of a tone depends on the training
+of the ear. Pupils should habitually listen to their own voices, for
+between the hearing and feeling of the voice a knowledge of progress
+can be obtained. The function of the ear in governing voice production
+is thus stated by Prof. Mills: &quot;The nervous impulses that pass from
+the ear to the brain are the most important guides in determining the
+necessary movements.&quot; Mr. Ffrangcon-Davies maintains that, &quot;The
+training of the ear is one-half of the training of the voice.&quot; The
+student should improve every opportunity to hear the best singers and
+speakers, for both consciously and unconsciously we learn much by
+imitation. Good examples are often our best teachers.</p>
+
+<p>Keeping well in mind the principles stated above, we are now ready to
+begin their application in placing the voice&#8212;that is, in setting it
+free&#8212;not by learning some strange and difficult action, but by
+cultivating normal action.</p>
+
+
+<h4>EXERCISES FOR PRACTICE</h4>
+
+<p>The following exercises are designed for the primary development of a
+correct tone and for the test of the perfection of every tone at every
+stage of development. They are based upon the assumption that all
+tones of the voice should be focused and delivered precisely alike.
+Their use should constitute a part of the daily practice of the singer
+or speaker.</p>
+
+<p>I give but few exercises for each point to be gained. Intelligent
+teachers and pupils will add an infinite variety to suit each case,
+but the exercises given appear to me to be the best for initial
+practice. It is important that each exercise in its order shall be
+thoroughly mastered before taking up the next. Only in this way can
+rapid progress be made, for it is not the multiplicity of exercises,
+but the thoughtful application of principles in the few, that leads to
+results.<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+<p>The sound of <i>hng</i> will always place the voice in proper focus by
+developing the resonance of the nose and head. The thin bones of the
+nose will first respond to the sound and after practice the vibrations
+can be felt on any part of the head and even more distinctly on the
+low than on the high tones. To attain this, repeat the sound <i>hung</i>
+times without number, prolonging the <i>ng</i> sound at least four counts.
+To insure the proper course of the vowel sounds through the nasal
+passages, follow <i>hung</i> with the vowel <i>ee</i>, as this vowel is more
+easily focused than any other; then with <i>oo</i>, <i>oh</i>, <i>aw</i> and <i>ah</i>.</p>
+
+<p><i>Ah</i> is by far the most difficult sound to focus and should never be
+used for initial practice. Much valuable time has been lost by the
+custom of using this sound at first. It should come last.</p>
+
+<p>The <i>h</i> is chosen to introduce the vowel sound because in the
+preparation to produce the sound of the letter <i>h</i> the epiglottis is
+wide open and the vocal cords entirely relaxed, and because less
+change of the tongue is required when the vowel sound follows.</p>
+
+
+<h4>Preliminary Exercise</h4>
+
+<p style="text-align: center"><i>Practise this softly on any pitch easy for the voice.</i></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image18.jpg" width="500" height="83" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music02.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Begin the tone quietly on an easy pitch and continue it softly to the
+end. Later, after these exercises are mastered on one pitch, use every
+note within the easy compass of the voice. Leave stridency of tone to
+the locust. It is no part of a perfect tone. It never appeared in the
+voices of the most famous singers. Those who allowed themselves to use
+it passed off the stage early in life. Much better results will be
+obtained by practising without any accompaniment. The sound of the<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+piano or other instrument distracts the pupil, prevents both pupil and
+teacher from hearing the voice, and hinders progress.</p>
+
+
+<h4><a name="IMPORTANT">IMPORTANT DIRECTIONS</a></h4>
+
+<p>The manner in which <a href="#Exercise_I">Exercise I</a> and those that follow is practised is
+of the utmost importance. Therefore carefully note and apply the
+following:</p>
+
+<p>1. Fully pronounce the word <i>hung</i> (<i>u</i> as in <i>stung</i>) at once, and
+prolong the tone, not on the vowel sound but on the <i>ng</i> sound. This
+establishes the proper head and nasal resonance at the very beginning
+of the exercise.</p>
+
+<p>2. In passing from <i>ng</i> to <i>ee</i> be very careful not to change the
+initial focus or lose the sensation of nasal and head resonance. Do
+not therefore move the lips or the chin. The only change at this point
+is the slight movement of the tongue required to pronounce <i>ee</i>, which
+must be a pure vowel without a trace of the preceding <i>g</i>.</p>
+
+<p>3. In passing from <i>ee</i> to <i>oo</i>, from <i>oo</i> to <i>oh</i>, and so on, do so
+with the least possible movement of lips and chin. <i>The initial
+sensation of nasal and head resonance must not be lost.</i></p>
+
+<p>4. Each vowel sound must be distinct in enunciation and pure in
+quality. Avoid blurring one with the other. Give each its true
+individuality.</p>
+
+<p>5. As jewels of different hue hung on a string, so must this exercise
+be the stringing of vowels on a continuous stream of sound.</p>
+
+
+<h4><a name="Exercise_I">Exercise I</a></h4>
+
+<h5>TO ESTABLISH NASAL AND HEAD RESONANCE</h5>
+
+<p>This is an exercise for focusing or placing the voice and developing
+the vibrations of the nasal and head cavities, the most essential
+parts of the resonant apparatus. If the nostrils are kept fully open,
+no nasal twang will be heard. The strength of the tone will correspond
+to the force of the vibrations of the nose and head, which can be
+plainly felt by resting the finger lightly upon the side of the nose.
+The vibrations may<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> eventually be plainly felt on the top and back of
+the head.</p>
+
+<p>Attack, that is, begin the tone, <i>softly</i> and on no account force it
+in the least. Pronounce the full word <i>at once</i>, prolong the <i>ng</i> four
+counts as indicated, and sing the five vowel sounds on a continuous,
+unbroken tone. Articulate entirely with the lips and without moving
+the under jaw. In this, as in the following exercises, keep the under
+jaw relaxed and open the mouth so as to separate the teeth as wide
+apart as is consistent with the action of the lips. See also the
+illustrations of proper lip position given at the close of <a href="#CHAPTER_II">Chapter II</a>.</p>
+
+<p style="text-align: center"><i>Practice this exercise on any pitch easy for the voice.</i></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image19.jpg" width="500" height="362" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music03.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Repeat this many times until the nose and head vibrations are fully
+recognized and established. After mastery of this exercise is
+acquired, any words ending in <i>ng</i> may be repeated. The word <i>noon</i>
+sung quietly on each note of the voice with the final consonant
+prolonged will be found helpful.</p>
+
+
+<h4>EXERCISES FOR SPEAKERS</h4>
+
+<p>When the placing of the voice is accomplished on the one tone
+(<a href="#Exercise_I">Exercise I</a>), the speaker can go on with practice in reading and
+reciting, allowing the voice to change its pitch<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> at its will, only
+being careful that all the tones are alike in quality.</p>
+
+<p>A profitable exercise for speakers is to pronounce any word or
+syllable ending with <i>ng</i>, as <i>ming</i>, <i>bing</i>, <i>sing</i>, <i>ring</i>, <i>ting</i>,
+and follow it with some familiar lines in a monotone, being sure that
+the tone is the same and produces the same vibrations in the nose and
+head.</p>
+
+<p>In the case of a person already a public speaker, this new <i>r&#233;gime</i>
+may not immediately manifest itself in performance, but gradually the
+right principles will assume control, and speaking be done with ease
+and effectiveness. Continual daily practice of exercises should be
+kept up.</p>
+
+<p>If a speaker has a musical ear and some musical knowledge, he will
+derive great benefit by following out the practice of the exercises
+for singers. In no way can the voice for speaking be improved so
+rapidly or decisively as by musical training.</p>
+
+
+<h4>Exercise II</h4>
+
+<h5>TO ESTABLISH HEAD AND NASAL RESONANCE</h5>
+
+<p>As in <a href="#Exercise_I">Exercise I</a>, sing softly, seeking purity of vowel sounds and
+quality of tone. Fully pronounce <i>hung</i> at once, prolonging the <i>ng</i>
+four counts as indicated. Pass from one vowel to the next with the
+least possible change in the position of the lips and chin. The stream
+of sound is to be unbroken, the tone focus unchanged, and the
+sensation of resonance in the upper chambers continuous.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image20a.jpg" width="500" height="186" alt="music" title="music" /></p>
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/image20b.jpg" width="500" height="169" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music04.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise III</h4>
+
+<h5>UPPER RESONANCE CONTINUED</h5>
+
+<p>Follow the directions for <a href="#Exercise_I">Exercise I</a>. Sing quietly in a pitch that is
+easy for the voice, and modulate up or down by half steps.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image21.jpg" width="500" height="352" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music05.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise IV</h4>
+
+<h5>UPPER RESONANCE CONTINUED</h5>
+
+<p>The last exercise carried the voice an interval of a third; this
+carries the voice an interval of a fifth. Follow carefully the
+directions of <a href="#Exercise_I">Exercise I</a>. Be sure to pronounce <i>hung</i> at once,
+prolonging the tone not on the vowel but on the <i>ng</i>. <i>Sing softly.</i>
+Vary the pitch to suit the voice.<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image22.jpg" width="500" height="526" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music06.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise V</h4>
+
+<h5>UPPER RESONANCE CONTINUED</h5>
+
+<p>The last exercise carried the voice an interval of a fifth, this one
+has a range of a sixth, while <a href="#Exercise_VI">Exercise VI</a> has a range of an octave.
+Carefully follow the <a href="#IMPORTANT">Important Directions</a> on <span lang="el" title="Printer error in original had page 60">
+<a href="#Page_59">page 59</a></span>.</p>
+
+<p><i>Sing softly</i> in a pitch that is easy for the voice.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image23a.jpg" width="500" height="185" alt="music" title="music" /></p>
+
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/image23b.jpg" width="500" height="405" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music07.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4><a name="Exercise_VI">Exercise VI</a></h4>
+
+<h5>TO ENLARGE THE THROAT AND THUS MAGNIFY THE TONE</h5>
+
+<p>Pronounce the word <i>hung</i> at once, opening the mouth well. Prolonging
+the <i>ng</i> sound as indicated will insure the proper focus.</p>
+
+<p>Sing the five vowel sounds throughout the scale as indicated. At first
+practise only on scales that are in easy range.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image24.jpg" width="500" height="315" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music08.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+
+
+<h4>VI<sup>a</sup></h4>
+
+<p style="text-align: center">
+<img src="images/image25.jpg" width="500" height="301" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music09.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise VII</h4>
+
+<h5>FOR PRODUCTION OF THE VOWEL SOUNDS IN PROPER FOCUS</h5>
+
+<p>Produce the <i>hung</i> at once, and add the vowel. <i>Be sure that the vowel
+sound follows the same course as the &quot;ng&quot; sound which precedes it, and
+produces the same sensation in the nose.</i></p>
+
+<p>The vowels are arranged in the order chosen because <i>ee</i> is the most
+easily focused while <i>ah</i> is by far the most difficult to focus, and
+hence the worst possible sound for initial practice. <i>Think</i> of the
+tone as being made in the nose and head.</p>
+
+<p>Let there be no break or stopping of the tone when passing from the
+<i>ng</i> sound to the vowel. Simply change the tone into the vowel desired
+by the proper change in the articulating organs.</p>
+
+<p>Sing the five vowel sounds connectedly, being sure that each vowel is
+correctly placed before passing to the next. The proper use of the
+lips will aid greatly in focusing the vowels. Start with the scale
+that is in comfortable range.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image26a.jpg" width="500" height="86" alt="music" title="music" /></p>
+
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/image26b.jpg" width="500" height="390" alt="music" title="music" /></p>
+
+
+<p style="text-align: center"><a href="music/music10.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise VIII</h4>
+
+<h5>TO ENLARGE THE THROAT AND FOCUS THE VOWELS</h5>
+
+<p>Open the mouth well and be sure that the vowel sounds are delivered as
+in the previous exercises; this will insure largeness with proper
+resonance.</p>
+
+<p>When practising this exercise, be careful, as with the others, that
+each vowel sound in its order is correctly given before passing to the
+next. Only in this way can rapid progress be made.</p>
+
+<p>The words <i>bing</i>, <i>sing</i>, <i>ting</i>, <i>fling</i>, <i>swing</i> are excellent to
+use for further practice.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image27a.jpg" width="500" height="162" alt="music" title="music" /></p>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/image27b.jpg" width="500" height="161" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music11.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise IX</h4>
+
+<h5>QUICK CHANGING NOTES WITHOUT CHANGING RESONANCE</h5>
+
+<p>The important point in this flexible exercise is to <i>keep the
+vowel-color, the focus or resonance, unchanged throughout the phrase</i>.
+Begin quietly, give the <i>ng</i> freedom and the upper resonance will
+adjust itself. This phrase is longer than in previous exercises; be
+sure then that you still have breath at the end&#8212;breath enough to sing
+further. Sing quietly. Pitch the exercise to suit the voice.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image28.jpg" width="500" height="327" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music12.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4><a name="Exercise_X">Exercise X</a></h4>
+
+<h5>FOR AGILITY</h5>
+
+<p>Sing each vowel sound separately before passing to the next. Be sure
+to start each vowel sound in purity and maintain it without change.
+Pitch the exercise to suit the voice.<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image29.jpg" width="500" height="478" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music13.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>&#160;For variants on the above use as initial consonants <i>b</i>, <i>p</i>, <i>m</i>,
+<i>f</i>, <i>v</i>, <i>d</i>, <i>k</i>, <i>n</i>, <i>t</i>, and <i>l</i>.</p>
+
+
+<h4>Exercise XI</h4>
+
+<h5>TO DEVELOP THE USE OF THE LIPS AND UNDER JAW</h5>
+
+<p>When practising this exercise protrude the lips and raise them toward
+the nose as far as possible; also make an effort to enlarge and widen
+the nostrils. This exercise may be practised more quickly than the
+preceding, but never at the expense of clearness of vowel distinction.
+Carry the exercise higher or lower, and in different keys, to suit
+individual voices. With a slight initial accent sing each two-measure
+section smoothly as one phrase. Avoid accenting each separate vowel
+sound. To do so would produce a series of jerks.<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image30.jpg" width="500" height="405" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music14.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>After practising the above as written modify it as follows:</p>
+
+<div class="blockquot"><p>
+1. Bee-boo-boh-baw-bah.<br />
+2. Pee-poo-poh-paw-pah.<br />
+3. Mee-moo-moh-maw-mah.<br />
+4. Fee-foo-foh-faw-fah.<br />
+5. Vee-voo-voh-vaw-vah.<br />
+6. Dee-doo-doh-daw-dah.<br />
+7. Kee-koo-koh-kaw-kah.<br />
+8. Nee-noo-noh-naw-nah.<br />
+9. Tee-too-toh-taw-tah.<br />
+10. Lee-loo-loh-law-lah.<br />
+</p></div>
+
+
+<h4>Exercise XII</h4>
+
+<h5>FOR FACILITY AND QUICK VOWEL CHANGE</h5>
+
+<p>Be careful not to blur the vowel sounds; each must be distinct and
+pure, and the change from one to the next must be made with a minimum
+of effort and without disturbing the focus of the tone.<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image31.jpg" width="500" height="743" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music15.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The divisions (<i>a</i> and <i>b</i>) of each of the above four variants may be
+regarded as distinct exercises or not. For further practice use as
+initial consonants any or all of the following: <i>b</i>, <i>p</i>, <i>m</i>, <i>f</i>,
+<i>v</i>, <i>d</i>, <i>k</i>, <i>n</i>, <i>t</i>, and <i>l</i>.<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+
+
+<h4>Exercise XIII</h4>
+
+<h5>ASCENDING AND DESCENDING SCALE</h5>
+
+<p>As in the previous exercises practise quietly with unvarying focus and
+aim to finish the phrase with breath unexhausted. Pitch the exercise
+to suit the voice.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image32.jpg" width="500" height="314" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music16.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+
+<h4>Exercise XIV</h4>
+
+<h5>THE LONG SCALE</h5>
+
+<p>Sing this scale exercise in medium range, without blurring either the
+vowel sounds or the notes.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image33a.jpg" width="500" height="285" alt="music" title="music" /></p>
+
+
+<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/image33b.jpg" width="500" height="294" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music17.mid">[Listen]</a></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p>The exercises thus far given have employed the five vowel sounds found
+most helpful in gaining a free resonance. These should now be
+supplemented by the use of <i>all</i> the vowel sounds. It is obvious that
+unless the singer is at home with every vowel and on any pitch in his
+vocal range perfect pronunciation is impossible. In <a href="#CHAPTER_II">Chapter II</a> a Scale
+of Vowel Sounds is given. For convenience it is repeated here:</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image10.jpg" width="600" height="87" alt="scale" title="scale" /></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Having so far mastered the previous exercises as to establish a free
+head and nasal resonance, take the Scale of Vowel Sounds and apply it
+to the now familiar exercises.</p>
+
+<p>Next, as suggested in <a href="#Exercise_X">Exercise X</a>, use as initial consonants in
+connection with the Vowel Scale the consonants <i>b</i>, <i>p</i>, <i>m</i>, <i>f</i>,
+<i>v</i>, <i>d</i>, <i>k</i>, <i>n</i>, <i>t</i> and <i>l</i>.</p>
+
+<p>Keep before you the formula that articulation should <i>seem</i> to be done
+entirely with and through the upper lip; <i>i.e.</i>, the <i>thought</i> should
+be that the words are projected through the upper lip.</p>
+
+<p>When by practise of the exercises given the voice has been focused and
+resonance established without any instrument,<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> scale exercises and
+simple vocalises may be taken up with or without the piano.</p>
+
+<p>In practising scales start each a semitone higher until the <i>easy
+limit</i> of the voice is reached, and no farther. Gain will be more
+rapid by working to deliver the tones within the voice's normal
+compass. Then when occasional effort is made the organs will be found
+ready to deliver the highest pitch of which the voice is capable.</p>
+
+<p>When sufficient progress has been made in mastering the execution of
+scales and easy vocalises, the pupil will be ready to begin the study
+of songs. If one foregoes the singing of songs during the few weeks
+occupied with primary lessons, results are obtained much more quickly.</p>
+
+<p>While practising exercises or songs the less the pianoforte is used,
+except to compare the pitch, the better. Such practice increases the
+confidence of the performer. The instrument prevents the singer's
+listening to the tone he is producing and judging of its
+effectiveness.</p>
+
+<p>Pupils with high or very low voices may continue their practice higher
+or lower as the voice is soprano, or bass, or contralto, but much
+practice on the extremes of the voice is unadvisable. If pure tones
+are produced in the medium range of the voice the highest or lowest
+tones will be found ready when called for. Therefore practise the
+extremes of the voice only enough to know the limits of the voice and
+to be assured the tones are there.</p>
+
+<p>When the singer can perform the preceding simple exercises and know
+that the tones are all focused, or placed and delivered, precisely
+alike, he is ready to practise any scale, down or up, and to execute
+any musical exercise or song for which he is intellectually fitted.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h2>
+
+<h2><span class="smcap">Throat Stiffness</span></h2>
+
+
+<p><span class="smcap">What</span> is the most frequent obstacle to good singing, the difficulty
+with which pupil and teacher most contend? Throat stiffness. What more
+than anything else mars the singing of those we hear in drawing-rooms,
+churches, and the concert room? Throat stiffness.</p>
+
+<p>This is the vice that prevents true intonation, robs the voice of its
+expressiveness, limits its range, lessens its flexibility, diminishes
+its volume, and makes true resonance impossible.</p>
+
+<p>This great interferer not only lessens the beauty of any voice, but
+directly affects the organ itself. The muscles of the larynx are small
+and delicate, and the adjustments they make in singing are exceedingly
+fine. When, however, the voice user stiffens his throat, these
+delicate muscles in their spontaneous effort to make the proper
+adjustments are compelled to contract with more than their normal
+strength. Every increase in throat stiffness demands a corresponding
+increase in muscle effort, an overexertion that persisted in must
+result in injury to the organ itself. Such misuse of the voice is
+bound to show injurious results. Every throat specialist knows this,
+and an untold multitude of those who, beginning with promise, have had
+to give up singing as a career, learn it too late.</p>
+
+<p>Singers are so accustomed to the sound of their own voices as to be
+usually quite unconscious of their own throat stiffness, though they
+may recognize it in their neighbor.</p>
+
+<p>Unfortunately throat stiffness by its very nature tends to aggravate
+itself, to constantly increase while the voice becomes less and less
+responsive to the singer's demands.</p>
+
+<p>There are a number of contributing causes to throat stiffness, but the
+principal cause is <i>throat consciousness</i> and mis<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>placed effort, due
+largely to current misconceptions regarding the voice. A common notion
+is that we sing with the throat, whereas we sing <i>through</i> it. Akin to
+this error is the notion, as common as it is fallacious, that force of
+tone, carrying power, originates in the larynx, whereas the initial
+tone due to the vibration of the vocal cords is in itself
+comparatively feeble. As shown at length in <a href="#CHAPTER_VI">Chapters VI</a> and
+<a href="#CHAPTER_VII">VII</a>,
+volume of tone, its color and carrying power, is acoustically and
+vocally a matter of <i>resonance</i>.</p>
+
+<p>Many there are who sing by dint of sheer force and ignorance, but
+their careers are necessarily short. The too common vulgar striving
+for power rather than for beauty or purity of tone induces unnatural
+effort and strain that both directly and sympathetically affect the
+throat with stiffness.</p>
+
+<p>Unnatural effort in breathing, over-effort in breath control, as well
+as singing without adequate breath, all induce tension that is
+reflected at once in the sensitive throat.</p>
+
+<p>Impatience of results, American hurry, beget unnatural effort and
+tension. &quot;Unclasp the fingers of a rigid civilization from off your
+throat.&quot; The student of the violin or the piano soon learns that only
+by a long and patient preparation can he fit himself to entertain even
+his admiring friends. The embryo singer, on the contrary, expects with
+far less expenditure of time and effort to appear in public.</p>
+
+<p>The human voice is a direct expression of the man himself; it
+registers spontaneously his mental and emotional states, even when he
+would wish them hidden. Mental conditions tinged with impatience, with
+fear, or with anything that begets tension of any sort are reflected
+instantly in the voice, robbing it of its better qualities and
+inducing stiffness in the throat.</p>
+
+<p>Reduced to its lowest terms voice culture to-day is a struggle with
+throat stiffness.</p>
+
+<p>The causes indicate the remedy. Foremost, then, is dropping all throat
+consciousness, all thought of the throat, all drawing of attention to
+it. The larynx must be left uncramped, unhindered to do its work in
+free unconsciousness,<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> which it will do if not disturbed by tension in
+its neighborhood, or by misdirected thought.</p>
+
+<p>The stream of consciousness must in singing be directed to the
+breathing which is below the throat, and to resonance and
+pronunciation which are above it. These functions are more or less
+consciously controlled until at last mastery makes their action
+automatic.</p>
+
+<p>I would once more emphasize the fact that the free use of all the
+resonance chambers, and the recognition of the great function of
+resonance, will do more than anything else to set the voice free and
+emancipate the singer from all interfering rigidity.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h2>
+
+<h2><span class="smcap">Some General Considerations</span></h2>
+
+
+<h4>THE NATURAL VOICE</h4>
+
+<p><span class="smcap">Pupils</span> are constantly urged to sing and speak naturally, because the
+&quot;natural&quot; tone is correct. This is exceedingly indefinite. It is
+natural for a child to imitate the first sound it hears, whether it be
+correct or incorrect. In either case the child imitates it, and for
+that child it becomes the natural tone. The child reared in the
+wilderness, beyond the hearing of a human voice, will imitate the
+notes of the whip-poor-will, the chatter of the monkey, and the hoot
+of the owl, and for him they are natural tones.</p>
+
+<p>To be natural is the hardest lesson to learn and it is only the result
+of imitation or prolonged discipline. Untrained naturalness is the
+perfection of awkwardness. The involuntary functions of organic life
+are the only ones naturally performed correctly. Nature's method of
+breathing, circulation, and digestion can be depended upon until
+disarranged by subsequent conditions, but unless proper vocalization
+is established by imitation and discipline this function is sure to be
+corrupted by false examples.</p>
+
+
+<h4>AGE TO BEGIN</h4>
+
+<p>After the child begins to talk, the sooner his vocal education begins
+the better. Even at that early age he can be made to understand the
+merits of head vibrations and by simple exercises produce them, and
+once taught will never forget them. Vocalizing, like every other art,
+is most easily learned by imitation, and the advantage of the early
+years, when that faculty is most active, should not be lost. In olden
+times the importance of this was fully realized. More than three
+centuries ago, old Roger Ascham wrote: &quot;All languages, both<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> learned
+and mother tongues, are begotten and gotten solely by imitation. For
+as ye used to hear so ye learn to speak. If ye hear no other, ye speak
+not yourself; and of whom ye only hear, of them ye only learn.&quot;
+Nineteen centuries ago Quintillian wrote: &quot;Before all let the nurses
+speak properly. The boy will hear them first and will try to shape his
+words by imitating them.&quot;</p>
+
+<p>If the right way of using the voice is early taught it will be a guard
+against the contraction of bad habits which can only be corrected
+later with infinite trouble. It certainly would be unwise to put a
+young child under continued training; but even in the kindergarten the
+right method of voice production can and should be taught. Teachers of
+kindergarten and primary schools should be familiar with the
+principles of voice training and be able to start the pupils at once
+on the right road.</p>
+
+
+<h4>IN PUBLIC SCHOOLS</h4>
+
+<p>The sooner this branch of education is made a part of the curriculum
+of our common schools, the sooner shall we produce a race of good
+speakers and singers.</p>
+
+<p>If, during the pupil's school life, proper attention is paid to these
+primary principles and to <i>correct articulation</i>, a large majority of
+students will graduate from our common schools prepared to advance in
+the art of elocution or of singing without being obliged first to
+unlearn a vast amount of error and to correct a long list of bad
+habits.</p>
+
+<p>If each day in the public schools a few minutes only are devoted to
+the subject by a teacher who understands it and who will call the
+attention of the pupils to the proper applications of the principles
+in their daily recitations, it will be found amply sufficient to
+develop and establish a good speaking and singing voice.</p>
+
+
+<h4>ARTISTRY</h4>
+
+<p>If artistry is to be attained, every organ must be individually well
+trained. Yet, during performance, no one part<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> should be given undue
+prominence. The voice should be the product of all the organs equally
+well developed. Continued practice will enable the performer to
+correlate the whole&#8212;blend the strength of all in one.</p>
+
+<p>It goes without saying that no one in singing or speaking should
+appear to be governed by a &quot;method.&quot; During the early stages of
+education, pupils should be amenable to rules and methods, but they
+must not expect to be acceptable performers until able to forget their
+lessons and simply and unconsciously make use of all the advantages of
+their training. Even when the education is finished, and the <i>prima
+donna</i> has made her successful debut, continued daily repetition of
+primary exercises is necessary to maintain excellence and insure the
+progress that every performer desires. Our best singers to-day are as
+diligent students of the technique of the voice as are the tyros
+struggling with the first elements.</p>
+
+
+<h4>LIFE'S PERIODS</h4>
+
+<p>Human life is divided into three periods: <i>first</i>, that of effort to
+get an education; <i>second</i>, of effort to maintain it; and <i>third</i>, of
+effort to resist the natural decline which comes with advancing years.
+The singer and speaker must drill to develop the voice, must drill to
+keep it in condition, and must drill to resist the encroachments of
+senility. Eternal vigilance is the price of vocal success.</p>
+
+
+<h4>APPLICATION OF ESSENTIALS</h4>
+
+<p>The application of the principles here discussed will show that a
+musical voice is not the product of mysterious systems, but a matter
+of scientific certainty. The essentials are good breathing, good
+focusing, good resonance, and good articulation. These four elements
+are so interdependent that one cannot be perfected without the other.
+With these attained, the intellect, the sentiment, and the emotion of
+the performer will culminate in artistic excellence.<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p>
+
+
+<h4>REPOSE AS A PREPARATION FOR VOCAL EXERCISE</h4>
+
+<p>The nervousness or fear which manifests itself in constraint and
+rigidity of the muscles and sometimes in stage fright is a serious
+hindrance to progress. The effectual offset to this painful condition
+is repose.</p>
+
+<p>The art of inducing a condition of repose can be readily acquired by
+any one who will carefully and faithfully do as follows: Place
+yourself in an easy lying or lounging position in a quiet place, with
+fresh air. Physical repose prepares for and invites mental repose. Now
+allow the mind to work care free at its own sweet will without any
+attempt to control it. Close the eyes and <i>breathe slowly, gently, and
+deeply, with steady rhythm</i>. In two or three minutes a sensation of
+quiet restful repose will be experienced, which may be continued for
+several minutes or may even lead to a natural sound sleep.</p>
+
+<p>This result may not be attained at the first or the second trial, but
+a few repetitions of the exercise will insure success in almost every
+case. After the art is attained in this formal way, ability to induce
+the same repose when sitting upright, or while standing, will be
+quickly developed.</p>
+
+<p>This repose is the fitting preparation for a lesson or a performance
+and may be induced during the progress of either, to allay any
+trepidation incident to the situation. A mastery of this simple art
+will make progress in the work of voice development much more rapid,
+and make attainable a degree of discipline that is impossible without
+it. It will prove for the beginner a sure prevention of stage fright
+and a great relief to the most chronic sufferer from this malady.</p>
+
+
+<h4>THE VIBRATO</h4>
+
+<p>The <i>vibrato</i> is a rhythmic pulsation of the voice. It often appears
+in untrained voices; in others it appears during the process of
+cultivation. Some have thought it the perfection of sympathetic
+quality; others esteem it a fault.</p>
+
+<p>The vibrato is caused by an undulating variation of pitch or power,
+often both. The voice does not hold steadily and<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> strictly to the
+pitch, and according to the amount of the variation a corresponding
+vibrato, or tremolo, is produced.</p>
+
+<p>The action of stringed instruments illustrates this statement. The
+finger of the violinist vibrates on the string by rocking rapidly back
+and forth and the vibrato is the result.</p>
+
+<p>The same is true of the human instrument. By variation of the tension,
+the vocal apparatus sends forth several tones in alternation, of a
+slightly different pitch, which together produce the effect.</p>
+
+<p>Three sources are ascribed for the vibrato; one is a rapid, spasmodic
+vibration of the diaphragm, causing variation of breath pressure;
+another is the alternate tension and relaxation of the larynx and
+vocal cords; a third is that commonest of faults&#8212;throat stiffness.
