CHAPTER VIII
Placing the Voice
What is called "placing the voice" or "tone production" or "focusing the voice" is, as already stated in the [previous chapter], chiefly a matter of resonance—of control of the resonator. Now vocalization is largely vowelization, and vocal tones are a complex of sound and resonance. The character of a vowel is given it by the shape of the vowel chamber; and the shaping of the vowel chamber depends upon delicate adjustment of the movable parts,—jaw, lips, cheeks, tongue, veil of the palate, and pharynx. While this adjustment is made through more or less conscious muscular action, the parts must never be forced into position; local effort to this end will invariably defeat itself. The important consideration in all voice movements is a flexible, natural action of all the parts, and all the voice movements are so closely allied, so sympathetically related, that if one movement is constrained the others cannot be free. It is a happy fact that the right way is the easiest way, and a fundamental truth that right effort is the result of right thought. From these axiomatic principles we deduce the very first rule for the singer and speaker,—THINK the right tone, mentally picture it; then concentrate upon the picture, not upon the mechanism.
WHEN IS THE VOCAL ACTION CORRECT?
There are two sound criterions for judging the correctness of vocal action,—first, the ease of the action, its naturalness, its flexibility. As Mills concisely states it: "He sings or speaks best who attains the end with the least expenditure of energy." Second, the beauty of the result. Harsh, unlovely tones are a sure indication of misplaced effort, of tension somewhere, of wrong action. On the other hand the nearer the tones approach to perfection the closer does the organism come to correct action. Beauty of tone, then, is the truest indication of proper vocal action.
Judgment as to the relative beauty of a tone depends on the training of the ear. Pupils should habitually listen to their own voices, for between the hearing and feeling of the voice a knowledge of progress can be obtained. The function of the ear in governing voice production is thus stated by Prof. Mills: "The nervous impulses that pass from the ear to the brain are the most important guides in determining the necessary movements." Mr. Ffrangcon-Davies maintains that, "The training of the ear is one-half of the training of the voice." The student should improve every opportunity to hear the best singers and speakers, for both consciously and unconsciously we learn much by imitation. Good examples are often our best teachers.
Keeping well in mind the principles stated above, we are now ready to begin their application in placing the voice—that is, in setting it free—not by learning some strange and difficult action, but by cultivating normal action.
EXERCISES FOR PRACTICE
The following exercises are designed for the primary development of a correct tone and for the test of the perfection of every tone at every stage of development. They are based upon the assumption that all tones of the voice should be focused and delivered precisely alike. Their use should constitute a part of the daily practice of the singer or speaker.
I give but few exercises for each point to be gained. Intelligent teachers and pupils will add an infinite variety to suit each case, but the exercises given appear to me to be the best for initial practice. It is important that each exercise in its order shall be thoroughly mastered before taking up the next. Only in this way can rapid progress be made, for it is not the multiplicity of exercises, but the thoughtful application of principles in the few, that leads to results.