| o | o | o | o |
| ah | ah | ah | ah |
| ai | ai | ai | ai |
| [LISTEN] | |||
Strike the tone firmly and clearly, avoiding alike the check of the glottis and the glide of the glottis. This is often a matter of great difficulty, requiring much patience and perseverance on the part of the teacher as well as on that of the student. The glide of the glottis is particularly hard to eradicate, and in many instances the case seems to be hopeless. Do not, however, despair, but try this: Pronounce vigorously the word "Up." Then whisper, but still very vigorously and distinctly, three times the vowel u, as you just had it in the word "up." Immediately afterwards sing "Ah." Thus—
| Up! | u, u, u, | Ah. |
| (spoken) | (whispered) | (sung) |
I recommend this device from extended personal experience, and hope my fellow-teachers may find it as useful as I have found it myself. Another point of importance in practising the exercise for strengthening the opening and the closing muscles is the breathing after every tone; and this must be done gently and without effort, the only perception which the singer should have of it being a slight movement of the midriff. When you can sing the exercise in this manner on F, your supposed speaking tone, then go up the scale, semitone by semitone, to B or C above, and down again, semitone by semitone, to B or C below. Of the quality of tone I will say nothing here, because that part of the subject will be discussed later on in connection with the tongue and the soft palate.
The next thing in connection with the physiology of the vocal organ from which we can deduct a practical lesson is the action of the muscles governing the pitch of the voice. This process is a very complex one, and can be made clear only by vivâ voce explanations, with the help of good models and moving diagrams, by demonstrations with the laryngoscope, and by carefully watching external signs. There is no doubt, however, that a set of muscles, described as the "Stretching and Slackening Muscles," play the most important part in this matter, and I advise the reader to study carefully the chapter on "The Movements of the Voicebox," and try the experiments mentioned in it. It will thus be seen that the flexibility of the voice depends in a great measure upon the control we have over the muscles governing the pitch; that is to say, upon the readiness and exactness with which we are able to allow them to contract or to relax.
Performers upon various instruments, as for instance the piano and the violin, know that certain exercises are indispensable to brilliant execution, because they strengthen the muscles of the wrist and of the fingers, and make them obedient to the will. It has even been found that simple finger gymnastics, exercising separately different sets of muscles, and making them independent of each other, are of the greatest value, and save long hours of tedious and wearisome practising. In a similar manner we may spare ourselves much trouble and gain our end most readily by vocal gymnastics, calculated to bring into play the stretching and slackening muscles of the larynx. There is no difficulty about it. Sing F, the same tone from which we started when exercising the opening and the closing muscles, and add to it G. The alteration of the pitch is brought about by a contraction of the stretching muscles overcoming the resistance of the opposing slackening muscles, thereby tensing the vocal ligaments. If you again sing F, the case is reversed, and the new alteration in pitch is brought about by a contraction of the slackening muscles overcoming the resistance of the opposing stretching muscles, thereby relaxing the vocal ligaments.
| o | o |
| ah | ah |
| ai | ai |
| [LISTEN] | |
The above is an example. Take great care to render it perfectly. Sing every tone clearly and distinctly, but without jerking, at the same time uniting all the tones, but without drawling. Do not try how quickly you can sing, but rather how distinctly. Commence slowly, and be in no hurry to increase the speed. Raise and lower the exercise semitone by semitone within the medium part of your voice. A variety of exercises founded upon the same principles may be introduced, and will serve to increase the flexibility of the voice in a very short time.