+Either cause is possible, and variation in the pitch or intensity of
+the tone is the result. Sufficient investigations have not been made
+to make the matter certain, but tremolo, trembling of the vocal
+organs, and muscular stiffness, or unnatural tension, seem to go
+together.</p>
+
+<p>It is quite possible in the early stages of culture so to train the
+voice as to use the vibrato or not at will, but if not early
+controlled this, like other bad habits, gains the mastery. Excessive
+vibrato has spoiled many good voices. It is not a fundamental quality
+of the voice. A little vibrato may occasionally be desirable when
+properly and skilfully used; more than this is to be shunned as a
+dangerous vice.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h2>
+
+<h2><span class="smcap">The Psychology of Vocal Culture</span></h2>
+
+
+<p><span class="smcap">Mental</span> conception precedes execution. The picture must exist in the
+artist's mind before it can be drawn on the canvas. The architect must
+mentally see the majestic cathedral in all its details before he can
+draw the plans from which it can be built. In the field of physical
+activity no movement is made until the mind has gone before and
+prepared the way. A person's ability to do is in a great degree
+measured by his determination to do, but sitting in a rocking-chair
+and thinking will never make an athlete. Mental action is necessary,
+but only through trained muscular action can the mental action
+materialize in a finished performance.</p>
+
+<p>So too the mind must anticipate the action of the vocal organs, but
+the organs themselves must be led to interpret the mental concept
+until such action becomes spontaneous. Action in turn quickens the
+mental process, and the mental picture becomes more vivid.</p>
+
+<p>Note with emphasis that the mental concept <i>precedes</i> the action and
+governs it. Therefore, instead of producing tone by local effort, by
+conscious muscular action of any sort, correctly <i>think the tone</i>,
+correctly shape and color it <i>mentally</i>. <b>Every vocal tone is a mental
+concept made audible.</b> The beginner and the confirmed bungler alike
+fail in this prime essential&#8212;they do not make this mental picture of
+tone before singing it. Kindred to this is deficiency in hearing, in
+discriminating between good tone color and poor. The student must
+constantly compare his tone as it is sung with the picture in his
+mind. Training the voice is therefore largely a training of mind and
+ear, a developing of nicety in discrimination. Singing is mental
+rather than physical, psychologic rather than physiologic. Think
+therefore of the effect desired rather than of the process.<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
+
+<p>In considering the details of voice production analytically we are apt
+to forget that man, notwithstanding his complexity, is a <i>unit</i> and
+acts as a unit. Back of all and underlying man's varied activity is
+the psychical. In the advanced stages of the art of speech and song
+this psychical element is of pre-eminent importance.</p>
+
+<p>The speaker who essays to give expression to his own thoughts must
+have his ideas sharply defined and aflame in order to so utter them
+that they will arouse his hearers to enthusiasm. The speaker or singer
+who would successfully interpret the thoughts of others must first
+make those thoughts his very own. When this is attained, then the
+voice, action, and the whole spirit of the performer, responding to
+the theme, will beget a like responsiveness in his audience.</p>
+
+
+<h4>THE SINGER BEHIND THE VOICE</h4>
+
+<p>Books upon books have been written on voice training, and will
+continue to be written. The preceding pages have been devoted to the
+fundamental subject of tone production, but it is time to suggest that
+back of the voice and the song is the singer himself with his complex
+personality. Back of the personality is the soul itself, forever
+seeking utterance through its mask of personality. All genuine impulse
+to sing is from the soul in its need for expression. Through
+expression comes growth in soul consciousness and desire for greater
+and greater self-expression.</p>
+
+<p>Singing is far more than &quot;wind and muscle,&quot; for, as Ffrangcon-Davies
+puts it, &quot;The whole spiritual system, spirit, mind, sense, <i>soul</i>,
+together with the whole muscular system from feet to head, will be in
+the wise man's singing, <i>and the whole man will be in the tone</i>.&quot;</p>
+
+<p>Of all the expressions of the human spirit in art form, the sublimated
+speech we call song is the most direct. Every other art requires some
+material medium for its transmission, and in music, subtlest of all
+the arts, instruments are needed, except in singing only.<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+
+<h4>FREEDOM</h4>
+
+<p>In song the singer himself is the instrument of free and direct
+expression. Freedom of expression, complete utterance, is prevented
+only by the singer himself. No one hinders him, no one stands in the
+way but himself. The business of the teacher is to <i>set free</i> that
+which is latent. His high calling is by wise guidance to help the
+singer to get out of his own way, to cease standing in front of
+himself. Technical training is not all in all. Simple recognition of
+the existence of our powers is needed even more. Freedom comes through
+the recognition and appropriation of inherent power; recognition comes
+first, the appropriation then follows simply. The novice does not know
+his natural power, his birthright, and must be helped to find it,
+chiefly, however, by helping himself, by cognizing and re-cognizing
+it.</p>
+
+<p>No student of the most human of all arts&#8212;singing&#8212;need give up if he
+has burning within him the <i>song impulse</i>, the <i>hunger to sing</i>. This
+inner impulse is by its strength an evidence of the power to sing; the
+very hunger is a promise and a prophecy.</p>
+
+
+<h4>DETERRENTS</h4>
+
+<p>The deterrents to beautiful singing are physical in appearance, but
+these are outer signs of mental or emotional disturbance. Normal
+poise, which is strength, smilingly expresses itself in curves, in
+tones of beauty.</p>
+
+<p><i>Mental discord</i> results in angularity, rigidity, harshness.</p>
+
+<p><i>Impatience</i> produces feverishness that makes vocal poise impossible;
+and impatience induces the modern vice of forcing the tone. Growth is
+a factor for which hurried forcing methods make no allowance.</p>
+
+<p><i>Excess of emotion</i> with its loss of balance affects the breathing and
+play of the voice.</p>
+
+<p><i>Exertion</i>, trying effort, instead of easy, happy activity induces
+hampering rigidities.</p>
+
+<p><i>Intensity</i>, over-concentration, or rather false concentra<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>tion,
+emotional tension, involves strain, and strain is always wrong.</p>
+
+<p><i>Over-conscientiousness</i>, with its fussiness about petty detail, and
+insistence on non-essentials, is a deterrent from which the robust are
+free. <i>Over-attention to the mechanics</i> of voice production is a
+kindred deterrent. Both deterrents prevent that prime characteristic
+of expression&#8212;spontaneity.</p>
+
+<p><i>Anxiety</i> is a great contractor of muscle, a great stiffener. Anxiety
+always forgets the <i>power</i> within, and falsely says to the
+song-hunger, &quot;You shall never be satisfied.&quot;</p>
+
+<p><i>Self-repression</i> is a great deterrent that afflicts the more
+sensitive, particularly those of puritanic inheritance. It is a
+devitalizer and a direct negative to expression, which is vital, is
+<i>life</i>.</p>
+
+<p>All of these deterrents are negative and may be overcome by fuller
+recognition of the inner power that by its very nature must
+perpetually seek positive expression.</p>
+
+
+<h4>CONCLUSION</h4>
+
+<p>In conclusion, the student can perpetually find encouragement in a
+number of happy facts.</p>
+
+<p>Man is endowed by nature, except in rare instances, with a perfect
+vocal apparatus. When abnormal conditions are found they are usually
+in the adult voice, and are due solely to misuse. In other words
+defects are not inherent but acquired and <i>can be removed</i>.</p>
+
+<p>By nature the human voice is beautiful, for the tendency of nature is
+always in the direction of beauty. Whatever is unlovely in singing, as
+in all else, is <i>un</i>natural. True method is therefore never artificial
+in its action, but simple, because the natural is always simple.</p>
+
+<p>Finally, no, not finally, but firstly and secondly and thirdly and
+perpetually, every student of singing and every teacher of it must
+constantly bear in mind the happy law:</p>
+
+<p style="text-align: center"><b>THE RIGHT WAY IS ALWAYS AN EASY WAY</b></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+<h2><a name="BOOKS_CONSULTED" id="BOOKS_CONSULTED"></a>BOOKS CONSULTED</h2>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="books consulted">
+  <tbody>
+  <tr>
+    <td style="text-align: center"><b><span class="smcap">Title</span></b></td>
+    <td style="text-align: center"><b><span class="smcap">Author</span></b></td>
+    <td style="text-align: center"><b><span class="smcap">Published</span></b></td>
+  </tr>
+  <tr>
+    <td>An Essay on the History and Theory of Music, and of the<br />
+    Qualities and Capacity of the Human Voice</td>
+    <td><br />
+    Isaac Nathan</td>
+    <td><br />
+    London, 1823.</td>
+  </tr>
+  <tr>
+    <td>Elements of Vocal Science</td>
+    <td>Richard Mackenzie Bacon</td>
+    <td>London, 1824.</td>
+  </tr>
+  <tr>
+    <td>Orthophony; or the Cultivation of the Voice in Elocution</td>
+    <td>William Russell</td>
+    <td>Boston, 1859.</td>
+  </tr>
+  <tr>
+    <td>Vocal Physiology</td>
+    <td>Charles Alex. Guilmette</td>
+    <td>New York, 1860.</td>
+  </tr>
+  <tr>
+    <td>Die Lehre von den Tonempfindungen als physiologische<br />
+    Grundlage f�r die theorie der Musik</td>
+    <td><br />
+    H.L.F. Helmholtz</td>
+    <td><br />
+    Brunswick, 1863.</td>
+  </tr>
+  <tr>
+    <td>The Sensations of Tone as a Physiological Basis for the<br />
+    Theory of Music<br />
+    (Translation of above)</td>
+    <td><br />
+    H.L.F. Helmholtz<br />
+    (Translated by A.J. Ellis)</td>
+    <td><br />
+    <br />
+    London, 1875.</td>
+  </tr>
+  <tr>
+    <td>Sound</td>
+    <td>John Tyndall</td>
+    <td>London, 1867.</td>
+  </tr>
+  <tr>
+    <td>Principles of Elocution and Voice Culture</td>
+    <td>Benj. W. Atwell</td>
+    <td>Providence, 1868.</td>
+  </tr>
+  <tr>
+    <td>The Voice, Its Artistic Production, Development and<br />
+    Preservation</td>
+    <td><br />
+    George J. Lee</td>
+    <td><br />
+    London, 1870.</td>
+  </tr>
+  <tr>
+    <td>The Cultivation of the Speaking Voice</td>
+    <td>John Pyke Hullah</td>
+    <td>Oxford, 1870.</td>
+  </tr>
+  <tr>
+    <td>Voice Building</td>
+    <td>Horace R. Streeter</td>
+    <td>Boston, 1871.</td>
+  </tr>
+  <tr>
+    <td>Principles of Elocution and Voice Culture</td>
+    <td>Benjamin Atwell</td>
+    <td>Boston, 1872.</td>
+  </tr>
+  <tr>
+    <td>Hints for Pronunciation in Singing</td>
+    <td>Georgiana Weldon</td>
+    <td>London, 1872.</td>
+  </tr>
+  <tr>
+    <td>The Voice in Singing</td>
+    <td>Emma Seiler</td>
+    <td>Philadelphia, 1872.</td>
+  </tr>
+  <tr>
+    <td>The Voice as an Instrument</td>
+    <td>Ange A. Pattou</td>
+    <td>New York, 1878.</td>
+  </tr>
+  <tr>
+    <td>The Vocal Process</td>
+    <td>John Howard</td>
+    <td>New York, 1878.</td>
+  </tr>
+  <tr>
+    <td>Speech in Song</td>
+    <td>Alexander J. Ellis</td>
+    <td>London, 1878.</td>
+  </tr>
+  <tr>
+    <td>Voice and Vocalization</td>
+    <td>Wm. P. Robert</td>
+    <td>London, 1879.</td>
+  </tr>
+  <tr>
+    <td>The Human Voice and Connected Parts</td>
+    <td>Joseph Montgomery Farrar</td>
+    <td>London, 1881.</td>
+  </tr>
+  <tr>
+    <td>The Mechanism of the Human Voice</td>
+    <td>Emil Behnke</td>
+    <td>London, 1882.</td>
+  </tr>
+  <tr>
+    <td>Gymnastics of the Voice</td>
+    <td>Oskar Guttmann</td>
+    <td>Albany, 1882.</td>
+  </tr>
+  <tr>
+    <td>The Art of Voice Production with Special Reference<br />
+    to the Methods of Correct Breathing</td>
+    <td><br />
+    Ange A. Pattou</td>
+    <td><br />
+    New York, 1882.</td>
+  </tr>
+  <tr>
+    <td><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>The Old Italian School of Singing </td>
+    <td>Leo Kofler</td>
+    <td>Albany, 1882.</td>
+  </tr>
+  <tr>
+    <td>The Secrets of the Voice in Singing</td>
+    <td>Emilio Belari</td>
+    <td>New York, 1883.</td>
+  </tr>
+  <tr>
+    <td>Deep Breathing</td>
+    <td>Sophia A. Ciccolina</td>
+    <td>New York, 1883.</td>
+  </tr>
+  <tr>
+    <td>Artistic Voice in Speech and Song</td>
+    <td>Charles Lunn</td>
+    <td>London, 1884.</td>
+  </tr>
+  <tr>
+    <td>Voice, Song and Speech</td>
+    <td>Lennox Browne and Emil Behnke</td>
+    <td>London, 1884.</td>
+  </tr>
+  <tr>
+    <td>Modern Singing Methods, Their Use and Abuse</td>
+    <td>John Franklin Botume</td>
+    <td>Boston, 1885.</td>
+  </tr>
+  <tr>
+    <td>The Diaphragm and Its Functions</td>
+    <td>J.M.W. Kitchen</td>
+    <td>Albany, 1885.</td>
+  </tr>
+  <tr>
+    <td>The Voice from a Practical Standpoint</td>
+    <td>Edmund J. Meyer</td>
+    <td>New York, 1886.</td>
+  </tr>
+  <tr>
+    <td>The Hygiene of the Vocal Organs</td>
+    <td>Morrell Mackenzie, M.D.</td>
+    <td>London, 1886.</td>
+  </tr>
+  <tr>
+    <td>How to Sing</td>
+    <td>Wm. Henry Daniell</td>
+    <td>New York, 1887.</td>
+  </tr>
+  <tr>
+    <td>The Art of Breathing as the Basis for Tone Production</td>
+    <td>Leo Kofler</td>
+    <td>New York, 1887.</td>
+  </tr>
+  <tr>
+    <td>The Voice. How to Train It</td>
+    <td>Edward Barrett Warman</td>
+    <td>Boston, 1890.</td>
+  </tr>
+  <tr>
+    <td>Scientific Voice. Artistic
+Singing and Effective Singing</td>
+    <td>Thomas Chater</td>
+    <td>London, 1890.</td>
+  </tr>
+  <tr>
+    <td>Voice Figures</td>
+    <td>Mrs. Margaret Watts Hughes</td>
+    <td>London, 1891.</td>
+  </tr>
+  <tr>
+    <td>The Human Voice; Its Cultivation</td>
+    <td>W.H. Griffiths</td>
+    <td>London, 1892.</td>
+  </tr>
+  <tr>
+    <td>The Philosophy of Singing</td>
+    <td>Clara Kathleen Rogers</td>
+    <td>New York, 1893.</td>
+  </tr>
+  <tr>
+    <td>The What and How of Vocal Culture</td>
+    <td>F. Rowena Medini</td>
+    <td>New York, 1893.</td>
+  </tr>
+  <tr>
+    <td>Exercises in Vocal Technique</td>
+    <td>John Franklin Botume</td>
+    <td>Boston, 1894.</td>
+  </tr>
+  <tr>
+    <td>Text-Book on the Natural Use of the Voice</td>
+    <td>George E. Thorp and William Nicholl</td>
+    <td>London, 1895.</td>
+  </tr>
+  <tr>
+    <td>Respiration for Advanced Singers</td>
+    <td>John Franklin Botume</td>
+    <td>Boston, 1897.</td>
+  </tr>
+  <tr>
+    <td>Voice Building and Tone Placing</td>
+    <td>Henry Holbrook Curtis, M.D.</td>
+    <td>New York, 1896.</td>
+  </tr>
+  <tr>
+    <td>Twenty Lessons on the Development of the Voice</td>
+    <td>George E. Thorp</td>
+    <td>London, 1896.</td>
+  </tr>
+  <tr>
+    <td>Voxometric Revelation (The Problem Surrounding the<br />
+    Production of the Human Voice Finally Discovered)</td>
+    <td><br />
+    Alfred Augustus North</td>
+    <td><br />
+    London, 1896.</td>
+  </tr>
+  <tr>
+    <td>The Art of Singing</td>
+    <td>Wm. Shakespeare</td>
+    <td>London and Boston, 1898.</td>
+  </tr>
+  <tr>
+    <td>The Rightly-Produced Voice</td>
+    <td>Edward Davidson Palmer</td>
+    <td>London, 1898.</td>
+  </tr>
+  <tr>
+    <td><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>How to Train Children's Voices</td>
+    <td>T. Maskell Hardy</td>
+    <td>London, 1899.</td>
+  </tr>
+  <tr>
+    <td>How to Sing (Meine Gesangskunst)</td>
+    <td>Lilli Lehmann</td>
+    <td>New York, 1902.</td>
+  </tr>
+  <tr>
+    <td>Scientific Tone Production</td>
+    <td>Mary Ingles James</td>
+    <td>Boston, 1903.</td>
+  </tr>
+  <tr>
+    <td>English Diction for Singers and Speakers</td>
+    <td>Louis Arthur Russell</td>
+    <td>Boston, 1905.</td>
+  </tr>
+  <tr>
+    <td>The Training of Boys' Voices</td>
+    <td>Clarke Ellsworth Johnson</td>
+    <td>Boston, 1906.</td>
+  </tr>
+  <tr>
+    <td>Voice Production in Singing and Speaking</td>
+    <td>Wesley Mills, M.D.</td>
+    <td>Philadelphia, 1906.</td>
+  </tr>
+  <tr>
+    <td>The Art of the Singer</td>
+    <td>W.J. Henderson</td>
+    <td>New York, 1906.</td>
+  </tr>
+  <tr>
+    <td>The Commonplaces of Vocal Art</td>
+    <td>Louis Arthur Russell</td>
+    <td>Boston, 1907.</td>
+  </tr>
+  <tr>
+    <td>The Singing of the Future</td>
+    <td>David Ffrangcon-Davies</td>
+    <td>London, 1908.</td>
+  </tr>
+  <tr>
+    <td>The Art of Singing and Vocal Declamation</td>
+    <td>Sir Charles Santley</td>
+    <td>London, 1908.</td>
+  </tr>
+</tbody>
+</table>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<p>
+<span class="smcap"><a name="Abdominal">Abdominal Breathing</a></span>, employed by Martel, <a href="#Page_4">4</a>, <a href="#Page_26">26</a>;<br />
+<span style="margin-left: 1em;">lateral, <a href="#Page_3">3</a>.</span><br />
+<span style="margin-left: 1em;">(See also <i><a href="#Chest">Chest-abdominal breathing</a></i> and <i><a href="#Lateral">Lateral abdominal breathing</a></i>.)</span><br />
+<br />
+<span class="smcap">Acoustics</span>, <a href="#Page_43">43</a>;<br />
+<span style="margin-left: 1em;">experiments in, <a href="#Page_46">46</a>-48;</span><br />
+<span style="margin-left: 1em;">Pascal on, <a href="#Page_49">49</a>.</span><br />
+<br />
+<span class="smcap">Actor</span>, enunciation of the, <a href="#Page_19">19</a>;<br />
+<span style="margin-left: 1em;">importance of deep breathing for, <a href="#Page_19">19</a>.</span><br />
+<br />
+<span class="smcap">Adam's Apple</span>, the male larynx, <a href="#Page_9">9</a>.<br />
+<br />
+<span class="smcap">Age</span> to begin study of voice, <a href="#Page_77">77</a>.<br />
+<br />
+<span class="smcap">Ah</span>-sound, narrow limits of, <a href="#Page_18">18</a>;<br />
+<span style="margin-left: 1em;">how produced, <a href="#Page_22">22</a>;</span><br />
+<span style="margin-left: 1em;">Lilli Lehmann on, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">place of, in practice, <a href="#Page_57">57</a>.</span><br />
+<br />
+<span class="smcap">Air Cavities</span> (see <i><a href="#Sinuses">Sinuses</a></i>).<br />
+<br />
+<span class="smcap">Anxiety</span>, a deterrent to beautiful singing, <a href="#Page_85">85</a>.<br />
+<br />
+<span class="smcap">Application of Essentials</span>, <a href="#Page_79">79</a>.<br />
+<br />
+<span class="smcap">Appunn</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>.<br />
+<br />
+<span class="smcap">Articulation</span>, differing opinions concerning, <a href="#Page_3">3</a>;<br />
+<span style="margin-left: 1em;">relation of, to resonance, <a href="#Page_51">51</a>;</span><br />
+<span style="margin-left: 1em;">through upper lip, <a href="#Page_72">72</a>.</span><br />
+<span style="margin-left: 1em;">(See also <i><a href="#Pronunciation">Pronunciation</a></i>.)</span><br />
+<br />
+<span class="smcap">Articulator</span>, <a href="#Page_6">6</a>.<br />
+<br />
+<span class="smcap">Artistry</span>, <a href="#Page_79">79</a>.<br />
+<br />
+<span class="smcap">Ascham, Roger</span>, on voice culture through imitation, <a href="#Page_77">77</a>.<br />
+<br />
+<span class="smcap">Aw</span>-sound, lip position for, <a href="#Page_22">22</a>;<br />
+<span style="margin-left: 1em;">in exercises, <a href="#Page_59">59</a>, etc.</span><br />
+<br />
+<br />
+<span class="smcap">Beauty of Tone</span>, a criterion of correct vocal action, <a href="#Page_56">56</a>.<br />
+<br />
+<span class="smcap">Bell</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>.<br />
+<br />
+<span class="smcap">Booth, Edwin</span>, as a good speaker, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Booth, Junius Brutus</span>, impairment of his voice, <a href="#Page_53">53</a>.<br />
+<br />
+<span class="smcap"><a name="Breath">Breath Control</a></span>, <a href="#Page_23">23</a>-32;<br />
+<span style="margin-left: 1em;">importance of, in both speaking and singing, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">muscles of respiration in, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">the diaphragm in, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">muscles in, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">the lungs in, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">inspiration, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">expiration, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">correct method of, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">a cure for nervousness, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">necessity of exercises, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">economy a factor in, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">exaggerated, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">initial use of, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">exercises for, <a href="#Page_33">33</a>-37;</span><br />
+<span style="margin-left: 1em;">of Farinelli, <a href="#Page_37">37</a>.</span><br />
+<br />
+<span class="smcap">Breath Force</span>, initial use of, <a href="#Page_31">31</a>;<br />
+<span style="margin-left: 1em;">reserve, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">wasted, <a href="#Page_31">31</a>.</span><br />
+<br />
+<span class="smcap">Breath Mastery</span>, meaning of, <a href="#Page_32">32</a>.<br />
+<br />
+<span class="smcap"><a name="Breathing">Breathing</a></span>, art of, <a href="#Page_3">3</a>;<br />
+<span style="margin-left: 1em;">an amplification of the daily habit, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">defined as singing, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">correct, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>;</span><br />
+<span style="margin-left: 1em;">not differing in sex, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">vicious habits of, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">controlling deeply, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">tests of, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">nose versus mouth, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">regularity of, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">in obtaining power and largeness of tone, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">for high tones, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">relation of, to nervousness, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">rhythmic, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">necessity of exercises, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">illustrations of, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>;</span><br />
+<span style="margin-left: 1em;">exercises in, <a href="#Page_33">33</a>-37;</span><br />
+<span style="margin-left: 1em;">economy in, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">tests in, by Professor Mills, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">exaggerated control of, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">exhaustion, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">initial force in, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">reserve power in, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">mastery of, <a href="#Page_32">32</a>.</span><br />
+<span style="margin-left: 1em;">(See also <i><a href="#Abdominal">Abdominal breathing</a></i>.)</span><br />
+<br />
+<span class="smcap">Broschi, Don Carlo</span>, breath control of, <a href="#Page_36">36</a>.<br />
+<br />
+<span class="smcap">Browne, Dr. Lennox</span>, on the laryngoscope, <a href="#Page_3">3</a>.<br />
+<br />
+<span class="smcap">Browne</span> and <span class="smcap">Behnke</span>, on nasal resonance, <a href="#Page_53">53</a>.<br />
+<br />
+<br />
+<span class="smcap">Chest</span>, expansion of and resonance, <a href="#Page_49">49</a>.<br />
+<br />
+<span class="smcap"><a name="Chest">Chest-Abdominal Breathing</a></span>, <a href="#Page_25">25</a>;<br />
+<span style="margin-left: 1em;">illustrated in sleeping child, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">tests in, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>.</span><br />
+<br />
+<span class="smcap">Chest Tones</span>, former emphasis given to, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">wrongly termed, <a href="#Page_5">5</a>.</span><br />
+<br />
+<span class="smcap">Clay, Henry</span>, as a good speaker, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Closed Tones</span>, former emphasis given to, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">wrongly termed, <a href="#Page_5">5</a>.</span><br />
+<br />
+<span class="smcap">Cryer, Dr. W.H.</span>, on the frontal sinus, <a href="#Page_12">12</a>.<br />
+<br />
+<span class="smcap">Culture of the Voice</span> (see <i>
+<a href="#Voice_Culture">Voice culture</a></i>).<br />
+<br />
+<br />
+<span class="smcap">Deep Breathing</span>, importance of, for the actor, <a href="#Page_19">19</a>.<br />
+<span style="margin-left: 1em;">(See also <i><a href="#Breathing">Breathing</a></i>.)</span><br />
+<br />
+<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span><span class="smcap">Deterrents to Beautiful Singing</span>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>.<br />
+<br />
+<span class="smcap">Diaphragm</span>, in breathing, <a href="#Page_19">19</a>;<br />
+<span style="margin-left: 1em;">not a muscle of expiration, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">described, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">in inspiration, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">in expiration, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>.</span><br />
+<br />
+<span class="smcap">Difference Between Singing and Speaking</span>, <a href="#Page_17">17</a>.<br />
+<br />
+<br />
+<span class="smcap">Ear</span>, function of, in tone production, <a href="#Page_57">57</a>;<br />
+<span style="margin-left: 1em;">training of, <a href="#Page_57">57</a>.</span><br />
+<br />
+<span class="smcap">Ee</span>-sound, lip position for, <a href="#Page_20">20</a>;<br />
+<span style="margin-left: 1em;">in exercises, <a href="#Page_57">57</a>, <a href="#Page_59">59</a>, etc.</span><br />
+<br />
+<span class="smcap">Effort, Tense</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Emotion</span>, effect on tone quality, <a href="#Page_7">7</a>;<br />
+<span style="margin-left: 1em;">excess of, a deterrent to beautiful singing, <a href="#Page_84">84</a>.</span><br />
+<br />
+<span class="smcap">Empiricists</span>, where they have failed, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Epiglottis</span>, <a href="#Page_10">10</a>.<br />
+<br />
+<span class="smcap">Essentials</span>, application of, <a href="#Page_79">79</a>.<br />
+<br />
+<span class="smcap">Ethmoid Bone</span>, <a href="#Page_8">8</a>.<br />
+<br />
+<span class="smcap">Ethmoidal Sinuses</span>, illustrated, <a href="#Page_7">7</a>;<br />
+<span style="margin-left: 1em;">function of, <a href="#Page_12">12</a>.</span><br />
+<br />
+<span class="smcap">Everett, Edward</span>, as a good speaker, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Exercises, Breathing</span>:<br />
+<span style="margin-left: 1em;">necessity of, <a href="#Page_27">27</a>, <a href="#Page_33">33</a>;</span><br />
+<span style="margin-left: 1em;">preliminary suggestions, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>;</span><br />
+<span style="margin-left: 1em;">attitude in taking, <a href="#Page_34">34</a>;</span><br />
+<span style="margin-left: 1em;">I, to show what a deep breath is, <a href="#Page_34">34</a>;</span><br />
+<span style="margin-left: 1em;">II, slow inhalation with sudden expulsion, <a href="#Page_35">35</a>;</span><br />
+<span style="margin-left: 1em;">III, sipping the breath, with quick exhalation, <a href="#Page_35">35</a>;</span><br />
+<span style="margin-left: 1em;">IV, for rib expansion, <a href="#Page_35">35</a>;</span><br />
+<span style="margin-left: 1em;">V, slow inhalation with slow expiration, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">VI, rapid inspiration with slow expiration, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">VII, Farinelli's great exercise, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">VIII, the cleansing breath, <a href="#Page_37">37</a>;</span><br />
+<span style="margin-left: 1em;">half breath, <a href="#Page_37">37</a>.</span><br />
+<br />
+<span class="smcap">Exercises, Vocal</span>:<br />
+<span style="margin-left: 1em;">I, to establish nasal and head resonance, <a href="#Page_58">58</a>-61;</span><br />
+<span style="margin-left: 1em;">for speakers, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">II, to establish head and nasal resonance, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">III, IV, V, upper resonance, <a href="#Page_62">62</a>-64;</span><br />
+<span style="margin-left: 1em;">VI, to enlarge the throat and thus magnify the tone, <a href="#Page_64">64</a>;</span><br />
+<span style="margin-left: 1em;">VII, for production of the vowel sounds in proper focus, <a href="#Page_65">65</a>;</span><br />
+<span style="margin-left: 1em;">VIII, to enlarge the throat and focus the vowels, <a href="#Page_66">66</a>;</span><br />
+<span style="margin-left: 1em;">IX, quick changing notes without changing resonance, <a href="#Page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">X, for agility, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">XI, to develop the use of the lips and under jaw, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>;</span><br />
+<span style="margin-left: 1em;">XII, for facility and quick vowel change, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</span><br />
+<span style="margin-left: 1em;">XIII, ascending and descending scale, <a href="#Page_71">71</a>;</span><br />
+<span style="margin-left: 1em;">XIV, the long scale, <a href="#Page_71">71</a>;</span><br />
+<span style="margin-left: 1em;">additional, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>;</span><br />
+<span style="margin-left: 1em;">repose as a preparation for, <a href="#Page_80">80</a>.</span><br />
+<br />
+<span class="smcap">Expiration</span>, muscles of, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>;<br />
+<span style="margin-left: 1em;">under controlled pressure, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">described, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">the lungs in, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>.</span><br />
+<br />
+<br />
+<span class="smcap">Face</span>, training muscles of, <a href="#Page_15">15</a>.<br />
+<br />
+<span class="smcap">Farinelli</span>, breath control of, <a href="#Page_36">36</a>.<br />
+<br />
+<span class="smcap">Ffrangcon-Davies</span>, on pronunciation, <a href="#Page_18">18</a>;<br />
+<span style="margin-left: 1em;">on registers, <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;">on function of ear in voice training, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">definition of singing of, <a href="#Page_83">83</a>.</span><br />
+<br />
+<span class="smcap">Focusing the Voice</span> (see <i><a href="#Voice_Placing">Voice placing</a></i>).<br />
+<br />
+<span class="smcap">Forbes-Robertson</span>, on diction, <a href="#Page_19">19</a>.<br />
+<br />
+<span class="smcap">Formes, Carl</span>, voice of, in declining years, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Freedom in Singing</span>, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Frontal Sinuses</span>, function of, <a href="#Page_12">12</a>;<br />
+<span style="margin-left: 1em;">illustration of, <a href="#Page_7">7</a>.</span><br />
+<br />
+<br />
+<span class="smcap">Garcia, Manuel</span>, inventor of laryngoscope, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">use of laryngoscope, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">Sir Charles Stanley on, <a href="#Page_3">3</a>.</span><br />
+<br />
+<span class="smcap">Gounod</span>, on pronunciation, <a href="#Page_19">19</a>.<br />
+<br />
+<br />
+<span class="smcap">Half-Breath</span>, Sembrich and, <a href="#Page_37">37</a>.<br />
+<br />
+<span class="smcap">Hard Palate</span>, function of, <a href="#Page_12">12</a>.<br />
+<br />
+<span class="smcap">Harshness</span>, an indication of tension, <a href="#Page_56">56</a>.<br />
+<br />
+<span class="smcap">Head Cavities</span>, a resonator for the voice, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">effect of, on resonance, <a href="#Page_12">12</a>.</span><br />
+<br />
+<span class="smcap">Head Tones</span>, in previous years, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">wrongly termed, <a href="#Page_5">5</a>.</span><br />
+<br />
+<span class="smcap">Helmholtz</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>;<br />
+<span style="margin-left: 1em;">on acoustics, <a href="#Page_43">43</a>, <a href="#Page_49">49</a>.</span><br />
+<br />
+<span class="smcap">Henderson, W.J.</span>, on pronunciation, <a href="#Page_18">18</a>.<br />
+<br />
+<span class="smcap">High Tones</span>, breath control necessary for, <a href="#Page_27">27</a>.<br />
+<br />
+<span class="smcap">Holmes, Oliver Wendell</span>, on Edward Everett's voice, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Hyoid Bone</span>, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>.<br />
+<br />
+<br />
+I-sound, described, <a href="#Page_21">21</a>.<br />
+<br />
+<span class="smcap">Impatience</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Inspiration</span>, muscles of, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>;<br />
+<span style="margin-left: 1em;">process of, described, <a href="#Page_25">25</a>;</span><br />
+<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span><span style="margin-left: 1em;">illustrated, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>.</span><br />
+<span style="margin-left: 1em;">(See also <i><a href="#Breath">Breath control</a></i> and <i>
+<a href="#Breathing">Breathing</a></i>.)</span><br />
+<br />
+<span class="smcap">Instrument, Musical</span>, elements of, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>.<br />
+<br />
+<span class="smcap">Intensity, Involving Strain</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<br />
+<span class="smcap">Kindergarten Teachers</span>, instruction by, <a href="#Page_78">78</a>.<br />
+<br />
+<span class="smcap">Koenig</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>.<br />
+<br />
+<br />
+<span class="smcap">Laryngoscope</span>, and registers, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">Garcia the inventor of, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">usefulness of, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">limitations of, <a href="#Page_3">3</a>;</span><br />
+<span style="margin-left: 1em;">disappointing results of, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">not an instrument for the singer, <a href="#Page_51">51</a>.</span><br />
+<br />
+<span class="smcap"><a name="Larynx">Larynx</a></span>, moving, <a href="#Page_3">3</a>;<br />
+<span style="margin-left: 1em;">viewed through the laryngoscope, <a href="#Page_3">3</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">description of, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">relation of size of, to pitch, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">automatic action of, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">not alone the vocal organ, <a href="#Page_50">50</a>;</span><br />
+<span style="margin-left: 1em;">reflex action of, <a href="#Page_51">51</a>;</span><br />
+<span style="margin-left: 1em;">force of tone does not originate in, <a href="#Page_75">75</a>;</span><br />
+<span style="margin-left: 1em;">must be left uncramped, <a href="#Page_75">75</a>.</span><br />
+<br />
+<span class="smcap"><a name="Lateral">Lateral Abdominal Breathing</a></span>, <a href="#Page_3">3</a>, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>.<br />
+<br />
+<span class="smcap">Lehmann, Madame Lilli</span>, on use of Ah, <a href="#Page_19">19</a>;<br />
+<span style="margin-left: 1em;">on registers, <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;">on nasal resonance, <a href="#Page_54">54</a>.</span><br />
+<br />
+<span class="smcap">Life's Periods</span>, <a href="#Page_79">79</a>.<br />
+<br />
+<span class="smcap">Lind, Jenny</span>, effects of wrong methods on, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Lips</span>, in articulation, <a href="#Page_14">14</a>;<br />
+<span style="margin-left: 1em;">position of, <a href="#Page_20">20</a>-22;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>.</span><br />
+<br />
+<span class="smcap">Lungs</span>, a motor for the voice, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_24">24</a>;</span><br />
+<span style="margin-left: 1em;">described, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">overcrowding, <a href="#Page_31">31</a>.</span><br />
+<br />
+<br />
+<span class="smcap">Mackenzie, Dr. Morell</span>, on the laryngoscope, <a href="#Page_3">3</a>;<br />
+<span style="margin-left: 1em;">on singing and speaking, <a href="#Page_17">17</a>.</span><br />
+<br />
+<span class="smcap">Macready, Wm. Charles</span>, as a good speaker, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Martel</span>, voice of, at seventy, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Maxillary Sinuses</span>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_12">12</a>.<br />
+<br />
+<span class="smcap">May, Dr.</span>, breathing tests made by, <a href="#Page_26">26</a>.<br />
+<br />
+<span class="smcap">McKinley, M.S.</span>, on Garcia and the laryngoscope, <a href="#Page_2">2</a>.<br />
+<br />
+<span class="smcap">Mental Discord</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Meyer, Edmund J.</span>, on resonance, <a href="#Page_43">43</a>.<br />
+<br />
+<span class="smcap">Mills, Dr. Wesley</span>, on breath measure, <a href="#Page_30">30</a>;<br />
+<span style="margin-left: 1em;">on ease of vocal action, <a href="#Page_56">56</a>;</span><br />
+<span style="margin-left: 1em;">on the function of the ear in tone production, <a href="#Page_57">57</a>.</span><br />
+<br />
+<span class="smcap">Motor of the Vocal Instrument</span>, <a href="#Page_6">6</a>.<br />
+<br />
+<span class="smcap">Mouth</span>, theory of its function, <a href="#Page_1">1</a>;<br />
+<span style="margin-left: 1em;">a resonator for the voice, <a href="#Page_6">6</a>.</span><br />
+<br />
+<span class="smcap">Muscles of Respiration</span>, <a href="#Page_23">23</a>.<br />
+<br />
+<span class="smcap">Music Teachers</span>, scientific, <a href="#Page_4">4</a>;<br />
+<span style="margin-left: 1em;">empirical, <a href="#Page_4">4</a>.</span><br />
+<br />
+<br />
+<span class="smcap">Nasal Cavities</span>, as reinforcing agents in tone production, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">a resonator for the voice, <a href="#Page_6">6</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">formation of, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">vibrations in, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">effect on resonance, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">Edward Everett's use of, <a href="#Page_16">16</a>;</span><br />
+<span style="margin-left: 1em;">as a resonator, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>;</span><br />
+<span style="margin-left: 1em;">obstruction of, in Booth, <a href="#Page_53">53</a>.</span><br />
+<br />
+<span class="smcap">Nasal Resonance</span>, erroneous theories concerning, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">Madame Rudersdorff recognized effect of, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">involved in head resonance, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">versus nasal tone quality, <a href="#Page_53">53</a>;</span><br />
+<span style="margin-left: 1em;">Lilli Lehmann on, <a href="#Page_54">54</a>;</span><br />
+<span style="margin-left: 1em;">Sembrich's study of, <a href="#Page_54">54</a>;</span><br />
+<span style="margin-left: 1em;">importance of, <a href="#Page_54">54</a>.</span><br />
+<br />
+<span class="smcap">Natural Voice</span>, what is meant by, <a href="#Page_77">77</a>.<br />
+<br />
