The art of music, Vol. 05 (of 14)

by Unknown

It is the usual practice to begin instruction in the management of resonance with the mouth-pharynx cavity. For this purpose exercises on the vowel ah are generally first used. The position assumed by the tongue for this vowel is peculiarly favorable for securing an expansion of the lower part of the mouth-pharynx cavity. An increase in the size of this cavity is sought for the purpose of bringing about a corresponding increase in the volume and power of the tone.

While not directly a feature of mouth-pharynx resonance strictly speaking, the emission of the tone is usually treated under this head. After being generated by the vibration of the vocal cords, the tone is to be directed to the front of the mouth, in such manner that it impinges on the hard palate, just above the upper front teeth. This has for its purpose the freeing of the tone from the vocal cords and the bringing of it forward in the mouth, so as to secure the effect of ‘forward tone’ advocated by the old masters.

For acquiring the effect of forward tone, studies are also used on tones begun with certain labial and lingual consonants. Exercises are given on single tones on such syllables as bah, bee, boo—ma, mee, mo—la, lee, lo, etc. These are practised on notes covering a range of about one octave. Similar exercises are used for obtaining command of nasal resonance. For this purpose the consonant n is especially favored and exercises are used on syllables such as na, nee, no, etc.

Another means of acquiring command of the several forms of resonance is found in certain characteristic sensations which the singer experiences in singing tones of the various types. A tone strongly marked by nasal resonance awakens a sensation of tingling in the forehead and upper nose. A pronounced feeling of vibration in the upper chest, particularly in the region of the breast bone, accompanies the right use of chest resonance. The ‘forward’ tone is characterized by similar sensations in the front of the mouth. When practising exercises for acquiring command of resonance the student is instructed to feel the appropriate sensations, thus bringing the tone into the proper position.

Each form of resonance is particularly favored by certain vowels. Oo and oh lend themselves most readily to the acquirement of chest resonance. Ee facilitates in bringing in nasal resonance, while ah is the easiest vowel for obtaining command of the open throat and the forward tone, the most important functions of mouth-pharynx resonance.

Two marked forms of faulty tone production often call for special means of correction. These are the throaty and the unpleasantly nasal tone. For the cure of throaty production relaxing exercises are generally used. Sighing and yawning on the vowel ah with a free expiration furnish the basis of these exercises. Single tones and descending scale passages are practised in this manner, the breath being allowed to rush out freely and without control. Other directions are frequently given for the correction of throatiness. These include instruction in the support of the tone, the throat being relieved of pressure by a steady and controlled expiration. Bringing the tone forward in the mouth in the manner already described assists in this operation.

An excessive or a faulty use of nasal resonance is looked upon as the cause of the unpleasantly nasal tone. Too great a degree of relaxation of the muscles of the soft palate may bring about this condition. The means most favored for the correction of this fault are, first, muscular exercise in raising and lowering the soft palate, which gives a better tonicity to these muscles; and, second, the imparting of the correct idea of nasal resonance in the manner already described.

Another frequent fault of production, the tremolo, may result from any one of several causes. A lack of breath control may cause the expiratory pressure on the vocal cords to be unregulated and intermittent. Faulty methods of breathing, particularly those in which the upper chest is allowed to collapse at the start of the expiration, may lead to a flabby or ‘wobbly’ condition of the muscles which hold the larynx in place. A lack of support for the tone may result from the column of vocalized breath being directed backward, instead of toward its proper point of impact on the roof of the mouth.

For the cure of the tremolo the teacher must analyze in each individual case and locate the seat of the trouble. When this has been pointed out the fault is eradicated by applying the appropriate instruction—controlling the breath properly, placing the tone in the correct position in the mouth, etc.

A clear enunciation of the text is indispensable in artistic singing. This is in one sense not a feature of tone production strictly speaking. It is possible to enunciate with perfect distinctness and yet to use the voice very badly, as is seen in the case of many vaudeville singers. On the other hand, a correct production of tone may be exhibited by a singer whose enunciation is too indistinct to be understood. Yet it is the duty of the vocal teacher to train his pupils in the clear delivery of words, as well as in the other elements of the art of singing.