The art of inducing a condition of repose can be readily acquired by any one who will carefully and faithfully do as follows: Place yourself in an easy lying or lounging position in a quiet place, with fresh air. Physical repose prepares for and invites mental repose. Now allow the mind to work care free at its own sweet will without any attempt to control it. Close the eyes and breathe slowly, gently, and deeply, with steady rhythm. In two or three minutes a sensation of quiet restful repose will be experienced, which may be continued for several minutes or may even lead to a natural sound sleep.
This result may not be attained at the first or the second trial, but a few repetitions of the exercise will insure success in almost every case. After the art is attained in this formal way, ability to induce the same repose when sitting upright, or while standing, will be quickly developed.
This repose is the fitting preparation for a lesson or a performance and may be induced during the progress of either, to allay any trepidation incident to the situation. A mastery of this simple art will make progress in the work of voice development much more rapid, and make attainable a degree of discipline that is impossible without it. It will prove for the beginner a sure prevention of stage fright and a great relief to the most chronic sufferer from this malady.
THE VIBRATO
The vibrato is a rhythmic pulsation of the voice. It often appears in untrained voices; in others it appears during the process of cultivation. Some have thought it the perfection of sympathetic quality; others esteem it a fault.
The vibrato is caused by an undulating variation of pitch or power, often both. The voice does not hold steadily and strictly to the pitch, and according to the amount of the variation a corresponding vibrato, or tremolo, is produced.
The action of stringed instruments illustrates this statement. The finger of the violinist vibrates on the string by rocking rapidly back and forth and the vibrato is the result.
The same is true of the human instrument. By variation of the tension, the vocal apparatus sends forth several tones in alternation, of a slightly different pitch, which together produce the effect.
Three sources are ascribed for the vibrato; one is a rapid, spasmodic vibration of the diaphragm, causing variation of breath pressure; another is the alternate tension and relaxation of the larynx and vocal cords; a third is that commonest of faults—throat stiffness. Either cause is possible, and variation in the pitch or intensity of the tone is the result. Sufficient investigations have not been made to make the matter certain, but tremolo, trembling of the vocal organs, and muscular stiffness, or unnatural tension, seem to go together.
It is quite possible in the early stages of culture so to train the voice as to use the vibrato or not at will, but if not early controlled this, like other bad habits, gains the mastery. Excessive vibrato has spoiled many good voices. It is not a fundamental quality of the voice. A little vibrato may occasionally be desirable when properly and skilfully used; more than this is to be shunned as a dangerous vice.