v and f
b and p
z and s
d and t
j and ch
th (as in that) and th (as in think)
z (as in azure) and sh
g and k
In each of these pairs the interruption takes place at the same point—v and f between the lower lip and the upper teeth, b and p at the lips, etc.
Another class of consonants are the so-called sonants or liquids, l, m, n, and ng. In these the vocal tone may have appreciable duration; we can hum a tune on any one of them; m, n, and ng are emitted solely through the nostrils, the orifice of the mouth being completely closed.
R may be pronounced in two ways, the trilled or rolled r being best for the purposes of singing. Another form of this consonant, made by the vibration of the uvula in contact with the back of the tongue, is essential to a correct (conversational) pronunciation of both French and German, although it has no place in English. The rolled r, however, is generally used in singing by both the French and the Germans.
IV
A highly beneficial form of physical exercise is found in the regular daily practice of singing. All the muscles of the abdomen and thorax are strengthened by this exercise; the lungs are developed to their greatest normal capacity, and the habit is formed of breathing at all times in the most healthful manner. Both the circulation and the digestion share in the benefits derived from regular vocal practice, and the general health inevitably reflects the advantages incident to a proper performance of these most important bodily functions. An erect and graceful bearing, with well poised head and shoulders and firm, elastic step, can be secured through the correct practice of singing more readily than in almost any other way.
Yet the professional use of the voice imposes considerable restrictions on the singer’s habits of daily life. As Sir Morell Mackenzie has said, the singer is an athlete who must always be in training. A perfect condition of the voice demands a perfect state of general health. The singer must plan his whole life in conformity with the demands imposed on him by his art. The slightest indisposition of any kind is almost invariably reflected in the voice. Under the conditions in which people in the usual walks of life are placed, slight colds and trifling upset states of the digestive organs are a matter of almost no concern. But with the professional singer conditions are entirely different. So delicate and finely adjusted are the laryngeal muscles of the cultivated voice that their ‘tone’ may be upset by apparently insignificant causes. The mucous membranes of the larynx and throat are also highly sensitive to severe and unfavorable conditions.
It is necessary, therefore, for the singer to study himself, to learn by experience what is good and what is bad for him. This is a matter in which individual peculiarities play so great a part that only very general rules can safely be laid down. Singing within less than two hours after the eating of a hearty meal is almost certain to have an injurious effect on the voice. Exposure and over-fatigue must be carefully avoided. Stimulants, especially alcohol and tobacco, have a markedly bad influence on the mucous membranes of the throat. But beyond general statements of this kind, so obvious indeed that their truth is fairly well known, little can with safety be said as to the regimen imposed on the singer. That one man’s meat is another man’s poison is most strikingly true in its application to the voice. Many famous singers have been excessive smokers without seeming to suffer any ill results from the habit. Yet with most vocalists tobacco has a very irritating effect on the mucous membranes. So, also, with regard to eating and drinking, the widest differences of individual constitution are seen. Hot drinks are beneficial to some voices, injurious to others; cold drinks and ices are equally contradictory in their influence on the voice. All these questions of daily habit must be decided by each singer for himself and experience is the only safe guide.
There is a class of dangers to which the voice is exposed, entirely distinct from the influence of unfavorable conditions of the general health. Most of the throat troubles to which singers and public speakers are liable are directly traceable to a wrong use of the vocal organs. One of the most striking facts regarding the voice is this: If the voice is correctly produced it is benefited by exercise and improves steadily, year after year, in power, beauty, and facility of execution. On the other hand, when the voice is wrongly or imperfectly used exercise has exactly the opposite effect. Badly produced voices constantly deteriorate; their use results in course of time in throat troubles, of which the number and variety seem almost inconceivably great.
One general trouble lies at the bottom of all the throat ailments which follow on a wrong use of the vocal organs. This is a state of muscular strain suffered by the delicate muscles of the larynx. Every incorrect manner of producing vocal tone imposes an excessive degree of effort on these muscles. On the practical side the difference between the correct production of tone and any wrong use of the voice may be stated thus: When the voice is correctly used each tiny muscle of the larynx exerts exactly the right degree of effort in its contraction. To just this amount of exertion the muscles are fitted by Nature and in it they find their normal and healthful exercise. Incorrect tone production, on the other hand, always involves an excessive expenditure of effort on the part of the laryngeal muscles. The throat is in a state of muscular stiffness, in which all the muscles are contracted with more than their normal and appropriate degree of effort.