Much more attention is paid by teachers and students to the open mouth at the present time than formerly; in fact, like some other good things, it is often overdone. The individuality of the singer and speaker must always be borne in mind. If some are obliged to open the mouth as much as others, the result will not be happy. Any one may demonstrate to himself that the quality of a tone may be at once changed by unduly opening or closing the mouth. One may say that _the mouth should be sufficiently opened to produce the best possible effect_. We have never seen the mouth opened to such an extent that it was positively unsightly--reminding one of the rhinoceros at a zoo--without feeling that the tone had suffered thereby.

If all would remember that the mouth is best opened by simply _dropping the lower jaw_, pa.s.sively, in the easiest manner possible, the difficulties some students experience would disappear. Many act as if the process were chiefly an active one, while the reverse is the case, as one may observe in the sleeper when the muscles become unduly relaxed--a condition that is often accompanied by snoring, which is produced by a mouth-breathing that gives rise to vibrations of the soft palate. We mean to say that the lower jaw drops when muscles relax, and that opening the mouth is largely a pa.s.sive thing, while closing the mouth is an active process.

The position of the head in its influence on tone-production is an insufficiently considered subject. It is impossible that the head be much raised or lowered without changes being produced in the vocal apparatus, especially the larynx, and if the tone is not to suffer in consequence, special care must be taken to make compensatory changes in the parts affected. It is only necessary to sing any vowel, and then raise the chin greatly, to observe a distinct change in the quality of the tone, with corresponding sensations in the vocal organs.

To speak or sing with the head turned to one side is plainly unfavorable to the well-being of the parts used, because it leads to compression, which gives rise to that congestion before referred to as the source of so many evils in voice-users. To sit at a piano and sing is an unphysiological proceeding, because it implies that the head is bent in reading the music on a page much lower than the eyes, and when, with this, the head is turned to one side to allow of reading the music on the distant side of the page, furthest from the middle line of the head, the case is still worse. If all who thus use the vocal organs do not give evidence of the truth of the above by hoa.r.s.eness, etc., it is simply because in young and vigorous organs there may be considerable power of resisting unfavorable influences.

The student is recommended to use his voice in the standing position only, when possible, as all others are more or less unnatural.

One often has the opportunity to observe how the effect is lost when a reader bends his head downward to look at his book or ma.n.u.script; and he himself, if the process is long-continued, will almost certainly feel the injurious influence of this acting on his vocal organs.

CHAPTER XIV.

SOME SPECIFIC APPLICATIONS OF PRINCIPLES IN TONE PRODUCTION.

It is no doubt valuable, indeed for most singers essential, to employ a series of elaborate exercises, or _vocalises_, which in some cases differ from each other only by slight gradations; but it is to be borne in mind that all the actual principles involved can be expressed practically in a very few exercises. These are: (1) The single sustained tone; (2) the tones of a scale sung so as to be smoothly linked together; (3) the same, sung somewhat more independently of each other; (4) the same, but each tone beginning and ending very suddenly. If the execution of any vocal musical composition be a.n.a.lyzed, it will be found that these four methods cover substantially the whole ground. As one other is very extensively used in giving expression in the form of shading, it is worthy of special mention--viz., (5) the swell. All others are modifications of the above.

As these methods of tone-production are of so much importance, it will be worth while to a.n.a.lyze them. It will be found that in each there is a characteristic use of the breathing mechanism. The larynx and the resonance-chambers are of course intermediate, as usual, between the breath-stream and the result, the tone; without them there could be no tones. But if the student have clearly in mind the memory of the tone he wishes to produce, including its various properties of pitch, volume, quality, etc., it will be found that the point requiring strict attention, in production, is the breathing, especially the manner of using the expiratory current.

1. The sustained tone requires an amount of breath proportional to its length, and the great aim in its production should be to convert, so to speak, all the breath into tone, as we explained in a previous chapter. This sustained tone, which may be practised with advantage on every one of the notes of a scale, is, in the nature of things, the very foundation of all good singing and speaking.

