or B♭
and so on. Now let the teacher with a pointer direct the singing of the class upon the selected scale in such a manner as to secure the desired result in tone, and incidentally a familiarity with pitch relations, etc. Of course, if charts are used the trouble of writing scales is saved, only it is advised that the notes lying outside the prescribed compass be omitted in the lower grades entirely, and in the upper until the habit of good tone is established, when, of course, the tones may be carried below E with safety. The extent and variety of vocal drill which can be given with a pointer and a scale of notes is wonderful; but nothing more need be now suggested, than those exercises which are peculiarly intended to secure good tone, and fix good vocal habits, although it must be evident that all such drill is very far-reaching in its effects.
A few exercises which are very simple are here suggested. First, taking the scale of
for example. Let the teacher, after the pitch of the keynote is given to the class, place the pointer upon F, and slowly moving it from note to note, ascend and descend the scale, the class singing a continuous tone upon some vowel, o for instance. The pointer should be passed from note to note in such a manner that the eye can easily follow it. If the notes are indicated to the class by a series of dabs at the chart or blackboard, the pointer each time being carried away from the note several inches, and then aimed at the next note and so on, the eye becomes weary in trying to follow its movements, and the mental energy of the pupils, which should be concentrated upon tone, is wasted in watching the gyrations of the pointer. If, on the other hand, the pointer is made to glide from note to note, passing very quickly over intervening spaces, then the eye is not wearied in trying to follow it. These directions may seem pretty trivial, but practical experience has proved their importance. The vowel o is suggested because it has been found easier to secure the use of the head-register with this vowel than with ah, when it is sought to break up the habit of singing loudly and coarsely.
The term continuous tone used to describe the style of singing desired is meant literally. If the class in this scale-drill all stop and take breath at the same time, making frequent breaks in the continuity of the tone, there will be found with each new attack a tendency to increase in volume of sound. For certain reasons, which will be explained in the chapter on breath-management, the attack of tone will become more and more explosive, demanding constant repression. This irritating tendency may, in a short time, be almost entirely overcome, if, instead of letting the class take breath and attack simultaneously, each pupil is told to take breath only when he or she is obliged to, and then at once and softly to join again with the others. This will effect the continuous tone, useful not alone as a corrective for the tendencies to loud singing, but also to establish good breathing-habits.
This same swift, silent breath-taking and succeeding soft attack of tone must be insisted upon in all school singing.
The exercise already suggested is slow singing or rapid singing of the scale with the vowel o softly, and with continuous tones. Other simple exercises are obtained by repetitions of the following exercise figures at higher or lower pitches throughout an entire scale, or parts of a scale, ascending and descending progressively: