It is very difficult to analyze and describe exactly the muscular sensations which accompany any complex action. Swimming, diving, dancing, skating,—each awakens a set of extremely vivid muscular feelings; yet to describe these sensations so graphically that they could be felt in imagination by one who had never experienced them actually,—that would be almost impossible.
This peculiar aspect of muscular sensations is particularly true as regards the action of singing. While every vocal teacher knows exactly how it feels to sing properly, all descriptions of the singer's muscular sensations are extremely vague. But the vividness of these sensations keeps them constantly before the teacher's mind, and some application of them, in the present state of Voice Culture, is almost inevitable.
The basic sensation of correct singing, as generally described, is a feeling of perfect poise and harmony of the whole body; this is accompanied by a sense of freedom about the throat and jaw, and firm grasp and control of the expiratory muscles. Attempts are frequently made to amplify this description, but the results are always very vague. A feeling of "absence of local effort" at the throat is much spoken of, or "perfect relaxation of the vocal muscles."
A few specially localized muscular sensations are also much discussed. Descriptions of this class however are often so loosely given as to render a definite statement almost impossible. Most frequently mentioned are the feeling of "backward pressure in the throat," and of "drinking in the tone," instead of sending it out. Then again, the "tone must be felt at the upper front teeth." A feeling as of an "expanded and flexible vocal tube, extending from the base of the lungs to the lips," is also much talked of. "Feel that you grow bigger as the tone swells" is about as intelligible as the feeling of "floating jaw."
On the whole, the subject of the singer's muscular sensations is usually rather mystifying to the student.
Sensations of Tingling or Vibration
Descriptions of sensations of this class are much more coherent than those just considered. A definite location is given to the feelings, in the chest and in the head.
A feeling of trembling in the upper chest is usually held to indicate that the chest cavity is working properly as a resonator. This sensation is therefore the chief reliance of most teachers in "placing" the lower tones, especially for low voices. Sensations in the nasal cavities and head are utilized for acquiring control of nasal resonance, for placing the upper notes of the voice, and for "bringing the voice forward." Exercises for control of both cavities, on special vowels and consonants, combine the two topics, "vowel position" and sensation.
Singing in the Mask
In recent years a method of instruction has been developed in France, which is commonly called by its advocates "singing in the mask." The basic idea of this method is that the singer must imagine his face to be covered by a mask, and must "sing into this mask." This idea may seem rather vague at first; but a few trials will show how easy it is for the singer to persuade himself that he projects his voice into his face.