2. In the second and third exercises the differences in the method lie in the attack and the manner of using the breath. The smoothly linked tones are the more difficult for most people, since they require special control over the laryngeal mechanism and the breathing apparatus. Between the singing of a scale in this manner (_legato_), and as it is frequently done, there is the same difference as in walking up-stairs as does a perfectly trained ballet-dancer, and this act as carried out by a rough countryman, used only to ploughed fields, etc. For a perfect execution, the attack, while decisive enough, must be most carefully regulated, and the breathing, which is always to be considered in a good attack, must be of the most even character; the outflow requires the most perfectly controlled movements of the respiratory apparatus. In the other form of exercise (detached tones) there is often, at least, a little more emphasis on the attack, and the breathing is perhaps not always so even, but in some pa.s.sages, in actual singing, the method employed for these less closely linked tones is in most respects the same as the last.

3. Very different from all the preceding is the mode of production usually designated by musicians _staccato_, _marcato_, etc. The tone is attacked suddenly, and as suddenly dropped, which, expressed physiologically, means that the entire vocal mechanism is rapidly adjusted, one part to another, and as suddenly relaxed; and the one seems to be about as difficult as the other. In this a certain sudden tension of the vocal apparatus is essential. The whole respiratory apparatus, after the breath is taken, is held more or less tense. In executing these abrupt (staccato) effects the diaphragm is the chief agent, and operates against the column of air in the lungs, the chest and abdominal walls being kept more or less tense.

Though this is the case, the voice-producer will succeed best if he gives attention to the resonance-chambers, after having put the breathing mechanism into the right condition. There should be as little movement of the chest walls, diaphragm, larynx, etc., as possible. The whole is a question of tension, but not rigidity, and the reason the staccato effect is so difficult for most persons is that they attempt to accomplish it by _excessive movements_ of the breathing apparatus or larynx.

The _mind_ must be relieved of any feeling of undue tension, and the result attained by the establishment of a close connection between the ear and the resonance-chambers. The first interrupted effects should be of very brief duration and as _piano_ as possible, but the attempt to produce the real staccato may to great advantage be preceded by an exercise recommended in Chapter VIII.,--viz., singing a tone of some duration, then suddenly interrupting it, and, with the same breath, beginning the tone again as suddenly as it was interrupted. In fact, till this can be done with ease the staccato proper should not be attempted, for though the principles involved are the same, the execution requires far more skill than the exercise recommended for an earlier stage, and which it is well to continue throughout.

Simple as these exercises seem from mere description, or as carried out with a certain degree of success, perfection in them is not to be attained short of years of the most diligent study. How many singers living can sing an ascending and a descending scale, in succession, with a perfect staccato, to mention no other effect? Yet among all the resources of dramatic singing and speaking none is more important than this one. What so eloquent as the silence after a perfect stop--a complete and satisfactory arrest of the tone? How many modern actors are capable of it? How many singers? Instead of the perfect arrest, the listener is conscious, not of the rounded and complete tone, but of an edge more or less ragged. There is some noise with the actual tone.

The above exercises, when carried out to a perfect result, give us _bel canto_ singing, for which the old Italian school was so noted, and which is now largely a lost art, not so much because the methods are not known to teachers, as because students will not do the work necessary to attain to this _bel canto_. We seek for short cuts, and we get corresponding results.

The _bel canto_ is, simply, beautiful singing, the result of perfect technique, and is opposed to effects which are not truly artistic, though no doubt often highly expressive to the unmusical and the inartistic. They may appeal to us as feats, but they are not artistic results, and, as we have before insisted, they are injurious in many cases to the vocal organs, while good voice-production strengthens them.

5. The swell is simply a modification of the sustained tone. When a tone is perfectly sustained, without any change in volume, etc., we have a most valuable effect, and one very difficult to achieve, because it implies such a steady application of the breath power and such nice adjustments of all the parts concerned. To produce a tone with variations in it is easy enough, and that is what is usually given us instead of the perfectly even tone, reminding us of a straight line.