+<span class="smcap">Nervousness</span>, a cure for, <a href="#Page_27">27</a>, <a href="#Page_80">80</a>.<br />
+<br />
+<span class="smcap">Nostrils</span>, relation of, to tone quality, <a href="#Page_14">14</a>.<br />
+<br />
+<br />
+O-sound, lip position for, <a href="#Page_20">20</a>;<br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_21">21</a>;</span><br />
+<span style="margin-left: 1em;">in exercises, <a href="#Page_59">59</a>, etc.</span><br />
+<br />
+<span class="smcap">Oo</span>-sound, lip position for, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>;<br />
+<span style="margin-left: 1em;">in exercises, <a href="#Page_59">59</a>, etc.</span><br />
+<br />
+<span class="smcap">Open Tones</span>, <a href="#Page_2">2</a>, <a href="#Page_5">5</a>.<br />
+<br />
+<span class="smcap">Oral Surgery</span>, <a href="#Page_2">2</a>.<br />
+<br />
+<span class="smcap">Oratorio</span>, faulty diction in, <a href="#Page_18">18</a>.<br />
+<br />
+<span class="smcap">Over-Conscientiousness</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Overtones</span>, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>.<br />
+<br />
+<br />
+<span class="smcap">Personality</span>, effect on the voice, <a href="#Page_83">83</a>.<br />
+<br />
+<span class="smcap"><a name="Pharynx">Pharynx</a></span>, function of, <a href="#Page_10">10</a>.<br />
+<br />
+<span class="smcap">Phillips, Adelaide</span>, voice of, in declining years, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Pitch of Tone</span>, influence of resonance cavities on, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>.<br />
+<br />
+<span class="smcap">Placing the Voice</span> (see <i><a href="#Tone">Tone production</a></i>).<br />
+<br />
+<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span><span class="smcap">Power of Tone</span>, dependent on resonant cavities and breath control, <a href="#Page_27">27</a>.<br />
+<br />
+<span class="smcap">Principles Advocated</span>, <a href="#Page_5">5</a>.<br />
+<br />
+<span class="smcap"><a name="Pronunciation">Pronunciation</a></span>, indifference of American singers to, <a href="#Page_17">17</a>;<br />
+<span style="margin-left: 1em;">W.J. Henderson on, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">change of attitude toward, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">importance of, to singer, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">relation of, to tone, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">Ffrangcon-Davies on, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">sing words rather than tones, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">Lilli Lehmann on, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">emotional power impossible without, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">Gounod on, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">Forbes-Robertson on, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">upper lip in, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">effect of smile on, <a href="#Page_19">19</a>.</span><br />
+<br />
+<span class="smcap">Psychology of Vocal Culture</span>, <a href="#Page_82">82</a>-85.<br />
+<br />
+<span class="smcap">Pterygoid Muscles</span>, and the under jaw, <a href="#Page_10">10</a>.<br />
+<br />
+<span class="smcap">Public Schools</span>, voice training in, <a href="#Page_78">78</a>.<br />
+<br />
+<br />
+<span class="smcap">Reeves, Sims</span>, voice of, <a href="#Page_4">4</a>.<br />
+<br />
+<span class="smcap">Registers</span>, <a href="#Page_38">38</a>-42;<br />
+<span style="margin-left: 1em;">blending the, <a href="#Page_2">2</a>, <a href="#Page_41">41</a>;</span><br />
+<span style="margin-left: 1em;">not a natural feature of the voice, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">fallacy of theory of, <a href="#Page_2">2</a>;</span><br />
+<span style="margin-left: 1em;">a myth, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">the <i>b&#234;te noire</i> of vocalists, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">defined, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">Clara Kathleen Rogers on, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">Lilli Lehmann on, <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;">Ffrangcon-Davies on, <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;">of the organ, <a href="#Page_40">40</a>;</span><br />
+<span style="margin-left: 1em;">of voice and instruments compared, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>;</span><br />
+<span style="margin-left: 1em;">an artificial creation, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>.</span><br />
+<br />
+<span class="smcap">Repose, as a Preparation for Vocal Exercises</span>, <a href="#Page_80">80</a>;<br />
+<span style="margin-left: 1em;">how to induce, <a href="#Page_80">80</a>.</span><br />
+<br />
+<span class="smcap">Resonance</span>, differing opinions concerning, <a href="#Page_3">3</a>;<br />
+<span style="margin-left: 1em;">principle of, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">nasal and head cavities in, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">influence of resonance cavities on pitch, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">pitch of vowels in, <a href="#Page_20">20</a>;</span><br />
+<span style="margin-left: 1em;">and power, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">and breath force, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">in general, <a href="#Page_43">43</a>-50;</span><br />
+<span style="margin-left: 1em;">development of science of, <a href="#Page_43">43</a>;</span><br />
+<span style="margin-left: 1em;">quality and power of, <a href="#Page_44">44</a>;</span><br />
+<span style="margin-left: 1em;">significance of, <a href="#Page_45">45</a>;</span><br />
+<span style="margin-left: 1em;">experiments to demonstrate, <a href="#Page_46">46</a>-50;</span><br />
+<span style="margin-left: 1em;">induced, <a href="#Page_47">47</a>;</span><br />
+<span style="margin-left: 1em;">sympathetic, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>;</span><br />
+<span style="margin-left: 1em;">density of air and, <a href="#Page_47">47</a>;</span><br />
+<span style="margin-left: 1em;">volume and character of tones dependent on, <a href="#Page_49">49</a>;</span><br />
+<span style="margin-left: 1em;">head and nasal, <a href="#Page_51">51</a>-55;</span><br />
+<span style="margin-left: 1em;">relation of articulation to, <a href="#Page_51">51</a>;</span><br />
+<span style="margin-left: 1em;">focusing tone a matter of, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">effect of its absence, <a href="#Page_54">54</a>;</span><br />
+<span style="margin-left: 1em;">exercises to establish, <a href="#Page_58">58</a>-72.</span><br />
+<br />
+<span class="smcap">Resonator of the Voice</span>, <a href="#Page_6">6</a>.<br />
+<br />
+<span class="smcap">Respiration</span> (see <i><a href="#Breath">Breath control</a></i> and <i>
+<a href="#Breathing">Breathing</a></i>).<br />
+<br />
+<span class="smcap">Respiratory Muscles</span>, a motor for the voice, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">described, <a href="#Page_23">23</a>, <a href="#Page_28">28</a>;</span><br />
+<span style="margin-left: 1em;">action of, <a href="#Page_25">25</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>.</span><br />
+<br />
+<span class="smcap">Rogers, Clara Kathleen</span>, on registers, <a href="#Page_38">38</a>.<br />
+<br />
+<span class="smcap">Rudersdorff, Madame</span>, and nasal resonance, <a href="#Page_2">2</a>.<br />
+<br />
+<br />
+<span class="smcap">Santley, Sir Charles</span>, on Garcia and the laryngoscope, <a href="#Page_3">3</a>.<br />
+<br />
+<span class="smcap">Scale of Vowel Sounds</span>, <a href="#Page_20">20</a>, <a href="#Page_72">72</a>.<br />
+<br />
+<span class="smcap">Self-Repression</span>, a deterrent to beautiful singing, <a href="#Page_84">84</a>.<br />
+<br />
+<span class="smcap">Sembrich, Marcella</span>, and the half-breath, <a href="#Page_37">37</a>;<br />
+<span style="margin-left: 1em;">use of nasal resonance, <a href="#Page_54">54</a>.</span><br />
+<br />
+<span class="smcap">Singing</span>, subtlety of, <a href="#Page_4">4</a>;<br />
+<span style="margin-left: 1em;">obstacles to, <a href="#Page_5">5</a>, <a href="#Page_74">74</a>, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">versus speaking, <a href="#Page_5">5</a>, <a href="#Page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">mission of singer, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">defined as breathing, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">age to begin, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">in public schools, <a href="#Page_78">78</a>;</span><br />
+<span style="margin-left: 1em;">by method, <a href="#Page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">vibrato in, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">psychology of, <a href="#Page_82">82</a>-85;</span><br />
+<span style="margin-left: 1em;">sublimated speech, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">defined by Ffrangcon-Davies, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">freedom in, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">deterrents to, <a href="#Page_84">84</a>.</span><br />
+<br />
+<span class="smcap"><a name="Sinuses">Sinuses</a></span>, illustrated, <a href="#Page_7">7</a>;<br />
+<span style="margin-left: 1em;">pairs of, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">function of, <a href="#Page_12">12</a>.</span><br />
+<br />
+<span class="smcap">Smile, Effect of</span>, on pronunciation, <a href="#Page_19">19</a>.<br />
+<br />
+<span class="smcap">Soft Palate</span>, office of, <a href="#Page_11">11</a>, <a href="#Page_52">52</a>.<br />
+<br />
+<span class="smcap">Speaking</span>, obstacles to, <a href="#Page_5">5</a>;<br />
+<span style="margin-left: 1em;">tones of, identical with singing tones, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">difference from singing, <a href="#Page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">expression in, <a href="#Page_83">83</a>.</span><br />
+<br />
+<span class="smcap">Speaking Voice</span>, misunderstood, <a href="#Page_16">16</a>;<br />
+<span style="margin-left: 1em;">connection with singing voice, <a href="#Page_16">16</a>;</span><br />
+<span style="margin-left: 1em;">how cultivated, <a href="#Page_16">16</a>;</span><br />
+<span style="margin-left: 1em;">identity with singing voice, <a href="#Page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">and pronunciation, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>.</span><br />
+<br />
+<span class="smcap">Sphenoid Bone</span>, <a href="#Page_8">8</a>.<br />
+<br />
+<span class="smcap">Sphenoidal Sinuses</span>, illustrated, <a href="#Page_7">7</a>;<br />
+<span style="margin-left: 1em;">pairs of, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">function of, <a href="#Page_12">12</a>.</span><br />
+<br />
+<span class="smcap">Stage Elocution</span>, criticism of Forbes-Robertson on, <a href="#Page_19">19</a>.<br />
+<br />
+<br />
+<span class="smcap">Teeth</span>, function of, in use of voice, <a href="#Page_12">12</a>.<br />
+<br />
+<span class="smcap">Throat</span>, theory of sound in, <a href="#Page_1">1</a>;<br />
+<span style="margin-left: 1em;">a resonator, <a href="#Page_6">6</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">relation to voice, <a href="#Page_8">8</a>.</span><br />
+<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span><span style="margin-left: 1em;">(See <i>
+<a href="#Larynx">Larynx</a></i> and <i><a href="#Pharynx">Pharynx</a></i>.)</span><br />
+<br />
+<span class="smcap">Throat Stiffness</span>, most frequent obstacle to good singing, <a href="#Page_74">74</a>;<br />
+<span style="margin-left: 1em;">effect on larynx, <a href="#Page_74">74</a>;</span><br />
+<span style="margin-left: 1em;">difficulty in recognizing one's own, <a href="#Page_74">74</a>;</span><br />
+<span style="margin-left: 1em;">throat consciousness a common cause of, <a href="#Page_74">74</a>;</span><br />
+<span style="margin-left: 1em;">induced by lack of breath mastery, <a href="#Page_75">75</a>;</span><br />
+<span style="margin-left: 1em;">American hurry begets, <a href="#Page_75">75</a>;</span><br />
+<span style="margin-left: 1em;">voice culture a struggle with, <a href="#Page_75">75</a>;</span><br />
+<span style="margin-left: 1em;">remedies for, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>.</span><br />
+<br />
+<span class="smcap">Timbre of Voice</span>, defined and explained, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>.<br />
+<br />
+<span class="smcap">Tone</span>, defined, <a href="#Page_45">45</a>;<br />
+<span style="margin-left: 1em;">analyzed <a href="#Page_45">45</a>;</span><br />
+<span style="margin-left: 1em;">experiments to determine composition and resonance of, <a href="#Page_46">46</a>-50;</span><br />
+<span style="margin-left: 1em;">focusing of, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">vocal, a mental concept, <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">whole man in, <a href="#Page_83">83</a>.</span><br />
+<br />
+<span class="smcap"><a name="Tone">Tone Production</a></span>, largely a matter of resonance, <a href="#Page_56">56</a>;<br />
+<span style="margin-left: 1em;">effect of right thought on, <a href="#Page_56">56</a>;</span><br />
+<span style="margin-left: 1em;">judged by naturalness and beauty of result, <a href="#Page_56">56</a>;</span><br />
+<span style="margin-left: 1em;">function of the ear in governing, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">cultivating normal, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">exercises to aid in, <a href="#Page_58">58</a>-73;</span><br />
+<span style="margin-left: 1em;">effect of throat stiffness on, <a href="#Page_74">74</a>;</span><br />
+<span style="margin-left: 1em;">natural, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">age to begin study of, <a href="#Page_77">77</a>.</span><br />
+<br />
+<span class="smcap">Tone Quality</span>, variety in, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">effect of emotion upon, <a href="#Page_7">7</a>, <a href="#Page_75">75</a>, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">relation of pronunciation to, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">how to secure purity of, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>;</span><br />
+<span style="margin-left: 1em;">experiments to determine, <a href="#Page_46">46</a>-50;</span><br />
+<span style="margin-left: 1em;">and resonance, <a href="#Page_5">5</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>;</span><br />
+<span style="margin-left: 1em;">cause of nasal, <a href="#Page_52">52</a>-54;</span><br />
+<span style="margin-left: 1em;">beauty or harshness of, a criterion of judgment, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">effect of throat stiffness on, <a href="#Page_74">74</a>-76;</span><br />
+<span style="margin-left: 1em;">dependent on mind and ear, <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">related to personality of singer, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">natural and unnatural, <a href="#Page_85">85</a>.</span><br />
+<br />
+<span class="smcap">Tongue</span>, as an articulator, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">connection with larynx, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">position of, in speaking and singing, <a href="#Page_13">13</a>;</span><br />
+<span style="margin-left: 1em;">tongue consciousness, <a href="#Page_14">14</a>.</span><br />
+<br />
+<br />
+<span class="smcap">Under Jaw</span>, <a href="#Page_10">10</a>;<br />
+<span style="margin-left: 1em;">in ascending the scale, <a href="#Page_10">10</a>.</span><br />
+<br />
+<span class="smcap">Upper Lip</span>, in pronunciation, <a href="#Page_19">19</a>;<br />
+<span style="margin-left: 1em;">in practising, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">in articulation, <a href="#Page_72">72</a>.</span><br />
+<br />
+<span class="smcap">Uvula</span>, office of, <a href="#Page_11">11</a>.<br />
+<br />
+<br />
+<span class="smcap">Ventricle in the Larynx</span>, <a href="#Page_8">8</a>.<br />
+<br />
+<span class="smcap">Vibrato</span>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>.<br />
+<br />
+<span class="smcap">Vibrator</span>, of the voice, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">of instruments, <a href="#Page_43">43</a>.</span><br />
+<br />
+<span class="smcap">Vitalizing Text with Tone</span>, the singer's mission, <a href="#Page_18">18</a>.<br />
+<br />
+<span class="smcap">Vocal Cords</span>, vibrator for the voice, <a href="#Page_6">6</a>;<br />
+<span style="margin-left: 1em;">in the larynx, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">described, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">not the principal cause of tone, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>;</span><br />
+<span style="margin-left: 1em;">necessity of free action of, <a href="#Page_51">51</a>.</span><br />
+<br />
+<span class="smcap">Vocal Instrument</span>, discussion of, <a href="#Page_6">6</a>-15;<br />
+<span style="margin-left: 1em;">beauty and complexity of, <a href="#Page_6">6</a>;</span><br />
+<span style="margin-left: 1em;">three elements of, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">illustrated, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">relation of parts of, <a href="#Page_8">8</a>;</span><br />
+<span style="margin-left: 1em;">larynx, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">vocal cords, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">epiglottis, <a href="#Page_10">10</a>;</span><br />
+<span style="margin-left: 1em;">pharynx, <a href="#Page_10">10</a>;</span><br />
+<span style="margin-left: 1em;">under jaw, <a href="#Page_10">10</a>;</span><br />
+<span style="margin-left: 1em;">soft palate, <a href="#Page_11">11</a>;</span><br />
+<span style="margin-left: 1em;">hard palate and teeth, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">nasal and head cavities, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">tongue, <a href="#Page_13">13</a>;</span><br />
+<span style="margin-left: 1em;">lips, <a href="#Page_14">14</a>;</span><br />
+<span style="margin-left: 1em;">nostrils, <a href="#Page_14">14</a>;</span><br />
+<span style="margin-left: 1em;">face, <a href="#Page_15">15</a>;</span><br />
+<span style="margin-left: 1em;">defects in, <a href="#Page_85">85</a>.</span><br />
+<br />
+<span class="smcap">Vocal Tone</span>, an audible mental concept, <a href="#Page_82">82</a>.<br />
+<br />
+<span class="smcap"><a name="Voice_Culture">Voice Culture</a></span>, opinions concerning, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">wrong methods of a generation ago, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">cannot be developed mechanically, <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">principles advocated, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">the right way the easy way, <a href="#Page_5">5</a>;</span><br />
+<span style="margin-left: 1em;">resonance an important factor of, <a href="#Page_5">5</a>, <a href="#Page_43">43</a>, <a href="#Page_45">45</a>, <a href="#Page_50">50</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>;</span><br />
+<span style="margin-left: 1em;">should begin in childhood, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">learned by imitation, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">Roger Ascham on, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>;</span><br />
+<span style="margin-left: 1em;">in public schools, <a href="#Page_78">78</a>;</span><br />
+<span style="margin-left: 1em;">artistry in, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">three periods of, <a href="#Page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">application of essentials of, <a href="#Page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">repose as a preparation for, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">the vibrato in, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">psychology of, <a href="#Page_82">82</a>-85;</span><br />
+<span style="margin-left: 1em;">personality in, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">freedom in, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">deterrents in, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>.</span><br />
+<br />
+<span class="smcap"><a name="Voice_Placing">Voice Placing</a></span>, <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_56">56</a>-73.<br />
+<br />
+<span class="smcap">Voice Timbre</span>, defined, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>.<br />
+<br />
+<span class="smcap">Vowel Sounds</span>, <a href="#Page_11">11</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>;<br />
+<span style="margin-left: 1em;">singer's scale of, <a href="#Page_20">20</a>, <a href="#Page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">each has its own pitch, <a href="#Page_20">20</a>;</span><br />
+<span style="margin-left: 1em;">lip position for, <a href="#Page_20">20</a>-22;</span><br />
+<span style="margin-left: 1em;">placing of, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">exercises for practice, <a href="#Page_58">58</a>-73.</span><br />
+<br />
+<br />
+<span class="smcap">Webster, Daniel</span>, as a good speaker, <a href="#Page_16">16</a>.<br />
+<br />
+<span class="smcap">Wheatstone</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>.<br />
+<br />
+<span class="smcap">Willis</span>, on pitch of vowel sounds, <a href="#Page_20">20</a>.<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<table border="0" cellpadding="5" cellspacing="0" summary="">
+  <tbody>
+  <tr>
+    <td>
+    <img src="images/image01.jpg" width="125" height="125" alt="logo" title="logo" /></td>
+    <td>
+<h1><a name="THE_MUSIC_STUDENTS_LIBRARY" id="THE_MUSIC_STUDENTS_LIBRARY"></a>THE MUSIC STUDENTS LIBRARY</h1>
+
+
+<p style="text-align: center"><b>A series of Educational Text-books suited to the requirements of the
+average student and covering every essential branch of musical
+instruction.</b></p></td>
+  </tr>
+</tbody>
+</table>
+
+
+<hr style="width: 65%;" />
+
+<p style="text-align: center"><i>Note</i>:&#8212;Unless otherwise specified, books are bound in cloth.</p>
+
+<hr style="width: 65%;" />
+
+
+<table border="0" cellpadding="5" cellspacing="0" summary="music students library">
+  <tbody>
+  <tr>
+    <td style="text-align: center" colspan="3"><b>PIANO</b></td>
+    </tr>
+  <tr>
+    <td><b>Burrowes' Piano Primer.</b> Frederic Field Bullard, Editor.<br />
+    An enlarged edition with pronouncing dictionary.</td>
+    <td><i><br />
+    Paper</i></td>
+    <td style="text-align: right"><br />
+    75 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Ears, Brain and Fingers.</b> Howard Wells.</td>
+      <td>&#160;</td>
+      <td style="text-align: right">1 25 A</td>
+    </tr>
+    <tr>
+      <td><b>Half Hour Lessons in Music.</b> Mrs. Hermann Kotzschmar.<br />
+      Class work for beginners. Practical for teachers and mothers. Illus.&#160;</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td><b>Interpretation of Piano music.</b> Mary Venable.<br />
+      Studies in the meaning of printed signs used in music, and their bearing<br />
+      on the interpretation of standard works.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      2 00 A</td>
+    </tr>
+    <tr>
+      <td><b>Natural Laws in Piano Technic.</b> Mary Wood Chase.<br />
+      Presents the essential laws of a sound piano technic.</td>
+      <td>&#160;</td>
+      <td><br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><b>Piano Teaching: Its Principles and Problems. </b>Clarence G. Hamilton, A.M.<br />
+      A practical book, written by a practical man to meet practical needs.</td>
+      <td>&#160;</td>
+      <td><br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>ORGAN</b></td>
+    </tr>
+    <tr>
+      <td><b>Primer of Organ Registration.</b> Gordon Balch Nevin.<br />
+Numerous illustrations and a Dictionary of Organ Stops.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>VIOLIN</b></td>
+    </tr>
+    <tr>
+      <td><b>How to Master the Violin.</b> Pavel L. Bytovetzski.<br />
+A practical guide for students and teachers.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td><b>How to Study Kreutzer.</b> Benjamin Cutter.<br />
+      What every violin teacher discusses and illustrates in the lesson room.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>VOICE</b></td>
+    </tr>
+    <tr>
+      <td>
+<b>ABC of Music.</b> Auguste Mathieu Panseron.<br />
+      (Ed. by N.C. Page.) A standard primer of vocalization.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><span style="margin-left: 1em;">do.</span></td>
+      <td>  <i>Paper</i></td>
+      <td style="text-align: right">90 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Commonplaces of Vocal Art.</b> Louis Arthur Russell.<br />
+The plain truths of vocal art presented in simple untechnical language.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>English Diction for Singers and Speakers.</b> Louis
+Arthur Russell.<br />
+      For all who pretend to refined or artistic use of the English language.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>French Diction for Singers and Speakers.</b> William
+Harkness Arnold.<br />
+      The elements of French
+pronunciation are reduced to a few fundamental<br />
+      principles, readily mastered.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Head Voice and Other Problems.</b> D.A. Clippinger.</td>
+      <td>&#160;</td>
+      <td style="text-align: right">1 25 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"> <b>PRACTICAL TALKS ON SINGING</b></td>
+    </tr>
+    <tr>
+      <td>
+<b>Resonance in Singing and Speaking.</b> Thomas Fillebrown, M.D.<br />
+An exposition of fundamentals, with breathing and vocal exercises and illustrations.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Training of Boys' Voices.</b> Claude Ellsworth Johnson.<br />
+A practical guide to the correct &quot;placing&quot; of boys' voices.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Twelve Lessons in the Fundamentals of Voice Production.</b> Arthur L. Manchester.<br />
+Presents clearly the fundamentals illustrated by exercises.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>EAR TRAINING, HARMONY AND COUNTERPOINT</b></td>
+    </tr>
+    <tr>
+      <td><b>Ear Training for Teacher and Pupil.</b> C.A. Alchin.<br />
+Designed to teach the pupil to think in tones, and so to sing,<br />
+name, write, and play what he hears.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />1 50 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Intervals, Chords, and Ear Training.</b> Jean Parkman Brown.<br />
+Exercises and examples in rudimentary harmony and ear training<br />
+for use in conjunction with piano study.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Harmony.</b> Sir John Stainer, Mus. Doc.<br />
+New edition of a standard text-book which presents the principles of<br />
+harmony with conciseness and&#160; lucidity.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><span style="margin-left: 1em;">do.</span></td>
+      <td><i>Paper</i></td>
+      <td style="text-align: right">90 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Harmony Simplified.</b> Francis L. York.<br />
+A practical text-book presenting in a concise manner the fundamental<br />
+principles of harmony, with non-essentials omitted.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><b>Manual of Harmony.</b> Ernst Friedrich Richter. Trans. by J.C.D. Parker.<br />
+A practical guide to the study of harmony.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      2 00 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Harmonic Analysis.</b> Benjamin Cutter.<br />
+Teaches one to analyze the harmonic structure of both classic<br />
+and modern music.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Counterpoint.</b> Sir J. Frederick Bridge.<br />
+This book has freshness and plainness combined with thoroughness,<br />
+and must commend itself to young students and teachers.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td><span style="margin-left: 1em;">do.</span></td>
+      <td><i>Paper</i></td>
+      <td style="text-align: right">90 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Counterpoint Simplified.</b> Francis L. York.<br />
+A concise text-book of formal counterpoint.<br />
+(Sequel to author's &quot;Harmony Simplified&quot;).</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td>
+<b>Guide to Musical Composition.</b> H. Wohlfahrt. Tr. by J.S. Dwight.<br />
+On the invention of melodies, their transformation, development and suitable<br />
+accompaniment.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 25 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>FORM, INSTRUMENTATION AND ACOUSTICS</b></td>
+    </tr>
+    <tr>
+      <td><b>Instrumentation.</b> Ebenezer Prout, Mus. Doc.<br />
+A valuable guide and assistant to students who wish to gain a knowledge<br />
+of the proper blending of orchestral instruments, their compass, capabilities, etc.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><span style="margin-left: 1em;">do.</span></td>
+      <td><i>Paper</i></td>
+      <td style="text-align: right">90 A</td>
+    </tr>
+    <tr>
+      <td><b>Lessons in Music Form.</b> Percy Goetschius, Mus. Doc.<br />
+A manual of analysis of all the structural factors and designs employed in<br />
+musical composition.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td><b>Musical Forms.</b> Ernest Pauer.<br />
+The students of musical form, and especially those who study composition,<br />
+will find this a very valuable and thorough work.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 75 A</td>
+    </tr>
+    <tr>
+      <td><span style="margin-left: 1em;">do.</span></td>
+      <td><i>Paper</i></td>
+      <td style="text-align: right">90 A</td>
+    </tr>
+    <tr>
+      <td><b>Sound and Its Relation to Music.</b> Clarence G. Hamilton, A.M.<br />
+A handbook of acoustics as relating to music. Based on the latest<br />
+discoveries and experiments.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 50 A</td>
+    </tr>
+    <tr>
+      <td style="text-align: center" colspan="3"><b>CONDUCTING, HISTORY, MUSIC APPRECIATION AND DEFINITIONS</b></td>
+    </tr>
+    <tr>
+      <td><b>Essentials in Conducting.</b> Karl W. Gehrkens, A.M.<br />
+On personal requirements, technic of the baton, interpretation, rehearsing,<br />
+      program making, etc.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 75 A</td>
+    </tr>
+    <tr>
+      <td><b>Outlines of Music History.</b> Clarence G. Hamilton, A.M.<br />
+A compact, clearcut work for class use and the general reader.<br />
+Fully illustrated.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      2 25 A</td>
+    </tr>
+    <tr>
+      <td><b>Music Appreciation.</b> Clarence G. Hamilton, A.M.<br />
+Based on methods of literary criticism, this unique text-book is for those<br />
+who wish to listen to music with quickened hearing and real understanding.<br />
+With 24 portraits, 28 diagrams and over 200 music cuts.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      <br />
+      2 50 A</td>
+    </tr>
+    <tr>
+      <td><b>Music Club Programs From all Nations.</b> Arthur Elson.<br />
+      Outlines the various schools from all nations with a rich series of programs<br />
+      and over one hundred portraits.</td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      2 00 A</td>
+    </tr>
+    <tr>
+      <td><b>Some Essentials in Musical Definitions.</b> M.F. MacConnell.<br />
+      Covers the needed information on all points connected with musical theory, and<br />
+therefore of special value to piano, singing, violin, and organ students.<br />
+      </td>
+      <td>&#160;</td>
+      <td style="text-align: right"><br />
+      <br />
+      1 25 A</td>
+    </tr>
+  </tbody>
+  </table>
+
+
+
+
+<hr style="width: 65%;" />
+<p style="text-align: center">
+<img src="images/image16.jpg" width="125" height="125" alt="logo" title="logo" /></p>
+
+<h1>THE MUSICIANS LIBRARY</h1>
+
+
+<p><b>This notable series has been planned to embrace all the masterpieces
+of song and piano literature; to gather into superbly made volumes of
+uniform size and binding the best work of the best composers, edited
+by men of authority. Each volume is independent, complete in itself,
+and sold by itself.</b></p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="prices">
+  <tbody>
+  <tr>
+    <td>Paper, Cloth Back, per Volume</td>
+    <td style="text-align: right">$2 50 A</td>
+  </tr>
+  <tr>
+    <td>Cloth, Gilt, per Volume</td>
+    <td style="text-align: right">3 50 A</td>
+  </tr>
+</tbody>
+</table>
+
+<h4>PIANO VOLUMES</h4>
+
+<p><b>Bach Piano Album</b></p>
+
+<p>Vol. I. Shorter Compositions. Edited by Dr. Ebenezer Prout.</p>
+
+<p><b>Bach Piano Album</b></p>
+
+<p>Vol. II. Larger Compositions. Edited by Dr. Ebenezer Prout.</p>
+
+<p><b>Beethoven Piano Compositions</b></p>
+
+<p>Vols. I and II. Edited by Eugen D'Albert.</p>
+
+<p><b>Brahms, Johannes</b></p>
+
+<p>Selected Piano Compositions. Edited by Rafael Joseffy.</p>
+
+<p><b>Chopin, Frederic</b></p>
+
+<p>Forty Piano Compositions. Edited by James Huneker.</p>
+
+<p><b>Chopin, Frederic</b></p>
+
+<p>The Greater Chopin. Edited by James Huneker.</p>
+
+<p><b>Grieg, Edvard</b></p>
+
+<p>Larger Piano Compositions. Edited by Bertha Feiring Tapper.</p>
+
+<p><b>Grieg, Edvard</b></p>
+
+<p>Piano Lyrics and Shorter Compositions. Edited by Bertha Feiring
+Tapper.</p>
+
+<p><b>Haydn, Franz Josef</b></p>
+
+<p>Twenty Piano Compositions. Edited by Xaver Scharwenka.</p>
+
+<p><b>Liszt, Franz</b></p>
+
+<p>Twenty Original Piano Compositions. Edited by August Spanuth.</p>
+
+<p><b>Liszt, Franz</b></p>
+
+<p>Twenty Piano Transcriptions. Edited by August Spanuth.</p>
+
+<p><b>Liszt, Franz</b></p>
+
+<p>Ten Hungarian Rhapsodies. Edited by August Spanuth and John Orth.</p>
+
+<p><b>Mendelssohn, Felix</b></p>
+
+<p>Thirty Piano Compositions. Edited by Percy Goetschius, Mus. Doc. With
+a Preface by Daniel Gregory Mason.</p>
+
+<p><b>Mozart, Wolfgang Amadeus</b></p>
+
+<p>Twenty Piano Compositions. Edited by Carl Reinecke.</p>
+
+<p><b>Schubert, Franz</b></p>
+
+<p>Selected Piano Compositions. Edited by A. Spanuth.</p>
+
+<p><b>Schumann, Robert</b></p>
+
+<p>Fifty Piano Compositions. Edited by Naver Scharwenka.</p>
+
+<p><b>Wagner, Richard</b></p>
+
+<p>Selections from the Music Dramas. Edited by Otto Singer.</p>
+
+<hr style="width: 35%;" />
+
+<p><b>Anthology of French Piano Music</b></p>
+
+<p>Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Isidor
+Philipp.</p>
+
+<p><b>Anthology of German Piano Music</b></p>
+
+<p>Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Moritz
+Moszkowski.</p>
+
+<p><b>Early Italian Piano Music</b></p>
+
+<p>Edited by M. Esposito.</p>
+
+<p><b>Modern Russian Piano Music</b></p>
+
+<p>Vols. I and II. Edited by Constantin von Sternberg.</p>
+
+<p><b>Twenty-four Negro Melodies.</b></p>
+
+<p>Transcribed for Piano by S. Coleridge-Taylor.</p>
+
+<hr style="width: 35%;" />
+
+<h4>SONG VOLUMES</h4>
+
+<p><b>Brahms, Johannes</b></p>
+
+<p>Forty Songs. High Voice. Low Voice. Edited by James Huneker.</p>
+
+<p><b>Franz, Robert</b></p>
+
+<p>Fifty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.</p>
+
+<p><b>Grieg, Edvard</b></p>
+
+<p>Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.</p>
+
+<p><b>Handel, George Frideric</b></p>
+
+<p>Vol. I. Songs and Airs. High Voice. Vol. II. Songs and Airs. Low
+Voice. Edited by Dr. Ebenezer Prout.</p>
+
+<p><b>Jensen, Adolf</b></p>
+
+<p>Forty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.</p>
+
+<p><b>Liszt, Franz</b></p>
+
+<p>Thirty Songs. High Voice. Low Voice. Edited by Carl Armbruster.</p>
+
+<p><b>Schubert, Franz</b></p>
+
+<p>Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.</p>
+
+<p><b>Schumann, Robert</b></p>
+
+<p>Fifty Songs. High Voice. Low Voice. Edited by W.J. Henderson.</p>
+
+<p><b>Strauss, Richard</b></p>
+
+<p>Forty Songs. High Voice. Low Voice. Edited by James Huneker.</p>
+
+<p><b>Tchaikovsky, P.I.</b></p>
+
+<p>Forty Songs. High Voice. Low Voice. Edited by James Huneker.</p>
+
+<p><b>Wagner, Richard</b></p>
+
+<p>Lyrics for Soprano. Edited by Carl Armbruster.</p>
+
+<p><b>Wagner, Richard</b></p>
+
+<p>Lyrics for Tenor. Edited by Carl Armbruster.</p>
+
+<p><b>Wagner, Richard</b></p>
+
+<p>Lyrics for Baritone and Bass. Edited by Carl Armbruster.</p>
+
+<p><b>Wolf, Hugo</b></p>
+
+<p>Fifty Songs. High Voice. Low Voice. Edited by Ernest Newman.</p>
+
+<p><b>Fifty Mastersongs</b></p>
+
+<p>High Voice. Low Voice. Edited by Henry T. Finck.</p>
+
+<p><b>Fifty Shakspere Songs</b></p>
+
+<p>High Voice. Low Voice. Edited by Charles Vincent, Mus. Doc.</p>
+
+<p><b>Modern French Songs</b></p>
+
+<p>High Voice. Low Voice. Vol. I. Bemberg to Franck. Vol. II. Georges to
+Widor. Edited by Philip Hale.</p>
+
+<p><b>One Hundred English Folk-songs</b></p>
+
+<p>Medium Voice. Edited by Cecil J. Sharp.</p>
+
+<p><b>One Hundred Folk-Songs of all Nations.</b></p>
+
+<p>Medium Voice. Edited by Granville Bantock.</p>
+
+<p><b>One Hundred Songs by Ten Masters</b></p>
+
+<p>High Voice. Low Voice. Edited by Henry T. Finck. Vol. I. Schubert,
+Schumann, Franz, Rubinstein and Jensen. Vol. II. Brahms, Tchaikovsky,
+Grieg, Wolf and Strauss.</p>
+
+<p><b>One Hundred Songs of England</b></p>
+
+<p>High Voice. Low Voice. Edited by Granville Bantock.</p>
+
+<p><b>Seventy Scottish Songs</b></p>
+
+<p>High Voice. Low Voice. Edited by Helen Hopekirk.</p>
+
+<p><b>Sixty Folk-songs of France</b></p>
+
+<p>Medium Voice. Edited by Julien Tiersot.</p>
+
+<p><b>Sixty Irish Songs</b></p>
+
+<p>High Voice. Low Voice. Edited by William Arms Fisher.</p>
+
+<p><b>Sixty Patriotic Songs of All Nations</b></p>
+
+<p>Medium Voice. Edited by Granville Bantock.</p>
+
+<p><b>Songs by Thirty Americans</b></p>
+
+<p>High Voice. Low Voice. Edited by Rupert Hughes.</p>
+
+<p><b>Songs From the Operas for Soprano</b></p>
+
+<p>Edited by H.E. Krehbiel.</p>
+
+<p><b>Songs From the Operas for Mezzo Soprano</b></p>
+
+<p>Edited by H.E. Krehbiel.</p>
+
+<p><b>Songs From the Operas for Alto</b></p>
+
+<p>Edited by H.E. Krehbiel.</p>
+
+<p><b>Songs From the Operas for Tenor</b></p>
+
+<p>Edited by H.E. Krehbiel.</p>
+
+<p><b>Songs From the Operas for Baritone and Bass</b></p>
+
+<p>Edited by H.E. Krehbiel.</p>
+
+
+<p>Other volumes are in preparation. Booklets, giving full particulars,
+with portraits of Editors, and contents of volumes published, FREE on
+request.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Garcia died July 1, 1906, at the age of 101.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Dr. Fillebrown's paper, <i>A Study of the Relation of the
+Frontal Sinus to the Antrum</i>, was read before the American Dental
+Association, at Saratoga, August 5, 1895. His investigation showed
+that the funnel-shaped passage known as the <i>infundibulum</i> extends
+from the <i>frontal sinus</i> directly into the antrum or <i>maxillary
+sinus</i>. This was afterwards confirmed by Dr. W.H. Cryer and others.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Dr. Wesley Mills, <i>Voice Production</i>, 1906.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Die Lehre von den Tonempfindungen als physiologische
+Grundlage f&#252;r die Theorie der Musik.</i> (The Sensations of Tone as a
+Physiological Basis for the Theory of Music.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> For fuller exposition see Tyndall on <i>Sound</i>, or the
+section devoted to <i>Acoustics</i> in any text-book on Physics.</p></div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Resonance in Singing and Speaking, by 
+Thomas Fillebrown
+
+*** END OF THIS PROJECT GUTENBERG EBOOK RESONANCE IN SINGING AND SPEAKING ***
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+</body>
+</html>
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+Project Gutenberg's Resonance in Singing and Speaking, by Thomas Fillebrown
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Resonance in Singing and Speaking
+
+Author: Thomas Fillebrown
+
+Release Date: August 29, 2006 [EBook #19138]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RESONANCE IN SINGING AND SPEAKING ***
+
+
+
+
+Produced by David Newman, Clare Boothby, Linda Cantoni,
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+RESONANCE
+
+IN
+
+SINGING AND SPEAKING
+
+
+BY
+
+THOMAS FILLEBROWN, M.D., D.M.D.
