R-O-Y-A-L. The next word to be joined to this chain is r-o-y-a-l. Here we are depending upon previous practice in giving it the luminous curve tendency.
M-A-R-G-I-N. The new elements in this word are the sound of a as heard in far (ä), and the vocal element represented by g. The letter g represents an element, in forming which many people constrict the throat, giving what is called a “throaty” tone. Our object in using a, as heard in far, in this connection, is to introduce the largest and freest transient chamber of resonance which the organs of the mouth are capable of forming. The Italian ä has been much used in vocal practice, and it is a good element, providing it is not introduced too early in a student’s course of study, and if in its introduction it is always joined to the frontal nares mold as in ma. After practising upon the elements of speech described above, the student may practise them in the sentence form. Most men want poise and more royal margin. Repeat this exercise upon various intervals of the scale, beginning upon a comparatively high pitch, and descending to a comparatively low one.
By the practice of these exercises the student develops the ability to make each word and element of speech perfect without breaking the steady, sustained current of the tone.
Exercise IV. Sing ma-za-ska-a, commencing upon a comparatively high pitch, descending and ascending the scale.
After having made the true forms of the above-mentioned elements of speech habitual, the student may concentrate his practice upon the resonant form of a, as heard in far. Thus, this vocal element, being joined with the consonants m and z, is aided in making its most perfect resonant mold, while s, being forward to give the right direction, and k, being strongly projected by the pharynx resonant chamber, the ä is sent forward, like a ball from a gun, thereby developing projection of tone until at last the student may venture to practise upon ä alone.
While expressing these separate elements, each must be held in the mind as a luminous globe moving in the forward and downward curve. Repeat this exercise on different intervals of the scale. It may also be given in the form of arpeggios.
In practising these exercises, the student must be careful never to strain the voice either for the purpose of reaching a high or a low note. He should attempt to reach no pitch until it is perfectly easy for him to do so. He should practise most upon those notes which are easily within the compass of his voice, not continuing to repeat an element on the same interval of the scale, but changing at least one note with each successive repetition, that the voice may develop an evenness and the habit of reaching the resonant chamber which gives the right quality for the pitch.
RHYTHM.
It is obvious that the vocal exercises above described develop musical expressiveness both in song and speech. Rhythm is an act of the feelings more than it is of the intellect. The student should allow the feeling of rhythm to take full possession of him while he executes the musical variations. Rhythm causes the force of the voice to exert itself melodically. Were it not for rhythm, the tone would move forward in a sort of sameness in force. One can no more endure to listen to a voice that is not rhythmical in force than he can to one that is monotonous in pitch. The feelings are benumbed by monotony, while they rejoice in harmonious variety. Originally the word rhythm meant motion. Later it was used to express the relation of measure to motion. To-day the word meter and the word rhythm are sometimes used synonymously.