In the swell, as the name suggests, the tone should rise gradually in volume or loudness, and as gradually decline. If this can be done readily, and continued for several seconds, it will be easy to produce other effects, as the sudden swell, but such effects should come after, not before, the slower ones. A critical observer soon realizes the defects of modern technique when he listens to a singer's tones when attempting slow effects, as in a softly sustained melody. Only the well-trained vocalist can hope to sing such a melody, especially if long sustained, in a way to meet the demands of an exacting ear and advanced musical taste. It will be apparent that the swell is the basis of shading, a quality that is so highly appreciated in this refined age. He who can manage the swell perfectly has the secret of this effect in his possession as have none others.

Although we have referred more to the singer than to the speaker, in this chapter, it is to be understood that these and all other exercises suggested are of great value in forming the voice for public speaking. It is not so important, it must be admitted, for the speaker as for the singer that his tones be musically perfect, as he relies more on ideas than on tones, still, with every idea employed by the public speaker there is the inseparable feeling, or "feeling-tone;" so that the speaker, as well as the singer, is to some extent dependent on tone painting--indeed, must be, if he will be no mere man of wood, a "dry stick," to some extent, in spite of the use of appropriate language, gestures, etc. There are many avenues to the heart, and that by tones cannot with impunity be neglected by the speaker, though for his purpose the singing of tones need occupy only weeks or months, while for singers, in the case of all who would attain to a high degree of excellence, it must extend over years.

"FORWARD," "BACKWARD," ETC., PRODUCTION.

Certain expressions are in common use by teachers and singers, such as "to direct the breath forward," "forward production," "backward production," etc. No doubt such terms may serve a practical purpose, though they are often used with lamentable vagueness, but it must be understood that they do not answer to any clearly demonstrated physiological principles. There is, for example, no clear evidence that the breath can be directed toward the hard palate in the neighborhood of the teeth, as the drawings sometimes published would indicate.

It has already been many times urged that when breathing is satisfactory, breath does not escape to any considerable extent into the mouth cavity, but that the expiratory blast is used to set the air of the resonance-chambers into vibration. The changes that must be made in these cavities, to lead to certain effects, are accompanied by characteristic sensations, and these, and not the direction of the breath, are largely responsible for the ideas on which the above expressions rest.

As before shown, the soft palate is constantly being used more or less, and when it and the tongue unite in action so as to cut off the mouth cavity, or, more strictly, the anterior portion of it, from the nasal chambers, a very p.r.o.nounced modification in the tone results, and, of necessity, such actual escape of breath as occurs takes place through the nose. In reality, there is a special modification of the shape of the resonance-chambers for every tone produced, and especially when the color or quality is changed, as well as the pitch.

There is, therefore, not only "forward" and "backward" but also middle production, though, in reality, these terms at best but imperfectly describe, even for practical purposes, what happens.

It is to be feared that with some teachers of both singing and speaking "forward production" has become a sort of panacea for all vocal ills; but it is not, and just the reverse teaching is required in certain cases. If a voice be brilliant, yet hard, it will be improved by a more backward production, judiciously employed, and in this way the French language is often to be recommended to such singers, as it favors this backward production, with such use of the nasal resonance as mellows the tones. The tenor who has not learned the use of the nasal resonance, to give richness to the tones of his middle and upper range, has missed a valuable principle. On the other hand, for voices that are too soft, lack brightness, and fail in carrying-power, a more forward production will often improve the quality of the voice greatly. But a little consideration must convince the student that if he is to be master of his voice-production throughout, if he is to produce tones of every shade of quality, he must be able to shift that voice about in every quarter as occasion demands; in other words, _all the changes possible in the resonance-chambers must be at his command_. Such is the case in the very greatest singers of both s.e.xes; and, of course, this applies equally, if not still more, to speakers.

When the voice-producer has learned to intonate surely, when the voice is "placed," and the secrets of the registers are known to him, he will do well to experiment a little, cautiously, with his own resonance-chambers, so as to widen his practical knowledge of the principles underlying the modification of tones. Why should the student of the voice remain a mere imitator, when the one who works in any other direction is, or should be, encouraged to be an original investigator? The inability of students to judge of either the grounds for or the value of the exercises and methods recommended to them by their teachers seems to the author to indicate a regrettable state of things, which teachers of every form of vocal culture should endeavor to remedy. Some teachers do not use the terms "backward" and "forward," but "darkening" and "brightening" the voice; and, of course, the result of a certain use of the tongue and soft palate is to darken or veil the quality of the voice. But the attentive reader will scarcely mistake the author's meaning in the above and other references to this subject.

It is scarcely necessary to point out that in what has been said no encouragement is intended to be given to the nasal tw.a.n.g, or any thing resembling it--and it is easy to so use the nasal resonance that it becomes a defect; but the value of a judicious use of the nose in singing and speaking is, we are convinced, not as well known in vocal teaching as it deserves to be.

SUMMARY.

The relation of vowels and consonants to singing and speaking.

Intonation should be by vowels only, at first. Consonants are a necessary evil in singing, but all-important in the formation of words--_i.e._, in imparting ideas.

Every language has its own special merits and defects for the purposes of song and speech. That language which abounds in vowels is the best adapted for vocal exercises, etc.

It is a cardinal error to begin a course in speaking and especially singing with exercises based on words. Vowel sounds should be exclusively employed at first. In the formation of vowels and consonants the resonance-chambers are especially involved.

The tongue, soft palate, and lips are the most movable parts, and so have the largest share in giving color and meaning to sounds--_i.e._, they are the organs most important in the formation of the elements of words.

The "open mouth" should mean open mouth cavity and duly separated lips.

It is important that there be control of all parts of the resonance-chambers, and always in relation to other parts of the vocal apparatus.

CHAPTER XV.

THE ELEMENTS OF SPEECH AND SONG.

The subject treated in this chapter may be made dry enough; but if the student will, while reading the descriptions given, endeavor to form the sounds described, observing at the same time his own resonance-chambers (mouth parts) carefully in a hand-gla.s.s, and then follow up the applications made, the reader's experience will be, in all probability, like the author's: the more the subject is studied the more interesting does it become, especially if one experiments with his own resonance apparatus.

Vowels and consonants are the elements of syllables, and words are composed of the latter. However pure a vowel is, it is accompanied in its utterance by some noise; a consonant, by relatively a great deal of noise.

A _noise_, in distinction to a musical tone, is characterized by irregularity as regards the vibrations that reach the ear, while in the case of a tone a definite number of vibrations strikes against the drum-head of the ear within a given time; so that so far as syllables and words, even vowels, are concerned, we are not dealing with pure tones.

For the formation of each vowel a definite form of the resonance-chambers is essential. In uttering, either for the purposes of speech or song, the vowel _u_ (_oo_), the mouth cavity has the form of a large flask such as chemists use for their manipulations, but the neck in this case is short. The whole resonance cavity is elongated, and the lips are protruded; the larynx is depressed, and the root of the tongue and the fauces (folds from the soft palate, usually spoken of as the "pillars of the fauces") approach. The pitch of this vowel is very low.

[Ill.u.s.tration: FIG. 56 (Beaunis). Shows the position of parts in sounding the vowel _a_. By comparing this ill.u.s.tration with those following, the relatively greater size of the cavity of the mouth in this case will be evident. The reader is recommended to at once test the correctness of these representations by sounding the vowels, and observing the parts of his own vocal mechanism with a hand-mirror.]

In _[=o]_ the lips are nearer to the teeth, and the neck of the flask is shorter and wider; the larynx is somewhat more elevated than in the last case, and the pitch of the sound is higher.

When sounding _a_ (as in _father_) the mouth cavity has the shape of a funnel, wide in front; the tongue lies rather flat on the floor of the mouth, the lips are wide apart, and the soft palate is somewhat raised.