+
+TWENTY-ONE YEARS PROFESSOR OF OPERATIVE DENTISTRY AND ORAL SURGERY IN
+HARVARD UNIVERSITY; MEMBER OF THE AMERICAN MEDICAL ASSOCIATION, THE
+ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND OTOLOGICAL AND
+LARYNGOLOGICAL ASSOCIATION, ETC.; LECTURER ON VOICE DEVELOPMENT.
+
+
+THIRD EDITION
+
+[Illustration: THE MUSIC STUDENTS LIBRARY]
+
+
+BOSTON
+OLIVER DITSON COMPANY
+
+NEW YORK
+CHAS. H. DITSON & CO.
+
+CHICAGO
+LYON & HEALY
+
+_Copyright, MCMXI_
+BY OLIVER DITSON COMPANY
+
+International Copyright secured
+
+[Transcriber's Note: Text in bold is surrounded by =. Text in italics
+is surrounded by _.]
+
+
+
+
+TO THE MEMORY OF
+
+WILLIAM HASKELL STOCKBRIDGE
+
+PUPIL OF VANNUCCINI AND MY FIRST INSTRUCTOR IN VOICE CULTURE, THIS
+VOLUME IS AFFECTIONATELY DEDICATED
+
+
+
+
+PREFACE
+
+
+Efforts to develop my own voice, and the voices of my patients after
+operations for cleft palate, aided by anatomical study, resulted in a
+plan for the focusing and development of the human voice quite
+different from any other yet published, or, so far as I know, yet
+proposed. This plan has proved so successful in my later life that I
+feel emboldened to offer it for the consideration of speakers and
+singers.
+
+While twenty-five years ago few of the principles here described were
+acknowledged or even recognized, within the last decade almost all
+have been advocated separately by different teachers or writers. At
+the present time, therefore, originality consists only in the
+classification of the principles into a systematic, progressive whole,
+and in arranging a simpler and more practical method of applying them,
+thus making the desired results much more quickly attainable.
+
+It is attempted in this volume only to describe the value of each
+element in the production of the perfect tone and to demonstrate the
+principles which, if properly and faithfully applied, will develop the
+best that is possible in each individual voice and prepare the pupil
+to enter upon the more advanced arts of speaking and singing.
+
+In 1903 I prepared a series of papers on _The Art of Vocalism_, which
+were published in _The Etude_ in May, June, and July of that year.
+These articles are incorporated in this work. In connection with
+different organs and conditions, important principles are stated and
+restated. This repetition is thought desirable in order that the
+fundamentals may be kept prominently before the mind and impressed
+upon the attention.
+
+I believe that a careful study of this volume will prove of essential
+service to teachers and advanced pupils of singing and oratory,
+especially to young teachers just entering upon their duties. Its
+method will be found adapted to the instruction of pupils of all
+grades, from the kindergarten to the Conservatory of Music and the
+School of Oratory.
+
+I shall be gratified if this outcome of years of experience, constant
+study, and tested methods shall prove helpful to those who seek
+mastery of the art of beautiful speaking and singing.
+
+[Illustration: [signature] Thomas Fillebrown]
+
+
+
+
+CONTENTS
+
+
+      PREFACE                                            vii
+
+      INTRODUCTION                                         1
+
+   I. THE VOCAL INSTRUMENT                                 6
+
+  II. THE SPEAKING VOICE AND PRONUNCIATION                16
+
+ III. BREATH CONTROL                                      23
+
+  IV. BREATHING EXERCISES                                 33
+
+   V. REGISTERS                                           38
+
+  VI. RESONANCE IN GENERAL                                43
+
+ VII. HEAD AND NASAL RESONANCE                            51
+
+VIII. PLACING THE VOICE                                   56
+
+  IX. THROAT STIFFNESS                                    74
+
+   X. SOME GENERAL CONSIDERATIONS                         77
+
+  XI. THE PSYCHOLOGY OF VOCAL CULTURE                     82
+
+      BOOKS CONSULTED                                     86
+
+      INDEX                                               89
+
+
+
+
+RESONANCE
+
+IN
+
+SINGING AND SPEAKING
+
+
+
+
+INTRODUCTION
+
+
+When a youth it was my lot to be surrounded by examples of faulty
+vocalism, such as prevailed in a country town, and to be subjected to
+the errors then in vogue, having at the same time small opportunity
+for training in the application of principles, even as then
+imperfectly taught. At middle life I had given up all attempt at
+singing and had difficulty in speaking so as to be heard at any
+considerable distance or for any considerable length of time.
+Professional obligations to my patients, however, compelled me later
+to take up the subject of vocal physiology. This I did, guided by the
+ideas current on the subject.
+
+About 1880 I became satisfied that many of the current ideas were
+incorrect, and determined to start anew, and to note in detail the
+action of each organ used in vocalization and articulation. To this
+end I sought vocal instruction and advice, which, modified by my own
+observations, have produced the most gratifying results.
+
+Up to that time it had been held that the nasal cavities must be cut
+off from the mouth by the closing of the soft palate against the back
+of the throat; that the passage of ever so little of the sound above
+the palate would give a nasal twang, and that the sound was reinforced
+and developed only in the cavities of the throat and mouth. My
+practice in Oral Surgery, coupled with my own vocal studies exposed
+this fallacy and revealed to me the true value of nasal resonance.
+
+The late Mme. Rudersdorff had begun to recognize the effect of nasal
+resonance, but she left no published record of her conclusions. It
+does not appear that she or her contemporaries realized the true value
+of the nasal and head cavities as reinforcing agents in the production
+of tone, or appreciated their influence upon its quality and power.
+
+There are perhaps few subjects on which a greater variety of opinion
+exists than on that of voice culture, and few upon which so many
+volumes have been written. Few points are uncontested, and exactly
+opposite statements are made in regard to each.
+
+Formerly great stress was laid upon the distinction between "head
+tones" and "chest tones," "closed tones" and "open tones." The whole
+musical world was in bondage to "registers of the voice," and the one
+great task confronting the singer and vocal teacher was to "blend the
+registers," a feat still baffling the efforts of many instructors.
+
+Many teachers and singers have now reached what they consider a
+demonstrated conclusion that registers are not a natural feature of
+the voice; yet a large contingent still adhere to the doctrine of
+"register," depending for their justification upon the unreliable
+evidence furnished by the laryngoscope, not realizing that there will
+be found in the little lens as many different conditions as the
+observers have eyes to see. Garcia himself, the inventor of the
+laryngoscope, soon modified his first claims as to its value in vocal
+culture.
+
+On this point we have the testimony of his biographer, M.S. McKinley:
+
+"As far as Garcia was concerned, the laryngoscope ceased to be of any
+special use as soon as his first investigations were concluded. By his
+examination of the glottis he had the satisfaction of proving that all
+his theories with regard to the emission of the voice were absolutely
+correct. Beyond that he did not see that anything further was to be
+gained except to satisfy the curiosity of those who might be
+interested in seeing for themselves the forms and changes which the
+inside of the larynx assumed during singing and speaking."
+
+Of similar purport is the word of the eminent baritone, Sir Charles
+Santley, who, in his _Art of Singing_, says:
+
+"Manuel Garcia is held up as the pioneer of scientific teaching of
+singing. He was--but he taught singing, not surgery! I was a pupil of
+his in 1858 and a friend of his while he lived;[1] and in all the
+conversations I had with him I never heard him say a word about larynx
+or pharynx, glottis or any other organ used in the production and
+emission of the voice. He was perfectly acquainted with their
+functions, but he used his knowledge for his own direction, not to
+parade it before his pupils."
+
+[Footnote 1: Garcia died July 1, 1906, at the age of 101.]
+
+The eminent London surgeon and voice specialist, Dr. Morell Mackenzie,
+says of the laryngoscope, "It can scarcely be said to have thrown any
+new light on the mechanism of the voice"; and Dr. Lennox Browne
+confesses that, "Valuable as has been the laryngoscope in a
+physiological, as undoubtedly it is in a medical sense, it has been
+the means of making all theories of voice production too dependent on
+the vocal cords, and thus the importance of the other parts of the
+vocal apparatus has been overlooked."
+
+Not only in regard to "registers" but in regard to resonance, focus,
+articulation, and the offices and uses of the various vocal organs,
+similar antagonistic opinions exist. Out of this chaos must some time
+come a demonstrable system.
+
+A generation ago the art of breathing was beginning to be more an
+object of study, but the true value of correct lateral abdominal
+breathing was by no means generally admitted or appreciated. It was
+still taught that the larynx (voice-box) should bob up and down like a
+jack-in-a-box with each change of pitch, and that "female breathing"
+must be performed with a pumping action of the chest and the
+elevation and depression of the collar bone.
+
+Fortunately, teachers and singers recognized a good tone when they
+heard it, and many taught much better than they knew, so that the
+public did not have to wait for the development of accurate knowledge
+of the subject before hearing excellent singing and speaking. Yet many
+singers had their voices ruined in the training, and their success as
+vocalists made impossible; while others, a little less unfortunate,
+were still handicapped through life by the injury done by mistaken
+methods in early years. Jenny Lind's perfect vocal organs were quite
+disabled at twelve years of age by wrong methods, and they recovered
+only after a protracted season of rest. As a consequence her beautiful
+voice began to fail long before her splendid physique, and long before
+her years demanded. Singers taught in nature's way should be able to
+sing so long as strength lasts, and, like Adelaide Phillips, Carl
+Formes, and Sims Reeves, sing their sweetest songs in the declining
+years of life. Martel, at seventy years of age, had a full, rich
+voice. He focused all his tones alike, and employed deep abdominal
+breathing.
+
+The whole matter of voice training has been clouded by controversy.
+The strident advocates of various systems, each of them "the only true
+method," have in their disputes overcast the subject with much that is
+irrelevant, thus obscuring its essential simplicity.
+
+The "scientific" teachers, at one extreme, have paid too exclusive
+attention to the mechanics of the voice. The "empiricists" have gone
+to the other extreme in leaving out of account fundamental facts in
+acoustics, physiology, and psychology.
+
+The truth is that no purely human function, especially one so subtle
+as singing, can be developed mechanically; nor, on the other hand, can
+the mere _ipse dixit_ of any teacher satisfy the demands of the modern
+spirit.
+
+
+PRINCIPLES ADVOCATED
+
+The positions here advocated, because they seem both rational and
+simple, are:
+
+=1. That the singing and speaking tones are identical, produced by the
+same organs in the same way, and developed by the same training.=
+
+=2. That breathing is, for the singer, only an amplification of the
+correct daily habit.=
+
+=3. That "registers" are a myth.=
+
+=4. That "head tones, chest tones, closed tones, open tones," etc., as
+confined to special parts of the range of the voice, are distracting
+distinctions arising from false education.=
+
+=5. That resonance determines the quality and carrying power of every
+tone, and is therefore the most important element in the study and
+training of the voice.=
+
+=6. That the obstacles to good speaking and singing are psychologic
+rather than physiologic.=
+
+=7. That, in the nature of things, the right way is always an easy
+way.=
+
+
+
+
+CHAPTER I
+
+THE VOCAL INSTRUMENT
+
+
+Since the vocal organism first became an object of systematic study,
+discussion has been constant as to whether the human vocal instrument
+is a stringed instrument, a reed instrument, or a whistle. Discussion
+of the question seems futile, for practically it is all of these and
+more. The human vocal organs form an instrument, _sui generis_, which
+cannot be compared with any other one thing. Not only is it far more
+complex than any other instrument, being capable, as it is, of
+imitating nearly every instrument in the catalogue and almost every
+sound in nature, but it is incomparably more beautiful, an instrument
+so universally superior to any made by man that comparisons and
+definitions fail.
+
+
+ELEMENTS
+
+The human vocal instrument has the three elements common to all
+musical instruments,--a motor, a vibrator, and a resonator; to which
+is added--what all other instruments lack--an articulator.
+
+1. The respiratory muscles and lungs for a =motor=.
+
+2. The vocal cords for a =vibrator=.
+
+3. The throat, mouth, and the nasal and head cavities for a =resonator=.
+
+4. The tongue, lips, teeth, and palate for an =articulator=.
+
+These elements appear in as great a variety of size and proportion as
+do the variations of individual humanity, and each element is,
+moreover, variable according to the will or feeling of the individual.
+This susceptibility to change constitutes a modifying power which
+gives a variety in tone quality possible to no other instrument and
+makes it our wonder and admiration. The modification and interaction
+of these various parts produced by the emotions of the singer or
+speaker give qualities of tone expressive of the feelings, as of pain
+or pleasure, grief or joy, courage or fear.
+
+[Illustration: FIGURE 1.--Section of the head and throat locating the
+organs of speech and song, including the upper resonators. The
+important maxillary sinus cannot well be shown. It is found within the
+maxillary bone (cheek bone). The inner end of the line marked _Nasal
+cavity_ locates it.]
+
+
+TIMBRE
+
+The minute differences in these physical conditions, coupled with the
+subtler differences in the psychical elements of the personality,
+account for that distinctive physiognomy of the voice called =timbre=,
+which is only another name for individuality as exhibited in each
+person. The same general elements enter into the composition of all
+voices, from the basso profundo to the high soprano.
+
+That the reader may better understand the proportion and relations of
+the different parts of the vocal apparatus, a sectional drawing of the
+head is here produced, showing the natural position of the vocal
+organs at rest. As the drawing represents but a vertical section of
+the head the reader should note that the sinuses, like the eyes and
+nostrils, lie in pairs to the right and left of the centre of the
+face. The location of the maxillary sinuses within the maxillary or
+cheek bones cannot be shown in this drawing.
+
+The dark shading represents the cavities of the throat, nose, and
+head. The relations of the parts are shown more accurately than is
+possible in any diagram. It will be noticed that the vibrations from
+the larynx would pass directly behind the soft palate into the nasal
+chamber, and very directly into the mouth. The nasal roof is formed by
+two bones situated between the eyes; the sphenoid or wedge-bone, which
+is connected with all other bones of the head, and the ethmoid or
+sieve-like bone. The structure of these two bones, especially of the
+ethmoid, consists of very thin plates or laminae, forming a mass of air
+cavities which communicate by small openings with the nasal cavity
+below. Thus, the vibrations in the nose are transmitted to the air
+spaces above, and the effective qualities of the head vibrations are
+added to the tone.
+
+
+THE LARYNX
+
+The larynx or voice-box contains the vocal cords. Just above the vocal
+cords on each side is a large, deep cavity, called the ventricle.
+These cavities reinforce the primary vibrations set up by the cords
+and serve to increase their intensity as they are projected from the
+larynx. The larynx is the vibrating organ of the voice. It is situated
+at the base of the tongue and is so closely connected with it by
+attachment to the hyoid bone, to which the tongue is also attached,
+that it is capable of only slight movement independent of that organ;
+consequently it must move with the tongue in articulation. The
+interior muscles of the larynx vary the position of its walls, thus
+regulating the proximity and tension of the vocal cords. The male
+larynx is the larger and shows the Adam's apple. In both sexes the
+larynx of the low voice, alto or bass, is larger than that of the high
+voice, soprano or tenor. The larynx and tongue should not rise with
+the pitch of the voice, but drop naturally with the lower jaw as the
+mouth opens in ascending the scale. The proper position of the tongue
+will insure a proper position for the larynx. The less attention the
+larynx receives the better.
+
+
+THE VOCAL CORDS
+
+The vocal cords are neither cords nor bands, but instead are thick
+portions of membrane extending across the inner surface of the larynx.
+On account of familiarity the name _vocal cords_ will still be used.
+They are fairly well represented by the lips of the cornet player when
+placed on the mouthpiece of the instrument. The pitch of the tone is
+fixed by the tension of the vocal cords and the width and length of
+the opening between them. Their tension and proximity are
+self-adjusted to produce the proper pitch without any conscious
+volition of the singer. They can have no special training, needing
+only to be left alone. The work of the vocal cords, though essentially
+important, is, when naturally performed, light and consequently not
+exhausting. If the larynx and all of its supporting muscles are
+relaxed as they are in free and easy breathing, then when the air
+passes out through the larynx, the vocal cords will automatically
+assume a tension sufficient to vocalize the breath and give the note
+the proper pitch. The normal action of the cords will never cause
+hoarseness or discomfort. The sound should seem to be formed, not in
+the throat,--thus involving the vocal cords,--but in the resonance
+chambers.
+
+
+THE EPIGLOTTIS
+
+The epiglottis is the valve which closes over the upper opening of the
+larynx. It not only closes the mouth of the larynx when food is
+swallowed, but aids materially in converting into tone the vibrations
+set up by the vocal cords.
+
+
+THE PHARYNX
+
+The pharynx extends from the larynx to the nasal cavity. The size of
+the opening into the nasal chamber is controlled by the soft palate
+and is frequently entirely closed. The size of the pharynx is varied
+by the contraction and relaxation of the circular muscles in its
+tissue; when swallowing its walls are in contact. The pharynx acts as
+does the expanding tube of brass instruments. It increases the force
+and depth of the tone waves. The wider the pharynx is opened, without
+constraint, the fuller the resonance and the better the tone.
+
+
+THE UNDER JAW
+
+The under jaw furnishes attachment for the muscles of the tongue and
+hyoid or tongue bone. It also controls, owing to the connections of
+the larynx with the hyoid bone, the muscles that fix the position of
+the larynx.
+
+The pterygoid muscles, which move the under jaw forward and backward,
+do not connect with the larynx, so their action does not compress that
+organ or in any way impede the action of the vocal apparatus. A
+relaxed under jaw allows freer action of the vocal cords and ampler
+resonance. The under jaw should drop little by little as the voice
+ascends the scale, thus opening the mouth slightly wider with each
+rise in the pitch of the tone. In ascending the scale it is well to
+open the throat a little wider as you ascend. The delivery will be
+much easier, and the tone produced will be much better. At the highest
+pitch of the voice the mouth should open to its full width. At the
+same time care must be taken _not_ to draw the corners of the mouth
+back, as in smiling, because this lessens the resonance of the tone
+and gives it a flat sound.
+
+The under jaw must have considerable latitude of motion in
+pronunciation, but by all means avoid chewing of the words and cutting
+off words by closing the jaw instead of finishing them by the use of
+the proper articulating organs, which are the tongue and lips.
+
+
+THE SOFT PALATE
+
+Writers on the voice have almost universally claimed that the
+principal office of the soft palate is to shut off the nasal and head
+cavities from the throat, and to force the column of vibrations out
+through the mouth, thus allowing none, or at most a very small part,
+to pass into the nasal passages.
+
+This contention implies that the vibrations are imparted to the upper
+cavities, if at all, through the walls of the palate itself, and not
+through an opening behind the palate. This is entirely at variance
+with the facts as verified by my own experience and observation and
+the observation of others who are expert specialists. The true office
+of the soft palate is to modify the opening into the nose and thus
+attune the resonant cavities to the pitch and timbre of the note given
+by the vocal cords and pharynx. To develop the vowel sounds, the soft
+palate should be drawn forward, allowing a free passage into the nose;
+it should be closed only to form the consonants which require a
+forcible expulsion of breath from the mouth.
+
+The uvula, the pendulous tip of the soft palate, serves as a valve to
+more accurately adjust the opening behind the soft palate to the pitch
+of the voice. In producing a low tone the soft palate is relaxed and
+hangs low down and far forward. As the voice ascends the scale the
+tension of the soft palate is increased and it is elevated and the
+uvula shortened, thus decreasing the opening behind the palate, but
+never closing it. In fact the larger the opening that can be
+maintained, the broader and better the tone. The author was himself
+unable fully to appreciate this until he had become able to sense the
+position of the soft palate during vocalization.
+
+
+THE HARD PALATE AND TEETH
+
+The hard palate and upper teeth form in part the walls of the mouth.
+As they are solid fixtures, nothing can be done in the way of
+training. They furnish a point of impingement in articulation, and
+play their part in sympathetic resonance.
+
+The bones which form the roof of the mouth serve also for the floor of
+the nasal cavity.
+
+The under teeth also serve as walls of resistance to support the
+tongue during the performance of its functions.
+
+
+THE NASAL AND HEAD CAVITIES
+
+The nasal and head cavities are resonating chambers incapable of
+special training, but their form, size, and the use made of them have
+a wonderful effect upon the resonance of the voice. If the vibrations
+are strong here, all other parts will vibrate in harmonious action.
+
+When responding to the perfectly focused tone the thin walls of the
+cavities and the contained air vibrate with surprising force, often
+for the moment blinding the singer when sounding a note intensely.
+
+Having in my surgical work demonstrated the existence of a hitherto
+unrecognized connecting passage or canal between the air cavities of
+the face and those of the forehead,[2] the play of resonance in the
+cavities above the nostrils is more easily understood. The function of
+the cavities known as the _frontal sinuses_ (see Fig. 1) has long been
+a mystery, but now that their direct connection with the lower
+cavities is proven, and the great significance of resonance is also
+beginning to be recognized, the mystery disappears. The same may be
+said of the other sinuses--_ethmoidal_, _sphenoidal_, and _maxillary_,
+and their interconnection.
+
+[Footnote 2: Dr. Fillebrown's paper, _A Study of the Relation of the
+Frontal Sinus to the Antrum_, was read before the American Dental
+Association, at Saratoga, August 5, 1895. His investigation showed
+that the funnel-shaped passage known as the _infundibulum_ extends
+from the _frontal sinus_ directly into the antrum or _maxillary
+sinus_. This was afterwards confirmed by Dr. W.H. Cryer and others.]
+
+
+INFLUENCE OF THE RESONANCE CAVITIES ON THE PITCH OF THE TONE
+
+In instruments changes in the length and form of the resonance
+chambers affect the pitch as well as the quality of the tone. This is
+demonstrated in the trombone, French horn, and other wind instruments.
+The lengthening of the tube of the trombone lowers the pitch of the
+tone, and the projection of the hand of the performer into the bell of
+the French horn has the effect of raising the pitch of the sound. If
+the variation in length or form is only slight, the result is sharp or
+flat, and the instrument is out of tune. In the human instrument all
+the organs act together as a unit; so the fact that the cavities alone
+may affect the pitch is practically of no great significance.
+
+
+THE TONGUE
+
+The tongue and the lips are the articulating organs, and the former
+has an important part to play in altering through its movements the
+shape of the mouth cavity.
+
+The tip of the tongue should habitually rest against the under front
+teeth. The tip of the tongue, however, must frequently touch the roof
+of the mouth near the upper front teeth, as when pronouncing the
+consonants _c_, _d_, _g_ or _j_, _l_, _n_, _s_, and _t_. The back part
+of the tongue must rise a little to close against the soft palate when
+pronouncing _g_ hard, and _k_, and hard _c_, _q_, and _x_. The soft
+palate comes down so far to meet the tongue that the elevation of the
+latter need be but very slight.
+
+When speaking, the demand is not so imperative, but when singing, the
+body of the tongue should lie as flat as possible, so as to enlarge
+the mouth, especially when giving the vowel sounds.
+
+If the tongue is sometimes disposed to be unruly, it is the result of
+rigidity or misplaced effort in the surrounding parts. This tendency
+will only be aggravated by artificial restraint of any kind. The true
+way is to dismiss tongue consciousness, _let go_, and a normal
+flexibility will easily manifest itself.
+
+
+THE LIPS
+
+The lips, equally with the tongue, are organs of articulation. The
+upper lip is the principal factor of the two; the under lip seems to
+follow the lead of the upper. The lips need much training, and it can
+readily be given them. While practising to educate the lips, both lips
+should be projected forward and upward, at the same time pronouncing
+the word "too." Bring the edge of the upper lip as high toward the
+nose as possible in practice. This will bring the corners of the mouth
+forward and lift the lips clear and free from the teeth, and thus add
+one more resonance cavity. This position of the lips also gives
+freedom for pronunciation. "The upper lip plays the most active part
+in the shaping of the vowels. It should never be drawn against the
+teeth when producing vowel tones; indeed, there should be often a
+little space between the upper lip and the teeth, so that the
+vibrations of the sound-waves can have free play."
+
+
+THE NOSTRILS
+
+The nostrils should be dilated as much as possible, as a free, wide,
+open nose gives a free, well-rounded tone, while a contracted nostril
+induces the nasal tone so much dreaded. A proper training of the
+facial muscles makes this dilation possible. Lifting the upper lip and
+projecting it forward aids the action to a great degree.
