Vocal Expression: A Class-book of Voice Training and Interpretation

by Katherine Jewell Everts

Vanna. It is useless—I know them.

Prinzivalle. Your lord consents.

Vanna. Yes.

Prinzivalle. It is my mind to leave you free....

There is yet time should you desire to renounce....

Vanna. No!

And so the seeming inquisition proceeds. To each relentlessly searching interrogation from Gianello comes Vanna's unfaltering reply, in a single, swift monosyllable, "Yes" or "No." The same word, but, oh, the revelation which may lie in the inflection of that word! Let us try it. Let us read the scene aloud, first giving as nearly as possible the same inflection to each of Vanna's answers, then let us voice it again, putting into the curve of the tone within the narrow space of the two or three lettered monosyllables all the concentrated mental passion of Vanna's soul in its attitude toward the terrible situation and toward the man whom she believes to be her enemy. This is a most difficult exercise, but if "a man's reach should exceed his grasp," it will not retard our progress toward the goal of a vocal vocabulary to attempt it now. Apart from all aim in its pursuit, there is no more fascinating study than this study of inflection. In this day of artistic photography there is an endless interest for the artist of the camera in playing with a subject's expression by varying the light and shade thrown upon the face. So for the student of vocal expression there is endless interest in this play with the thought behind a group of words by varying the inflection of those words. Lady Macbeth's, "We fail!" or Macbeth's, "If it were done when 'tis done, then 'twere well it were done quickly," occurs to us, of course, as rich material for this exercise.

In her analysis of the character of Lady Macbeth Mrs. Jameson gives us an interesting study in inflection, based on Mrs. Siddons's interpretation of the words "We fail." A foot-note reads: "In her impersonation of the part of Lady Macbeth Mrs. Siddons adopted successively three different intonations in giving the words 'we fail.' At first a quick, contemptuous interrogation—'we fail?' Afterward with the note of admiration—'we fail!' and an accent of indignant astonishment laying the principal emphasis on the word we—'we fail!' Lastly, she fixed on what I am convinced is the true reading—'we fail'—with the simple period, modulating the voice to a deep, low, resolute tone which settled the issue at once, as though she had said: 'If we fail, why then we fail, and all is over.'"

Think how vitally the total impersonation is affected by your choice of inflections at this point. Compare the effects of the three, Mrs. Siddons tested. Are there other possible intonations of the words? What are they? Do you realize the vital effect upon the voice of such vocal analysis and experimentation? Devote ten minutes of the time you take for reading each day to this phase of vocal interpretation, and at the end of a week note its effect upon your silent reading and upon your voice.

Remember, with inflection, as with every other phase of the training, the greatest immediate benefit will come from holding the question of its peculiar significance constantly in mind. Study the temperament of the people about you by noting this element in their speech. Study the attitude of every interlocutor you face, by studying the inflection of his replies to the questions of life and death you propound. But, above all, study your own use of this element. Do not let your own attitude go undetected. It may help you to alter an unfortunate attitude to realize its effect upon your own voice.