+
+There is a strong tendency to unity of action between the nostrils and
+the lips and the soft palate. The soft palate moves downward and
+forward when the upper lip protrudes and the nostrils dilate, and
+moves backward and upward when the nostrils are contracted and the
+upper lip allowed to rest upon the teeth.
+
+As a rule the best singers have full, round, wide, open nostrils,
+either given by nature or acquired by practice.
+
+
+THE FACE
+
+Not only must the lips and nose be trained, but the muscles of the
+face also. These muscles are capable, if educated, of doing important
+service.
+
+The artist on the operatic stage or the speaker on the platform,
+without facial expression begotten of muscular activity, may lessen by
+half his power over an audience. To train the facial muscles is a
+complicated task. To do this, stand before a mirror and make all the
+faces ever thought of by a schoolboy to amuse his schoolmates. Raise
+each corner of the lip, wrinkle the nose, quilt the forehead, grin,
+laugh. The grimaces will not enter into a performance, but their
+effect upon it will be markedly beneficial.
+
+
+
+
+CHAPTER II
+
+THE SPEAKING VOICE AND PRONUNCIATION
+
+
+A generation ago the speaking voice was even less understood than the
+singing voice. That the two were intimately connected was but half
+surmised. Only an occasional person recognized what is now generally
+conceded, that a good way to improve the speaking voice is to
+cultivate the singing voice.
+
+In 1887 I published a paper in the _Independent Practitioner_ defining
+the singing voice and the speaking voice as identical, and contending
+that the training for each should be the same so far as tone formation
+is involved, a conclusion at which I had arrived several years before.
+Subsequent experience has only served to confirm this opinion.
+
+The past has produced many good speakers, among them Henry Clay,
+Daniel Webster, Edwin Booth, Wm. Charles Macready, and Edward Everett.
+Of the last Oliver Wendell Holmes wrote: "It is with delight that one
+who remembers Edward Everett in his robes of rhetorical splendor,
+recalls his full blown, high colored, double flowered periods; the
+rich, resonant, grave, far-reaching music of his speech, with just
+enough of the nasal vibration to give the vocal sounding-board its
+proper value in the harmonies of utterance." These examples of correct
+vocalization, however, were exceptions to the general rule; they
+happened to speak well, but the physiologic action of the vocal organs
+which produced such results in those individual cases was not
+understood, and hence the pupil ambitious to imitate them and develop
+the best of which his voice was capable had no rule by which to
+proceed. Few could speak with ease, still fewer could be heard by a
+large assembly, and sore throats seemed to be the rule.
+
+
+DIFFERENCE BETWEEN SINGING AND SPEAKING
+
+In singing the flow of tone is unbroken between the words, but in
+speaking it is interrupted. In singing tone is sustained and changed
+from one pitch to another by definite intervals over a wide compass
+that includes notes not attempted in speech. In speaking tone is
+unsustained, not defined in pitch, is limited to a narrow compass, and
+the length of the tones is not governed by the measure of music.
+
+Notwithstanding these differences, singing and speaking tones are
+produced by the vocal organs in the same way, are focused precisely
+alike, have the same resonance, and are delivered in the same manner.
+It has been said that speech differs from song as walking from
+dancing. Speech may be called the prose, and song the poetry of
+vocalization.
+
+During the past decade the knowledge of the speaking voice has been
+greatly broadened, and the art of cultivating tone has made progress.
+The identity of the singing and speaking voice is becoming more fully
+recognized, and methods are being used to develop the latter similar
+to those in use for the training of the former. As Dr. Morell
+Mackenzie says: "Singing is a help to good speaking, as the greater
+includes the less."
+
+The recognition of this truth cannot fail to be a great aid to the
+progress of singing in the public schools, since every enlargement of
+exercises common to both speaking and singing helps to solidarity and
+_esprit de corps_ in teaching and in learning.
+
+An accurate sense of pitch, melody, harmony, and rhythm is necessary
+to the singer, but the orator may, by cultivation, develop a speaking
+voice of musical quality without being able to distinguish _Old
+Hundred_ from _The Last Rose of Summer_.
+
+
+PRONUNCIATION
+
+It is a matter of common observation that American singers, although
+they may be painstaking in their French and German, are indifferent,
+even to carelessness, in the clear and finished enunciation of their
+native tongue. Mr. W.J. Henderson, in his recent work, _The Art of the
+Singer_, says: "The typical American singer cannot sing his own
+language so that an audience can understand him; nine-tenths of the
+songs we hear are songs without words." Happily this condition is
+gradually yielding to a better one, stimulated in part by the examples
+of visiting singers and actors. In story-telling songs and in
+oratorio, slovenly delivery is reprehensible, but when the words of a
+song are the lyric flight of a true poet, a careless utterance becomes
+intolerable.
+
+Beauty of tone is not everything; the singing of mere sounds, however
+lovely, is but a tickling of the ear. The shortcoming of the Italian
+school of singing, as of composition, has been too exclusive devotion
+to sensuous beauty of tone as an end in itself. The singer must never
+forget that his mission is to =vitalize text with tone=. The songs of
+Schubert, Schumann, Franz, Brahms, Grieg, Strauss, and Wolf, as well
+as the Wagnerian drama, are significant in their inseparable union of
+text and music. The singer is therefore an interpreter, not of music
+alone, but of text made potent by music.
+
+Pronunciation, moreover, concerns not only the listener, but the
+singer and speaker, for pure tone and pure pronunciation cannot be
+divorced, one cannot exist without the other. In his interesting work,
+_The Singing of the Future_, Mr. Ffrangcon-Davies insists that, "the
+quickest way to fine tone is through fine pronunciation."
+
+We cannot think except in words, nor voice our thought without speech.
+Vocal utterance is thought articulate. Therefore, instead of prolonged
+attention to tone itself, training should be concentrated upon the
+uttered word. The student should aim "to sing a word rather than a
+tone." Correct pronunciation and beautiful tone are so interdependent
+as to be inseparable.
+
+The singer and speaker require all sounds in their purity. To seek to
+develop the voice along the narrow limits of any single vowel or
+syllable, as for instance the syllable _ah_, is harmful. Not only is
+this vowel sound, as Lilli Lehmann says, "the most difficult," but the
+proper pronunciation of all words within the whole range of the voice
+is thereby impeded. Diction and tone work should therefore go hand in
+hand. "The way in which vowel melts into vowel and consonants float
+into their places largely determines the character of the tone
+itself." Without finished pronunciation speech and song of emotional
+power are impossible. Gounod, the composer, says, "Pronunciation
+creates eloquence." Mr. Forbes-Robertson, the English master of
+dramatic diction, speaking for his own profession says: "The trouble
+with contemporary stage elocution springs from the actor's very desire
+to act well. In his effort to be natural he mumbles his words as too
+many people do in everyday life. Much of this can be corrected by
+constantly bearing in mind the true value of vowels, the percussive
+value of consonants, and the importance of keeping up the voice until
+the last word is spoken. There must be, so to speak, plenty of wind in
+the bellows. The great thing is to have the sound come from the front
+of the mouth.... The actor must learn to breathe deeply from the
+diaphragm and to take his breath at the proper time. Too often the
+last word is not held up, and that is very often the important
+word.... Schools for acting are valuable, ... but, after all, the
+actors, like other folk, must be taught how to speak as children in
+the home, at school, and in society."
+
+In pronunciation the words should seem to be formed by the upper lip
+and to come out through it. By this method it will be found easy to
+pronounce distinctly. The words will thus be formed outside the mouth
+and be readily heard, as is a person talking in front of, instead of
+behind, a screen. A single, intelligent trial will be sufficient to
+show the correctness of the statement. Thinking of the upper lip as
+the fashioner of the words makes speaking easy and singing a delight.
+
+To smile while talking gives to the words a flat, silly sound, hence
+the corners of the mouth should be kept well forward.
+
+
+THE SINGER'S SCALE OF VOWEL SOUNDS
+
+[Illustration:
+
+1  n_ee_
+2  n_i_t
+3  n_e_t
+4  n_a_y
+5  n_ai_r
+6  n_a_t
+7  n_i_gh
+8  N_a_h
+7' n_o_t
+6' n_a_w
+5' n_e_r
+4' n_u_t
+3' n_o_
+2' n_oo_k
+1' n_oo_.]
+
+It may fasten this in mind to remember that at one end of the vowel
+scale is--_me_, at the other--_you_.
+
+The teeth and lips are most closed at the extremes of this scale, and
+gradually open toward _ah_, with which vowel they are widest apart.
+
+In the series 1-8 the tongue is highest in the centre for _ee_ and
+gradually descends until it lies flat in the mouth for _ah_.
+
+The _upper_ pharynx is most closed in 1, most open in 8, and closes
+more and more in the descending series 7'-1'.
+
+The _lower_ pharynx gradually opens in the descending series 7'-1'.
+
+The researches of Helmholtz, Koenig, Willis, Wheatstone, Appunn, Bell,
+and others have shown that each vowel sound has its own characteristic
+pitch. The Scale of Vowel Sounds given above corresponds closely to
+the order of resonance pitch from the highest _ee_ to the lowest _oo_.
+In the natural resonance of the vowels _ee_ is highest in the head,
+_ah_ is midway in the scale, and _oo_ is lowest in resonance.
+
+
+LIP POSITION
+
+Figure 2 shows the best position of the lips to give the sound of
+_ee_. Hold the under jaw without stiffness and as far from the upper
+teeth as is consistent with delivery of the pure sound of this vowel.
+
+Figure 3 shows the best position of the lips to produce the vowel
+_oo_.
+
+Figure 4 shows the position of the lips for the vowel sound of long
+_o_. The opening of the lips should be made as round as is the letter
+_o_. When preparing the lips to give the sound of _o_, the inclination
+is strong to drop the lower jaw; in practice, to develop action of the
+lips, the under jaw would better be held quite immovable. It will be
+found possible to produce all of the vowel sounds without any change
+except in the form of the opening of the lips. The vowel sound of _i_
+is an exception; for as a compound of _ah_ and _ee_, the extremes of
+the vowel scale, it requires two distinct positions for its utterance
+with a movement of transition between; it is not, therefore, a good
+vowel for initial practice.
+
+[Illustration: FIGURE 2.]
+
+[Illustration: FIGURE 3.]
+
+[Illustration: FIGURE 4.]
+
+[Illustration: FIGURE 5.]
+
+Figure 5 shows that the sound _aw_ is produced from _o_ by raising the
+edge of the upper lip outward and upward, and flattening the raised
+portion laterally.
+
+Figure 6 shows the position for producing _ah_. It differs from the
+position assumed for _aw_ in that the opening of the lips is larger,
+the upper lip is raised higher, the flat portion is wider, and the
+under lip is a little relaxed. The form of the opening to produce _aw_
+is oval; the form for _ah_ is more nearly square.
+
+[Illustration: FIGURE 6.]
+
+[Illustration: FIGURE 7.]
+
+Figure 7 shows the under jaw relaxed, as it should be in practice, to
+enlarge the throat and give roundness and largeness to the tone. The
+use of the word _hung_ will accomplish this end.
+
+The vowel sounds illustrated above are embodied in a series of vocal
+exercises to be found in Chapter VIII on _Placing the Voice_.
+
+
+
+
+CHAPTER III
+
+BREATH CONTROL
+
+
+It has been said that "breathing is singing." This statement is
+equally applicable to speaking. While the aphorism is not literally
+true, it is true that without properly controlled breathing the best
+singing or speaking tone cannot be produced, for tone is but vocalized
+breath; hence in the cultivation of the voice, breathing is the first
+function to receive attention.
+
+For singer or speaker, the correct use of the breathing apparatus
+determines the question of success or failure; for without mastery of
+the motive power all else is unavailing. For a voice user, therefore,
+the first requisite is a well-developed chest, the second, complete
+control of it.
+
+It must not be supposed that a singer's breathing is something strange
+or complex, for it is nothing more than _an amplification of normal,
+healthy breathing_. In contrast, however, to the undisciplined casual
+breathing of the general public, the singer is a professional
+breather.
+
+
+THE MUSCLES OF RESPIRATION
+
+There are two sets of respiratory muscles, one for inspiration and
+another for expiration,--twenty-two or more in all. The principal
+muscles of inspiration are the diaphragm and the intercostal muscles
+that elevate the ribs. The chief muscles of expiration are the four
+sets of abdominal muscles and the intercostal muscles that depress the
+ribs. The diaphragm is _not_ a muscle of _expiration_.
+
+
+THE DIAPHRAGM
+
+The diaphragm is in form like an inverted bowl (Fig. 8). It forms the
+floor of the thorax (chest) and the roof of the abdomen. It is
+attached by a strong tendon to the spinal column behind, and to the
+walls of the thorax at its lowest part, which is below the ribs. In
+front its attachment is to the cartilage at the pit of the stomach. It
+also connects with the transverse abdominal muscle. The diaphragm
+being convex, in inspiration the contraction of its fibres flattens it
+downward and presses down the organs in the abdomen, thus increasing
+the depth of the thorax. Expiration depends wholly on other muscles.
+
+[Illustration: FIGURE 8.]
+
+The muscles so far mentioned are all that need "conscious education;"
+the others will act with them voluntarily, automatically. The
+abdominal muscles relax during inspiration and the diaphragm relaxes
+during expiration, thus rendering the forces nearly equal, though the
+strength is in favor of the expiratory muscles. This is what is
+needed, for the breath while speaking or singing must go out under
+much greater tension than is necessary for inhalation. Inspiration
+should be as free as possible from obstruction when singing or
+speaking. Expiration must be under _controlled_ pressure.
+
+
+THE LUNGS
+
+The lungs are spongy bodies which have no activity of their own beyond
+a little elasticity. They are controlled by the muscles of
+respiration.
+
+Figure 8 shows the organs of the body in their natural positions. The
+diaphragm is relaxed and curved upward, as in expiration. During
+inspiration the diaphragm is drawn down until it lies nearly flat.
+
+
+INSPIRATION
+
+The intercostal muscles raise the ribs. The diaphragm is drawn down by
+contraction, thus adding to the enlargement of the chest by increasing
+its depth. The abdominal muscles relax and allow the stomach, liver,
+and other organs in the abdomen to move downward to make room for the
+depressed diaphragm. This causes a vacuum in the chest. The lungs
+expand to fill this vacuum and the air rushes in to fill the expanding
+lungs.
+
+
+EXPIRATION
+
+The intercostal, and a part of the abdominal, muscles depress the ribs
+and lessen the chest cavity anteriorly and laterally. The abdominal
+muscles compress the abdomen and force up the diaphragm which is now
+relaxed, thus lessening the depth of the thorax. This pressure forces
+the air from the lungs and prepares them for another inspiration.
+
+
+CORRECT METHOD
+
+That the lateral-abdominal--more accurately chest-abdominal--breathing
+is correct and natural for both male, and female, and that the
+shoulders should remain as fixed as were Demosthenes' under the points
+of the swords hung over them, is now so generally admitted as to need
+no argument here. If any one has still a doubt on the subject let him
+observe a sleeping infant. It affords a perfect example of
+lateral-abdominal breathing, and no one can have a suspicion of sex
+from any difference in this function. Among the lower animals sex
+shows no difference in breathing at any age. All the peculiarities of
+female breathing are the results of habits acquired in after life.
+
+Chest and shoulder heaving are vicious and evidence impeded breathing.
+The singer who, forgetting the lower thorax, breathes with the upper
+only is sure to fail. Therefore breathe from the _lower_ part of the
+trunk, using the whole muscular system cooerdinately--_from below_
+upward. In other words breathe deeply, and _control deeply_, but with
+the whole body--from below, not with the upper chest only, or with
+lateral expansion only, or abdominal expansion only.
+
+Every teacher and pupil should remember that "singing and speaking
+require wind and muscle," hence the breathing power must be fully
+developed. Weak breathing and failure to properly focus the voice are
+the most frequent causes of singing off the key. They are much more
+common and mischievous than lack of "ear."
+
+Dr. May tested the breathing of 85 persons, most of them Indians, and
+found that 79 out of the 85 used abdominal breathing. The chest
+breathers were from classes "civilized" and more or less "cultured."
+
+Nature has provided that for quiet breathing when at rest the air
+shall pass through the nose. But when a person is taking active
+exercise, and consequently demands more air, he naturally and of
+necessity opens the mouth so as to breathe more fully. While speaking
+or singing the air is necessarily taken in through the mouth.
+
+
+BREATH CONTROL
+
+Firmness of tone depends upon steadiness of breath pressure.
+Steadiness of tone depends upon a control of the breath which allows a
+minimum volume of air to pass out under sufficient tension to produce
+vocalization.
+
+The tension and flow of breath can be gradually lessened until the
+tone vanishes and not even a whisper remains.
+
+Power and largeness of tone depend first upon the =right use of the
+resonant cavities=, and second upon the =volume of breath used under
+proper control=.
+
+In producing high tones the breath is delivered in less amount than
+for the low tones, but under greater tension. Absolute control of the
+breath is necessary to produce the best results of which a voice is
+capable. Full control of the breath insures success to a good voice;
+without it the best voice is doomed to failure.
+
+When muscular action is fully mastered, and the proper method of
+breathing understood and established, the muscles of inspiration and
+expiration will act one against the other, so that the act of
+breathing may be suspended at any moment, whether the lungs are full,
+or partly full, or empty. This is muscular control of the breath.
+Correct breathing is health giving and strength giving; it promotes
+nutrition, lessens the amount of adipose tissue, and reinforces every
+physical requisite essential to speaking and singing.
+
+
+A CURE FOR NERVOUSNESS
+
+It cannot be too widely advertised that the surest remedy for that
+torture of singers and speakers, nervousness, is the great
+tranquillizer,--quiet, deep breathing, deeply controlled. The breath
+of nervousness is quick, irregular, and shallow, therefore, take a
+few, slow, deliberate, deep, and _rhythmic_ inhalations of pure air
+through the nostrils, and the panting gasp of agitation will vanish.
+As a help toward deepening the breath and overcoming the spasmodic,
+clavicular habit, inhale quietly and slowly through the nose, or
+slowly sip the air through the nearly closed lips as if you were
+sipping the inmost breath of life itself.
+
+
+NECESSITY OF BREATHING EXERCISES
+
+To acquire control of breathing, proper exercises must be
+intelligently and persistently followed. In mankind, nature seems to
+have been diverted from her normal course so that we seldom find an
+individual who breathes correctly without education in the matter.
+What we have said on breathing is based on the premise that
+respiration involves cooerdinate action of the body from collar-bone to
+the base of the abdomen; that is, expanding and contracting the chest
+and abdomen simultaneously. This is called "lateral-abdominal"
+breathing; as the chest is the thoracic cavity, "abdomino-thoracic"
+has been suggested as brief and more strictly scientific.
+
+Work on any other lines fails to develop the full power and quality of
+the voice. Weak breathing is a prime cause of throaty tones. In such
+cases an effort is made to increase the tone by pinching the larynx.
+But this compresses the vocal cords, increases the resistance to the
+passage of the breath, and brings rigidities that prevent proper
+resonance. The true way is to increase the wind supply, as does the
+organist.
+
+
+CORRECT BREATHING ILLUSTRATED
+
+The following figures show the outline of correct breathing. The inner
+abdominal line shows the limit of expiration; the outer line shows the
+limit of full inspiration.
+
+Figure 9 shows the limit of full expiration and inspiration of the
+male, side view.
+
+Figure 10 shows the lateral expansion of the ribs in both expiration
+and inspiration, front view of the male.
+
+The expansion cannot be great at this part of the chest, as the side
+is so short a distance from the backbone to which the ribs are
+attached. The movement of the ribs in front is much greater, as Fig. 9
+shows.
+
+Figure 11 shows the front expansion and contraction in the breathing
+of the female, side view.
+
+Figure 12 shows the lateral expansion of the chest in the female,
+front view.
+
+These diagrams are made from photographs, and thus true to life. It
+will be noticed that there is no difference in the breathing outline
+between these subjects. The female subject, though a good singer, had
+had no training in breathing. She previously insisted that she used
+only the chest breathing, and did not use the abdominal muscles, but
+actual test revealed the condition to be that shown in Figure 11 and
+convinced her that she was mistaken.
+
+[Illustration: FIGURE 9.]
+
+[Illustration: FIGURE 10.]
+
+[Illustration: FIGURE 11.]
+
+[Illustration: FIGURE 12.]
+
+It is not unlikely that many other singers who now think they are
+using only the high chest respiration would, if subjected to the same
+test, find themselves similarly mistaken.
+
+The contraction incident to forced expiration is much more tense than
+the enlargement of forced inspiration. When singing or speaking,
+forced inspiration is not used. Experience shows that the change in
+size of the body during speaking or singing is usually small.
+Occasionally, long passages in music demand that the expulsive power
+of the breathing apparatus be used to its limit.
+
+
+ECONOMY OF BREATH
+
+The quantity of air taken in with a single inspiration is, in quiet
+breathing, according to Prof. Mills,[3] from twenty to thirty cubic
+inches, but this may be increased in the deepest inspiration to about
+one hundred cubic inches. In forcible expiration about one hundred
+cubic inches may be expelled, but even then the residual air that
+cannot be expelled is about one hundred cubic inches.
+
+[Footnote 3: Dr. Wesley Mills, _Voice Production_, 1906.]
+
+It is not, however, the quantity of breath inhaled that is
+significant, it is the amount _controlled_. Get, therefore, all the
+breath necessary, and keep it, but without undue effort and _without
+rigidity_.
+
+To test the amount of breath used in prolonged vocalization, a person
+skilled in the art of breathing, after an ordinary inspiration, closed
+his lips, stopped his nostrils, and began to vocalize. He found that
+the mouth with distended cheeks held sufficient breath to continue a
+substantial tone for twenty-three seconds.
+
+While these experiments show that very little amount or force of
+breath is needed to produce effective tones, the impression must exist
+in the mind of the performer that there is a free flow of breath
+through the larynx; otherwise the tone will seem restricted and will
+be weak. The forced holding back of the breath begets a restraint that
+has a bad effect on the singer's delivery. While the breath must be
+controlled, there is such a thing as an exaggerated "breath control"
+that makes free delivery of the voice impossible.
+
+It is quite possible to _overcrowd_ the lungs with air. Do not,
+therefore, make the mistake of always taking the largest possible
+breath. Reserve this for the climaxes, and inhale according to the
+requirements of the phrase and its dynamics. The constant taking of
+too much breath is a common mistake, but trying to sing too long on
+one breath is another.
+
+
+THE INITIAL USE OF BREATH FORCE
+
+The breath force when properly employed seems to be expended in
+starting the vibrations in the larynx; the vibrations are then
+transmitted to the air in the resonance cavities, and there the
+perfected tone sets the outer air in motion, through which the tone
+vibrations are conveyed to the ear of the listener.
+
+
+RESERVE BREATH POWER
+
+The correctly trained singer or speaker will never allow the breath
+power to be exhausted. Some breath should be taken in at every
+convenient interval between the words, according to the punctuation,
+but never between syllables of a word; this is correct phrasing. In
+this way the lungs are kept nearly full, and breathing is at its best.
+
+The chief cause of breath exhaustion is _wasted_ breath. This waste
+comes from exhaling more breath (more motive power) than the tone
+requires, and _breath that does not become tone is wasted_. This fault
+is largely induced by lack of proper resonance adjustment.
+
+The singer should always feel able to sing another note or to speak
+another word. To sing or speak thirty or forty counts with one breath
+is useful practice but poor performance. Occasionally, long runs in
+singing may compel an exception. Half-empty lungs lower the pitch of
+the tone, lessen the resonance, and weaken the voice, rendering the
+last note of the song and the last word of the sentence inaudible. The
+breathing must not be forced, but enough air must be furnished to
+produce the proper full vibrations.
+
+
+BREATH MASTERY
+
+What then does perfect control of the breath mean?
+
+1. Ability to fill the lungs to their capacity either quickly or
+slowly.
+
+2. Ability to breathe out as quickly or slowly as the occasion
+demands.
+
+3. Ability to suspend inspiration, with the throat open, whether the
+lungs are full or not, and to resume the process at will without
+having lost any of the already inspired air.
+
+4. Ability to exhale under the same restrictions.
+
+The above four points are common to speaking and singing, but singing
+involves further:
+
+5. Ability to sing and sustain the voice on an _ordinary_ breath.
+
+6. Ability to _quietly_ breathe as often as text and phrase permit.
+
+7. Ability to breathe so that the fullest inspiration _brings no
+fatigue_.
+
+8. Ability to so economize the breath that the _reserve is never
+exhausted_.
+
+9. The ability to breathe so naturally, so unobtrusively, that
+_neither breath nor lack of breath is ever suggested to the
+listener_--this is the very perfection of the art.
+
+
+
+
+CHAPTER IV
+
+BREATHING EXERCISES
+
+
+Enough has been said in the preceding chapter to make clear the
+necessity of breath control, and to show what constitutes this control
+for the singer--the professional breather.
+
+If the singer's breathing is nothing but an amplification of normal,
+healthy breathing, why dwell upon it, why not let it develop of
+itself?
+
+Unfortunately, many teachers have taken this attitude, overlooking the
+fact that, although life is dependent on normal, healthy breathing,
+such breathing is, in civilized communities, not the rule but the
+exception, simply because normal living is rare; the artificiality of
+modern life forbids it. The high pressure under which most people live
+induces mental tension together with the consequent nervous and
+muscular tension. We are, without being conscious of it, so habituated
+to unnatural tension that automatic breathing is shallow and irregular
+instead of being deep and rhythmic.
+
+The task, therefore, is to reclaim a neglected birthright--natural
+breathing--to make it habitual and amplify it.
+
+
+PRELIMINARY SUGGESTIONS
+
+1. Breathing exercises to be invigorating and purifying demand plenty
+of fresh air.
+
+2. At first do not practise longer than ten minutes at a time, three
+times a day.
+
+3. Gradually lengthen the time without overdoing. When tired stop.
+
+4. The best time is before dressing in the morning, with the window
+open. The worst time is directly after a meal.
+
+5. Maintain throughout an easy, flexible poise.
+
+6. Breathe as _deeply_ as possible without abdominal distention. The
+greatest expansion should be felt at the lower end of the breast-bone.
+
+7. Breathe as _broadly_ as possible, expanding the sides without
+tension.
+
+8. Breathe as _high_ as possible without shoulder movement or
+stiffness.
+
+9. Use not the high breath alone, or the mid-breath, or the low
+breath, but use the _complete_ breath.
+
+10. Breathe _rhythmically_ by counting mentally.
+
+11. Breathe _thoughtfully_ rather than mechanically.
+
+12. Do not crowd the lungs or lay stress on the mere quantity of air
+you can inhale. The intake of breath is, for the singer, secondary to
+its control, economy, and application in song. Increase of lung
+capacity will duly appear.
+
+13. When not singing, speaking or practising an exercise that demands
+it, _keep your mouth shut_.
+
+
+ATTITUDE
+
+Dress the neck and body loosely, so as to give the throat and trunk
+perfect freedom. Place the hands on the hips, so as to free the chest
+from the weight of the arms. Stand erect, evenly upon the balls of the
+feet; the body straight, but not strained. Raise the back of the head
+slightly without bending the neck. This action will straighten the
+spine, place the chest forward, and bring the abdomen backward into
+its proper relation.
+
+The great majority of people are shallow breathers, chest breathers,
+who when told to take a "deep breath" do not know what is meant. It is
+therefore necessary for them first to learn what a deep breath is, and
+then how to take it.
+
+
+Exercise I
+
+FOR THOSE WHO DO NOT KNOW WHAT A DEEP BREATH IS
+
+Before rising in the morning, remove your pillow and while flat on
+your back place one hand lightly on the abdomen, the other on the
+lower ribs. Relax the whole body, giving up your whole weight to the
+bed. Inhale through the nostrils slowly, evenly, and deeply, while
+mentally counting one, two, three, four, etc. As you inhale, notice
+(_a_) the gradual expansion of the abdomen, (_b_) the side expansion
+of the lower ribs, (_c_) the rise and inflation of the chest, without
+raising the shoulders. Hold the breath while mentally counting four
+(four seconds), then suddenly let the breath go, and notice the
+collapse of the abdomen and lower chest. Remember _the inspiration
+must be slow and deep, the expiration sudden and complete_. Practise
+this preliminary exercise for not more than ten minutes each morning
+for a week. The second week hold the breath six seconds, instead of
+four, and gradually increase the time, without overdoing.
+
+While, for a novice, the exercises may be taken at first in bed, this
+is but a preliminary to their practise standing in easy poise as
+directed in the preceding section.
+
+
+Exercise II
+
+SLOW INHALATION WITH SUDDEN EXPULSION
+
+Inhale as in I; hold the breath four counts (seconds) or more; then
+expel the air vigorously in one breath through the wide open mouth.
+The beginner is often helped in acquiring a deep breath by slowly
+sipping breath. Therefore as a variant to Exercise II practise:
+
+
+Exercise III
+
+SIPPING THE BREATH, WITH QUICK EXHALATION
+
+Through the smallest possible opening of the lips, while mentally
+counting, inhale very slowly and steadily; hold two to four counts,
+then expel the air all at once through the wide open mouth.
+
+
+Exercise IV
+
+FOR RIB EXPANSION
+
+To more completely arouse dormant muscles that should play an
+important part in breathing, place the hands against the sides, thumbs
+well back, take, through the nostrils or the slightly parted lips,
+six short catch-breaths, moving the ribs _out at the side_ with each
+catch-breath. Hold the breath two counts, and exhale through the mouth
+with six short expiratory puffs, drawing the ribs _in at the side_
+with each puff.
+
+
+Exercise V
+
+SLOW INHALATION WITH SLOW EXPIRATION
+
+Inhale as in I, while mentally counting one, two, three, four, etc.,
+until the inhalation seems complete. Hold the breath four or more
+counts; then exhale through the nostrils slowly and evenly while
+mentally counting to the number reached in the inspiration. With
+practice the number of counts will gradually increase. Do not,
+however, force the increase. The muscles that control inspiration are
+powerful; do not, therefore, make the mistake of seeking to control
+expiration by contraction of the glottis. Practise these exercises
+with an open throat and depend on the breathing muscles for control of
+the outgoing air. Remember that _singing is control of breath in
+exit_.
+
+
+Exercise VI
+
+RAPID INSPIRATION WITH SLOW EXPIRATION
+
+Inhale through the nostrils quickly, deeply, and forcefully (one
+count); hold two counts; exhale through the nostrils evenly, steadily,
+and as slowly as possible while mentally counting one, two, three,
+four, etc. With practice gradually increase the number of counts for
+the exhalation.
+
+
+Exercise VII
+
+FARINELLI'S GREAT EXERCISE
+
+The Cavalier, Don Carlo Broschi, better known as Farinelli
+(1705-1782), the world's greatest singer in bravura and coloratura,
+was a pupil of Porpora and Bernacchi. There was no branch of the art
+which he did not carry to the highest perfection, and the successes of
+his youth did not prevent him from continuing his study, or, when his
+name was famous, from acquiring by much perseverance another style
+and a superior method. His breath control was considered so marvelous
+in that day of great singers, it is said, that the art of taking and
+keeping the breath so softly and easily that no one could perceive it
+began and died with him. He is said to have spent several hours daily
+in practising the following exercise:
+
+As in Exercise III, sip the breath slowly and steadily through the
+smallest possible opening of the lips; hold it a few counts, then
+exhale very slowly and steadily through the smallest possible opening
+of the lips.
+
+Farinelli's exercise is not for beginners.
+
+
+Exercise VIII
+
+THE CLEANSING BREATH
+
+For ventilating and sweeping the lungs, for quick refreshment after
+fatigue, and for use always at the close of your exercises, inhale
+through the nostrils slowly a complete breath; hold two to four
+counts, purse the lips tightly and expel through them a small puff of
+air, hold two counts, puff one, hold two counts, puff one, and so on
+until the exhalation is complete. A few trials should convince you
+that this simple exercise is of great value.
+
+
+HALF-BREATH
+
+In both singing and speaking, the sustained delivery of long phrases
+or sentences sometimes makes unusual demands on the breath supply. It
+is a law of good singing that every phrase should end with the breath
+unexhausted. When the flow of text and music forbid the taking of a
+full breath, half-breaths must be quietly taken at convenient points.
+Instead of letting the whole reservoir of motive power exhaust itself
+and then completely refill it, we should, by taking these
+half-breaths, maintain a reserve. A notable advocate of the use of the
+half-breath in singing is that past mistress of sustained and smooth
+delivery, Marcella Sembrich.
+
+
+
+
+CHAPTER V
+
+REGISTERS
+
+
+The subject of registers has always been the _bete noire_ of
+vocalists, a source of controversy and confusion. The term "register,"
+as commonly used, means a series of tones of a characteristic clang or
+quality, produced by the same mechanism. The term "break" is generally
+used to indicate the point at which a new register with sudden change
+appears.
+
+The advocates of registers lay stress either on the changes in
+laryngeal action, or the changes in tone quality. Before the days of
+the laryngoscope, registers were treated simply as different qualities
+of tone, characterizing a certain portion of the voice's compass.
+
+Those who encourage the cultivation of register consciousness claim to
+do so for the sake of the differences in tone-color which they
+associate with the different "registers." The purpose of the following
+chapters is to show that the quality or color of a tone is altogether
+a matter of resonance, and _not_ a question of laryngeal action.
+
+Moreover, the mechanism of the larynx is not voluntary in its action,
+but automatic, and even if a singer knew how the vocal cords should
+act it would not help him in the least to govern their action. The
+fact is that the results of laryngoscopic study of the vocal cords
+have been disappointing and contradictory and investigators have
+failed to define what correct laryngeal action is. There are those who
+even deny that the vocal cords govern the pitch of the voice.
+
+In her thoughtful _Philosophy of Singing_, Clara Kathleen Rogers,
+while upholding "registers," says that considered physiologically "the
+different registers of the voice should be regarded by the singer as
+only so many _modifications in the quality of tone_, which
+modifications are inherent in the voice itself." She then adds
+significantly: "These modifications are not brought about by conscious
+adjustments of the parts employed, as any interference with the parts
+will produce that obstacle to quality we call a 'break.'"
+
+One of the greatest of modern singers, Mme. Lilli Lehmann, in her
+interesting work, _How to Sing_, says: "Do registers exist by nature?
+No. It may be said that they are created through long years of
+speaking in the vocal range that is easiest to the person, or in one
+adopted by imitation." She speaks of three ranges of the voice, or,
+rather, three sections of the vocal range, as chest, middle, and head,
+saying, "All three form registers _when exaggerated_." After speaking
+of the hopeless confusion that results from clinging to the
+appellations of chest, middle, and head _register_, confounding voice
+with register, she concludes:
+
+"As long as the word 'register' is kept in use the registers will not
+disappear, and yet the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils."
+
+The trend of recent thought on this subject is further shown in
+Ffrangcon-Davies' important work, _The Singing of the Future_, where,
+having in mind "the useless torture to which thousands of students
+have been subjected," he characterizes "breaks" and "registers" as
+"paraphernalia supplied by credulity to charlatanism"; and adds: "How
+many a poor pupil has become a practical monomaniac on the subject of
+_that break in my voice between D and D sharp_!"
+
+My own studies convince me that there is but one register, or, rather,
+no such thing as register, save as it applies to the compass of the
+voice; and that chest, middle, head, and all other registers are
+creations of false education. Training based upon the theory of many
+registers results in an artificial and unnatural division of the
+voice.
+
+
+THE VOICE AND INSTRUMENTS COMPARED
+
+The organ of the voice has long been considered the analogue of every
+other instrument except in regard to registers. Investigation
+indicates that it is analogous in this respect also. Compare the voice
+instrument with the pianoforte, violin, and organ and the similarity
+will plainly appear. The artificial instruments undergo no change when
+making a tone of higher or lower pitch other than the attuning of the
+vibrator to the pitch desired. All other parts remain the same. So
+when the voice is correctly focused and delivered, the only change
+incident to altered pitch is that made in the vibrator so as to give
+the proper number of vibrations for the pitch required. If the scale
+is sung down, using the same vowel sound for the whole scale, the
+comparison will be appreciated; the pupil will not be conscious of any
+change in the vocal organ or experience any difficulty in descending
+the scale. Faithful advocates of the theory of many registers say:
+"Whenever in doubt about the production of a tone, sing _down_ to it
+from some tone above it, never _upward_ from a tone below," for they
+find that singing down "blends the registers." This we believe is
+because in singing down muscular and nerve tension is gradually
+relaxed and consequently there is no "register" change in the voice.
+
+A study of the church organ will, I think, make this matter clear. The
+organ has many so-called registers, as the _vox humana_, _flute_,
+_oboe_, etc. These differ in the character of tone produced, because
+of the size and shape of the different sets of pipes and the material,
+wood or metal, of which they are made. But each similarly constructed
+set of pipes forms only one register, and the pitch of the set varies
+from low to high without any abrupt change in quality. All the tones
+are produced by the same methods and means, the bellows, the vibrator,
+and the pipe. In length and diameter, the pipe is proper to the tone
+produced: a short pipe of small diameter for the high tones, and a
+long, wide pipe for the bass tones.
+
+The short vibrations of the high tones are perceived by the ear as
+affecting the air only, while the tones of the lowest bass pipes
+shake the solid foundations as well as the superstructure. So with the
+human voice. The coarser tissues cannot answer to the short vibrations
+of the upper tones, because they cannot move so quickly, while they
+can, and do, respond to the vibrations of the low tones. This may
+cause some difference in degree, but not in kind. With all tones
+focused alike, the low tones of the human organ may be regarded as
+head tones plus the vibrations of the coarser tissues.
+
+It has been said of registers that they are "acoustic illusions which
+disappear in the perfectly trained voice." As soon as the singer has
+learned to use his voice normally all these defective changes
+disappear.
+
+
+TWO CASES
+
+The following incident illustrates the fact that registers are an
+artificial creation: A young lady who had been a patient of the author
+since her childhood studied elocution in a metropolitan city, and to
+improve her voice took vocal music lessons of a teacher of more than
+local repute. He found no end of trouble in teaching her to "blend the
+registers," and she had utterly failed to acquire the art. One summer
+she came back for professional services and told her troubles. During
+the few weeks of her stay she followed the author's suggestions, and
+was fully convinced of their correctness and efficiency. Upon
+returning to her lessons, she followed, without any explanations, the
+method that had been outlined for her. Her success in "blending the
+registers" was a surprise to her teacher who heartily congratulated
+her upon what she had accomplished during the summer.
+
+Another case is that of a young lady who was under the author's
+direction as to vocal culture from childhood. As early as four years
+of age she was taught by the use of a few exercises to focus the voice
+in the nose and head, and to recognize the head vibrations by a light
+touch of the finger. When about seven years old, she took ten lessons
+of a teacher on the same lines, and at fifteen years of age took
+another brief course. In the meantime she had only the practice
+obtained by singing with the pupils in the schools she attended.
+Later, of her own volition, she sang more, and carefully applied the
+principles she had been taught, with the result that her voice
+compassed nearly two octaves, evenly and smoothly, with no break or
+change of focus or quality, or other intimation of "register," and she
+developed a speaking voice of more than ordinary quality and
+resonance.
+
+It has also been my lot to aid in the development of the voices of
+many patients after a surgical operation for cleft palate. Success has
+proven the correctness and efficacy of the principles set forth in
+these pages.
+
+A majority of the more than fifty authors whose works I have examined
+have laid great stress on the distinction between head and chest
+tones, open and closed tones, pure and impure tones, have warned
+against the nasal tone, and have constantly advocated a natural tone.
+That there is no essential difference between a head tone and a chest
+tone has already been discussed and, it would seem, conclusively
+proven. Any tone, closed or open, is pure and musical if properly
+focused and delivered, and the singer is at liberty to use either upon
+any note of the scale if it will serve better to express the sentiment
+he wishes to convey to the hearer. The cooing of the love song, the
+cry of alarm for help, and the shout of the military charge require
+very different qualities of voice to express the feelings, yet each
+may be musical and will be so if properly delivered.
+
+
+
+
+CHAPTER VI
+
+RESONANCE IN GENERAL
+
+
+The intimate relationship existing between voice culture and the
+science of acoustics was formerly slightly perceived. The teaching of
+singing, as an art, then rested altogether on an empirical basis, and
+the acoustics of singing had not received the attention of scientists.
+
+With the publication in 1863 of Helmholtz's great work[4] a new era
+began, although singer and scientist yet continue to look upon each
+other with suspicion. Teachers of the voice, casting about for a
+scientific basis for their work, were greatly impressed with
+Helmholtz's revelations in regard to vocal resonance--the fact that
+tones are modified in quality as well as increased in power by the
+resonance of the air in the cavities of pharynx and head.
+
+[Footnote 4: _Die Lehre von den Tonempfindungen als physiologische
+Grundlage fuer die Theorie der Musik._ (The Sensations of Tone as a
+Physiological Basis for the Theory of Music.)]
+
+Writing in 1886, Edmund J. Meyer speaks of the importance of a "study
+of the influence of the different resonance cavities as the voice is
+colored by one or the other, and the tuning each to each and each to
+all"; yet, he adds, "the subject is seldom heard of outside of books."
+
+The basic importance of resonance in the use of the voice is still too
+little recognized, though obvious enough in the construction of
+musical instruments. With the exception of a few instruments of
+percussion, all musical instruments possess three elements,--a
+_motor_, a _vibrator_, and a _resonator_. The violin has the moving
+bow for a motor, the strings for a vibrator, and the hollow body for a
+resonator. The French horn has the lungs of the performer for a motor,
+the lips for a vibrator, and the gradually enlarging tube, terminating
+in the flaring bell, for a resonator. In the pianoforte the
+hammer-stroke, the strings, and the sounding-board perform the
+corresponding offices. Though improvements in other parts of the piano
+have done much to increase the volume of the tone, yet in the radical
+change of form, size, and other physical qualities of the
+sounding-board consists the evolution of the modern pianoforte from
+the primitive clavichord.
+
+In all these instruments the quality and power of the tone depend upon
+the presence of these three elements,--the perfection of their
+construction, their proper relation as to size and position, and the
+perfect adaptation of each part. A split sounding-board spoils the
+pianoforte, the indented bell destroys the sweet tone of the French
+horn, and a cracked fiddle is the synonym for pandemonium itself.
+
+The quality and power of resonance is well illustrated by a
+tuning-fork, which, if set in vibration, can, unaided, scarcely be
+heard by the person holding it. But if rested on a table, or a plate
+of glass, or, better still, on the bridge of a violin, its tones may
+be distinctly heard throughout a large hall.
+
+The vibrating violin string when detached from the body of this
+instrument, although attuned to pitch, gives absolutely no musical
+sound; the lips of the player placed on the mouthpiece detached from
+the tube and bell of the brass instrument produce only a splutter; and
+a pianoforte without a sounding-board is nil. The air column in the
+tube of the French horn, and the sounding-board of the pianoforte
+develop the vibrations caused by the lips and strings into musical
+tones pleasing to the ear. The tuning-fork alone can scarcely be
+heard, while the induced vibrations it sets up through properly
+adjusted resonance may be audible far away.
+
+The vocal cords alone cannot make music any more than can the lips of
+the cornet player apart from his instrument. _The tone produced by the
+vibrations alone of the two very small vocal bands must, in the nature
+of things, be very feeble._
+
+Ninety-and-nine persons if asked the question, what produces tone in
+the human-voice, would reply, "the vibrations of the vocal cords,"
+and stop there, as if that were all; whereas the answer is very
+incomplete--not even half an answer.
+
+A great deal of the irrational and injurious "teaching" of singing
+that prevails everywhere, and of the controversy that befogs the
+subject, is due to the widely prevalent notion that the little vocal
+cords are the principal cause of tone, whereas they are in themselves
+insignificant as sound producers.
+
+=It is the vibrations of the air in the resonance chambers of the human
+instrument, together with the induced vibrations of the instrument
+itself, which give tone its sonority, its reach, its color, and
+emotional power.=
+
+That this is not an empirical statement but a scientific fact, a few
+simple experiments will demonstrate.
+
+Tone, in the musical sense, is the result of rapid periodic vibration.
+The pitch of tone depends upon the _number_ of vibrations in a given
+period; the loudness of tone depends upon the _amplitude_ of the
+vibrations; the quality of tone depends upon the _form_ of the
+vibrations; and the form of the vibrations depends upon the
+_resonator_.
+
+The fact that pure white light is a compound of all the tints of the
+rainbow into which it may be resolved by the prism is well known, but
+the analogous fact that a pure musical tone is a compound of tones of
+different rates of vibration, tones of different pitch, is not so much
+a matter of common knowledge, and not so obvious.
+
+Analysis shows that a musical tone consists of a fundamental note and
+a series of overtones.[5] The ear is quite capable of recognizing many
+of these overtones and may be trained to do so. The most obvious can
+be readily separated from a fundamental by a simple experiment.
+
+[Footnote 5: For fuller exposition see Tyndall on _Sound_, or the
+section devoted to _Acoustics_ in any text-book on Physics.]
+
+The overtones arrange themselves in a definite order, as follows: (1)
+the fundamental or prime tone; (2) an overtone one octave above the
+fundamental; (3) an overtone a fifth above No. 2; (4) an overtone a
+fourth above No. 3 (two octaves above the fundamental); (5) an
+overtone a major third above No. 4; (6) an overtone a minor third
+above No. 5. There are others in still higher range but those
+indicated are easily demonstrated on the piano. For C they would be as
+follows:
+
+
+[Music illustration]
+
+Experiment I
+
+Step to your piano, noiselessly press and hold down the key of No. 2,
+then strike the fundamental No. 1, with force and immediately release
+it. As a result No. 2 will sound clearly, and if your ears are keen
+you will at the same time hear No. 6. In succession hold down the keys
+of 3, 4, 5, and 6, while you strike and release the fundamental No. 1.
+If your piano is "in tune" you will probably hear No. 6 when holding
+the key of any other note of the series.
+
+In a musical tone of rich quality the overtones just indicated are
+present in their fulness, while tone that is weak and thin is made so
+by the absence or weakness of the overtones. I have stated that the
+quality of a tone depends on the _form_ of its vibrations, and that
+the form of its vibrations is determined by the character of the
+_resonator_. We can now amplify this by saying that while the relative
+presence or absence of overtones determines the clang or color of a
+tone, their presence or absence is determined by the _character of the
+resonance_.
+
+An English writer records that he was once in the garden at the back
+of a house while a gentleman was singing in the drawing-room. The
+tone-quality was good, and the pitch so unusually high he hastened to
+learn who sang tenor high C so beautifully. On entering the room,
+instead of the tenor he had supposed, he found the singer was a
+baritone, and the note sung was only middle C. The fundamental tone
+had not reached him in the garden but the first overtone, an octave
+above it, had. Concrete illustrations will make the subject still
+clearer.
+
+
+Experiment II
+
+If an ordinary tuning-fork when vibrating is held in the hand its
+intrinsic tone is too weak to carry far. Rest the handle of the
+vibrating fork on a bare table or the panel of the door, and the sound
+is greatly augmented. _The vibrations of the fork have by contact
+induced similar vibrations in the wooden table or panel which
+reinforce the primary tone._
+
+
+Experiment III
+
+Place the handle of the vibrating tuning-fork on a small upturned
+empty box, or, better still, in contact with the body of a violin, and
+the sound will be stronger than in the previous experiment, because to
+the vibrations of the wood are added the vibrations of the air
+enclosed in the box or the violin. _To the resonance of the wood has
+been added the sympathetic resonance of the confined air._
+
+
+Experiment IV
+
+Hold the vibrating fork over the mouth of an empty fruit-jar and there
+will probably be little or no reinforcement; but gently pour in water,
+thereby shortening the air column within the jar, and the sound of the
+fork will be gradually intensified until at a certain point it becomes
+quite loud. If you pour in still more water the sound will gradually
+become feebler. This shows that _for every tone an air column of a
+certain size most powerfully reinforces that tone_.
+
+
+Experiment V
+
+As a sequence to the last experiment, take two fruit-jars of the same
+size, and, having learned to what point to fill them for the greatest
+resonance, fill one jar (after warming it) to the required point with
+hot water, the other with cold water, and you will find that the
+resonance of the heated, therefore expanded, air is much less than the
+denser air of the cold jar. This shows that _the degree of density of
+the air affects its resonance_.
+
+
+Experiment VI
+
+To demonstrate the resonance of the oral cavity, apart from the voice,
+hold a vibrating tuning-fork before the open mouth. Vary the shape and
+size of the cavity until the sound of the fork suddenly increases in
+volume, showing that the right adjustment for resonance has been made.
+_This intensification of the sound is due to the vibration of the air
+in the mouth cavity, together with the sympathetic vibration of the
+surrounding walls._
+
+
+Experiment VII
+
+As an illustration of sympathetic resonance without contact, sing
+forcibly a tone that is within easy range, and at the same time
+silently hold down the corresponding key of the piano. On ceasing to
+sing you will hear the tone sounding in the piano. This may be further
+illustrated by playing on the open string of one violin while another,
+tuned to the same pitch, rests untouched near by. Through _sympathetic
+resonance_ the corresponding string of the second violin will vibrate
+and sound its note. The louder the first violin is played the louder
+will be the sympathetic tone of the second.
+
+The deep pedal-tones of a church organ often induce sympathetic
+resonance that may be felt beneath the feet of the listener. One
+writer, a singer, speaks of living in the same house with two
+deaf-mutes. He lodged on the first floor, they on the third. One day,
+meeting at luncheon, one of the deaf-mutes told the singer that he had
+begun practice earlier that morning than usual. Surprised, the writer
+asked how he knew. The deaf-mute replied that they always knew when he
+was singing because they felt the floor of their room vibrate.
+
+If tone vibrations can be transmitted so readily throughout a house,
+it is not difficult to understand how easily the vibrations of bone
+and tissue can be transmitted until the whole framework of the body
+responds in perceptible vibration.
+
+It is said that Pascal at the age of twelve wrote a dissertation on
+acoustics suggested by his childish discovery that when a metal dish
+was struck by a knife the resulting sound could be stopped by touching
+the vibrating dish with a finger.
+
+With this in mind it is not difficult to understand how compression of
+the human instrument by the pressure of tight clothing without, or by
+false muscular tension within, must interfere with its free vibration
+and so rob the produced tone of just so much of perfection.
+
+From these experiments we can understand that, while the tones of the
+voice are initiated by or at the vocal cords, the volume and character
+of the tones are dependent upon _resonance_,--the vibration of the air
+in the various resonance chambers of the body, together with the
+sympathetic vibration of the walls of these chambers and the bony
+framework that supports them.
+
+In respect to resonance, as in other respects, the human voice is far
+superior to all other instruments, for their resonators are fixed and
+unchanging, while the human resonator is flexible,--in Helmholtz's
+words "admits of much variety of form, so that many more qualities of
+tone can be thus produced than on any instrument of artificial
+construction."
+
+We are now prepared to realize the error of the common notion that
+loudness of tone is due entirely to increase of breath pressure on the
+vocal cords. Simple experiments with the tuning-fork have shown that
+while the volume of sound it gives forth is due in part to the
+amplitude of its vibrations, its loudness is _chiefly_ due to the
+character of the _resonance_ provided for it.
+
+The larger the resonance chamber the greater is its reinforcing
+capacity. The largest air chamber in the body is the chest, which
+serves not only as a wind-chest, but as a resonance chamber. The
+necessity for chest expansion, therefore, is not, as generally
+supposed, merely for air, but to increase its size as a resonance
+chamber.
+
+In view of the laws of tone, how great is the common error of speaking
+of the larynx as if it alone were the vocal organ, when the principal
+vibrations are _above_ the vocal cords in the chambers of _resonance_!
+
+Since the musical value, the beauty of tone, as well as its volume,
+comes only from right use of the resonator, our principal business
+must be the acquiring control of the vibratory air current _above the
+larynx_. The acquirement of this control involves the proper focusing
+or placing of the tone, with the free uncramped use of all the vocal
+organs; power will then take care of itself.
+
+
+
+
+CHAPTER VII
+
+HEAD AND NASAL RESONANCE
+
+
+Of the four component factors in the production of speech and song,
+the first, the _motor_, has been considered in Chapter III, and the
+second, the _vibrator_, in Chapter I.
+
+In one respect there is marked contrast between these two factors.
+Until right habits are so thoroughly formed that the singer's
+breathing is automatically controlled, conscious effort is necessary,
+while the action of the vibrator, the vocal cords, is involuntary, not
+subject to conscious control.
+
+The subtle adjustments of the delicate mechanism of the larynx belong
+to the realm of reflex action--to a spontaneous activity that, left
+unhindered, does its part in perfect nicety.
+
+The vocal cords must, in their action, be free from the disturbance of
+uncontrolled breath action below them, or the hindrance due to
+misdirected effort above them. To direct consciousness to the vocal
+cords is to cramp them and prevent that free vibration and that
+perfect relaxation of the throat without which pure tone and true
+pitch are impossible.
+
+As a surgeon I well know the value of thorough anatomical knowledge,
+but from the singer's standpoint I cannot too strongly emphasize the
+unwisdom of directing the attention of sensitively organized pupils to
+their vocal mechanism by means of the laryngoscope. This instrument
+belongs to the physician, not to the singer.
+
+The importance of the third factor, the _resonator_, has been
+considered in Chapter V, on Resonance, but the fourth element in voice
+production, _articulation_, is so cooerdinated to resonance that the
+significance and primacy of the latter are too often overlooked.
+
+Placing or "focusing the voice" I have found to be chiefly a matter
+of control and use of the resonator, consisting of chest, pharynx,
+mouth, and the nasal and head cavities.
+
+A tone lacking in resonance is ineffective,--devoid of carrying
+power,--is diffuse and unfocused; while a resonant tone, no matter how
+soft dynamically, has carrying power and is focused in its vibration.
+
+Now "voice placing" depends primarily on correct _vowel placing_,
+which in turn depends on proper adjustment of the resonators, which
+again depends chiefly on the positions and motions of the organs of
+articulation. The interdependence of tone quality and pronunciation is
+therefore obvious.
+
+Constant emphasis must be laid upon the fact that focusing a tone is a
+matter of resonance, and that perhaps the most important element in
+this is _nasal_ resonance. In this country, particularly, teachers
+have, in their desire to overcome the too common nasal twang,
+mistakenly sought to shut out the nasal chamber from all participation
+in speech and song.
+
+There are those who, partly recognizing the importance of _head_
+resonance, would secure it while ignoring _nasal_ resonance. It is
+impossible to secure head resonance in this fashion, for it is only
+through free nasal resonance that the cooerdinate resonance in the air
+sinuses above the nasal cavity and connected with it can be
+established.
+
+The fear of nasal twang and failure to distinguish between it and true
+nasal resonance has been the stumbling block. They are very
+different,--one is to be shunned, the other to be cultivated. The
+first is an obvious blemish, the second is an important essential of
+good singing.
+
+Nasal tones are caused by a raised or stiffened tongue, a sagging soft
+palate, a stiffened jaw, or by other rigidities that prevent free tone
+emission and which at the same time--note this--prevent true nasal
+resonance.
+
+As tone, or vocalized breath, issues from the larynx, it is divided
+into two streams or currents by the pendent veil of the soft palate.
+One stream flows directly into the mouth, where it produces oral
+resonance; the other stream passes through the nasopharynx into the
+hollow chambers of the face and head, inducing nasal and head
+resonance.
+
+It is commonly supposed that tone passing in whole or in part through
+the nasal cavities must be nasal in quality; whereas a tone of
+objectionable nasal quality can be sung equally well with the nostrils
+either closed or open.
+
+Browne and Behnke state the matter thus: "However tight the closure of
+the soft palate may be, it is never sufficient to prevent the air in
+the nasal cavities being thrown into co-vibrations with that in the
+mouth. These co-vibrations are, in fact, necessary for a certain
+amount of the brilliancy of the voice, and if they are prevented by a
+stoppage of the posterior openings of the nasal passages, the voice
+will sound dull and muffled. This is of course due, to an _absence of
+nasal resonance_, and must on no account be described as nasal
+_twang_. It is, indeed, the very opposite of it."
+
+Nasal tone quality and nasal resonance must not be confounded. A nasal
+tone is constricted, while a tone with nasal resonance is free. Again,
+a tone may be unmarred by the nasal quality, yet if it lacks nasal
+resonance it lacks vibrancy, carrying power.
+
+Nasal tones are produced, not because the vibrations pass through the
+nasal passage, but because they are obstructed in their passage
+through them. A nasal tone is always a cramped tone, due to
+impediment, tension, or muscular contraction, particularly in the
+nasopharynx.
+
+The congestion and consequent thickening of the mucous membrane lining
+the cavities of the nose and head, resulting from a cold, make the
+tone muffled and weak, owing to the inability of the parts to respond
+to the vibrations and add to the tone normal nasal resonance.
+
+The elder Booth (Junius Brutus), about 1838, suffered from a broken
+nose which defaced his handsome visage and spoiled his splendid voice.
+His disability was so great that afterward he seldom played. That the
+cause of this impairment of Booth's voice was due to the contraction
+and more or less complete obstruction of the nasal passages is too
+evident to call for comment.
+
+Many singers have sweet but characterless voices that lack the
+fulness, power, and ring they might have because they fail to avail
+themselves of the augmenting power of the resonance cavities. The
+singer must learn to habitually use all of the resonance cavities and
+use them simultaneously.
+
+Lilli Lehmann, in _How to Sing_, says that, "although the nasal sound
+can be exaggerated,--which rarely happens,--it can be much
+neglected,--something that very often happens." The context makes
+clear that what in the English translation of the great singer's book
+is called "nasal sound" is exactly what we term _nasal resonance_.
+
+After charging the monotonous quality or lack of color in the voice of
+a famous opera star to lack of nasal resonance, Madame Lehmann speaks
+of the consummate art of Marcella Sembrich who "in recent years
+appears to have devoted very special study to nasal resonance, whereby
+her voice, especially in the middle register, has gained greatly in
+warmth." She says further that nasal resonance "cannot be studied
+enough. It ought always to be employed." "How often," she says, "have
+I heard young singers say, 'I no longer have the power to respond to
+the demands made upon me,' whereas the trouble lies only in the
+insufficient use of the resonance of the head cavities."
+
+From the foregoing, the conclusion follows that the head vibrations
+are not only an essential element, but that nasal resonance is a most
+important element in imparting to tone its brilliance and carrying
+power. Without thought of the mechanism of _how_ nasal resonance is
+produced, the singer has control over it by direct influence of the
+will. The tones, low as well as high, should seem to start in the nose
+and head, and the vibrations of the perfect tone can be plainly felt
+upon any part of the nose and head. Without the head vibrations no
+tone can be perfect, for nothing else will compensate for the lack of
+these. Vocal organs used as here described will suffer no fatigue
+from reasonable use; hoarseness will be to them a thing unknown, and
+"minister's sore throat" an unheard of complaint. Not only is faulty
+voice production a source of great discomfort, but it is the cause of
+many diseases of the chest, throat, and head.
+
+The gentle practice in easy range of the exercises given in the
+chapter following, will do much to restore a normal condition.
+
+
+
+
+CHAPTER VIII
+
+PLACING THE VOICE
+
+
+What is called "placing the voice" or "tone production" or "focusing
+the voice" is, as already stated in the previous chapter, chiefly a
+matter of resonance--of control of the resonator. Now vocalization is
+largely vowelization, and vocal tones are a complex of sound and
+resonance. The character of a vowel is given it by the shape of the
+vowel chamber; and the shaping of the vowel chamber depends upon
+delicate adjustment of the movable parts,--jaw, lips, cheeks, tongue,
+veil of the palate, and pharynx. While this adjustment is made through
+more or less conscious muscular action, the parts must never be forced
+into position; local effort to this end will invariably defeat itself.
+The important consideration in all voice movements is a flexible,
+_natural_ action of all the parts, and all the voice movements are so
+closely allied, so sympathetically related, that if one movement is
+constrained the others cannot be free. It is a happy fact that _the
+right way is the easiest way_, and a fundamental truth that =right
+effort is the result of right thought=. From these axiomatic principles
+we deduce the very first rule for the singer and speaker,--=THINK the
+right tone, mentally picture it; then concentrate upon the picture,
+not upon the mechanism=.
+
+
+WHEN IS THE VOCAL ACTION CORRECT?
+
+There are two sound criterions for judging the correctness of vocal
+action,--first, the _ease_ of the action, its naturalness, its
+flexibility. As Mills concisely states it: "He sings or speaks best
+who attains the end with the least expenditure of energy." Second, the
+_beauty_ of the result. Harsh, unlovely tones are a sure indication of
+misplaced effort, of tension somewhere, of wrong action. On the other
+hand the nearer the tones approach to perfection the closer does the
+organism come to correct action. _Beauty of tone_, then, is the truest
+indication of proper vocal action.
+
+Judgment as to the relative beauty of a tone depends on the training
+of the ear. Pupils should habitually listen to their own voices, for
+between the hearing and feeling of the voice a knowledge of progress
+can be obtained. The function of the ear in governing voice production
+is thus stated by Prof. Mills: "The nervous impulses that pass from
+the ear to the brain are the most important guides in determining the
+necessary movements." Mr. Ffrangcon-Davies maintains that, "The
+training of the ear is one-half of the training of the voice." The
+student should improve every opportunity to hear the best singers and
+speakers, for both consciously and unconsciously we learn much by
+imitation. Good examples are often our best teachers.
+
+Keeping well in mind the principles stated above, we are now ready to
+begin their application in placing the voice--that is, in setting it
+free--not by learning some strange and difficult action, but by
+cultivating normal action.
+
+
+EXERCISES FOR PRACTICE
+
+The following exercises are designed for the primary development of a
+correct tone and for the test of the perfection of every tone at every
+stage of development. They are based upon the assumption that all
+tones of the voice should be focused and delivered precisely alike.
+Their use should constitute a part of the daily practice of the singer
+or speaker.
+
+I give but few exercises for each point to be gained. Intelligent
+teachers and pupils will add an infinite variety to suit each case,
+but the exercises given appear to me to be the best for initial
+practice. It is important that each exercise in its order shall be
+thoroughly mastered before taking up the next. Only in this way can
+rapid progress be made, for it is not the multiplicity of exercises,
+but the thoughtful application of principles in the few, that leads to
+results.
+
+The sound of _hng_ will always place the voice in proper focus by
+developing the resonance of the nose and head. The thin bones of the
+nose will first respond to the sound and after practice the vibrations
+can be felt on any part of the head and even more distinctly on the
+low than on the high tones. To attain this, repeat the sound _hung_
+times without number, prolonging the _ng_ sound at least four counts.
+To insure the proper course of the vowel sounds through the nasal
+passages, follow _hung_ with the vowel _ee_, as this vowel is more
+easily focused than any other; then with _oo_, _oh_, _aw_ and _ah_.
+
+_Ah_ is by far the most difficult sound to focus and should never be
+used for initial practice. Much valuable time has been lost by the
+custom of using this sound at first. It should come last.
+
+The _h_ is chosen to introduce the vowel sound because in the
+preparation to produce the sound of the letter _h_ the epiglottis is
+wide open and the vocal cords entirely relaxed, and because less
+change of the tongue is required when the vowel sound follows.
+
+
+Preliminary Exercise
+
+_Practise this softly on any pitch easy for the voice._
+
+[Music illustration: Hung-ee. Hung-oo. Hung-oh. Hung-aw. Hung-ah.
+Hung-ee _etc._]
+
+Begin the tone quietly on an easy pitch and continue it softly to the
+end. Later, after these exercises are mastered on one pitch, use every
+note within the easy compass of the voice. Leave stridency of tone to
+the locust. It is no part of a perfect tone. It never appeared in the
+voices of the most famous singers. Those who allowed themselves to use
+it passed off the stage early in life. Much better results will be
+obtained by practising without any accompaniment. The sound of the
+piano or other instrument distracts the pupil, prevents both pupil and
+teacher from hearing the voice, and hinders progress.
+
+
+IMPORTANT DIRECTIONS
+
+The manner in which Exercise I and those that follow is practised is
+of the utmost importance. Therefore carefully note and apply the
+following:
+
+1. Fully pronounce the word _hung_ (_u_ as in _stung_) at once, and
+prolong the tone, not on the vowel sound but on the _ng_ sound. This
+establishes the proper head and nasal resonance at the very beginning
+of the exercise.
+
+2. In passing from _ng_ to _ee_ be very careful not to change the
+initial focus or lose the sensation of nasal and head resonance. Do
+not therefore move the lips or the chin. The only change at this point
+is the slight movement of the tongue required to pronounce _ee_, which
+must be a pure vowel without a trace of the preceding _g_.
+
+3. In passing from _ee_ to _oo_, from _oo_ to _oh_, and so on, do so
+with the least possible movement of lips and chin. _The initial
+sensation of nasal and head resonance must not be lost._
+
+4. Each vowel sound must be distinct in enunciation and pure in
+quality. Avoid blurring one with the other. Give each its true
+individuality.
+
+5. As jewels of different hue hung on a string, so must this exercise
+be the stringing of vowels on a continuous stream of sound.
+
+
+Exercise I
+
+TO ESTABLISH NASAL AND HEAD RESONANCE
+
+This is an exercise for focusing or placing the voice and developing
+the vibrations of the nasal and head cavities, the most essential
+parts of the resonant apparatus. If the nostrils are kept fully open,
+no nasal twang will be heard. The strength of the tone will correspond
+to the force of the vibrations of the nose and head, which can be
+plainly felt by resting the finger lightly upon the side of the nose.
+The vibrations may eventually be plainly felt on the top and back of
+the head.
+
+Attack, that is, begin the tone, _softly_ and on no account force it
+in the least. Pronounce the full word _at once_, prolong the _ng_ four
+counts as indicated, and sing the five vowel sounds on a continuous,
+unbroken tone. Articulate entirely with the lips and without moving
+the under jaw. In this, as in the following exercises, keep the under
+jaw relaxed and open the mouth so as to separate the teeth as wide
+apart as is consistent with the action of the lips. See also the
+illustrations of proper lip position given at the close of Chapter II.
+
+_Practice this exercise on any pitch easy for the voice._
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+Repeat this many times until the nose and head vibrations are fully
+recognized and established. After mastery of this exercise is
+acquired, any words ending in _ng_ may be repeated. The word _noon_
+sung quietly on each note of the voice with the final consonant
+prolonged will be found helpful.
+
+
+EXERCISES FOR SPEAKERS
+
+When the placing of the voice is accomplished on the one tone
+(Exercise I), the speaker can go on with practice in reading and
+reciting, allowing the voice to change its pitch at its will, only
+being careful that all the tones are alike in quality.
+
+A profitable exercise for speakers is to pronounce any word or
+syllable ending with _ng_, as _ming_, _bing_, _sing_, _ring_, _ting_,
+and follow it with some familiar lines in a monotone, being sure that
+the tone is the same and produces the same vibrations in the nose and
+head.
+
+In the case of a person already a public speaker, this new _regime_
+may not immediately manifest itself in performance, but gradually the
+right principles will assume control, and speaking be done with ease
+and effectiveness. Continual daily practice of exercises should be
+kept up.
+
+If a speaker has a musical ear and some musical knowledge, he will
+derive great benefit by following out the practice of the exercises
+for singers. In no way can the voice for speaking be improved so
+rapidly or decisively as by musical training.
+
+
+Exercise II
+
+TO ESTABLISH HEAD AND NASAL RESONANCE
+
+As in Exercise I, sing softly, seeking purity of vowel sounds and
+quality of tone. Fully pronounce _hung_ at once, prolonging the _ng_
+four counts as indicated. Pass from one vowel to the next with the
+least possible change in the position of the lips and chin. The stream
+of sound is to be unbroken, the tone focus unchanged, and the
+sensation of resonance in the upper chambers continuous.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise III
+
+UPPER RESONANCE CONTINUED
+
+Follow the directions for Exercise I. Sing quietly in a pitch that is
+easy for the voice, and modulate up or down by half steps.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise IV
+
+UPPER RESONANCE CONTINUED
+
+The last exercise carried the voice an interval of a third; this
+carries the voice an interval of a fifth. Follow carefully the
+directions of Exercise I. Be sure to pronounce _hung_ at once,
+prolonging the tone not on the vowel but on the _ng_. _Sing softly._
+Vary the pitch to suit the voice.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise V
+
+UPPER RESONANCE CONTINUED
+
+The last exercise carried the voice an interval of a fifth, this one
+has a range of a sixth, while Exercise VI has a range of an octave.
+Carefully follow the Important Directions on page 60.
+
+_Sing softly_ in a pitch that is easy for the voice.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise VI
+
+TO ENLARGE THE THROAT AND THUS MAGNIFY THE TONE
+
+Pronounce the word _hung_ at once, opening the mouth well. Prolonging
+the _ng_ sound as indicated will insure the proper focus.
+
+Sing the five vowel sounds throughout the scale as indicated. At first
+practise only on scales that are in easy range.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+VIa
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise VII
+
+FOR PRODUCTION OF THE VOWEL SOUNDS IN PROPER FOCUS
+
+Produce the _hung_ at once, and add the vowel. _Be sure that the vowel
+sound follows the same course as the "ng" sound which precedes it, and
+produces the same sensation in the nose._
+
+The vowels are arranged in the order chosen because _ee_ is the most
+easily focused while _ah_ is by far the most difficult to focus, and
+hence the worst possible sound for initial practice. _Think_ of the
+tone as being made in the nose and head.
+
+Let there be no break or stopping of the tone when passing from the
+_ng_ sound to the vowel. Simply change the tone into the vowel desired
+by the proper change in the articulating organs.
+
+Sing the five vowel sounds connectedly, being sure that each vowel is
+correctly placed before passing to the next. The proper use of the
+lips will aid greatly in focusing the vowels. Start with the scale
+that is in comfortable range.
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+[Music illustration: Hung-ee-oo-oh-aw-ah _etc._]
+
+
+Exercise VIII
+
+TO ENLARGE THE THROAT AND FOCUS THE VOWELS
+
+Open the mouth well and be sure that the vowel sounds are delivered as
+in the previous exercises; this will insure largeness with proper
+resonance.
+
+When practising this exercise, be careful, as with the others, that
+each vowel sound in its order is correctly given before passing to the
+next. Only in this way can rapid progress be made.
+
+The words _bing_, _sing_, _ting_, _fling_, _swing_ are excellent to
+use for further practice.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise IX
+
+QUICK CHANGING NOTES WITHOUT CHANGING RESONANCE
+
+The important point in this flexible exercise is to _keep the
+vowel-color, the focus or resonance, unchanged throughout the phrase_.
+Begin quietly, give the _ng_ freedom and the upper resonance will
+adjust itself. This phrase is longer than in previous exercises; be
+sure then that you still have breath at the end--breath enough to sing
+further. Sing quietly. Pitch the exercise to suit the voice.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+
+Exercise X
+
+FOR AGILITY
+
+Sing each vowel sound separately before passing to the next. Be sure
+to start each vowel sound in purity and maintain it without change.
+Pitch the exercise to suit the voice.
+
+[Music illustration:
+
+1. Ee
+2. Oo
+3. Oh
+4. Aw
+5. Ah
+
+_etc._]
+
+For variants on the above use as initial consonants _b_, _p_, _m_,
+_f_, _v_, _d_, _k_, _n_, _t_, and _l_.
+
+
+Exercise XI
+
+TO DEVELOP THE USE OF THE LIPS AND UNDER JAW
+
+When practising this exercise protrude the lips and raise them toward
+the nose as far as possible; also make an effort to enlarge and widen
+the nostrils. This exercise may be practised more quickly than the
+preceding, but never at the expense of clearness of vowel distinction.
+Carry the exercise higher or lower, and in different keys, to suit
+individual voices. With a slight initial accent sing each two-measure
+section smoothly as one phrase. Avoid accenting each separate vowel
+sound. To do so would produce a series of jerks.
+
+[Music illustration: Ee-oo-oh-aw-ah _etc._]
+
+After practising the above as written modify it as follows:
+
+ 1. Bee-boo-boh-baw-bah.
+ 2. Pee-poo-poh-paw-pah.
+ 3. Mee-moo-moh-maw-mah.
+ 4. Fee-foo-foh-faw-fah.
+ 5. Vee-voo-voh-vaw-vah.
+ 6. Dee-doo-doh-daw-dah.
+ 7. Kee-koo-koh-kaw-kah.
+ 8. Nee-noo-noh-naw-nah.
+ 9. Tee-too-toh-taw-tah.
+10. Lee-loo-loh-law-lah.
+
+
+Exercise XII
+
+FOR FACILITY AND QUICK VOWEL CHANGE
+
+Be careful not to blur the vowel sounds; each must be distinct and
+pure, and the change from one to the next must be made with a minimum
+of effort and without disturbing the focus of the tone.
+
+[Music illustration: Ee-oo-oh-aw-ah _etc._]
+
+The divisions (_a_ and _b_) of each of the above four variants may be
+regarded as distinct exercises or not. For further practice use as
+initial consonants any or all of the following: _b_, _p_, _m_, _f_,
+_v_, _d_, _k_, _n_, _t_, and _l_.
+
+
+Exercise XIII
+
+ASCENDING AND DESCENDING SCALE
+
+As in the previous exercises practise quietly with unvarying focus and
+aim to finish the phrase with breath unexhausted. Pitch the exercise
+to suit the voice.
+
+[Music illustration:
+
+Hung-ee
+Hung-oo
+Hung-oh
+Hung-aw
+Hung-ah
+
+_etc._]
+
+
+Exercise XIV
+
+THE LONG SCALE
+
+Sing this scale exercise in medium range, without blurring either the
+vowel sounds or the notes.
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+[Music illustration:
+
+1. Hung-ee
+2. Hung-oo
+3. Hung-oh
+4. Hung-aw
+5. Hung-ah
+
+_etc._]
+
+The exercises thus far given have employed the five vowel sounds found
+most helpful in gaining a free resonance. These should now be
+supplemented by the use of _all_ the vowel sounds. It is obvious that
+unless the singer is at home with every vowel and on any pitch in his
+vocal range perfect pronunciation is impossible. In Chapter II a Scale
+of Vowel Sounds is given. For convenience it is repeated here:
+
+[Illustration:
+
+1  n_ee_
+2  n_i_t
+3  n_e_t
+4  n_a_y
+5  n_ai_r
+6  n_a_t
+7  n_i_gh
+8  N_a_h
+7' n_o_t
+6' n_a_w
+5' n_e_r
+4' n_u_t
+3' n_o_
+2' n_oo_k
+1' n_oo_.]
+
+Having so far mastered the previous exercises as to establish a free
+head and nasal resonance, take the Scale of Vowel Sounds and apply it
+to the now familiar exercises.
+
+Next, as suggested in Exercise X, use as initial consonants in
+connection with the Vowel Scale the consonants _b_, _p_, _m_, _f_,
+_v_, _d_, _k_, _n_, _t_ and _l_.
+
+Keep before you the formula that articulation should _seem_ to be done
+entirely with and through the upper lip; _i.e._, the _thought_ should
+be that the words are projected through the upper lip.
+
+When by practise of the exercises given the voice has been focused and
+resonance established without any instrument, scale exercises and
+simple vocalises may be taken up with or without the piano.
+
+In practising scales start each a semitone higher until the _easy
+limit_ of the voice is reached, and no farther. Gain will be more
+rapid by working to deliver the tones within the voice's normal
+compass. Then when occasional effort is made the organs will be found
+ready to deliver the highest pitch of which the voice is capable.
+
+When sufficient progress has been made in mastering the execution of
+scales and easy vocalises, the pupil will be ready to begin the study
+of songs. If one foregoes the singing of songs during the few weeks
+occupied with primary lessons, results are obtained much more quickly.
+
+While practising exercises or songs the less the pianoforte is used,
+except to compare the pitch, the better. Such practice increases the
+confidence of the performer. The instrument prevents the singer's
+listening to the tone he is producing and judging of its
+effectiveness.
+
+Pupils with high or very low voices may continue their practice higher
+or lower as the voice is soprano, or bass, or contralto, but much
+practice on the extremes of the voice is unadvisable. If pure tones
+are produced in the medium range of the voice the highest or lowest
+tones will be found ready when called for. Therefore practise the
+extremes of the voice only enough to know the limits of the voice and
+to be assured the tones are there.
+
+When the singer can perform the preceding simple exercises and know
+that the tones are all focused, or placed and delivered, precisely
+alike, he is ready to practise any scale, down or up, and to execute
+any musical exercise or song for which he is intellectually fitted.
+
+
+
+
+CHAPTER IX
+
+THROAT STIFFNESS
+
+
+What is the most frequent obstacle to good singing, the difficulty
+with which pupil and teacher most contend? Throat stiffness. What more
+than anything else mars the singing of those we hear in drawing-rooms,
+churches, and the concert room? Throat stiffness.
+
+This is the vice that prevents true intonation, robs the voice of its
+expressiveness, limits its range, lessens its flexibility, diminishes
+its volume, and makes true resonance impossible.
+
+This great interferer not only lessens the beauty of any voice, but
+directly affects the organ itself. The muscles of the larynx are small
+and delicate, and the adjustments they make in singing are exceedingly
+fine. When, however, the voice user stiffens his throat, these
+delicate muscles in their spontaneous effort to make the proper
+adjustments are compelled to contract with more than their normal
+strength. Every increase in throat stiffness demands a corresponding
+increase in muscle effort, an overexertion that persisted in must
+result in injury to the organ itself. Such misuse of the voice is
+bound to show injurious results. Every throat specialist knows this,
+and an untold multitude of those who, beginning with promise, have had
+to give up singing as a career, learn it too late.
+
+Singers are so accustomed to the sound of their own voices as to be
+usually quite unconscious of their own throat stiffness, though they
+may recognize it in their neighbor.
+
+Unfortunately throat stiffness by its very nature tends to aggravate
+itself, to constantly increase while the voice becomes less and less
+responsive to the singer's demands.
+
+There are a number of contributing causes to throat stiffness, but the
+principal cause is _throat consciousness_ and misplaced effort, due
+largely to current misconceptions regarding the voice. A common notion
+is that we sing with the throat, whereas we sing _through_ it. Akin to
+this error is the notion, as common as it is fallacious, that force of
+tone, carrying power, originates in the larynx, whereas the initial
+tone due to the vibration of the vocal cords is in itself
+comparatively feeble. As shown at length in Chapters VI and VII,
+volume of tone, its color and carrying power, is acoustically and
+vocally a matter of _resonance_.
+
+Many there are who sing by dint of sheer force and ignorance, but
+their careers are necessarily short. The too common vulgar striving
+for power rather than for beauty or purity of tone induces unnatural
+effort and strain that both directly and sympathetically affect the
+throat with stiffness.
+
+Unnatural effort in breathing, over-effort in breath control, as well
+as singing without adequate breath, all induce tension that is
+reflected at once in the sensitive throat.
+
+Impatience of results, American hurry, beget unnatural effort and
+tension. "Unclasp the fingers of a rigid civilization from off your
+throat." The student of the violin or the piano soon learns that only
+by a long and patient preparation can he fit himself to entertain even
+his admiring friends. The embryo singer, on the contrary, expects with
+far less expenditure of time and effort to appear in public.
+
+The human voice is a direct expression of the man himself; it
+registers spontaneously his mental and emotional states, even when he
+would wish them hidden. Mental conditions tinged with impatience, with
+fear, or with anything that begets tension of any sort are reflected
+instantly in the voice, robbing it of its better qualities and
+inducing stiffness in the throat.
+
+Reduced to its lowest terms voice culture to-day is a struggle with
+throat stiffness.
+
+The causes indicate the remedy. Foremost, then, is dropping all throat
+consciousness, all thought of the throat, all drawing of attention to
+it. The larynx must be left uncramped, unhindered to do its work in
+free unconsciousness, which it will do if not disturbed by tension in
+its neighborhood, or by misdirected thought.
+
+The stream of consciousness must in singing be directed to the
+breathing which is below the throat, and to resonance and
+pronunciation which are above it. These functions are more or less
+consciously controlled until at last mastery makes their action
+automatic.
+
+I would once more emphasize the fact that the free use of all the
+resonance chambers, and the recognition of the great function of
+resonance, will do more than anything else to set the voice free and
+emancipate the singer from all interfering rigidity.
+
+
+
+
+CHAPTER X
+
+SOME GENERAL CONSIDERATIONS
+
+
+THE NATURAL VOICE
+
+Pupils are constantly urged to sing and speak naturally, because the
+"natural" tone is correct. This is exceedingly indefinite. It is
+natural for a child to imitate the first sound it hears, whether it be
+correct or incorrect. In either case the child imitates it, and for
+that child it becomes the natural tone. The child reared in the
+wilderness, beyond the hearing of a human voice, will imitate the
+notes of the whip-poor-will, the chatter of the monkey, and the hoot
+of the owl, and for him they are natural tones.
+
+To be natural is the hardest lesson to learn and it is only the result
+of imitation or prolonged discipline. Untrained naturalness is the
+perfection of awkwardness. The involuntary functions of organic life
+are the only ones naturally performed correctly. Nature's method of
+breathing, circulation, and digestion can be depended upon until
+disarranged by subsequent conditions, but unless proper vocalization
+is established by imitation and discipline this function is sure to be
+corrupted by false examples.
+
+
+AGE TO BEGIN
+
+After the child begins to talk, the sooner his vocal education begins
+the better. Even at that early age he can be made to understand the
+merits of head vibrations and by simple exercises produce them, and
+once taught will never forget them. Vocalizing, like every other art,
+is most easily learned by imitation, and the advantage of the early
+years, when that faculty is most active, should not be lost. In olden
+times the importance of this was fully realized. More than three
+centuries ago, old Roger Ascham wrote: "All languages, both learned
+and mother tongues, are begotten and gotten solely by imitation. For
+as ye used to hear so ye learn to speak. If ye hear no other, ye speak
+not yourself; and of whom ye only hear, of them ye only learn."
+Nineteen centuries ago Quintillian wrote: "Before all let the nurses
+speak properly. The boy will hear them first and will try to shape his
+words by imitating them."
+
+If the right way of using the voice is early taught it will be a guard
+against the contraction of bad habits which can only be corrected
+later with infinite trouble. It certainly would be unwise to put a
+young child under continued training; but even in the kindergarten the
+right method of voice production can and should be taught. Teachers of
+kindergarten and primary schools should be familiar with the
+principles of voice training and be able to start the pupils at once
+on the right road.
+
+
+IN PUBLIC SCHOOLS
+
+The sooner this branch of education is made a part of the curriculum
+of our common schools, the sooner shall we produce a race of good
+speakers and singers.
+
+If, during the pupil's school life, proper attention is paid to these
+primary principles and to _correct articulation_, a large majority of
+students will graduate from our common schools prepared to advance in
+the art of elocution or of singing without being obliged first to
+unlearn a vast amount of error and to correct a long list of bad
+habits.
+
+If each day in the public schools a few minutes only are devoted to
+the subject by a teacher who understands it and who will call the
+attention of the pupils to the proper applications of the principles
+in their daily recitations, it will be found amply sufficient to
+develop and establish a good speaking and singing voice.
+
+
+ARTISTRY
+
+If artistry is to be attained, every organ must be individually well
+trained. Yet, during performance, no one part should be given undue
+prominence. The voice should be the product of all the organs equally
+well developed. Continued practice will enable the performer to
+correlate the whole--blend the strength of all in one.
+
+It goes without saying that no one in singing or speaking should
+appear to be governed by a "method." During the early stages of
+education, pupils should be amenable to rules and methods, but they
+must not expect to be acceptable performers until able to forget their
+lessons and simply and unconsciously make use of all the advantages of
+their training. Even when the education is finished, and the _prima
+donna_ has made her successful debut, continued daily repetition of
+primary exercises is necessary to maintain excellence and insure the
+progress that every performer desires. Our best singers to-day are as
+diligent students of the technique of the voice as are the tyros
+struggling with the first elements.
+
+
+LIFE'S PERIODS
+
+Human life is divided into three periods: _first_, that of effort to
+get an education; _second_, of effort to maintain it; and _third_, of
+effort to resist the natural decline which comes with advancing years.
+The singer and speaker must drill to develop the voice, must drill to
+keep it in condition, and must drill to resist the encroachments of
+senility. Eternal vigilance is the price of vocal success.
+
+
+APPLICATION OF ESSENTIALS
+
+The application of the principles here discussed will show that a
+musical voice is not the product of mysterious systems, but a matter
+of scientific certainty. The essentials are good breathing, good
+focusing, good resonance, and good articulation. These four elements
+are so interdependent that one cannot be perfected without the other.
+With these attained, the intellect, the sentiment, and the emotion of
+the performer will culminate in artistic excellence.
+
+
+REPOSE AS A PREPARATION FOR VOCAL EXERCISE
+
+The nervousness or fear which manifests itself in constraint and
+rigidity of the muscles and sometimes in stage fright is a serious
+hindrance to progress. The effectual offset to this painful condition
+is repose.
+
+The art of inducing a condition of repose can be readily acquired by
+any one who will carefully and faithfully do as follows: Place
+yourself in an easy lying or lounging position in a quiet place, with
+fresh air. Physical repose prepares for and invites mental repose. Now
+allow the mind to work care free at its own sweet will without any
+attempt to control it. Close the eyes and _breathe slowly, gently, and
+deeply, with steady rhythm_. In two or three minutes a sensation of
+quiet restful repose will be experienced, which may be continued for
+several minutes or may even lead to a natural sound sleep.
+
+This result may not be attained at the first or the second trial, but
+a few repetitions of the exercise will insure success in almost every
+case. After the art is attained in this formal way, ability to induce
+the same repose when sitting upright, or while standing, will be
+quickly developed.
+
+This repose is the fitting preparation for a lesson or a performance
+and may be induced during the progress of either, to allay any
+trepidation incident to the situation. A mastery of this simple art
+will make progress in the work of voice development much more rapid,
+and make attainable a degree of discipline that is impossible without
+it. It will prove for the beginner a sure prevention of stage fright
+and a great relief to the most chronic sufferer from this malady.
+
+
+THE VIBRATO
+
+The _vibrato_ is a rhythmic pulsation of the voice. It often appears
+in untrained voices; in others it appears during the process of
+cultivation. Some have thought it the perfection of sympathetic
+quality; others esteem it a fault.
+
+The vibrato is caused by an undulating variation of pitch or power,
+often both. The voice does not hold steadily and strictly to the
+pitch, and according to the amount of the variation a corresponding
+vibrato, or tremolo, is produced.
+
+The action of stringed instruments illustrates this statement. The
+finger of the violinist vibrates on the string by rocking rapidly back
+and forth and the vibrato is the result.
+
+The same is true of the human instrument. By variation of the tension,
+the vocal apparatus sends forth several tones in alternation, of a
+slightly different pitch, which together produce the effect.
+
+Three sources are ascribed for the vibrato; one is a rapid, spasmodic
+vibration of the diaphragm, causing variation of breath pressure;
+another is the alternate tension and relaxation of the larynx and
+vocal cords; a third is that commonest of faults--throat stiffness.
+Either cause is possible, and variation in the pitch or intensity of
+the tone is the result. Sufficient investigations have not been made
+to make the matter certain, but tremolo, trembling of the vocal
+organs, and muscular stiffness, or unnatural tension, seem to go
+together.
+
+It is quite possible in the early stages of culture so to train the
+voice as to use the vibrato or not at will, but if not early
+controlled this, like other bad habits, gains the mastery. Excessive
+vibrato has spoiled many good voices. It is not a fundamental quality
+of the voice. A little vibrato may occasionally be desirable when
+properly and skilfully used; more than this is to be shunned as a
+dangerous vice.
+
+
+
+
+CHAPTER XI
+
+THE PSYCHOLOGY OF VOCAL CULTURE
+
+
+Mental conception precedes execution. The picture must exist in the
+artist's mind before it can be drawn on the canvas. The architect must
+mentally see the majestic cathedral in all its details before he can
+draw the plans from which it can be built. In the field of physical
+activity no movement is made until the mind has gone before and
+prepared the way. A person's ability to do is in a great degree
+measured by his determination to do, but sitting in a rocking-chair
+and thinking will never make an athlete. Mental action is necessary,
+but only through trained muscular action can the mental action
+materialize in a finished performance.
+
+So too the mind must anticipate the action of the vocal organs, but
+the organs themselves must be led to interpret the mental concept
+until such action becomes spontaneous. Action in turn quickens the
+mental process, and the mental picture becomes more vivid.
+
+Note with emphasis that the mental concept _precedes_ the action and
+governs it. Therefore, instead of producing tone by local effort, by
+conscious muscular action of any sort, correctly _think the tone_,
+correctly shape and color it _mentally_. =Every vocal tone is a mental
+concept made audible.= The beginner and the confirmed bungler alike
+fail in this prime essential--they do not make this mental picture of
+tone before singing it. Kindred to this is deficiency in hearing, in
+discriminating between good tone color and poor. The student must
+constantly compare his tone as it is sung with the picture in his
+mind. Training the voice is therefore largely a training of mind and
+ear, a developing of nicety in discrimination. Singing is mental
+rather than physical, psychologic rather than physiologic. Think
+therefore of the effect desired rather than of the process.
+
+In considering the details of voice production analytically we are apt
+to forget that man, notwithstanding his complexity, is a _unit_ and
+acts as a unit. Back of all and underlying man's varied activity is
+the psychical. In the advanced stages of the art of speech and song
+this psychical element is of pre-eminent importance.
+
+The speaker who essays to give expression to his own thoughts must
+have his ideas sharply defined and aflame in order to so utter them
+that they will arouse his hearers to enthusiasm. The speaker or singer
+who would successfully interpret the thoughts of others must first
+make those thoughts his very own. When this is attained, then the
+voice, action, and the whole spirit of the performer, responding to
+the theme, will beget a like responsiveness in his audience.
+
+
+THE SINGER BEHIND THE VOICE
+
+Books upon books have been written on voice training, and will
+continue to be written. The preceding pages have been devoted to the
+fundamental subject of tone production, but it is time to suggest that
+back of the voice and the song is the singer himself with his complex
+personality. Back of the personality is the soul itself, forever
+seeking utterance through its mask of personality. All genuine impulse
+to sing is from the soul in its need for expression. Through
+expression comes growth in soul consciousness and desire for greater
+and greater self-expression.
+
+Singing is far more than "wind and muscle," for, as Ffrangcon-Davies
+puts it, "The whole spiritual system, spirit, mind, sense, _soul_,
+together with the whole muscular system from feet to head, will be in
+the wise man's singing, _and the whole man will be in the tone_."
+
+Of all the expressions of the human spirit in art form, the sublimated
+speech we call song is the most direct. Every other art requires some
+material medium for its transmission, and in music, subtlest of all
+the arts, instruments are needed, except in singing only.
+
+
+FREEDOM
+
+In song the singer himself is the instrument of free and direct
+expression. Freedom of expression, complete utterance, is prevented
+only by the singer himself. No one hinders him, no one stands in the
+way but himself. The business of the teacher is to _set free_ that
+which is latent. His high calling is by wise guidance to help the
+singer to get out of his own way, to cease standing in front of
+himself. Technical training is not all in all. Simple recognition of
+the existence of our powers is needed even more. Freedom comes through
+the recognition and appropriation of inherent power; recognition comes
+first, the appropriation then follows simply. The novice does not know
+his natural power, his birthright, and must be helped to find it,
+chiefly, however, by helping himself, by cognizing and re-cognizing
+it.
+
+No student of the most human of all arts--singing--need give up if he
+has burning within him the _song impulse_, the _hunger to sing_. This
+inner impulse is by its strength an evidence of the power to sing; the
+very hunger is a promise and a prophecy.
+
+
+DETERRENTS
+
+The deterrents to beautiful singing are physical in appearance, but
+these are outer signs of mental or emotional disturbance. Normal
+poise, which is strength, smilingly expresses itself in curves, in
+tones of beauty.
+
+_Mental discord_ results in angularity, rigidity, harshness.
+
+_Impatience_ produces feverishness that makes vocal poise impossible;
+and impatience induces the modern vice of forcing the tone. Growth is
+a factor for which hurried forcing methods make no allowance.
+
+_Excess of emotion_ with its loss of balance affects the breathing and
+play of the voice.
+
+_Exertion_, trying effort, instead of easy, happy activity induces
+hampering rigidities.
+
+_Intensity_, over-concentration, or rather false concentration,
+emotional tension, involves strain, and strain is always wrong.
+
+_Over-conscientiousness_, with its fussiness about petty detail, and
+insistence on non-essentials, is a deterrent from which the robust are
+free. _Over-attention to the mechanics_ of voice production is a
+kindred deterrent. Both deterrents prevent that prime characteristic
+of expression--spontaneity.
+
+_Anxiety_ is a great contractor of muscle, a great stiffener. Anxiety
+always forgets the _power_ within, and falsely says to the
+song-hunger, "You shall never be satisfied."
+
+_Self-repression_ is a great deterrent that afflicts the more
+sensitive, particularly those of puritanic inheritance. It is a
+devitalizer and a direct negative to expression, which is vital, is
+_life_.
+
+All of these deterrents are negative and may be overcome by fuller
+recognition of the inner power that by its very nature must
+perpetually seek positive expression.
+
+
+CONCLUSION
+
+In conclusion, the student can perpetually find encouragement in a
+number of happy facts.
+
+Man is endowed by nature, except in rare instances, with a perfect
+vocal apparatus. When abnormal conditions are found they are usually
+in the adult voice, and are due solely to misuse. In other words
+defects are not inherent but acquired and _can be removed_.
+
+By nature the human voice is beautiful, for the tendency of nature is
+always in the direction of beauty. Whatever is unlovely in singing, as
+in all else, is _un_natural. True method is therefore never artificial
+in its action, but simple, because the natural is always simple.
+
+Finally, no, not finally, but firstly and secondly and thirdly and
+perpetually, every student of singing and every teacher of it must
+constantly bear in mind the happy law:
+
+=THE RIGHT WAY IS ALWAYS AN EASY WAY=
+
+
+
+
+BOOKS CONSULTED
+
+
+TITLE                           AUTHOR                   PUBLISHED
+
+An Essay on the History
+and Theory of Music, and
+of the Qualities and Capacity
+of the Human Voice              Isaac Nathan             London, 1823.
+
+Elements of Vocal Science       Richard Mackenzie Bacon  London, 1824.
+
+Orthophony; or the Cultivation
+of the Voice in Elocution       William Russell          Boston, 1859.
+
+Vocal Physiology                Charles Alex. Guilmette  New York, 1860.
+
+Die Lehre von den
+Tonempfindungen als
+physiologische Grundlage
+fuer die theorie der Musik       H.L.F. Helmholtz         Brunswick, 1863.
+
+The Sensations of Tone as
+a Physiological Basis for
+the Theory of Music             H.L.F. Helmholtz
+
+(Translation of above)          (Translated by A.J.
+                                Ellis)                   London, 1875.
+
+Sound                           John Tyndall             London, 1867.
+
+Principles of Elocution and
+Voice Culture                   Benj. W. Atwell          Providence, 1868.
+
+The Voice, Its Artistic
+Production, Development
+and Preservation                George J. Lee            London, 1870.
+
+The Cultivation of the
+Speaking Voice                  John Pyke Hullah         Oxford, 1870.
+
+Voice Building                  Horace R. Streeter       Boston, 1871.
+
+Principles of Elocution and
+Voice Culture                   Benjamin Atwell          Boston, 1872.
+
+Hints for Pronunciation in
+Singing                         Georgiana Weldon         London, 1872.
+
+The Voice in Singing            Emma Seiler              Philadelphia, 1872
+
+The Voice as an Instrument      Ange A. Pattou           New York, 1878.
+
+The Vocal Process               John Howard              New York, 1878.
+
+Speech in Song                  Alexander J. Ellis       London, 1878.
+
+Voice and Vocalization          Wm. P. Robert            London, 1879.
+
+The Human Voice and
+Connected Parts                 Joseph Montgomery Farrar London, 1881.
+
+The Mechanism of the
+Human Voice                     Emil Behnke              London, 1882.
+
+Gymnastics of the Voice         Oskar Guttmann           Albany, 1882.
+
+The Art of Voice Production
+with Special Reference
+to the Methods of
+Correct Breathing               Ange A. Pattou           New York, 1882.
+
+The Old Italian School of
+Singing                         Leo Kofler               Albany, 1882.
+
+The Secrets of the Voice in
+Singing                         Emilio Belari            New York, 1883.
+
+Deep Breathing                  Sophia A. Ciccolina      New York, 1883.
+
+Artistic Voice in Speech
+and Song                        Charles Lunn             London, 1884.
+
+Voice, Song and Speech          Lennox Browne and Emil
+                                Behnke                   London, 1884.
+
+Modern Singing Methods,
+Their Use and Abuse             John Franklin Botume     Boston, 1885.
+
+The Diaphragm and Its
+Functions                       J.M.W. Kitchen           Albany, 1885.
+
+The Voice from a Practical
+Standpoint                      Edmund J. Meyer          New York, 1886.
+
+The Hygiene of the Vocal
+Organs                          Morrell Mackenzie, M.D.  London, 1886.
+
+How to Sing                     Wm. Henry Daniell        New York, 1887.
+
+The Art of Breathing as
+the Basis for Tone Production   Leo Kofler               New York, 1887.
+
+The Voice. How to Train
+It                              Edward Barrett Warman    Boston, 1890.
+
+Scientific Voice. Artistic
+Singing and Effective
+Singing                         Thomas Chater            London, 1890.
+
+Voice Figures                   Mrs. Margaret Watts
+                                Hughes                   London, 1891.
+
+The Human Voice; Its
+Cultivation                     W.H. Griffiths           London, 1892.
+
+The Philosophy of Singing       Clara Kathleen Rogers    New York, 1893.
+
+The What and How of
+Vocal Culture                   F. Rowena Medini         New York, 1893.
+
+Exercises in Vocal Technique    John Franklin Botume     Boston, 1894.
+
+Text-Book on the Natural
+Use of the Voice                George E. Thorp and
+                                William Nicholl          London, 1895.
+
+Respiration for Advanced
+Singers                         John Franklin Botume     Boston, 1897.
+
+Voice Building and Tone
+Placing                         Henry Holbrook Curtis,
+                                M.D.                     New York, 1896.
+
+Twenty Lessons on the
+Development of the
+Voice                           George E. Thorp          London, 1896.
+
+Voxometric Revelation
+(The Problem Surrounding
+the Production of
+the Human Voice Finally
+Discovered)                     Alfred Augustus North    London, 1896.
+
+The Art of Singing              Wm. Shakespeare          London and
+                                                         Boston, 1898.
+
+The Rightly-Produced
+Voice                           Edward Davidson Palmer   London, 1898.
+
+How to Train Children's
+Voices                          T. Maskell Hardy         London, 1899.
+
+How to Sing (Meine
+Gesangskunst)                   Lilli Lehmann            New York, 1902.
+
+Scientific Tone Production      Mary Ingles James        Boston, 1903.
+
+English Diction for Singers
+and Speakers                    Louis Arthur Russell     Boston, 1905.
+
+The Training of Boys'
+Voices                          Clarke Ellsworth Johnson Boston, 1906.
+
+Voice Production in Singing
+and Speaking                    Wesley Mills, M.D.       Philadelphia, 1906.
+
+The Art of the Singer           W.J. Henderson           New York, 1906.
+
+The Commonplaces of
+Vocal Art                       Louis Arthur Russell     Boston, 1907.
+
+The Singing of the Future       David Ffrangcon-Davies   London, 1908.
+
+The Art of Singing and
+Vocal Declamation               Sir Charles Santley      London, 1908.
+
+
+
+
+INDEX
+
+
+ABDOMINAL BREATHING, employed by Martel, 4, 26;
+  lateral, 3.
+  (See also _Chest-abdominal breathing_ and
+   _Lateral abdominal breathing_.)
+
+ACOUSTICS, 43;
+  experiments in, 46-48;
+  Pascal on, 49.
+
+ACTOR, enunciation of the, 19;
+  importance of deep breathing for, 19.
+
+ADAM'S APPLE, the male larynx, 9.
+
+AGE to begin study of voice, 77.
+
+AH-sound, narrow limits of, 18;
+  how produced, 22;
+  Lilli Lehmann on, 19;
+  place of, in practice, 57.
+
+AIR CAVITIES (see _Sinuses_).
+
+ANXIETY, a deterrent to beautiful singing, 85.
+
+APPLICATION OF ESSENTIALS, 79.
+
+APPUNN, on pitch of vowel sounds, 20.
+
+ARTICULATION, differing opinions concerning, 3;
+  relation of, to resonance, 51;
+  through upper lip, 72.
+  (See also _Pronunciation_.)
+
+ARTICULATOR, 6.
+
+ARTISTRY, 79.
+
+ASCHAM, ROGER, on voice culture through imitation, 77.
+
+AW-sound, lip position for, 22;
+  in exercises, 59, etc.
+
+
+BEAUTY OF TONE, a criterion of correct vocal action, 56.
+
+BELL, on pitch of vowel sounds, 20.
+
+BOOTH, EDWIN, as a good speaker, 16.
+
+BOOTH, JUNIUS BRUTUS, impairment of his voice, 53.
+
+BREATH CONTROL, 23-32;
+  importance of, in both speaking and singing, 23;
+  muscles of respiration in, 23;
+  the diaphragm in, 23;
+  muscles in, 24;
+  the lungs in, 25;
+  inspiration, 25;
+  expiration, 25;
+  correct method of, 25;
+  a cure for nervousness, 27;
+  necessity of exercises, 27;
+  economy a factor in, 30;
+  exaggerated, 30;
+  initial use of, 31;
+  exercises for, 33-37;
+  of Farinelli, 37.
+
+BREATH FORCE, initial use of, 31;
+  reserve, 31;
+  wasted, 31.
+
+BREATH MASTERY, meaning of, 32.
+
+BREATHING, art of, 3;
+  an amplification of the daily habit, 5;
+  defined as singing, 23;
+  correct, 25, 28;
+  not differing in sex, 26;
+  vicious habits of, 26;
+  controlling deeply, 26;
+  tests of, 26;
+  nose versus mouth, 26;
+  regularity of, 26;
+  in obtaining power and largeness of tone, 27;
+  for high tones, 27;
+  relation of, to nervousness, 27;
+  rhythmic, 27;
+  necessity of exercises, 27;
+  illustrations of, 28, 29;
+  exercises in, 33-37;
+  economy in, 30;
+  tests in, by Professor Mills, 30;
+  exaggerated control of, 30;
+  exhaustion, 31;
+  initial force in, 31;
+  reserve power in, 31;
+  mastery of, 32.
+  (See also _Abdominal breathing_.)
+
+BROSCHI, DON CARLO, breath control of, 36.
+
+BROWNE, DR. LENNOX, on the laryngoscope, 3.
+
+BROWNE and BEHNKE, on nasal resonance, 53.
+
+
+CHEST, expansion of and resonance, 49.
+
+CHEST-ABDOMINAL BREATHING, 25;
+  illustrated in sleeping child, 25;
+  tests in, 26;
+  illustrated, 28, 29.
+
+CHEST TONES, former emphasis given to, 2;
+  wrongly termed, 5.
+
+CLAY, HENRY, as a good speaker, 16.
+
+CLOSED TONES, former emphasis given to, 2;
+  wrongly termed, 5.
+
+CRYER, DR. W.H., on the frontal sinus, 12.
+
+CULTURE OF THE VOICE (see _Voice culture_).
+
+
+DEEP BREATHING, importance of, for the actor, 19.
+  (See also _Breathing_.)
+
+DETERRENTS TO BEAUTIFUL SINGING, 84, 85.
+
+DIAPHRAGM, in breathing, 19;
+  not a muscle of expiration, 23;
+  described, 23, 24;
+  in inspiration, 24;
+  in expiration, 24;
+  illustrated, 24, 29.
+
+DIFFERENCE BETWEEN SINGING AND SPEAKING, 17.
+
+
+EAR, function of, in tone production, 57;
+  training of, 57.
+
+EE-sound, lip position for, 20;
+  in exercises, 57, 59, etc.
+
+EFFORT, TENSE, a deterrent to beautiful singing, 84.
+
+EMOTION, effect on tone quality, 7;
+  excess of, a deterrent to beautiful singing, 84.
+
+EMPIRICISTS, where they have failed, 4.
+
+EPIGLOTTIS, 10.
+
+ESSENTIALS, application of, 79.
+
+ETHMOID BONE, 8.
+
+ETHMOIDAL SINUSES, illustrated, 7;
+  function of, 12.
+
+EVERETT, EDWARD, as a good speaker, 16.
+
+EXERCISES, BREATHING:
+  necessity of, 27, 33;
+  preliminary suggestions, 33, 34;
+  attitude in taking, 34;
+  I, to show what a deep breath is, 34;
+  II, slow inhalation with sudden expulsion, 35;
+  III, sipping the breath, with quick exhalation, 35;
+  IV, for rib expansion, 35;
+  V, slow inhalation with slow expiration, 36;
+  VI, rapid inspiration with slow expiration, 36;
+  VII, Farinelli's great exercise, 36;
+  VIII, the cleansing breath, 37;
+  half breath, 37.
+
+EXERCISES, VOCAL:
+  I, to establish nasal and head resonance, 58-61;
+  for speakers, 60, 61;
+  II, to establish head and nasal resonance, 61;
+  III, IV, V, upper resonance, 62-64;
+  VI, to enlarge the throat and thus magnify the tone, 64;
+  VII, for production of the vowel sounds in proper focus, 65;
+  VIII, to enlarge the throat and focus the vowels, 66;
+  IX, quick changing notes without changing resonance, 67;
+  X, for agility, 67, 68;
+  XI, to develop the use of the lips and under jaw, 68, 69;
+  XII, for facility and quick vowel change, 69, 70;
+  XIII, ascending and descending scale, 71;
+  XIV, the long scale, 71;
+  additional, 72, 73;
+  repose as a preparation for, 80.
+
+EXPIRATION, muscles of, 23, 24;
+  under controlled pressure, 24;
+  described, 25;
+  the lungs in, 25;
+  illustrated, 28, 29.
+
+
+FACE, training muscles of, 15.
+
+FARINELLI, breath control of, 36.
+
+FFRANGCON-DAVIES, on pronunciation, 18;
+  on registers, 39;
+  on function of ear in voice training, 57;
+  definition of singing of, 83.
+
+FOCUSING THE VOICE (see _Voice placing_).
+
+FORBES-ROBERTSON, on diction, 19.
+
+FORMES, CARL, voice of, in declining years, 4.
+
+FREEDOM IN SINGING, 84.
+
+FRONTAL SINUSES, function of, 12;
+  illustration of, 7.
+
+
+GARCIA, MANUEL, inventor of laryngoscope, 2;
+  use of laryngoscope, 2;
+  Sir Charles Stanley on, 3.
+
+GOUNOD, on pronunciation, 19.
+
+
+HALF-BREATH, Sembrich and, 37.
+
+HARD PALATE, function of, 12.
+
+HARSHNESS, an indication of tension, 56.
+
+HEAD CAVITIES, a resonator for the voice, 6;
+  effect of, on resonance, 12.
+
+HEAD TONES, in previous years, 2;
+  wrongly termed, 5.
+
+HELMHOLTZ, on pitch of vowel sounds, 20;
+  on acoustics, 43, 49.
+
+HENDERSON, W.J., on pronunciation, 18.
+
+HIGH TONES, breath control necessary for, 27.
+
+HOLMES, OLIVER WENDELL, on Edward Everett's voice, 16.
+
+HYOID BONE, 8, 10.
+
+
+I-sound, described, 21.
+
+IMPATIENCE, a deterrent to beautiful singing, 84.
+
+INSPIRATION, muscles of, 23, 24;
+  process of, described, 25;
+  illustrated, 28, 29.
+  (See also _Breath control_ and _Breathing_.)
+
+INSTRUMENT, MUSICAL, elements of, 43, 44.
+
+INTENSITY, INVOLVING STRAIN, a deterrent to beautiful singing, 84.
+
+
+KINDERGARTEN TEACHERS, instruction by, 78.
+
+KOENIG, on pitch of vowel sounds, 20.
+
+
+LARYNGOSCOPE, and registers, 2;
+  Garcia the inventor of, 2;
+  usefulness of, 2;
+  limitations of, 3;
+  disappointing results of, 38;
+  not an instrument for the singer, 51.
+
+LARYNX, moving, 3;
+  viewed through the laryngoscope, 3;
+  illustrated, 7;
+  description of, 8, 9;
+  relation of size of, to pitch, 9;
+  automatic action of, 38;
+  not alone the vocal organ, 50;
+  reflex action of, 51;
+  force of tone does not originate in, 75;
+  must be left uncramped, 75.
+
+LATERAL ABDOMINAL BREATHING, 3, 25, 28.
+
+LEHMANN, MADAME LILLI, on use of Ah, 19;
+  on registers, 39;
+  on nasal resonance, 54.
+
+LIFE'S PERIODS, 79.
+
+LIND, JENNY, effects of wrong methods on, 4.
+
+LIPS, in articulation, 14;
+  position of, 20-22;
+  illustrated, 21, 22.
+
+LUNGS, a motor for the voice, 6;
+  illustrated, 24;
+  described, 25;
+  overcrowding, 31.
+
+
+MACKENZIE, DR. MORELL, on the laryngoscope, 3;
+  on singing and speaking, 17.
+
+MACREADY, WM. CHARLES, as a good speaker, 16.
+
+MARTEL, voice of, at seventy, 4.
+
+MAXILLARY SINUSES, 7, 8, 12.
+
+MAY, DR., breathing tests made by, 26.
+
+MCKINLEY, M.S., on Garcia and the laryngoscope, 2.
+
+MENTAL DISCORD, a deterrent to beautiful singing, 84.
+
+MEYER, EDMUND J., on resonance, 43.
+
+MILLS, DR. WESLEY, on breath measure, 30;
+  on ease of vocal action, 56;
+  on the function of the ear in tone production, 57.
+
+MOTOR OF THE VOCAL INSTRUMENT, 6.
+
+MOUTH, theory of its function, 1;
+  a resonator for the voice, 6.
+
+MUSCLES OF RESPIRATION, 23.
+
+MUSIC TEACHERS, scientific, 4;
+  empirical, 4.
+
+
+NASAL CAVITIES, as reinforcing agents in tone production, 2;
+  a resonator for the voice, 6;
+  illustrated, 7;
+  formation of, 8;
+  vibrations in, 8;
+  effect on resonance, 12;
+  Edward Everett's use of, 16;
+  as a resonator, 52, 53;
+  obstruction of, in Booth, 53.
+
+NASAL RESONANCE, erroneous theories concerning, 1, 2;
+  Madame Rudersdorff recognized effect of, 2;
+  involved in head resonance, 52;
+  versus nasal tone quality, 53;
+  Lilli Lehmann on, 54;
+  Sembrich's study of, 54;
+  importance of, 54.
+
+NATURAL VOICE, what is meant by, 77.
+
+NERVOUSNESS, a cure for, 27, 80.
+
+NOSTRILS, relation of, to tone quality, 14.
+
+
+O-sound, lip position for, 20;
+  illustrated, 21;
+  in exercises, 59, etc.
+
+OO-sound, lip position for, 20, 21;
+  in exercises, 59, etc.
+
+OPEN TONES, 2, 5.
+
+ORAL SURGERY, 2.
+
+ORATORIO, faulty diction in, 18.
+
+OVER-CONSCIENTIOUSNESS, a deterrent to beautiful singing, 84.
+
+OVERTONES, 45, 46.
+
+
+PERSONALITY, effect on the voice, 83.
+
+PHARYNX, function of, 10.
+
+PHILLIPS, ADELAIDE, voice of, in declining years, 4.
+
+PITCH OF TONE, influence of resonance cavities on, 12, 13.
+
+PLACING THE VOICE (see _Tone production_).
+
+POWER OF TONE, dependent on resonant cavities and breath control, 27.
+
+PRINCIPLES ADVOCATED, 5.
+
+PRONUNCIATION, indifference of American singers to, 17;
+  W.J. Henderson on, 18;
+  change of attitude toward, 18;
+  importance of, to singer, 18;
+  relation of, to tone, 18;
+  Ffrangcon-Davies on, 18;
+  sing words rather than tones, 18;
+  Lilli Lehmann on, 19;
+  emotional power impossible without, 19;
+  Gounod on, 19;
+  Forbes-Robertson on, 19;
+  upper lip in, 19;
+  effect of smile on, 19.
+
+PSYCHOLOGY OF VOCAL CULTURE, 82-85.
+
+PTERYGOID MUSCLES, and the under jaw, 10.
+
+PUBLIC SCHOOLS, voice training in, 78.
+
+
+REEVES, SIMS, voice of, 4.
+
+REGISTERS, 38-42;
+  blending the, 2, 41;
+  not a natural feature of the voice, 2;
+  fallacy of theory of, 2;
+  a myth, 5;
+  the _bete noire_ of vocalists, 38;
+  defined, 38;
+  Clara Kathleen Rogers on, 38;
+  Lilli Lehmann on, 39;
+  Ffrangcon-Davies on, 39;
+  of the organ, 40;
+  of voice and instruments compared, 40, 41;
+  an artificial creation, 41, 42.
+
+REPOSE, AS A PREPARATION FOR VOCAL EXERCISES, 80;
+  how to induce, 80.
+
+RESONANCE, differing opinions concerning, 3;
+  principle of, 5;
+  nasal and head cavities in, 12;
+  influence of resonance cavities on pitch, 12;
+  pitch of vowels in, 20;
+  and power, 27;
+  and breath force, 31;
+  in general, 43-50;
+  development of science of, 43;
+  quality and power of, 44;
+  significance of, 45;
+  experiments to demonstrate, 46-50;
+  induced, 47;
+  sympathetic, 47, 48;
+  density of air and, 47;
+  volume and character of tones dependent on, 49;
+  head and nasal, 51-55;
+  relation of articulation to, 51;
+  focusing tone a matter of, 52;
+  effect of its absence, 54;
+  exercises to establish, 58-72.
+
+RESONATOR OF THE VOICE, 6.
+
+RESPIRATION (see _Breath control_ and _Breathing_).
+
+RESPIRATORY MUSCLES, a motor for the voice, 6;
+  described, 23, 28;
+  action of, 25;
+  illustrated, 24, 29.
+
+ROGERS, CLARA KATHLEEN, on registers, 38.
+
+RUDERSDORFF, MADAME, and nasal resonance, 2.
+
+
+SANTLEY, SIR CHARLES, on Garcia and the laryngoscope, 3.
+
+SCALE OF VOWEL SOUNDS, 20, 72.
+
+SELF-REPRESSION, a deterrent to beautiful singing, 84.
+
+SEMBRICH, MARCELLA, and the half-breath, 37;
+  use of nasal resonance, 54.
+
+SINGING, subtlety of, 4;
+  obstacles to, 5, 74, 84;
+  versus speaking, 5, 17;
+  mission of singer, 18;
+  defined as breathing, 23;
+  age to begin, 77;
+  in public schools, 78;
+  by method, 79;
+  vibrato in, 80;
+  psychology of, 82-85;
+  sublimated speech, 83;
+  defined by Ffrangcon-Davies, 83;
+  freedom in, 84;
+  deterrents to, 84.
+
+SINUSES, illustrated, 7;
+  pairs of, 8;
+  function of, 12.
+
+SMILE, EFFECT OF, on pronunciation, 19.
+
+SOFT PALATE, office of, 11, 52.
+
+SPEAKING, obstacles to, 5;
+  tones of, identical with singing tones, 5;
+  difference from singing, 17;
+  expression in, 83.
+
+SPEAKING VOICE, misunderstood, 16;
+  connection with singing voice, 16;
+  how cultivated, 16;
+  identity with singing voice, 17;
+  and pronunciation, 18, 19.
+
+SPHENOID BONE, 8.
+
+SPHENOIDAL SINUSES, illustrated, 7;
+  pairs of, 8;
+  function of, 12.
+
+STAGE ELOCUTION, criticism of Forbes-Robertson on, 19.
+
+
+TEETH, function of, in use of voice, 12.
+
+THROAT, theory of sound in, 1;
+  a resonator, 6;
+  illustrated, 7;
+  relation to voice, 8.
+  (See _Larynx_ and _Pharynx_.)
+
+THROAT STIFFNESS, most frequent obstacle to good singing, 74;
+  effect on larynx, 74;
+  difficulty in recognizing one's own, 74;
+  throat consciousness a common cause of, 74;
+  induced by lack of breath mastery, 75;
+  American hurry begets, 75;
+  voice culture a struggle with, 75;
+  remedies for, 75, 76.
+
+TIMBRE OF VOICE, defined and explained, 7, 8.
+
+TONE, defined, 45;
+  analyzed 45;
+  experiments to determine composition and resonance of, 46-50;
+  focusing of, 52;
+  vocal, a mental concept, 82;
+  whole man in, 83.
+
+TONE PRODUCTION, largely a matter of resonance, 56;
+  effect of right thought on, 56;
+  judged by naturalness and beauty of result, 56;
+  function of the ear in governing, 57;
+  cultivating normal, 57;
+  exercises to aid in, 58-73;
+  effect of throat stiffness on, 74;
+  natural, 77;
+  age to begin study of, 77.
+
+TONE QUALITY, variety in, 6;
+  effect of emotion upon, 7, 75, 84;
+  relation of pronunciation to, 18;
+  how to secure purity of, 18, 19;
+  experiments to determine, 46-50;
+  and resonance, 5, 44, 45, 49, 50;
+  cause of nasal, 52-54;
+  beauty or harshness of, a criterion of judgment, 56, 57;
+  effect of throat stiffness on, 74-76;
+  dependent on mind and ear, 82;
+  related to personality of singer, 83;
+  natural and unnatural, 85.
+
+TONGUE, as an articulator, 6;
+  illustrated, 7;
+  connection with larynx, 9;
+  position of, in speaking and singing, 13;
+  tongue consciousness, 14.
+
+
+UNDER JAW, 10;
+  in ascending the scale, 10.
+
+UPPER LIP, in pronunciation, 19;
+  in practising, 68;
+  in articulation, 72.
+
+UVULA, office of, 11.
+
+
+VENTRICLE IN THE LARYNX, 8.
+
+VIBRATO, 80, 81.
+
+VIBRATOR, of the voice, 6;
+  of instruments, 43.
+
+VITALIZING TEXT WITH TONE, the singer's mission, 18.
+
+VOCAL CORDS, vibrator for the voice, 6;
+  in the larynx, 8;
+  described, 9;
+  not the principal cause of tone, 44, 45, 49;
+  necessity of free action of, 51.
+
+VOCAL INSTRUMENT, discussion of, 6-15;
+  beauty and complexity of, 6;
+  three elements of, 6, 7;
+  illustrated, 7;
+  relation of parts of, 8;
+  larynx, 8, 9;
+  vocal cords, 9;
+  epiglottis, 10;
+  pharynx, 10;
+  under jaw, 10;
+  soft palate, 11;
+  hard palate and teeth, 12;
+  nasal and head cavities, 12;
+  tongue, 13;
+  lips, 14;
+  nostrils, 14;
+  face, 15;
+  defects in, 85.
+
+VOCAL TONE, an audible mental concept, 82.
+
+VOICE CULTURE, opinions concerning, 2;
+  wrong methods of a generation ago, 3, 4;
+  cannot be developed mechanically, 4;
+  principles advocated, 5;
+  the right way the easy way, 5;
+  resonance an important factor of, 5, 43, 45, 50, 52, 54;
+  should begin in childhood, 77;
+  learned by imitation, 77;
+  Roger Ascham on, 77, 78;
+  in public schools, 78;
+  artistry in, 78, 79;
+  three periods of, 79;
+  application of essentials of, 79;
+  repose as a preparation for, 80;
+  the vibrato in, 80;
+  psychology of, 82-85;
+  personality in, 83;
+  freedom in, 84;
+  deterrents in, 84, 85.
+
+VOICE PLACING, 51, 52, 56-73.
+
+VOICE TIMBRE, defined, 7, 8.
+
+VOWEL SOUNDS, 11, 18, 19;
+  singer's scale of, 20, 72;
+  each has its own pitch, 20;
+  lip position for, 20-22;
+  placing of, 52;
+  exercises for practice, 58-73.
+
+
+WEBSTER, DANIEL, as a good speaker, 16.
+
+WHEATSTONE, on pitch of vowel sounds, 20.
+
+WILLIS, on pitch of vowel sounds, 20.
+
+
+
+
+THE MUSIC STUDENTS LIBRARY
+
+
+[Illustration: THE MUSIC STUDENTS LIBRARY]
+
+=A series of Educational Text-books suited to the requirements of the
+average student and covering every essential branch of musical
+instruction.=
+
+_Note_:--Unless otherwise specified, books are bound in cloth.
+
+PIANO
+
+=Burrowes' Piano Primer.= Frederic Field Bullard,
+Editor. An enlarged edition with pronouncing
+dictionary.                               _Paper_                 75 A
+
+=Ears, Brain and Fingers.= Howard Wells.                        1 25 A
+
+=Half Hour Lessons in Music.= Mrs. Hermann
+Kotzschmar. Class work for beginners. Practical
+for teachers and mothers. Illus.                                1 25 A
+
+=Interpretation of Piano music.= Mary Venable.
+Studies in the meaning of printed signs used in
+music, and their bearing on the interpretation of
+standard works.                                                 2 00 A
+
+=Natural Laws in Piano Technic.= Mary Wood Chase.
+Presents the essential laws of a sound piano
+technic.                                                        1 50 A
+
+=Piano Teaching: Its Principles and Problems.=
+Clarence G. Hamilton, A.M. A practical book,
+written by a practical man to meet practical
+needs.                                                          1 50 A
+
+ORGAN
+
+=Primer of Organ Registration.= Gordon Balch Nevin.
+Numerous illustrations and a Dictionary of
+Organ Stops.                                                    1 50 A
+
+VIOLIN
+
+=How to Master the Violin.= Pavel L. Bytovetzski.
+A practical guide for students and teachers.                    1 25 A
+
+=How to Study Kreutzer.= Benjamin Cutter. What
+every violin teacher discusses and illustrates in
+the lesson room.                                                1 25 A
+
+VOICE
+
+=ABC of Music.= Auguste Mathieu Panseron. (Ed. by
+N.C. Page.) A standard primer of vocalization.                  1 50 A
+
+  do.                                     _Paper_                 90 A
+
+=Commonplaces of Vocal Art.= Louis Arthur Russell.
+The plain truths of vocal art presented in simple
+untechnical language.                                           1 25 A
+
+=English Diction for Singers and Speakers.= Louis
+Arthur Russell. For all who pretend to refined
+or artistic use of the English language.                        1 25 A
+
+=French Diction for Singers and Speakers.= William
+Harkness Arnold. The elements of French
+pronunciation are reduced to a few fundamental
+principles, readily mastered.                                   1 25 A
+
+=Head Voice and Other Problems.= D.A. Clippinger.               1 25 A
+
+PRACTICAL TALKS ON SINGING
+
+=Resonance in Singing and Speaking.= Thomas Fillebrown,
+M.D. An exposition of fundamentals,
+with breathing and vocal exercises and illustrations.           1 50 A
+
+=Training of Boys' Voices.= Claude Ellsworth Johnson.
+A practical guide to the correct "placing" of
+boys' voices.                                                   1 25 A
+
+=Twelve Lessons in the Fundamentals of Voice Production.=
+Arthur L. Manchester. Presents
+clearly the fundamentals illustrated by exercises.              1 25 A
+
+EAR TRAINING, HARMONY AND COUNTERPOINT
+
+=Ear Training for Teacher and Pupil.= C.A. Alchin.
+Designed to teach the pupil to think in tones,
+and so to sing, name, write, and play what he
+hears.                                                          1 50 A
+
+=Intervals, Chords, and Ear Training.= Jean Parkman
+Brown. Exercises and examples in rudimentary
+harmony and ear training for use in conjunction
+with piano study.                                               1 25 A
+
+=Harmony.= Sir John Stainer, Mus. Doc. New edition
+of a standard text-book which presents the
+principles of harmony with conciseness and
+lucidity.                                                       1 50 A
+
+  do.                                     _Paper_                 90 A
+
+=Harmony Simplified.= Francis L. York. A practical
+text-book presenting in a concise manner the
+fundamental principles of harmony, with non-essentials
+omitted.                                                        1 50 A
+
+=Manual of Harmony.= Ernst Friedrich Richter. Trans.
+by J.C.D. Parker. A practical guide to the
+study of harmony.                                               2 00 A
+
+=Harmonic Analysis.= Benjamin Cutter. Teaches one
+to analyze the harmonic structure of both classic
+and modern music.                                               1 50 A
+
+=Counterpoint.= Sir J. Frederick Bridge. This book has
+freshness and plainness combined with thoroughness,
+and must commend itself to young students
+and teachers.                                                   1 25 A
+
+  do.                                     _Paper_                 90 A
+
+=Counterpoint Simplified.= Francis L. York. A concise
+text-book of formal counterpoint. (Sequel
+to author's "Harmony Simplified").                              1 50 A
+
+=Guide to Musical Composition.= H. Wohlfahrt. Tr.
+by J.S. Dwight. On the invention of melodies,
+their transformation, development and suitable
+accompaniment.                                                  1 25 A
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+FORM, INSTRUMENTATION AND ACOUSTICS
+
+=Instrumentation.= Ebenezer Prout, Mus. Doc. A
+valuable guide and assistant to students who
+wish to gain a knowledge of the proper blending
+of orchestral instruments, their compass,
+capabilities, etc.                                              1 50 A
+
+  do.                                     _Paper_                 90 A
+
+=Lessons in Music Form.= Percy Goetschius, Mus. Doc.
+A manual of analysis of all the structural factors
+and designs employed in musical composition.                    1 50 A
+
+=Musical Forms.= Ernest Pauer. The students of musical
+form, and especially those who study composition,
+will find this a very valuable and
+thorough work.                                                  1 75 A
+
+  do.                                     _Paper_                 90 A
+
+=Sound and Its Relation to Music.= Clarence G. Hamilton,
+A.M. A handbook of acoustics as relating
+to music. Based on the latest discoveries and
+experiments.                                                    1 50 A
+
+CONDUCTING, HISTORY, MUSIC APPRECIATION
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+
+=Essentials in Conducting.= Karl W. Gehrkens, A.M.
+On personal requirements, technic of the baton,
+interpretation, rehearsing, program making, etc.                1 75 A
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+=Outlines of Music History.= Clarence G. Hamilton, A.M.
+A compact, clearcut work for class use and the
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+=Music Appreciation.= Clarence G. Hamilton, A.M.
+Based on methods of literary criticism, this
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+With 24 portraits, 28 diagrams and
+over 200 music cuts.                                            2 50 A
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+=Music Club Programs From all Nations.= Arthur
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+one hundred portraits.                                          2 00 A
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+=Some Essentials in Musical Definitions.= M.F.
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+[Illustration]
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+THE MUSICIANS LIBRARY
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+
+=This notable series has been planned to embrace all the masterpieces
+of song and piano literature; to gather into superbly made volumes of
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+
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+PIANO VOLUMES
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+=Bach Piano Album=
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+
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+
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+
+=Beethoven Piano Compositions=
+
+Vols. I and II. Edited by Eugen D'Albert.
+
+=Brahms, Johannes=
+
+Selected Piano Compositions. Edited by Rafael Joseffy.
+
+=Chopin, Frederic=
+
+Forty Piano Compositions. Edited by James Huneker.
+
+=Chopin, Frederic=
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+
+=Grieg, Edvard=
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+Larger Piano Compositions. Edited by Bertha Feiring Tapper.
+
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+Piano Lyrics and Shorter Compositions. Edited by Bertha Feiring
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+=Haydn, Franz Josef=
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+
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+a Preface by Daniel Gregory Mason.
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+=Mozart, Wolfgang Amadeus=
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+Twenty Piano Compositions. Edited by Carl Reinecke.
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+=Schubert, Franz=
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+Selected Piano Compositions. Edited by A. Spanuth.
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+Fifty Piano Compositions. Edited by Naver Scharwenka.
+
+=Wagner, Richard=
+
+Selections from the Music Dramas. Edited by Otto Singer.
+
+       *       *       *       *       *
+
+=Anthology of French Piano Music=
+
+Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Isidor
+Philipp.
+
+=Anthology of German Piano Music=
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+Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Moritz
+Moszkowski.
+
+=Early Italian Piano Music=
+
+Edited by M. Esposito.
+
+=Modern Russian Piano Music=
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+
+=Twenty-four Negro Melodies.=
+
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+
+SONG VOLUMES
+
+=Brahms, Johannes=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Franz, Robert=
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+
+=Grieg, Edvard=
+
+Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
+
+=Handel, George Frideric=
+
+Vol. I. Songs and Airs. High Voice. Vol. II. Songs and Airs. Low
+Voice. Edited by Dr. Ebenezer Prout.
+
+=Jensen, Adolf=
+
+Forty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.
+
+=Liszt, Franz=
+
+Thirty Songs. High Voice. Low Voice. Edited by Carl Armbruster.
+
+=Schubert, Franz=
+
+Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
+
+=Schumann, Robert=
+
+Fifty Songs. High Voice. Low Voice. Edited by W.J. Henderson.
+
+=Strauss, Richard=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Tchaikovsky, P.I.=
+
+Forty Songs. High Voice. Low Voice. Edited by James Huneker.
+
+=Wagner, Richard=
+
+Lyrics for Soprano. Edited by Carl Armbruster.
+
+=Wagner, Richard=
+
+Lyrics for Tenor. Edited by Carl Armbruster.
+
+=Wagner, Richard=
+
+Lyrics for Baritone and Bass. Edited by Carl Armbruster.
+
+=Wolf, Hugo=
+
+Fifty Songs. High Voice. Low Voice. Edited by Ernest Newman.
+
+=Fifty Mastersongs=
+
+High Voice. Low Voice. Edited by Henry T. Finck.
+
+=Fifty Shakspere Songs=
+
+High Voice. Low Voice. Edited by Charles Vincent, Mus. Doc.
+
+=Modern French Songs=
+
+High Voice. Low Voice. Vol. I. Bemberg to Franck. Vol. II. Georges to
+Widor. Edited by Philip Hale.
+
+=One Hundred English Folk-songs=
+
+Medium Voice. Edited by Cecil J. Sharp.
+
+=One Hundred Folk-Songs of all Nations.=
+
+Medium Voice. Edited by Granville Bantock.
+
+=One Hundred Songs by Ten Masters=
+
+High Voice. Low Voice. Edited by Henry T. Finck. Vol. I. Schubert,
+Schumann, Franz, Rubinstein and Jensen. Vol. II. Brahms, Tchaikovsky,
+Grieg, Wolf and Strauss.
+
+=One Hundred Songs of England=
+
+High Voice. Low Voice. Edited by Granville Bantock.
+
+=Seventy Scottish Songs=
+
+High Voice. Low Voice. Edited by Helen Hopekirk.
+
+=Sixty Folk-songs of France=
+
+Medium Voice. Edited by Julien Tiersot.
+
+=Sixty Irish Songs=
+
+High Voice. Low Voice. Edited by William Arms Fisher.
+
+=Sixty Patriotic Songs of All Nations=
+
+Medium Voice. Edited by Granville Bantock.
+
+=Songs by Thirty Americans=
+
+High Voice. Low Voice. Edited by Rupert Hughes.
+
+=Songs From the Operas for Soprano=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Mezzo Soprano=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Alto=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Tenor=
+
+Edited by H.E. Krehbiel.
+
+=Songs From the Operas for Baritone and Bass=
+
+Edited by H.E. Krehbiel.
+
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